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Laurie Easter

~ Writer, Teacher, Editor

Laurie Easter

Tag Archives: publication

The Sunday Spotlight: Writer Jodi Paloni (Including a Book Giveaway of Her Linked Story Collection: They Could Live with Themselves)

07 Sunday Aug 2016

Posted by Laurie Easter in Book Giveaway, fiction, interview, The Sunday Spotlight, writing

≈ 15 Comments

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Book Giveaway, fiction, Jodi Paloni, Linked Story Collections, publication, short stories, The Sunday Spotlight, They Could Live with Themselves, writing

Today’s featured writer: Jodi Paloni 

The featured writing: They Could Live with Themselves (including a free giveaway copy of her book!) 

The Sunday Spotlight has been on a hiatus lately, with the busy summer months. When I began this series, I posted a new spotlight every week. It was great fun and super inspiring (check out the library of past spotlights, featuring many talented writers!), but it was also extremely time consuming, and I soon found that maintaining the weekly structure put a bit of a strain on my ability to carve out time for my own writing amidst the demands of daily life. I am happy to announce that with this installment, featuring fiction writer Jodi Paloni, The Sunday Spotlight is back in action(!), and I am moving to a monthly installment that will appear on the first Sunday of every month.

They_Could_Live_with_Themselves_coverJodi Paloni and I attended Vermont College of Fine Arts together. Jodi studied fiction, and I creative nonfiction, so we never had the pleasure of sharing a workshop, but I knew when she read at her graduation in 2011 an excerpt of “Molly Sings the Blues”—from her linked short story collection They Could Live with Themselves (published May 3, 2016 by Press 53)—that she would definitely have a book one day and that that book would be fabulous and a must read. So I was thrilled and not surprised when I learned that Jodi’s manuscript had been awarded runner-up in the 2015 Press 53 Award for Short Fiction and offered publication.

They Could Live with Themselves takes place in the fictional town of Stark Run, Vermont. As a linked-story collection, characters repeat, sometimes in minute detail and sometimes in more profound ways, acting as threads that weave the stories together into a cohesive, multi-layered cloth. In this weaving, the place of Stark Run takes on its own role of a character as the people, their relationships, and the happenings of their daily life revolve around and within the sleepy, rural town.

I can’t say enough about Jodi’s collection. Quite simply, I LOVE this book. I love everything about it: the characters, the setting, the dialogue, the details, the homespun feel the town of Stark Run depicts and how accurately it reflects life in a small-town community, like that of the town where I live in Southern Oregon, where people still hang their laundry on the line to dry and seem to know each other’s business.Jodi Paloni laundry on the line Jodi’s prose is deft and her narration compelling. These stories will both make you laugh and tug at your heart in deep and, at times, almost sorrowful ways. To get a taste of Jodi’s writing, check out “The Air of Joy” (published at Connotation Press) and “The Third Element” (published at Carve Magazine), both stories from They Could Live with Themselves.

Book Giveaway! Last April at the AWP conference, in addition to my own copy, Jodi gave me a copy of They Could Live with Themselves to offer up as a giveaway here on the blog. To enter to win, leave a comment below. You have one week to do so. I’ll pick randomly from the list and announce the winner next Sunday here on the blog.

Jodi Paloni writing at deskJodi Paloni is the debut author of the linked story collection, They Could Live With Themselves, and runner up in the 2015 Press 53 Award for Short Fiction. She won the 2013 Short Story America Prize, placed second in the 2012 Raymond Carver Short Story Contest, and was recently a finalist in the Maine Literary Award Short Competition Award. Her stories appear in a number of print and on-line literary journals: Green Mountains Review, Carve Magazine, upstreet, Whitefish Review, Contrary Magazine, Literary Mama, and others. She holds an MFA from Vermont College of Fine Arts. A full-time resident of Vermont for twenty-five years, she now shares her time between Maine and Vermont.

A few questions for Jodi:

Can you talk about the evolution of They Could Live with Themselves? Did you initially set out to write a linked story collection, or was it something that evolved as you were writing the stories? If the latter, when did you realize you were dealing with a linked collection as opposed to individual stand-alone stories, and how did that change your perception of the project?

These are good questions, Laurie. Linkage in short fiction is a topic I’ve thought a lot about over the course of writing this book. In the first semester of my MFA program at VCFA, I was advised to set a flailing novel attempt aside and work on short stories for the purposes of learning craft in more bite-sized pieces. Taking that advice worked well for me. I was then reading tons of short fiction, trying my best to make sense of the form. By the end of the first semester, I’d written a twenty-six-page story, “Blight,” about a group of townspeople in Stark Run, Vermont. There were a lot of characters in that story, which is unusual, but not unheard of. Anyway, the townspeople were gathering at the general store the day after a double crisis at the harvest fair. “Blight” is an aftermath story. While that initial story did not make it into this book, many of the characters did. As much as I tried to make “Blight” work as a stand-alone story (and still do try!), I feel the purpose of that first Stark Run story was to allow me to create a small world of people living the rural life, what is what I know best. Many of the characters were fleshed out later, some are still waiting, but the essence of each character, and the town feeling, was formed then and there.

Because I was previously such a fan of the novel form, one of my teachers mentioned that I might like to read Olive Kitteridge, by Elizabeth Strout, and a number of other books that are considered “linked” collections. The thought was that I could study the short form, but because of the linkages, get a “the whole is greater than the sum of its parts” feel after reading the book start to finish. In writing about one place and one set of people, I could sustain interest in a broader context, while getting to try out a variety of voices and tenses and other aspects of fiction craft. Right up until the week before the manuscript went to print, I was tweaking the final story of the collection, “The Physics of Light,” a story I wrote after the book was signed with Press 53, a story that, although it may stand completely on its own two feet, pulls all of the stories into a multi-textured package that before the existence of that story had not completely occurred. It was amazing to watch that phenomenon unfold before my eyes, as if by some “otherworldly” force at play.

Here’s my perception: a linked story collection is a group of stand-alone stories and not opposed to the individual stand-alone form. Each of the stories in TCLWT may be read as a single story, and, hopefully, if I’ve done my job well, the reader may feel satisfied. When read as a group, the reader may experience something altogether different.

One of the things I find so compelling in this collection is the characters. They are fully formed and complex while being thoroughly accessible and realistic. Does this come naturally to you? Do you base characters on or borrow traits from actual people, or are they purely from your imagination?

Thanks, Laurie. That’s a huge compliment, as I like characters, their interior landscapes, to drive my plots. I have a rich interior life, which can be a burden, and perhaps why I like to spill it onto the page. To paint an exterior rendition of all those thoughts and feelings and imaginings, well, it somehow lifts the weight. It’s my view that imagination is a multi-dimensional version of everything I’ve ever learned through experience. Pure imagination? I’m not sure what that is, but I can tell you, I’m very interested in imagined ideas whether they be about what’s possible or what is. So I’d say my characters are a conglomerate of the “actual” and the imagined, and a third thing, too, the influence of other fictional characters I’ve read, someone else’s imagined characters which become as real as real is to me.

Is it Jung that said when you dream you represent everyone and everything in the dream? I think some part of me is in every one of the characters. That’s what I tell friends and family, people who say they are sure they are this character or that one. It saves me from the more awkward responses. Ha!

The book takes place in the fictional town of Stark Run, Vermont. Writer David Jauss says, “The town and its people come so utterly to life that no matter where you’re from you’ll feel like you’re home.” I find this so true, and as a VCFA grad who used to visit Vermont twice a year for residency, it was quite comforting immersing myself in the place of Stark Run and its community. You are a fairly recent transfer from being a long-time Vermont resident to one of Maine. How does place influence you, not only in your writing, but in your daily life experience? Has your writing about place changed since moving to Maine?

Jodi Paloni Vermont rock at Maine coastI am so honored to have learned from Dave Jauss and to have his endorsement on the book. He was influential in teaching me how to bring life to the language. Place is everything to me in reading and in writing. First I hear a character’s “voice” and am off and running. But place forms voice, and I always see the story, the setting for the opening scene, before I get too far down the first page. I find I like to be physically present in the places I write about. So now I write stories (and a novel) set in Maine.

Many readers have asked for a “sequel” to TCLWT. That may happen, as I have at least a dozen stories about that town in my draft stable. I think that because I lived in Vermont for 25 years, and go back once a month, I could conjure Stark Run from anywhere I dwell. I also find that when I’m visiting a place, Rome, let’s say, or the Delaware shore, I want to write a story set there, a travel story maybe. In “Molly Sings the Blues” there is a vacation scene on a Maine beach. That scene was written while I was vacationing in Maine, years ago, writing on the backs of checks in my checkbook since I had no other paper with me. I wonder where those are?

If you had to pick a favorite character (or characters) from your collection and a favorite story, which would they be? (I know this is a difficult question, but I just had to ask!)

Molly, definitely, no, wait, it’s Melissa Wiley, for sure, no, Wren, Addison, or, maybe, Sky. You’re right, that’s a difficult question. I think I have favorite moments more than favorite characters. I love the moment when Molly tells Crystal that she doesn’t know what she likes. And the tender ending in “Wonder Woman,” I want to replay that moment over and over and feel what Rory must have felt. And I laugh out loud when Molly calls Jack from her yoga cleanse retreat and he thinks they’re going to have phone sex, but she confesses that she’s fled the building and ordered a pizza and starts to cry and he gets that this isn’t going to be that call. Ha! I cry at the end of “Accommodations,” every single time. And in “Deep End,” Jillanna, when she goes back to the swimming pool, that one clutches at my heart, too.

Can you share with us what the publishing process was like as a debut author?

Jodi Paloni readingSo far, it’s been nothing short of amazing. Kevin at Press 53 has been a wonderful editor. He’s laid back and on top of it, too. He such a fan of the work, or he wouldn’t have accepted it for publication. He champions his authors, short fiction writers and poets, mostly. I’d venture to say that he’s all about the art and the author and the rest of it, the business end of things, falls into place.

Personally, I’ve committed to paying close attention to all aspects of the publishing journey: the nuts and bolts of marketing and promotion, the emotional roller coaster ride, the high energy and the lulls in activity, how having a book and a growing readership should or shouldn’t impact the writing I’m doing now, how much I love reading to people, but how hard it is to walk into a bookstore or library and say, Here I am! Look at my book!! Let me read to you!!! There’s a lot of work involved post publication. I’m trying real hard to focus on the next book, get to the page every day, move forward while giving TCLWT the love back for all the love it’s given me. Imagine balancing career and mothering. The book is like the child, and the career is about being a writer while having the child, always there, to nurture and help shepherd into the world.

Jodi Paloni with book on couchOn a slightly different note, a more, OMG note, there’s a copy of the book that I wrote on our coffee table and in my daughter’s nightstand, and on my sister’s porch, and facing out at our local bookstore. It’s crazy!

Where did your love of books/storytelling/reading/writing/etc. come from?

Like for many author, stories became the worlds in which I preferred to dwell during the difficult times in my life, starting at a very young age and continuing still. I reached for books to relax, too, just for fun. I love everything about books: the physical aspects, the smell, the promise, the way they make me feel and understand the world.

Who are some of your favorite authors that were influential in your work?  What impact have they had on your writing?

So many. O’Connor, Welty, Carver, and Munro all influence my short work, as well as, a number of more contemporary story writers, Alan Heathcock, Dylan Landis, Robin Black, far too many to list. I’ve mentioned Strout’s Olive Kitteridge, which was, still is, extremely influential. I’ve read that book four times! I am moved by the prose of Kent Haruf, Alistair MacLeod, and Jeanette Winterson. Currently I’m enjoying Maine writers, Jim Nichols, Lily King, Debra Spark, and revisiting Richard Ford’s short stories.

All of these writers conjure a reader experience that sticks, whether it’s in building a sense of place, or leaving a mark by a kick-ass character, or merging grit and heart with compassion. For different reasons, they teach me something, and leave me gutted in some way.

Are there any particular books you’d like to recommend to readers?

Here’s a list of 8, a random pull from my “favorites” shelf. This could be a different list tomorrow.

The Maytrees, Annie Dillard; Persuasion, Jane Austen; Housekeeping, Marilyn Robinson; Plainsong, Kent Haruf; My Name is Lucy Barton, Elizabeth Strout; Glaciers, Alexis M. Smith; Lighthousekeeping, Jeanette Winterson; Mrs. Dalloway, Virginia Woolf

Are you willing to share what you are working on now?

I’m working on a collection of short stories involving the coming of age and aging of three female characters over the span of forty or more years, each character coming from a different class. None of that was planned out, but having done this once now, I am more cognizant of the structuring as I go approach and I have been more aware in my editorial choices. Also, I’m very excited about the novel I’m writing, my fourth attempt at it, set in Maine. I can work on stories when I have short bits of time to jump in and out. For the novel, I feel I need full immersion. Summer in Maine doesn’t allow for much immersion, but I am planning on going deep during the late summer and fall months ahead. Wish me luck, Laurie.

What writing advice do you have for other aspiring authors?

Walk the precarious balance of discipline and play, inspiration and the dark end of discouragement, which I feel can help the work. Carve out sacred time to commit to the page.  And take your writing into the woods and to art museums, to concerts, to eat ice cream. Feed the part of you that works hard at words and, equally, the part that clears the head and woos the muse. Let the voice say what it wants, everything it wants, even if you have to lasso it later on. And when the going gets rough, go with that, too. It’s all writing.Jodi Paloni on swing

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Jennifer McGuiggan interviews me for r.kv.r.y quarterly

10 Tuesday Feb 2015

Posted by Laurie Easter in interview, writing

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essay, interview, Jennifer McGuiggan, publication, r.kv.r.y quarterly, The Word Cellar

My friend and writing colleague, Jenna McGuiggan of The Word Cellar, recently interviewed me about my essay “The Polarity of Incongruities” for r.kv.r.y quarterly, the online journal that published the essay last month in their “Caregivers” issue. The interview is now live on the r.kv.r.y blog!

Here is the intro to the interview:

“Laurie Easter’s essay “The Polarity of Incongruities” appears in the Winter 2015 CAREGIVERS issue of r.kv.r.y.. Writer Jennifer McGuiggan comments, “I love essays for the way they unearth, explore, and extrapolate meaning from both polarities and incongruities. Laurie’s essay grapples beautifully with the spectrum of joys and pains that punctuate our lives.” Jennifer interviewed Laurie via email.”

Click here, to read the full interview.

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The Trajectory of an Essay: Perseverance into Success

26 Sunday Oct 2014

Posted by Laurie Easter in Inspiration, writing

≈ 4 Comments

Tags

essay, perseverance, Prime Number Magazine, publication, rejections, submissions, success

Everybody loves a happy ending. Especially when there’s been some hardship or challenge occurring prior. For isn’t that often the recipe for a good story? Overcoming the odds to achieve success? Well, I am happy to report my own little success story.

I wrote an essay titled “Her Body, a Wilderness” that was published this last week in Prime Number Magazine’s Issue 61. That fact, in and of itself, is not anything remarkable. People write and publish stories, essays, and poems all the time, right? But there is this other little fact that is indeed kind of remarkable—at least to me, and from the reaction I have received from other numerous writers who suffer the beast called rejection, it seems if not remarkable then at least inspiring and hopeful. Here is the fact: My essay was rejected 51 times before finally being accepted for publication. And not only was the essay accepted after 51 rejections, it earned its publication status by being chosen as a prize winner.

Let me give you some background.

I first began this essay during my undergraduate years at Southern Oregon University. I was taking my first ever creative nonfiction class, of which the theme was nature writing, when my professor said something in class that stuck with me. He said that he considered his body a wilderness. That phrase (and its contemplative qualities) found its way into an essay a year or so later when I was working on my graduating capstone project, which was to build a portfolio of essays that I could draw from as writing samples when applying to MFA programs. That was five years ago. And as I write this, I realize that a version of this essay is the one I used in my successful application to Vermont College of Fine Arts, where I earned my MFA in 2012.

It is also the essay I submitted for my first ever workshop at my first residency in Vermont, and that semester I diligently wrote and revised the essay many times. My advisor said during our end of semester conference 1) of all my essays I had worked on during the semester, this one was the closest to being publishable but 2) I shouldn’t be thinking about publishing and just focus on the writing. So I set the essay aside and returned to it towards the end of the program.

After graduation and more revision, I began sending it out. I sent it to a total of 55 places. Not all at once, but in the end that’s the total number of times I submitted it. Of those 55 submissions, one journal never responded (not even after I sent a snail mail letter of inquiry with a second SASE for a response a year after I had originally sent my submission—I have since crossed them off my list of potential prospects), nine editors sent personalized rejections saying the piece came close to being chosen but in the end wasn’t, and 42 sent standard form rejections. Also, fourteen of my submissions had been to contests.

About a week after receiving my 51st rejection, I received an email from one of the last three journals I was waiting on. The editor said that while my piece had not advanced to the finalist stage in the contest, they were moved by the story and would like to publish it; would I be willing to put it through “a couple of rounds of submissions?”

Finally, someone wanted to publish my piece! Hell yeah, I was willing to revise it! I wrote the editor asking what she had in mind. She said she’d reread the essay and get back to me the following week. The essay was still out to two places—one a contest, one not—and I figured I wouldn’t notify the two remaining journals until I knew for sure that I could agree to the type of revisions the editor wanted me to make. Before I heard back from her, I received word that the essay had been chosen as a finalist for Prime Number Magazine’s inaugural creative nonfiction prize. I notified the previously interested editor of the situation and said that if she was willing, I would like to wait on doing the revision until I learned the outcome of the contest, to which she was very supportive and agreeable. I subsequently withdrew the piece from the final 55th place I was waiting to hear from.

After two and a half years of submitting and all those rejections, I found myself in the most fortunate situation of the essay being loved, appreciated, and potentially published by not one, but two different outlets. As it happened, the essay was awarded Third Prize by Ned Stuckey-French and ultimately published at Prime Number.

So how did I do it? How did I stick it out and not give up? Well, I almost did. Many times. As we all know, rejections suck, and they have the ability to wear down the soul and deteriorate motivation. At a certain point, though, I had racked up so many rejections that it almost seemed comical and with my lack of success came an overwhelming commitment to win the battle. In fact, around the time I received rejection #44, a very dear friend and accomplished writer said to me: “Maybe this piece isn’t going to get published [individually]. Maybe it’s just going to be a part of your collection.”

This friend didn’t mean harm. She wasn’t trying to diss my work. She was simply evaluating the situation and drawing what seemed like a plausible conclusion. The effect it had on me, however, was overwhelming. Now I was utterly determined I would get the essay accepted! My fire had been stoked. I continued to plug away at submissions.

So all this is to say…

Don’t give up.

Whatever it is you do, if it is your passion, keep at it. Commit yourself to the long haul. Persevere into Success.

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On Working with Editors, Seeking Guidance, and Self-Advocating

23 Wednesday Apr 2014

Posted by Laurie Easter in writing

≈ 4 Comments

Tags

editing, essay, literary journal, publication, self-advocacy, working with an editor, writing, writing advice

A few weeks ago I received an email from a literary journal concerning an essay I had submitted. The email said that the editors had read my piece and felt “very strongly about it” and that the editorial staff was “currently working on revisions to the piece” and would be in touch within the week with their suggested edits. If I approved their suggestions, the email went on to say, they would love to publish the essay in an upcoming issue.

Upon opening this email and finding a response other than the typical “thanks but no thanks” form letter, I was, of course, quite pleased. What a great way to start the day with my morning coffee! While it wasn’t an out and out yes, it was nonetheless a potential. Editors had read my piece and felt strongly about it, I thought. Yay!

Then the anxiety set in. What are they going to do to it? What if they butcher it? This essay was one of my prize creations: a thirty-page, triple-thread, braided essay begun in grad school and finished while in residency at the Vermont Studio Center. I had worked on this piece long and hard, and in submitting it to this journal, I had already cut five pages in order to fit their maximum length requirement.

Only a week earlier, I had received a response from an editor of a different journal concerning a separate essay submission. The editor said if I was “willing to do the work” to rewrite the piece accommodating her suggestions, she’d love to see it again. Essentially, this editor wanted an overhaul away from the style of its structure and also a change of title. I had already put this essay through the wringer with multiple drafts, but mostly I was disinclined to rework the piece because the very things the editor did not like about it were deliberate choices I had made in its construction. After seeking the opinions of several writer friends who had already given me feedback on the piece, I decided against a revision. While the result of obliging the editor’s wishes might have resulted in an acceptance, I felt strongly in the form and structure of the piece I had created and chose to stand by it.

So when I received that tentative “yes” a week later, I knew there was a very real possibility the suggested edits could be changes I would not be willing to make. The flip side was I really wanted this essay to be accepted by this journal, which made me contemplate what sacrifices I might make if I did not agree with the suggestions.

A little over a week later, I got the results. Tentatively, I opened the document to peruse the track changes. All was well for a good long while; the suggested changes were ones I could easily make—changing from present tense to past, adding a bit of structure in the form of numbered sections—but then on page seventeen, things began to shift, and by page nineteen, where it was suggested to move a section of the braided essay to an earlier position, I began to feel the weight of choice. And then on page twenty-one, where I discovered they had cut an entire section, I realized the very thing I was anxious about had manifested.

But wait! This is not a sob story about how yet again I wasn’t willing to make the changes, so I lost out on another potential publication. No. This is a story about perseverance, seeking guidance, and advocating for my work.

Once again I sought counsel. This time from two wise people: both writers who have worked with editors, and one an editor of a literary journal. Both advised me to approach the editors in an easy-going and friendly manner, exhibiting enthusiasm and appreciation for their time and energy in editing the piece and letting them know how helpful their edits were. Then in a gentle manner, succinctly explain my reasoning for wanting to keep in original form those edits I did not agree with. While waiting for their reply, I could decide whether or not I would ultimately accept the edits if the editors responded firmly. The editor of the literary journal ended by saying:

As an editor, I’m totally willing to hear the writer’s point of view and go back and forth. Don’t be afraid to have that conversation with them.

I must disclose here that my husband was very happy I had sought this advice because it tempered my natural fighter response, forced me to slow down my reaction, and encouraged me to play nicely with others. All in all, a very good lesson.

It took me all day to write that email. Although I tried to be succinct in explaining my reasoning, due to the nature of the suggested edits and the complication of the triple-threads of the braided essay, the explanation was not a simple matter of a sentence or two. But in the end, the result was worth it. Three days later I received an acceptance; the editors had agreed to my suggestions.

The big takeaway here:

  • Slow down
  • Take the time to respond with care
  • Seek advice when needed
  • Trust your writerly instincts
  • Don’t be afraid to have the conversation
  • And advocate for your work!

It’s not a guarantee of success, but it’s a possibility.

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Laurie Easter

Laurie Easter

Laurie Easter lives and writes in a funky little cabin off the grid and on the edge of wilderness in Southern Oregon. She holds an MFA in writing from Vermont College of Fine Arts. She loves to read, cook, garden, travel, eat chocolate, and spend time with her family and friends, especially out in nature.

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