An Evening with Jami Attenberg

When I was in Oakland this winter, I had a computer crash. Not a real computer. The one in my brain that, on a daily basis works just fine, usually brings up the right things at the right time, shuts down to ‘sleep’ at night, wakes up at the appointed time ready to hit the day running. In January, it just burned to a crisp—nothing left to make it work. Sissssssssssssss! It’s called Burn Out. I don’t remember how I stumbled onto Jami Attenberg’s Substack newsletter. I had first discovered Substack when my sister wrote me about George Saunders’ Story Club with George Saunders. I immediately became a paying member. Comments were invited and I loved reading them. Wanting to know what that person read on Substack, I soon realized how many writers I respected had Substacks, and found ones that I didn’t know who wrote about the craft of writing. I found Jami and her #1000 Words of Summer Challenge.

https://www.pw.org/content/1000_words_of_summer_how_an_accountability_project_opened_up_my_writing_life

At the bottom of her Substack, she mentioned she’d written a memoir. I took the memoir, I Came all this way to meet you- Writing Myself Home, out of the library. First I read it. To say I loved it would be an understatement. I felt like she had me in mind when she wrote it. I, then, got the audio version and listened. Feeling exactly the same way as I had after the first reading, I bought the book and added All Grown Up (2017 First Mariner Books). What spoke to me? Jami writes in an intimate, conversationally (is that a word?) way that feels as if she is talking to ME. Writer to writer. She throws in comments about writing, about the craft of writing, about the love of writing, and how to grapple with certain problems, and many things that authors think about and only other writers and authors really relate to. This all while she is telling us about her life in often funny, self-deprecating ways. She is wise and knows herself well. She said eloquently what I felt but had not yet found words for. Writers, both ones she knows and ones she has yet to meet, are her friends. She roots for us. The memoir is one of those books that expands your world, makes you want to create because you can, and she is your cheerleader.

Jami Attenberg, American writer, Milano, Italy, 8th September 2016. (Photo by Leonardo Cendamo/Getty Images)

Recently, her weekly newsletter led off with dates that she would be reading or would be interviewed in various cities. There was the word PARIS. She was going to speak at the American Library. I immediately wrote her (you can do that on Substack. Write a comment). Jami responds to almost every comment. I told her I’d bring as many of my writer friends and book club friends as possible. She was up against some big competition. The American Library has had a pledge that would probably bring in quite a bit of money. For the first time, they can have two events on the same night. So, the next day, I learned that the second event was the San Francisco Theatre group, Word for Word, putting on George Saunders’ play HOME. This did not feel at all fair. I wanted to complain (I think I did). But the dates were set and I really really wanted to support Jami. So I put the play out of my mind.

Tuesday evening, I went early to the Library to listen to Jami being interviewed by the wonderful Lauren Collins (staff writer, New Yorker). I brought both of her books hoping to get them autographed. The reading room in the library was packed and it was on Zoom. She told us that she was far enough away from the memoir – it was published January 2022 – that she could discuss it without too much emotion. She told us how she wrote and wrote until she knew what her focus was: being a writer. She explained how she structured the chapters in the book.

Jami and Lauren, reading room of the American Library in Paris

Structure is something that is often a stumbling block for me. It feels like the AP class in creative writing. Jami chose ten of the most important periods of her life for chapters. These events didn’t necessarily happen consecutively. So she didn’t write them that way. In my stories, I’m still learning the architecture of a really good story. What do you say when? When do you bring in backstory? What do you start with? And those last two sentences where in a short story, as my Stanford professor told us, they’d better be a knock-out punch.

I’m not the only one grateful to her and the way she writes, the way she tells us about her writing life. She manages to be be inclusive, her challenges are so often our challenges. Her #1000 Words of Summer, in its sixth year, has almost 30,000 subscribers. Most of these people she’ll never meet. Yet, she has had the experience of finding herself mentioned in the acknowledgments of a book as both the inspiration and the kick in the pants push the author needed to get going. I can just barely imagine what that must be like—a thought, an idea she has had and put into action, growing to such a degree that authors around the world express their gratitude in black and white on the acknowedgment page for getting them to the finish line.

Part of my writing group: Gwen, Sara, Pamela, Kit, Lori, out for drinks after listening to Jami at the American Library

Thank you, Jami Attenberg. May you enjoy your Italian vacation!!

For more information on #1000 Words of Summer, go to Jami’s substack Craft Talk

A bientôt,

Sara

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When Writers Come to Paris

Because I live in Paris and because I love the American Library in Paris, I get to meet some great writers. I’m fairly sure this wouldn’t happen to me anywhere else. Paris is small for a world class city. Everyone comes to Paris. When Audrey Chapuis, Director of the American Library, introduced Ann Patchett at the Yearly ALP Gala last Thursday evening, she told us that Ann had sworn off traveling after the pandemic. Wasn’t going to do much anymore. But when offered the opportunity to speak at the largest fund raiser the Library has every year, she was easily persuaded. And I got to meet her. When I told her I was a budding author at 74 years old, she looked at me and said “Good for you!” Then she wrote ‘Write often, read everything, love in Paris’ on the title page of her latest book of essays These Precious Days.

Anne Patchett

Maybe it doesn’t mean much to the average person but it certainly does to me. I got to meet Ann Patchett! She wrote to me personally in my book. I’ve read the inscription every day. It makes me smile. Then comes the problem: when one’s favorite writers are people like Ann Patchett and George Saunders, it is hard not to compare my written words to their written words. They are great writers (in my humble opinion). Not only that, they are great speakers. It is not every author who is also someone who can captivate an audience. You can hear Ann’s talk on YouTube on the Library Channel. And if you haven’t already done so, listen to Saunders’ commencement speech on Kindness. https://www.youtube.com/watch?v=ruJWd_m-LgY

I’ve been writing creative non-fiction for over six years and a journal forever. I write this blog. I wrote a memoir of my eating disorder Saving Sara My Memoir of Food Addiction. I wrote another book with five women on the practicalities of abstaining from addictive binge foods. I’ve definitely honed my skills and learned the craft of writing non-fiction. Now I want to try my hand at fiction. I am a beginner. I love words. It shouldn’t be so hard to put a sentence together. Right? Wrong. With fiction, I first have to choose a Point of View (POV). In non-fiction, that’s a done deal, it’s my POV. Choosing the POV in novel writing is huge. Is it one of the main characters with all their baggage flavoring their thoughts? Is it a distant third person and the story is told from some unnamed observer?

I have an idea for a novel. I’ve had it for awhile now. It’s why I felt able to entertain the possibility of applying to the Stanford Writing Certificate program in novel writing. But to get into the program, as part of the application process, I have to submit 3000-6000 words of fiction. The application letter kindly says that it is ok to send in published work. They just want to know how the applicant writes. I not only don’t have published work, I don’t even have finished works. I have had to hire an editor to help me so that I don’t completely embarrass myself. She is the one who has stressed my need to pick a POV. I am a quick learner and I’m smart enough to know that if I were actually to write this novel, I need a structured environment with teaching and feedback to proceed. I just have to get in to the program.

Steven King started writing when he was nine years old. He started submitting his fiction to many different places when he was fourteen. Ann Patchett wrote as a teenager, published her first book when she was twenty-seven. George Saunders‘ story is more like mine. He wandered around doing many things in many different countries. I think he majored in a science in university. Since he started writing, he has won many awards including the Man Booker prize for his debut novel, Lincoln in the Bardo. And these are the people I find myself, hopelessly, comparing myself to. I told my editor. She said “That’s good. It means you will keep improving yourself.” I didn’t expect that.

A Class in a book for both writers and lovers of short stories.

So who else have I had the great good fortune to listen to while residing in Paris. Colsen Whitehead before he won the Pulitzer Prize; Richard Russo; Ta-Nehesi Coates was a visiting fellow and wrote most of his award winning book, Between the World and Me, down in a small cubicle reserved for Fellows; Lauren Collins, who writes for the New Yorker, married a frenchman and lives in Paris. She comes to the Library often to interview other writers. I subscribe to her newsletter and wonder if I ever could put together a sentence as she does.

Lauren Collins writes wonderful essays about France

Just a few days, I went to hear Colm Tóibín talk on James Joyce’s Ulysses. I’ve not yet been able to get through more than a few pages of Ulysses at a time. I went because it was Colm Tóibín. He wrote Brooklyn, made into a wonderful movie; The Magician about Thomas Mann another writer I tried to read but couldn’t get more than a few pages. (Colm told me to read Buddenbrooks. He said that was an easy book to read). Maybe it’s because he’s Irish! Mr. Tóibín makes anything sound fascinating. I loved The Magician and am now part way into The Master, his 2004 book on Henry James.

Colm Tóibín speaking at the American Library in Paris

I think you get the idea. I’m in Writing Mecca. If I can restrain the part of me that loves to say “You aren’t good enough,” I can listen and learn. I can say “Pay attention. Maybe one day you will be good enough.”

A bientôt,

Sara

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