One of the pleasures of having one's work included in an essay anthology is the connection to the other contributors. If you're lucky, you find an entire new group of like-minded writers, expanding your writing community. This has happened, happily, for me several times, and that is precisely how Vanessa Wright and I found one another – as contributors to Why We Ride: Women Writers on the Horses in Their Lives, published by Seal Press last May. Vanessa's artistry is expressed in many ways – as a photographer, writer and teacher, whose work "celebrates the human-equine bond."
Please welcome Vanessa Wright.
Particularly in October, any leaf in New Hampshire will tell you: inspiration can be a dangerous thing. For as long as you can remember, you have been clinging to the same tree: dancing in the wind, glowing in the sunlight, and growing into the lines and arcs of your unique and perfect shape. Life is warm and good. The days always grow longer, and the world grows full.
Then comes the tingling, the cool breeze that riffles the newest, tenderest, and greenest edges of everything that you are. Like laughter between lovers, it is the secret that can never be told, the call not to your heart but to your clear, swift-running blood that cries, “Become!” Become what? “Shh. Let go.” How? Why? And what will happen? No answer comes, except a harvest all crimson and gold, a shortening of days, and a brisk, northerly certainty that change is in the wind.
I was a writer once. I researched and wrote thousands of words each week: fiction, nonfiction, instructional text, history, literature, nature, myth. I was fearless and, thus, full of stories. Fairy tales and lesson plans dropped into my hands, ripe and plump as strawberries; the grand dance of nations, inventions, and ideas twirled itself out in chapters among the wildflowers as my horse and I lolled in his pasture.
I could have lived in that summer country forever. But those silver fingers brushed my drowsing eyelids; that golden bell shattered the dam holding back the clear river from my veins. A strange and terrible story coursed through me – a story unlike anything I’d written, a story of glowering skies and trees turned to flame. Summer turned to autumn in a moment, and that blissful pasture withered beneath my feet.
For a thousand reasons as complex and common as the lace on an aspen leaf, I could not write it. That story, it was not who I was – it was not the fairy tale I wanted it to be. My own heart failing me, I leaned upon the one heart that never had: my horse’s.
The stories came – and went to print – quickly. “Rope Trick,” an essay about my horse’s near-magical abilities to make food appear and disappear, was published in Dr. Marty Becker’s Ultimate Horse Lover. “Under the Wings of Pegasus” tells the true story of my horse's midlife calling to become a foal-sitter for rescued, orphaned and challenged young horses, and opens Allen and Linda Anderson’s Horses with a Mission: Extraordinary True Stories of Equine Service. Of course, “Great Grand-Mare,” the mane-raising tale of his sprint with my 92-year-old grandmother, appears in Verna Dreisbach’s Why We Ride.
Yet writing about my horse produced results I did not expect. My focus turned from the past to the present moment, from the world to here. I realized that legendary horses and their people – Pegasus and Bellerophon, Greyfell and Siegfried, even the Pie and Velvet Brown – had their equals in compassion, courage, and heroism in my own horse and in the lives of those he touched, and those who touched him.
I decided then to travel, across America and around the world, collecting the stories of today’s heroic horses and horse-people, novices and Olympians alike. I photographed them and paired the photos and bios with quotations from classic books. I offered the collection to libraries, and added educational materials I created drawing upon my experience as a teacher of history and literature and as a director and manager of a children’s theater program. Before I knew it, it had become The Literary Horse: When Legends Come to Life, an exhibit touring public and school libraries worldwide through 2012.
More than 150,000 children, teens, and adults have visited The Literary Horse exhibit since its debut in May 2008. It has appeared at libraries to celebrate national and international events ranging from Children’s Book Week to the World Equestrian Games, and it has trotted into the pages of national media outlets including EQUUS, The Blood-Horse, Horses in Art, and HorseChannel.com.
Though I have walked a winding path, not only am I still a writer, I am more of a writer than I was before. The kindness and generosity of the equestrians and horses of The Literary Horse were my harvest of crimson and gold. Learning of their journeys beneath glowering skies and through trees turned to flame, reminded me that all days are short, and that change is how we meet each moment – that it is a blaze and a leap to be embraced. Simply walking among them inspired me to become, and to let go. And that story I could not - would not - write began to write itself.
So, like any leaf in New Hampshire, I too will tell you that inspiration is a dangerous thing: follow it, and you may become more than you ever dreamed you could be.
To learn more about Vanessa Wright's The Literary Horse: When Legends Come to Life, which pairs photos of today’s novice through Olympic horses and riders with quotations from the world’s great books, visit the website. Vanessa also recently started the blog Great Books for Horse Lovers.
Showing posts with label Why We Ride. Show all posts
Showing posts with label Why We Ride. Show all posts
Monday, November 22, 2010
Wednesday, June 2, 2010
Interview: Verna Dreisbach, anthology editor & agent
I've loved horses and writing since I can remember liking anything. As a young child, I wrote about everything and read about and pined for horses before getting my first horse at 14. Soon I was submitting work to equine publications and Horse of Course magazine gave me my first clip. I went on to support myself for several years post-college as a freelancer for equestrian media. Then, about 20 years ago, I stopped -- riding and writing about horses. I had other things to write about and no longer had the time or budget for riding. But more recently I began to think about what horses have meant to me beyond the pleasures of the saddle, and a series of essays emerged, one of which, "It Always Happens One Summer," is included in Why We Ride: Women Writers on the Horses in Their Lives. The editor of that book, Verna Dreisbach, is also a literary agent, and of course she's a rider and horse owner, too. She recently agreed to answer some of my questions.
LR. You are a busy literary agent, and also a graduate student, mother and horse owner. With all that on your plate, why this collection, and why now?
VD: Surprisingly, the opportunity came to me. I attended the Willamette Writers Conference a few years ago where I met editor Krista Lyons from Seal Press. After talking literary agent/editor business stuff, we started talking freely. I talked about my love of horses and how, because of horses, I found my own passion for writing. Little did I know that Krista was looking for an editor for an anthology about women and horses (later to become Why We Ride). By the end of our conversation, we were both jumping up and down because I had a dream opportunity (anything to do with horses) and she had an editor to the anthology.
LR: You were able to secure a foreword from Jane Smiley – quite a coup. How did that come about?
VD: I met Jane Smiley at the East of Eden Writers Conference a few years ago. I asked her if she’d be interested in participating in a written interview for a newsletter for the young writers organization I founded and we started a correspondence then. Since we both obviously have a love of horses, it was just a simple question and she happily agreed to write the foreword. I am so grateful to her and I have no doubt that part of the success of the book has to do with her contribution.
LR: Did any of the contributor pieces surprise you? Make you cry?
VD: I’m a softie for those father/daughter stories. I felt the loss and cried over "Owning Clydes" (Kate St. Vincent Vogl), felt the pain in "Getting Back on the Horse" (Kara Gall), and felt the jealousy at the fun Michele Scott and her dad had in her story "The Billy Dal Gang."
LR: What can you tell us about the selection process?
VD: I waited until I had the majority of the stories in hand before reading them. I wanted to keep the experience all within a short period of time so that I could get the full feel for the momentum and diversity of the book – the same way a reader would. I wanted to make sure that each story was unique.
I had innumerable “first horse” stories that didn’t go much deeper than that. For instance, I knew when I came upon Dee Ambrose Stahl’s story, "Painted Christmas Dreams," that this was the "first horse" story I wanted to include in the anthology. Not only was this her first horse, but she didn’t get her first horse until later in life and it was her husband of many years who finally helped make her dream come true. This is an example of where the horse becomes much more than a horse and becomes an integral part of our lives and the lives of the people around us. I stayed on task with my goal but found that near the end, I had to seek out a few stories that were different enough from the others, leading to the inclusion of Jacqueline Winspear’s story, "It’s All in the T – or Perhaps the D" and I’m fortunate to have her contribution in this book as well.
LR: Some writers think that editing a collection is a relatively easy venture. I know it’s not. Can you break it down a little?
VD: If you’re only choosing stories and sticking them together in a book, then sure, that’s easy. I doubt it will bring much success or good reviews, so I’d advise against it. An editor’s job is time consuming. I had to make sure the stories I chose were diverse and unique enough for an entire collection, one that would keep the reader entertained and not feeling as if they’ve read the same story over and over again, 27 times.
There were some contributors who needed minimal editorial advice and some that needed more. I enjoyed the diversity of writers as well as the diversity of stories. I did have two people who refused to make any changes to their stories and subsequently, they were not included. I didn’t feel that they had gone deep enough into their story, the connection between writer-life-horse to make a story that would make enough of an impact on the reader. We can all enjoy our horses, but I was looking for the stories about the horses that helped shape us as women and the way we looked at the people and the world around us.
As you can imagine, my job as an editor is far easier working with writers who are willing to revise and edit their pieces. And, my job as an editor is to work with the writer so that they feel they’ve maintained the scope, purpose and voice of the story intact throughout the revision process, if it’s a major revision.
LR: As a physical object, how do you feel about the finished product? I notice it’s slightly smaller sized than many trade soft covers, includes photos of the writers with their horses, and makes generous use of white space.
VD: I’m very happy with the finished product. I actually like the size, somewhat unique. It also follows the same pattern as the other books in the Seal series, Woman’s Best Friend and Cat Women. Inside, the reader gets the sense that they are reading through either a diary or scrap book, the way the photos are positioned within the text and with the photo corner tabs (also on the cover). I’m very glad that photos of the writers with their horses were included!
LR: What did you enjoy the most about bringing this book to fruition?
VD: The best part was meeting (eventually I hope in person) all of the contributors from the book. I feel like I have 26 new girlfriends that I hope to keep in touch with over the years. I’m thinking about an annual or semi-annual riding trip with all of them. What a great way to stay in touch and keep up our horse riding/writing skills!
LR: Anything you hope not to go through again?
VD: There were a couple of crazy stories - one woman wrote about how she smacked her horse on a regular basis with her riding crop to get it to mind her. I really wonder what she was thinking submitting her story to this anthology? The collection is supposed to be inspirational stories about women and their horses and the only thing I was inspired to do was to call animal control.
LR: I understand you have some readings and other events lined up.
VD: Yes! A number of contributors will be reading at Elliott Bay Book Company in Seattle, WA, on June 5th at 4:00 pm and then the following day, June 6th, in Portland, OR, at Powell’s Books at 7:30 pm. I’m looking forward to it.
LR: Many people who read this blog will want to know more about what kinds of books/authors you are on the lookout for as an agent.
VD: As an agent, I’m looking for something unique and well written. Unfortunately, the majority of submissions are from writers who have not taken the time to perfect their manuscript or hone their craft. I’m also looking for professionals – those who view this industry like any other profession and take it seriously and act accordingly. Also, many writers who query agents are just plain crazy or rude. We get really excited when we see quality writing and a sane person all at one time! Other than that, I’m looking for both fiction and non-fiction authors, especially books with a political, economic or social context.
LR: Do you have another book project of your own in progress?
VD: I would love to do another anthology and I’m not all that particular as to the subject matter. I enjoy working with writers, helping them deepen their stories to share their memories in a way that moves readers. I’m finishing my MA degree this year and I don’t have as much time to write what I’d like. Once I’m done with my degree, I’ll have more freedom, less time constraints to write more – something that’s not necessarily “assigned”.
Note: I am giving away a copy of Why We Ride. If you'd like to enter the random drawing, post a comment here by midnight, Sunday, June 13. Be sure there is a way for me to contact you via email to obtain your U.S. postal address.
LR. You are a busy literary agent, and also a graduate student, mother and horse owner. With all that on your plate, why this collection, and why now?
VD: Surprisingly, the opportunity came to me. I attended the Willamette Writers Conference a few years ago where I met editor Krista Lyons from Seal Press. After talking literary agent/editor business stuff, we started talking freely. I talked about my love of horses and how, because of horses, I found my own passion for writing. Little did I know that Krista was looking for an editor for an anthology about women and horses (later to become Why We Ride). By the end of our conversation, we were both jumping up and down because I had a dream opportunity (anything to do with horses) and she had an editor to the anthology.
LR: You were able to secure a foreword from Jane Smiley – quite a coup. How did that come about?
VD: I met Jane Smiley at the East of Eden Writers Conference a few years ago. I asked her if she’d be interested in participating in a written interview for a newsletter for the young writers organization I founded and we started a correspondence then. Since we both obviously have a love of horses, it was just a simple question and she happily agreed to write the foreword. I am so grateful to her and I have no doubt that part of the success of the book has to do with her contribution.
LR: Did any of the contributor pieces surprise you? Make you cry?
VD: I’m a softie for those father/daughter stories. I felt the loss and cried over "Owning Clydes" (Kate St. Vincent Vogl), felt the pain in "Getting Back on the Horse" (Kara Gall), and felt the jealousy at the fun Michele Scott and her dad had in her story "The Billy Dal Gang."
LR: What can you tell us about the selection process?
VD: I waited until I had the majority of the stories in hand before reading them. I wanted to keep the experience all within a short period of time so that I could get the full feel for the momentum and diversity of the book – the same way a reader would. I wanted to make sure that each story was unique.
I had innumerable “first horse” stories that didn’t go much deeper than that. For instance, I knew when I came upon Dee Ambrose Stahl’s story, "Painted Christmas Dreams," that this was the "first horse" story I wanted to include in the anthology. Not only was this her first horse, but she didn’t get her first horse until later in life and it was her husband of many years who finally helped make her dream come true. This is an example of where the horse becomes much more than a horse and becomes an integral part of our lives and the lives of the people around us. I stayed on task with my goal but found that near the end, I had to seek out a few stories that were different enough from the others, leading to the inclusion of Jacqueline Winspear’s story, "It’s All in the T – or Perhaps the D" and I’m fortunate to have her contribution in this book as well.
LR: Some writers think that editing a collection is a relatively easy venture. I know it’s not. Can you break it down a little?
VD: If you’re only choosing stories and sticking them together in a book, then sure, that’s easy. I doubt it will bring much success or good reviews, so I’d advise against it. An editor’s job is time consuming. I had to make sure the stories I chose were diverse and unique enough for an entire collection, one that would keep the reader entertained and not feeling as if they’ve read the same story over and over again, 27 times.
There were some contributors who needed minimal editorial advice and some that needed more. I enjoyed the diversity of writers as well as the diversity of stories. I did have two people who refused to make any changes to their stories and subsequently, they were not included. I didn’t feel that they had gone deep enough into their story, the connection between writer-life-horse to make a story that would make enough of an impact on the reader. We can all enjoy our horses, but I was looking for the stories about the horses that helped shape us as women and the way we looked at the people and the world around us.
As you can imagine, my job as an editor is far easier working with writers who are willing to revise and edit their pieces. And, my job as an editor is to work with the writer so that they feel they’ve maintained the scope, purpose and voice of the story intact throughout the revision process, if it’s a major revision.
LR: As a physical object, how do you feel about the finished product? I notice it’s slightly smaller sized than many trade soft covers, includes photos of the writers with their horses, and makes generous use of white space.
VD: I’m very happy with the finished product. I actually like the size, somewhat unique. It also follows the same pattern as the other books in the Seal series, Woman’s Best Friend and Cat Women. Inside, the reader gets the sense that they are reading through either a diary or scrap book, the way the photos are positioned within the text and with the photo corner tabs (also on the cover). I’m very glad that photos of the writers with their horses were included!
LR: What did you enjoy the most about bringing this book to fruition?
VD: The best part was meeting (eventually I hope in person) all of the contributors from the book. I feel like I have 26 new girlfriends that I hope to keep in touch with over the years. I’m thinking about an annual or semi-annual riding trip with all of them. What a great way to stay in touch and keep up our horse riding/writing skills!
LR: Anything you hope not to go through again?
VD: There were a couple of crazy stories - one woman wrote about how she smacked her horse on a regular basis with her riding crop to get it to mind her. I really wonder what she was thinking submitting her story to this anthology? The collection is supposed to be inspirational stories about women and their horses and the only thing I was inspired to do was to call animal control.
LR: I understand you have some readings and other events lined up.
VD: Yes! A number of contributors will be reading at Elliott Bay Book Company in Seattle, WA, on June 5th at 4:00 pm and then the following day, June 6th, in Portland, OR, at Powell’s Books at 7:30 pm. I’m looking forward to it.
LR: Many people who read this blog will want to know more about what kinds of books/authors you are on the lookout for as an agent.
VD: As an agent, I’m looking for something unique and well written. Unfortunately, the majority of submissions are from writers who have not taken the time to perfect their manuscript or hone their craft. I’m also looking for professionals – those who view this industry like any other profession and take it seriously and act accordingly. Also, many writers who query agents are just plain crazy or rude. We get really excited when we see quality writing and a sane person all at one time! Other than that, I’m looking for both fiction and non-fiction authors, especially books with a political, economic or social context.
LR: Do you have another book project of your own in progress?
VD: I would love to do another anthology and I’m not all that particular as to the subject matter. I enjoy working with writers, helping them deepen their stories to share their memories in a way that moves readers. I’m finishing my MA degree this year and I don’t have as much time to write what I’d like. Once I’m done with my degree, I’ll have more freedom, less time constraints to write more – something that’s not necessarily “assigned”.
Note: I am giving away a copy of Why We Ride. If you'd like to enter the random drawing, post a comment here by midnight, Sunday, June 13. Be sure there is a way for me to contact you via email to obtain your U.S. postal address.
Friday, April 23, 2010
Friday Fridge Clean-Out: April 23rd Edition
► Interesting interview with novelist J.A. Konrath, who is apparently making a tidy living from selling his books almost exclusively on the Kindle: “I've sold 40,000 ebooks since last April. At first, I was amused to be paying my mortgage with Kindle earnings. But now it's turning into serious money.” Indeed.
►Good tips over on Women’s Memoirs, on how the words we remember loved ones saying, and the way we remember their being spoken, can impact our memoir writing.
►The Rejectionist (an assistant to a literary agent), takes aim at the submissions by MFA graduates (mostly fiction).
► Hey, I may never get to Hawaii, but I like the tours and reviews of the state’s libraries over at the Hawaii Book Blog. I don’t know of any other sites that do this for libraries, do you?
►Every freelance writer has seen their share of lousy fee offers. Now, Forbes wants some of the contributors to its website to work for free because “your posts would be available to millions of Forbes readers.” Gee, swell. Wonder if any of them will offer to pay the writers’ rent. And by the way, we’re not talking “citizen journalist” bloggers here. Apparently, the magazine/site – dedicated to helping its readers increase their financial position – is making the offer to established financial journalists.
► Narrative magazine is coming to the iPad, and they’re holding a contest to help kick off the new free app.
► Writers in the San Mateo County, California area have a few days left to enter the nonfiction contest about a special horse, sponsored by local resident Verna Dreisbach, editor of Why We Ride: Women Writers on the Horse in Their Lives, which, if you haven’t been reading this blog much, is just out from Seal Press (and I am one of the contributors).
► One of my online students published this fun little piece, which she worked on during a week we focused on humor. It’s up over at The Writing Mamas – a nifty site for those who write and mother.
►Finally, when I want a quick laugh, I sometimes head over to Dr. Grumpy’s blog, written by a fed-up anonymous neurologist. It has nothing to do with writing, usually. Except for the other day, when I was working on a future lesson about comic dialogue for my online classes and came across this:
Dr. Grumpy: "What time was your seizure last night?"
Mrs. Etoh: "Around 10:00, as we were leaving the bar."
Dr. Grumpy: "I thought you'd stopped drinking?"
Mrs. Etoh: "I did, but last night we had a round after our AA meeting."
Have a great weekend.
►Good tips over on Women’s Memoirs, on how the words we remember loved ones saying, and the way we remember their being spoken, can impact our memoir writing.
►The Rejectionist (an assistant to a literary agent), takes aim at the submissions by MFA graduates (mostly fiction).
► Hey, I may never get to Hawaii, but I like the tours and reviews of the state’s libraries over at the Hawaii Book Blog. I don’t know of any other sites that do this for libraries, do you?
►Every freelance writer has seen their share of lousy fee offers. Now, Forbes wants some of the contributors to its website to work for free because “your posts would be available to millions of Forbes readers.” Gee, swell. Wonder if any of them will offer to pay the writers’ rent. And by the way, we’re not talking “citizen journalist” bloggers here. Apparently, the magazine/site – dedicated to helping its readers increase their financial position – is making the offer to established financial journalists.
► Narrative magazine is coming to the iPad, and they’re holding a contest to help kick off the new free app.
► Writers in the San Mateo County, California area have a few days left to enter the nonfiction contest about a special horse, sponsored by local resident Verna Dreisbach, editor of Why We Ride: Women Writers on the Horse in Their Lives, which, if you haven’t been reading this blog much, is just out from Seal Press (and I am one of the contributors).
► One of my online students published this fun little piece, which she worked on during a week we focused on humor. It’s up over at The Writing Mamas – a nifty site for those who write and mother.
►Finally, when I want a quick laugh, I sometimes head over to Dr. Grumpy’s blog, written by a fed-up anonymous neurologist. It has nothing to do with writing, usually. Except for the other day, when I was working on a future lesson about comic dialogue for my online classes and came across this:
Dr. Grumpy: "What time was your seizure last night?"
Mrs. Etoh: "Around 10:00, as we were leaving the bar."
Dr. Grumpy: "I thought you'd stopped drinking?"
Mrs. Etoh: "I did, but last night we had a round after our AA meeting."
Have a great weekend.
Wednesday, April 21, 2010
A writer's notes. Just the notes.
I make short notes and jot ideas for future blog posts all the time. This week, I'm probably not going to develop any of them into a full post. So here are the notes, just the notes.
> It's nearly impossible to write good nonfiction unless one reads and thinks a lot about good fiction. On second thought it's not nearly impossible, it's just not possible.
> Airports are great places to write. Plenty of dull background noise, people watching opportunities abound, the food is too expensive to be a distraction, and no one expects you to get out of there quickly anyway.
> Try writing about one thing without at least considering its opposite, and you are in the weeds. Probably, one also has to write about the opposite too, at least in the early draft(s).
> It's possible to think we know something so well, and still be mistaken. For 54 years, until the day my father died, my parents celebrated their anniversary on a particular day in April. While looking through documents after his death, my mother found their marriage license. They married one day earlier than they had always celebrated. Not long ago, I was absolutely, completely certain of something an important person in my life had once written to me in a letter two decades ago, and I was including it in a segment of my memoir manuscript. Until I found the letter and read his words again. They were different. I hadn't been wrong exactly, and who knows, maybe only I could see the nuanced difference. But I wasn't right either. In my initial recollections, I may have conflated what he once said to me verbally one year, with what he had written in that letter about a year later. Or maybe not. Whoever tells you memoir is "true" is lying. It's only as truthful as what our memories, and when possible, those dusty old trunks in the attic, reveal.
> When a family member buys a copy of a book in which your work appears the first week it is available, and then gives it to you, and your first instinct is to be insulted that she didn't want to keep it on her own bookshelf, your second instinct – to say thank you – is probably your better choice. I was insulted at first, and then I said thank you.
> A 12-inch stack of not-yet-read copies of the New York Times is clutter to some people, but not to me. To me, it's comfort food.
>A crappy contract is a crappy contract is a crappy contract. "Exposure," "links," "the poor economy" and "a completely new media landscape" be damned.
Thoughts?
> It's nearly impossible to write good nonfiction unless one reads and thinks a lot about good fiction. On second thought it's not nearly impossible, it's just not possible.
> Airports are great places to write. Plenty of dull background noise, people watching opportunities abound, the food is too expensive to be a distraction, and no one expects you to get out of there quickly anyway.
> Try writing about one thing without at least considering its opposite, and you are in the weeds. Probably, one also has to write about the opposite too, at least in the early draft(s).
> It's possible to think we know something so well, and still be mistaken. For 54 years, until the day my father died, my parents celebrated their anniversary on a particular day in April. While looking through documents after his death, my mother found their marriage license. They married one day earlier than they had always celebrated. Not long ago, I was absolutely, completely certain of something an important person in my life had once written to me in a letter two decades ago, and I was including it in a segment of my memoir manuscript. Until I found the letter and read his words again. They were different. I hadn't been wrong exactly, and who knows, maybe only I could see the nuanced difference. But I wasn't right either. In my initial recollections, I may have conflated what he once said to me verbally one year, with what he had written in that letter about a year later. Or maybe not. Whoever tells you memoir is "true" is lying. It's only as truthful as what our memories, and when possible, those dusty old trunks in the attic, reveal.
> When a family member buys a copy of a book in which your work appears the first week it is available, and then gives it to you, and your first instinct is to be insulted that she didn't want to keep it on her own bookshelf, your second instinct – to say thank you – is probably your better choice. I was insulted at first, and then I said thank you.
> A 12-inch stack of not-yet-read copies of the New York Times is clutter to some people, but not to me. To me, it's comfort food.
>A crappy contract is a crappy contract is a crappy contract. "Exposure," "links," "the poor economy" and "a completely new media landscape" be damned.
Thoughts?
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