Showing posts with label fiction. Show all posts
Showing posts with label fiction. Show all posts

Wednesday, January 20, 2021

The First Submission of the Year

 Yesterday I sent out my first submission of the year. It's the short story inspired by both powdered donuts and Dorothy Parker. It was a general submission and not a contest submission, so I haven't been able to check off any milestones on my professional goals so far. However, I did run into an interesting problem. 



I'm a sucker for the inside story, the path to that leads to final version. I love listening to The Beatles Anthology because I like knowing how it started. I devoured the restored edition of Sylvia Plath's Ariel because you can see the thought process that went into writing and ordering each piece for the collection. In my infinite wisdom, I wanted to someday belong to this type of story-behind-the-story. 

Ever since I first wrote the draft of this short story, I had problems with the ending. The last paragraph, sometimes just the last line, never really fit. Since that first draft, I have rewritten the ending four times. I never wrote it out by hand, so in order to preserve my process for future generations, I kept four different Word files, each with a different ending. As I was trying to submit the story yesterday, I couldn't figure out which ending I had finally settled on. I read and reread all of them, and it just didn't sound right. I knew I had one I finally liked, but I wasn't seeing it. So I tried to write a fifth version of the ending. Once I saved it on one of the files, I reopened it (because I wasn't sure which file I was working on--they all had similar file names), and like magic, appearing right under the ending I had just written, was the last one I had written just before its previous submission. I swear it was not there when I first opened it. 

Thankfully, a quick edit to get rid of the rushed new ending I wrote, I was able to submit it successfully. Does it have a shot? Maybe. I submitted it to a publication that's only on it's second issue, so we will see what happens. 

And now I have to go back and get some more work prepped to be sent out. Is 2021 my year? Probably. 

Friday, November 06, 2020

NaNoWriMo 2020 -- It's On

NaNoWriMo 2020 is here, and it's going... Just going. I won't say well just yet. I'm still a few thousand words behind, but out of six days, I only managed to skip one, which is a better record than I've had before. There is real possibility for this one. 


What's different about this year is that I have decided to post what I write as I'm writing it. There are many writers who do this and find it a great way to better communicate with an audience. That's one reason I did this. I also did this to maintain accountability and provide more value to my Patreon page. 

And that brings me to the not-so-subtle plug: you can read my NaNoWriMo 2020 project as it happens if you join me on Patreon. You can get access to it at the $5, $10, and $15 tiers, plus the 2020 All-Stars tier which is just $1, but there are currently only ten spots left. 

Now I have to get back to the writing. It's gonna be a long month, but hopefully a wild ride. 

Thursday, October 29, 2020

Excerpt: THE WRONG KIND OF WOMAN by Sarah McCraw Crow

 Please enjoy this excerpt of The Wrong Kind of Woman by Sarah McCraw Crow:

About the Book

A powerful exploration of what a woman can be when what she should be is no longer an option

In late 1970, Oliver Desmarais drops dead in his front yard while hanging Christmas lights. In the year that follows, his widow, Virginia, struggles to find her place on the campus of the elite New Hampshire men’s college where Oliver was a professor. While Virginia had always shared her husband’s prejudices against the four outspoken, never-married women on the faculty—dubbed the Gang of Four by their male counterparts—she now finds herself depending on them, even joining their work to bring the women’s movement to Clarendon College.

Soon, though, reports of violent protests across the country reach this sleepy New England town, stirring tensions between the fraternal establishment of Clarendon and those calling for change. As authorities attempt to tamp down “radical elements,” Virginia must decide whether she’s willing to put herself and her family at risk for a cause that had never felt like her own.

Told through alternating perspectives, The Wrong Kind of Woman is an engrossing story about finding the strength to forge new paths, beautifully woven against the rapid changes of the early ‘70s.





Chapter One

November 1970 Westfield, New Hampshire

OLIVER DIED THE SUNDAY after Thanksgiving, the air heavy with snow that hadn’t fallen yet. His last words to Virginia were “Tacks, Ginny? Do we have any tacks?”

That morning at breakfast, their daughter, Rebecca, had complained about her eggs—runny and gross, she said. Also, the whole neighborhood already had their Christmas lights up, and why didn’t they ever have outside lights? Virginia tuned her out; at thirteen, Rebecca had reached the age of comparison, noticing where her classmates’ families went on vacation, what kinds of cars they drove. But Oliver agreed about the lights, and after eating his own breakfast and Rebecca’s rejected eggs, he drove off to the hardware store to buy heavy-duty Christmas lights.

Back at home, Oliver called Virginia out onto the front porch, where he and Rebecca had looped strings of colored lights around the handrails on either side of the steps. Virginia waved at their neighbor Gerda across the street— on her own front porch, Gerda knelt next to a pile of balsam branches, arranging them into two planters—as Rebecca and Oliver described their lighting scheme. Rebecca’s cheeks had gone ruddy in the New Hampshire cold, as Oliver’s had; Rebecca had his red-gold hair too.

“Up one side and down the other,” Rebecca said. “Like they do at Molly’s house—”

“Tacks, Ginny? Do we have any tacks?” Oliver interrupted. In no time, he’d lost patience with this project, judging by the familiar set of his jaw, the frown lines corrugating his forehead.

A few minutes later, box of nails and hammer in hand, Virginia saw Oliver’s booted feet splayed out on the walk, those old work boots he’d bought on their honeymoon in Germany a lifetime ago. “Do you have to lie down like that to—” she began, while Rebecca squeezed out from between the porch and the overgrown rhododendron.

“Dad?” Rebecca’s voice pitched upward. “Daddy!”

Virginia slowly took in that Oliver was lying half on the lawn, half on the brick walk, one hand clutching the end of a light string. Had he fallen? It made no sense, him just lying there on the ground like that, and she hurtled down the porch steps. Oliver’s eyes had rolled back so only the whites showed. But he’d just asked for tacks, and she hadn’t had time to ask if nails would work instead. She crouched, put her mouth to his and tried to breathe for him. Something was happening, yes, maybe now he would turn out to be just resting, and in a minute he’d sit up and laugh with disbelief.

Next to her, Rebecca shook Oliver’s shoulder, pounded on it. “Dad! You fainted! Wake up—”

“Go call the operator,” Virginia said. “Tell them we need an ambulance, tell them it’s an emergency, a heart attack, Becca! Run!” Rebecca ran.

Virginia put her ear to Oliver’s chest, listening. A flurry of movement: Gerda was suddenly at her side, kneeling, and Eileen from next door, then Rebecca, gasping or maybe sobbing. Virginia felt herself being pulled out of the way as the ambulance backed into the driveway and the two para- medics bent close. They too breathed for Oliver, pressed on his chest while counting, then lifted him gently onto the backboard and up into the ambulance.

She didn’t notice that she was holding Rebecca’s hand on her one side and Eileen’s hand on the other, and that Gerda had slung a protective arm around Rebecca. She barely noticed when Eileen bundled her and Rebecca into the car without a coat or purse. She didn’t notice the snow that had started to fall, first snow of the season. Later, that absence of snow came back to her, when the image of Oliver lying on the bare ground, uncushioned even by snow, wouldn’t leave her.


Aneurysm. A ruptured aneurysm, a balloon that had burst, sending a wave of blood into Oliver’s brain. A subarachnoid hemorrhage. She said all those new words about a thousand times, along with more familiar words: bleed and blood and brain. Rips and tears. One in a million. Sitting at the kitchen table, Rebecca next to her and the coiled phone cord stretched taut around both of them, Virginia called one disbelieving person after another, repeated all those words to her mother, her sister Marnie, Oliver’s brother, Oliver’s department chair, the people in her address book, the people in his.

At President Weissman’s house five days later, Virginia kept hold of Rebecca. Rebecca had stayed close, sleeping in the middle of Virginia and Oliver’s bed as if she were little and sleepwalking again, her shruggy new adolescent self forgotten. They’d turned into a sudden team of two, each one circling, like moons, around the other.

Oliver’s department chair had talked Virginia into a reception at President Weissman’s house, a campus funeral. In the house’s central hall, Virginia’s mother clutched at her arm, murmuring about the lovely Christmas decorations, those balsam garlands and that enormous twinkling tree, and how they never got the fragrant balsam trees in Norfolk, did they, only the Fraser firs—

“Let’s go look at the Christmas tree, Grandmomma.” Rebecca took her grandmother’s hand as they moved away. What a grown-up thing to do, Virginia thought, glad for the release from Momma and her chatter.

“Wine?” Virginia’s sister Marnie said, folding her hand around a glass. Virginia nodded and took a sip. Marnie stayed next to her as one person and another came close to say something complimentary about Oliver, what a wonderful teacher he’d been and a great young historian, an influential member of the Clarendon community. And his clarinet, what would they do without Oliver’s tremendous clarinet playing? The church service had been lovely, hadn’t it? He sure would have loved that jazz trio.

She heard herself answering normally, as if this one small thing had gone wrong, except now she found herself in a tunnel, everyone else echoing and far away. Out of a clutch of Clarendon boys, identical in their khakis and blue blazers, their too-long hair curling behind their ears, one stepped forward. Sam, a student in her tiny fall seminar, the Italian Baroque.

“I—I just wanted to say…” Sam faltered. “But he was a great teacher, and even more in the band—” The student- faculty jazz band, he meant.

“Thank you, Sam,” she said. “I appreciate that.” She watched him retreat to his group. Someone had arranged for Sam and a couple of other Clarendon boys to play during the reception, and she hadn’t noticed until now.

“How ’bout we sit, hon.” Marnie steered her to a couch. “I’m going to check on Becca and Momma and June—” the oldest of Virginia’s two sisters “—and then I’ll be right back.”

“Right.” Virginia half listened to the conversation around her, people in little clumps with their sherries and whiskeys. Mainframe, new era, she heard. Then well, but Nixon, and a few problems with the vets on campus. She picked up President Weissman’s voice, reminiscing about the vets on campus after the war thirty years ago. “Changed the place for the better, I think,” President Weissman said. “A seriousness of purpose.” And she could hear Louise Walsh arguing with someone about the teach-in that should have happened last spring.

Maybe Oliver would appreciate being treated like a dignitary. Maybe he’d be pleased at the turnout, all the faculty and students who’d shown up at the Congregational Church at lunchtime on a Friday. Probably he wished he could put Louise in her place about the teach-in. Virginia needed to find Rebecca, and she needed to make sure Momma hadn’t collapsed out of holiday party–funeral confusion. But now Louise Walsh loomed over her in a shape- less black suit, and she stood up again to shake Louise’s hand. “I just want to say how sorry I am,” Louise said. “I truly admired his teaching and—everything else. We’re all going to miss him.”

“Thank you, Louise.” Virginia considered returning the compliment, to say that Oliver had admired Louise too. Louise had tenure, the only woman in the history department, the only woman at Clarendon, to be tenured. Lou- ise had been a thorn in Oliver’s side, the person Oliver had complained about the most. Louise was one of the four women on faculty at Clarendon; the Gang of Four, Oliver and the others had called them.

Outside the long windows, a handful of college boys tossed a football on a fraternity lawn across the street, one skidding in the snow as he caught the ball. Someone had spray-painted wobbly blue peace signs on the frat’s white clapboard wall, probably after Kent State. But the Clarendon boys were rarely political; they were athletic: in their baggy wool trousers, they ran, skied, hiked, went gliding off the college’s ski jump, human rockets on long skis. They built a tremendous bonfire on the Clarendon green in the fall, enormous snow sculptures in the winter. They stumbled home drunk, singing. Their limbs seemed loosely attached to their bodies. Oliver had once been one of those boys.

“Come on, pay attention,” Marnie said, and she propelled Virginia toward President Weissman, who took Virginia’s hands.

“I cannot begin to express all my sympathy and sad- ness.” President Weissman’s eyes were magnified behind his glasses. “Our firmament has lost a star.” He kissed her on the cheek, pulling a handkerchief from his jacket pocket, so she could wipe her eyes and nose again.


At the reception, Aunt June kept asking Rebecca if she was doing okay, and did she need anything, and Aunt Marnie kept telling Aunt June to quit bothering Rebecca. Mom looked nothing like her sisters: Aunt Marnie was bulky with short pale hair, Aunt June was petite, her hair almost black, and Mom was in between. Rebecca used to love her aunts’ Tidewater accents, and the way Mom’s old accent would return around her sisters, her vowels stretching out and her voice going up and down the way Aunt June’s and Aunt Marnie’s voices did. Rebecca and Dad liked to tease Mom about her accent, and Mom would say I don’t know what you’re talking about, I don’t sound anything like June. Or Marnie. But especially not June.

Nothing Rebecca thought made any sense. She couldn’t think about something that she and Dad liked, or didn’t like, or laughed about, because there was no more Dad. Aunt Marnie had helped her finish the Christmas lights, sort of, not the design she and Dad had shared, but just wrapped around the porch bannisters. It looked a little crazy, actually. Mom hadn’t noticed.

“Here’s some cider, honey,” Aunt June said. “How about some cheese and crackers? You need to eat.”

“I’m okay,” Rebecca said. “Thanks,” she remembered to add.

“Have you ever tried surfing?” Aunt June asked. “The boys—” Rebecca’s cousins “—love to surf. They’ll teach you.” “Okay.” Rebecca wanted to say that it was December and there was snow on the ground, so there was no rea- son to talk about surfing. Instead she said that she’d bodysurfed with her cousins at Virginia Beach plenty of times, but she’d never gotten on a surfboard. As far as she could tell, only boys ever went surfing, and the waves at Virginia Beach were never like the waves on Hawaii Five-0. Mostly the boys just sat on their surfboards gazing out at the hazy- white horizon, and at the coal ships and aircraft carriers chugging toward Norfolk.

“You’ll get your chance this summer—I’ll bet you’ll be a natural,” Aunt June said.

Things would keep happening. Winter would happen. There would be more snow, and skiing at the Ski Bowl. The town pond would open for skating and hockey. The snow would melt and it would be spring and summer again. They’d go to Norfolk for a couple of weeks after school let out and Mom would complain about everything down there, and get into a fight with Aunt June, and they’d all go to the beach, and Dad would get the most sunburned, his ears and the tops of his feet burned pink and peely…

“Let’s just step outside into the fresh air for a minute, sweetheart,” Aunt June said, and Rebecca stood up and followed her aunt to the room with all the coats, one hand over her mouth to hold in the latest sob, even after she and Mom had agreed they were all cried out and others would be crying today, but the two of them were all done with crying. She knew that the fresh air wouldn’t help anything.

Excerpted from The Wrong Kind of Woman by Sarah McCraw Crow © 2020 by Sarah McCraw Crow, used with permission by MIRA Books/HarperCollins.




Sarah McCraw Crow grew up in Virginia but has lived most of her adult life in New Hampshire. Her short fiction has run in Calyx, Crab Orchard Review, Good Housekeeping, So to Speak, Waccamaw, and Stanford Alumni Magazine. She is a graduate of Dartmouth College and Stanford University, and is finishing an MFA degree at Vermont College of Fine Arts. When she's not reading or writing, she's probably gardening or snowshoeing (depending on the weather).


Social Links:


Author website: https://sarahmccrawcrow.com/ 

Twitter: https://twitter.com/sarahmcrow?lang=en 

Instagram: https://www.instagram.com/sarahmccrawcrow/ 

Goodreads: https://www.goodreads.com/author/show/15502401.Sarah_McCraw_Crow


Buy Links:

Amazon: https://www.amazon.com/Wrong-Kind-Woman-Novel/dp/0778310078 

Barnes & Noble:  https://www.barnesandnoble.com/w/the-wrong-kind-of-woman-sarah-mccraw-crow/1134767509?ean=9780778310075 

IndieBound:  https://www.indiebound.org/book/9780778310075 

Books-A-Million: https://www.booksamillion.com/p/Wrong-Kind-Woman/Sarah-McCraw-Crow/9780778310075?id=7941582454467 

Google Play: https://play.google.com/store/books/details/Sarah_McCraw_Crow_The_Wrong_Kind_of_Woman?id=pbe8DwAAQBAJ 


Thursday, August 20, 2020

News and Notes from the Writing Desk: August Edition

 Sentence by sentence, paragraph by paragraph, stanza by stanza, things are slowly moving along. I am still rotating in and out of a few projects, but this month I have mostly been focusing on distribution of my work. Specifically, I think I have finally found how to use Medium to my advantage. 

The Importance of Publications

Up until two weeks ago, I had posted my work on Medium without any expectation of having my pieces curated for any publication on Medium. If you get curated, especially by a Medium-created publication, you could see thousands of hits overnight. But there are also many smaller publications--in fact, anyone with a Medium account can create a publication, build an audience, and find a niche group of contributors to supply a stream of new work. 

By accident (or the daily Medium emails I get, whatever) I stumbled upon a specific publication (The POM) that I thought might be the right fit for some of my existing published pieces. So I read the guidelines carefully, as any good writer would, and submitted some of my work. Once I made sure that I had proper credits for my photo, it was accepted, and suddenly I had more eyes on my work than I had in the past year of writing on Medium. Getting into publications? Essential to success. 

Get That $$$

Before the start of August, I had earned exactly $0.01 for my work on Medium. Not really anything to brag about, but I also didn't have to do much to get it. When I started publishing pieces in The POM, I noticed right away that money was coming in. Again, it's not impressive, but so far this month I have earned $0.10, which is a clear improvement from what I was getting previously. As with any website that depends on various algorithms to pay contributors, you can't see exactly how or why money is doled out, but there are a few clues. 

First, I received dozens (in some cases more than 100) claps for my work. After seeing these numbers I immediately went to my dashboard to see my dozens of views. The views were still low, and pretty consistent with previous months (I have yet to get 20 lifetime views on any one piece). That's when I figured out claps. When you clap for a story, you don't have to just provide a single clap. You can clap as many times as you like, leaving a large number of claps from just a single view. Claps also seem to be important in determining which pieces will pay out. 

Views seem to be much less important, but anyone on Medium knows that views have to be from a paid member in order to pay out. Free members who read it are still good, particularly when they like and share it with others, and it still boosts numbers. I admit that I'm still a free member, because I want to be able to pay for Medium with Medium--once I reach a steady earnings of $5 a month, Medium will get a new paid member. 

The Road Ahead

As much as I like placing my poems in The POM, I'm still looking and researching new publications to work with. However, the fact that some of these publications have locked their submission guidelines behind a paywall is very frustrating--and lucrative, probably, which is kind of shady, though completely within the TOS. I'm still creating new work and I want to diversify where that work ends up. You never know--maybe one of these days I'll be in the mood to run my own Medium publication. 

Planning to Plan


Aside from all the new things I discovered with Medium, I've also been looking into starting a bullet journal, rather than trying to manage a calendar, planner, to-do list, and other stuff. I think I can get around the idea of making it pretty with spectacular artistic talent by using a lot of stickers, stencils, and my very favorite skill--collage. I have a stack of Vogues in my closet; might as well put them to good use. 

New Flavors

Lastly, what gets labeled as totally random: I tried a couple of new flavors today. Both good, but I wouldn't try them at the same time. 


Thursday, August 13, 2020

THE DAZZLING TRUTH: Excerpt and Q&A

Poised to celebrate Christmas Eve on a beautifully scenic island off the coast of Ireland, the Moone family’s holiday is instead marred by tragedy. So begins Helen Cullen’s stirring family saga, THE DAZZLING TRUTH (Graydon House; August 18, 2020; $17.99 USD). Maeve and Murtagh Moone’s love story began in 1978, at Trinity College. As an aspiring actress and potter respectively, the two creative spirits were drawn to each other in an intense and lasting way, able to withstand almost anything, even Maeve’s bouts of crippling depression and anxiety. For a short time, anyway.


Marriage and children are the next chapters in the Moone family story, but Maeve struggles to reconcile her old life with that of the wife and mother she is supposed to be. Until one heartbreaking Christmas Eve in 2005 changes everything. Now each member of the Moone family must learn to confront the past on their own, until one dazzling truth brings them back together towards a future that none of them could have predicted. Except perhaps Maeve herself.

Please enjoy this excerpt from The Dazzling Truth by Helen Cullen:



Murtagh had woken that morning, once again, to an empty bed; the sheets were cool and unruffled on Maeve’s side. He had expected to find her sitting at the kitchen table, wrapped in her hound’s-tooth shawl, pale and thin in the darkness before dawn, a tangle of blue-black hair swept across her high forehead like a crow’s wet wing, her long, matted curls secured in a knot at the nape of her neck with one of her red pencils. He had anticipated how she would start when he appeared in the doorway. How he would ignore, as he always did, the few moments it would take for her dove-grey eyes to turn their focus outward. For the ghosts to leave her in his presence. The kettle would hiss and spit on the stove as he stood behind her wicker chair and rubbed warmth back into her arms, his voice jolly as he gently scolded her for lack of sleep and feigned nonchalance as to its cause.
But Maeve wasn’t sitting at the kitchen table.
Nor was she meditating on the stone step of the back door drinking milk straight from the glass bottle it was delivered in.
She wasn’t dozing on the living-room sofa, the television on but silent, an empty crystal tumbler tucked inside the pocket of her peacock-blue silk dressing gown, the one on which she had painstakingly embroidered a murmuration of starlings in the finest silver thread.
Instead, there was an empty space on the bannister where her coat should have been hanging.
Murtagh opened the front door and flinched at a swarm of spitting raindrops. The blistering wind mocked the threadbare cotton of his pyjamas. He bent his head into the onslaught and pushed forward, dragging the heavy scarlet door behind him. The brass knocker clanged against the wood; he flinched, hoping it had not woken the children. Shivering, he picked a route in his slippers around the muddy puddles spreading across the cobblestoned pathway. Leaning over the wrought-iron gate that separated their own familial island from the winding lane of the island proper, he scanned the dark horizon for a glimpse of Maeve in the faraway glow of a streetlamp.
In the distance, the sea and sky had melted into one anthracite mist, each indiscernible from the other. Sheep huddled together for comfort in Peadar Óg’s field, the waterlogged green that bordered the Moones’ land to the right; the plaintive baying of the animals sounded mournful. Murtagh nodded at them.
There was no sight of Maeve.
As he turned back towards the house he noticed Nollaig watching him from her bedroom window. The eldest daughter, she always seemed to witness the moments her parents had believed—hoped—were cloaked in invisibility, and then remained haunted by what she had seen. Ever since she was a toddler, Murtagh had monitored how her understanding grew, filling her up, and knew it would soon flood her eyes, always so questioning, permanently.
He waved at her as he blew back up the pathway. Later, he would feel the acute pain of finally recognising the prescience his daughter seemed to have absorbed from the womb.
‘How long is she gone?’
Nollaig was now standing before the hallway mirror, her face contorted as she vigorously tried to brush her frizzy mouse-brown hair into shape. She scraped it together into a tight ponytail that thrust from the back of her head as if it were a fox’s brush.
‘Ach, you should leave your gorgeous curls be, Noll,’ her father cajoled, ‘instead of fighting them.’
She smiled at him but slammed the mother-of-pearl hairbrush down on the sideboard.
‘I don’t have curls, I have Brillo pads,’ she sighed. ‘Did she say where she was going?’
Murtagh squeezed his daughter’s arm as he continued into the kitchen. ‘I’m sure your mother is just out for a walk. Happy birthday, love. Lá breithla shona duit.’
He placed a small copper saucepan of water on the range to boil and waved the invitation of an egg at his daughter. She nodded begrudgingly and curled into the green-and-gold striped armchair that sat in front of the stove.
‘With your white nightdress, you could almost pass for the Irish flag,’ he joked, and was gratified with her snort of glee.
He watched the clock hand count three minutes in silence. Expected any moment to hear his soaked wife splash through the door. He was poised, ready to run towards her with a towel and hushed reprimands for her careless wandering, but the boiling, cooling, cupping, cracking and spooning of each egg passed uninterrupted. Nollaig yawned, stretching her arms and legs before her in a stiff salute.
‘Why don’t you go back to bed for an hour?’ Murtagh asked. ‘We’ll all have proper breakfast together later.’
She eyed him with suspicion but acquiesced. ‘If Mam’s not back soon,’ she said, sidling away, ‘come and wake me. Promise? We’ll go out and find her. Remind her what day it is, for God’s sake.’
Murtagh nodded, ushered his daughter out of the kitchen and watched her climb the stairs.
Born on Christmas Eve, twenty years before, she was the only one of their children who came into the world via Galway maternity hospital and not into the impatient arms of Máire O’Dulaigh, the midwife of the island. She resented it; how it made her feel less of a true islander. What was more, the specialness of her own day for individual attention, her birth day, was irrevocably lost in the shared excitement of Christmas. In retrospect, it had been a mistake, perhaps, naming her Nollaig, the Irish for Christmas, and further compounding the association. No nickname had ever stuck, however. She wasn’t the sort of child who inspired others to claim her for their own with the intimacy of a given name.
‘Born ancient,’ her little sister, Sive, always said of her, with bored disdain.
And Murtagh sympathised. Nollaig carried the weight of being the eldest with pained perseverance, heavy responsibilities that were self-imposed. Her mother harboured a not always silent resentment of it, and it seemed only natural, if unfair, that Maeve and Sive gravitated more towards each other; the baby of the family shared her mother’s wit and wildness and often expressed the irritation her mother tried to hide at Nollaig’s sense of duty.

Excerpted from The Dazzling Truth by Helen Cullen, Copyright © 2020 by Helen Cullen. 

Published by Graydon House Books


Helen Cullen Q&A

 

1.       How did you get the idea for THE DAZZLING TRUTH?

The Dazzling Truth was initially inspired by the Japanese art of kintsugi – the practise of repairing broken pottery with powdered gold, silver, or platinum. The breakage, and the repair, remains visible to show the history of an object rather than something to be disguised, and so the pots become even more beautiful than before they were broken.

As any family spans decades, both hairline fractures and critical breaks, can damage its foundations. Some tragedies seem insurmountable; we can’t go on, and yet we do. Some cracks feel irreparable, but then often reveal themselves to be the gap we squeeze through so that we can find a way to keep moving.

The Moone family of the new book are no exception and as their narrative revealed itself to me, I became more and more convinced of how powerful it can be to confront the past, to stop burying inconvenient, uncomfortable or hurtful truths. Telling the story of Maeve, an actor from Brooklyn who arrived in Dublin in the 70s, her husband, Murtagh, and their four children, Nollaig, Mossy, Dillon and Sive, I was inspired by the power of the truth – how it can give your legs the power to keep walking, your heart to keep beating. And the setting for their story is very special to me - their lives on a fictional island on the west coast of Ireland was inspired by my own time spent on the Aran Islands in Ireland and in particular on Inis Oírr.

 

2.       Where did the title come from?

It comes from an Emily Dickison poem, Tell all the truth but tell it slant. The theme of personal truth is a very important one in the novel - and in particular, how personal truths may not always align with what can be considered universally accepted truths. Sometimes it is only with acceptance of that that we can find peace. And sometimes that truth or awareness needs to creep up on us slowly as it would be too blinding if confronted too quickly or head on. My working title as I was writing the book had been Kintsugi as mentioned above but I wanted the title to reference the truth that is at the heart of the novel. I had spent some time thinking of it when one day the Emily Dickinson line just came me as I was sitting on the London tube. In the UK and Irish edition, the title is the full quote, The Truth Must Dazzle Gradually, but in America we opted for The Dazzling Truth.

 

3.       Who was your favorite character to write and why?

I always really enjoyed spending time with Murtagh Moone, the father of the family, as he was the first character that came to me out of the ether and where the story began for me. He isn’t based on my own father at all but his great love for his children definitely is a mirror of how devoted my own father is to his six children and so I have a huge spot for him.

4.       Which character do you relate to most and why?

I think it’s true to say that I relate to all of the characters in different ways– if I didn’t I’m not sure I would be able to write them with any empathy or authority.

 

5.       How important is music to your writing process and to the novel itself?

It’s incredibly important to me. Every day, before I begin to write, I choose a song to listen to that encapsulates for me the energy or the feeling of the scene I want to work on. Sinking into the music, the physical world around me slips away, and I am able to cross the bridge from reality to the wonderland of the imagination. I also love working out the musical tastes of all the characters and curating a soundtrack for the novel as I’m writing – there is so much music scattered throughout. The song, Moon River, is definitely the theme song for The Dazzling Truth and I listened to it on vinyl record a lot while writing the book.

6.       Do you find it easier or harder to write character and dialogue for the opposite sex?

 The gender of the character doesn’t really affect my approach in that way – as individual characters some just tend to evolve more easily than others for lots of different reasons.

7.       Are you a pantser or a plotter?

I’m a pantser. I would really struggle to plot out a novel in advance and think if I did I would get bored with following the plan. I find the most exciting and engaging writing I do is usually a result of the narrative taking a surprising turn. At the beginning I tend to know in a big picture way what the story loosely is and what the closing image is that I’m working towards – everything else is a mystery until I discover it on the page.

 

8.       What is your writing Kryptonite?

Anxiety – if I’m anxious about anything that is happening in the real world I find it really difficult to disconnect and focus on the writing. It would be amazing if I could use the fictional world as an escape pod but unfortunately it doesn’t work like that for me.

9.       Where is your favorite place to write?

I’ve learned not to become too superstitious or precious about where I can write as those things just become excuses for me not to get work done in the end but I do love escaping on writing retreats where the only thing I have to focus on is whatever book I’m writing. I’ve been to the Tyrone Guthrie Centre in Annaghmakerrig in Ireland a few times and absolutely love it there – despite the fact that I’m scared out of my wits by the resident ghost Miss Worby.

10.   What book have you read recently that you loved?

There are so many wonderful books coming out of Ireland at the moment that it feels like a glorious age of literature. One of my all-time favourite writers and literary heroines, Anne Enright, published a new book this year called Actress which is unsurprisingly phenomenal. I recommend it whole-heartedly but also every single book the genius has written.

The book's title comes from a line from Emily Dickinson, "The truth must dazzle gradually." What appealed to you about that quote, and how was the title chosen?

11.   What are you working on next?

I’m working on what will hopefully be my third novel and preparing a commence a PhD in October at the University of East Anglia.

12.   What was the first book to make you cry?

I don’t remember the first book that made me cry but the last one was probably My Name is Lucy Barton by Elizabeth Strout which I loved.

13.   What are you reading?

I’m always reading multiple things at the same time. Recently I’ve started Piranesi by Susanna Clarke, Utopia Avenue by David Mitchell and Days of Abandonment by Elena Ferrante.



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HELEN CULLEN wrote her debut novel, The Lost Letters of William Woolf, while completing the Guardian/UEA novel writing program. She holds an MA in Theatre Studies from University College Dublin and is currently studying further at Brunel. Prior to writing full-time, Helen worked in journalism, broadcasting and most recently as a creative events and engagement specialist. Helen is Irish and currently lives in London.


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