Posts in Writing
Win a Copy of THE OBVIOUS GAME on Goodreads

Here I've spent the first half of 2014 thinking I could no longer run giveaways for THE OBVIOUS GAME on Goodreads because it was published in 2013. (The dropdown in the author tools area only give you options for the year prior to your pub date and the year of your pub date.) I was sad, because Goodreads giveaways are such a win/win. They are inexpensive for an author to run (you only pay for the books and shipping) and they provide exposure as each sign-up adds the book to the signee's to-read shelf, thus giving the author and the book exposure she wouldn't otherwise have had. Lately most of my dealings with THE OBVIOUS GAME have been either asking people to review it or answering emails from people who love people with eating disorders (in which really what can I say but, "Well, I wrote an entire book about what I want to say to you now, so maybe you could read that and then let me know if you want to talk more"). The answering the emails part is really hard. Really hard. But I am really glad I at least have the book to point them to.

And this is the part where I say, "Hey, if you've read THE OBVIOUS GAME, could you drop me a review on Goodreads and Amazon? It doesn't even have to be nice! Nobody likes everything." And then I follow that up by saying, "If you haven't read THE OBVIOUS GAME, mightn't you request it at your library, and if your librarian has trouble, she can contact me and I will get her the book with my author discount?" And then you might say, "But I really want to help you MORE." So of course I would smile sincerely and say, "Well, you could buy my book! Or even just share the giveaway so more people will know it exists." And then I burst into tears and throw my arms around you.

 

Goodreads Book Giveaway

The Obvious Game by Rita Arens

The Obvious Game

by Rita Arens

Giveaway ends October 27, 2014.

See the giveaway details at Goodreads.

 

Enter to win

I'm Teaching a Workshop on Writing
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Recently The Writers Place in Kansas City asked me to teach a workshop. And I said yes! Here are the details:

PITCHING, QUERYING AND SUBMITTING: WHAT TO KNOW ABOUT SENDING IN YOUR WRITING

Saturday, 10/25, 2 – 4 PM 

Teaching Artist: Rita Arens 

What separates a good essay from a viral essay? What do you need to know before you query an agent with your memoir? How much can you expect to make with online publishing? Bring your questions and your query letters for this hands-on session. 

CLICK HERE TO REGISTER: $40 nonmembers / $30 members 

You must have a current membership to enroll at the member rate. Click here to join or renew.

Tell all your friends! 

Let the Pain Flow Through You

"I'm glad I had lunch with you guys today," I said. "I'm having trouble with my anxiety because of what's happening in Ferguson."

That we were well into our lunch was not lost on me. It's all I can think of when I see other people: that I want to talk about it, that it's like the sixties out there, that it's still happening and so many white people still think the protests are unfounded at worst or an overreaction at best. But I didn't immediately launch into it because of my white privilege. I wanted to talk about it but I waited for my window, even knowing these friends felt the same way that I did about it all. Because I wasn't positive they'd want to talk about it. 

She asked me why I didn't write about the anxiety. I thought to myself because Stacy Morrison already did it so well, and also because I don't want to co-opt the pain for myself when it is not my pain. My pain is watching their pain, and it seems selfish to claim my pain. I didn't say that part, though. I don't know why.


I feel like I felt after Hurricane Katrina when I saw all those black people standing on bridges, shielding their babies from the hot sun, squished into that dome, stuck.

Just. Stuck. 

And then white people focused on any little bad thing those black people did while they were stuck instead of pulling them out faster.


She called me this morning to say she'd been thinking of our conversation. We'd talked about how there is racial tension and even genocide going on all over the world. We'd talked about the Holy Land and Ukraine. We talked about this again, and I wanted to cry and I said, "But this is happening HERE. This is my country and we are supposed to be better than this. We get up on our high horse and police the world but look at this."

She said yes. And the Declaration of Independence was written by a slave owner. 

And we sat with that, we white ladies. 

 


She told me this ability to feel is a gift. And it is, it's what helps me to write this post and the novel about the girl with anorexia and a lot of other things that were so raw and hard to write about. I know that it is a gift. That I can't look away sometimes becomes a problem when I let it paralyze me from taking useful action. Someone very smart who works with a population who have had it very rough told me you have to let it flow through you. You can't let it stop with you. You just have to open yourself up and feel it and show it to others. 

Here. Here is the pain. 

Howard-University

Credit: Debra Sweet on Flickr, Creative Commons -- Howard University

It's about Mike Brown, but it's also about all of it, everything. Being followed, being pulled over, being misrepresented on the 6 o'clock news, being told what you can and can't wear, being told to hunch so you don't look threatening, having to produce ID when the white woman in front of you didn't have to, having your receipt checked with a side-eye. I don't have all the links and if I go looking for them I might not have the energy to push publish, so please believe me that those posts are real and those things really happened to people who are not white.

I say a lot that I took the red pill six years ago when Kelly Wickham asked me why there were no black people in SLEEP IS FOR THE WEAK. The whole event knocked me so hard on my ass I could barely get back up. It was like seeing scaffolding where before I saw buildings. I saw what is underneath, what is not part of my daily experience, both the overt and the covert. 


Sometimes I try to talk about race with white people in my daily life, and I see their mouths tighten and their eyes glaze over and I know that they will turn away because they can, because the ability to not talk about it is white privilege. It's not getting into the best school or getting the best job, it's getting to ignore things that happen to people who aren't white. It's not having to care.

 


People say to me all the time it'll change with this new generation, that they aren't like us. I don't know, though. Don't you suppose people in the sixties said that about their kids? 

How many times does a little white girl have to watch the news or read the paper before she's scared of black men?

 


After 9/11 I developed a racist fear of brown men. At the time, I worked with dozens of brown men from India. Every time I got on a plane and saw brown men, I had to tell myself, just like Rajeev. Just like Rajeev. Just like Rajeev. I had to root my thoughts in a brown man I knew and liked and trusted, one of many, but the one I chose.

What if you don't know a black man?

 


These are my thoughts as I sit down I-70 a few hundred miles from the protests that continue in Ferguson. Once you take the red pill, you don't get to go back to absently pinning bento boxes and pretending a black body didn't lie on the pavement for four hours less than two weeks ago. 

Once you take the red pill, you have to let the pain flow through you. 

HERE IS MY PAIN.

When Talk Gets Cheap
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When I was a kid, my uncles and aunts and my gran would call from far-away places and all action in the house would cease as we passed the phone from person to person, sometimes picking up a second extension that rendered the first person mouse-voiced for the remainder of the call. Time morphed from bulbous drops of homework hell to the fast lane where every minute cost thirty-five cents.

We couldn't get enough of that long-distance.

When I was a senior in high school, my boyfriend went off to college, taking a little part of my teenaged heart with him. After watching me mope around the house for a few weeks, my parents allowed me one hour a week to talk to him on the phone on their dime. I would sit in our basement in the most private possible room and talk on my sister's leftover princess phone. My boyfriend told me about his new fraternity and how different college was and how long it would be until he'd be home for a visit. I sat with a travel alarm clock between my feet, watching the second-hand sweep as we paused, listening to each other breathe, and each breath cost so much money. To be able to communicate for only one hour a week was torture. We sent letters, but they took so long to arrive the news was old and all there was to do was caress the ink and know the other person touched this piece of paper, too.

Somewhere in there, along came cell phones and affordable long-distance plans. The cheaper talking got, the less I seemed to do it. I was quick to email and slow to text. Now I communicate via words and pictures on all manner of social media with my friends, with the world, with people I've never met. I show them who I am in many ways, and that can be amazing and wonderful and new.

But usually, I just miss talking.

 

 

On Intrusive Thoughts
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When the little angel was a baby, we lived in This Old House. If you're new here, you may not know that This Old House was a beautiful Arts & Crafts with a screened-in porch in the Waldo neighborhood of Kansas City. It was built in 1921. It had push-button light switches that sometimes threw sparks, it was not ducted for air conditioning (making my home office nearly unbearable in the summer) and it had decorative metal grates with holes big enough to pass my fist through, lovely as they were.

While in the throes of postpartum something, I became convinced that snakes could climb up through from the leaky, Silence-of-the-Lambs basement through the ductwork and slither out the very large grate holes into my daughter's bedroom. Every time I looked at those grates, I had to push the thoughts away, but it was hard. It was so hard. These thoughts, I now know, are called intrusive thoughts, and they are closely associated with anxiety disorder, OCD, eating disorders, and psychosis. I still have them from time to time, but they are much lessened after medication and meditation and all manner of my managing-my-anxiety-disorder daily rituals.

I feel a kinship with Stephen King. Here is a man who must suffer, as I do, from intrusive thoughts.

I first read PET SEMETARY in high school, and then I thought it was a horror novel. I've been rereading it this week, and I now understand it is a book about grief. A parent's grief.

I got the ebook copy, and there is a foreward in this version written by King in 2000, in which he admits something very similar to what happened to Gage in the book happened to his own son (almost) when his own son was two. He wrote:

"But a part of my mind has never escaped from that gruesome what if: Suppose I hadn't caught him? Or suppose he had fallen in the middle of the road instead of on the edge of it? I think you can see why I found the book which rose out of these incidents so distressing. I simply took existing elements and threw in that one terrible what if. Put another way, I found myself not just thinking the unthinkable, but writing it down."

What would King have done with my grate snakes?

And what is a parent to do with the fear that comes of losing a child through any manner of preventable horrors? What would we do, what lengths would we be willing to go, if we thought we could (fix them) protect them from everything?

When my girl was two, a co-worker told me about a little girl he knew who swallowed a great deal of water while learning to swim and dry-drowned. I didn't know such a thing existed, and I immediately suffered a solid week of nightmares and became terrified of letting my daughter in the water, even as I was insisting she learn to swim. This week, she's at horse camp learning to walk and trot and canter, even bareback, and each night as I lie in bed next to her as she drifts off to sleep, my mind tries to send pictures of all the awful accidents that happen in barns, even though I myself owned a horse for three years in my childhood and took almost exclusive rights to the hard and personal care of him, picking his hooves and brushing him without tying him up and walking carefully around his back away from the hooves that could go misplaced even though that dear, sweet horse would never hurt anyone intentionally. As much as I loved my horse, and as much as I love to swim, I've never lost a healthy respect for either large animals or water, as my brain easily produces full-on, Scorcese-directed mind movies of all the horrible ways to die dealing with either. 

I've learned at 40 that the best way to deal with intrusive thoughts is to bat them away like horseflies. Letting them rest even a minute allows them to bite and gather until the only way to break free is to flail in the most embarrassing and overwrought way when I can't take it for one more minute. I've had minor breakdowns from my intrusive thoughts probably a dozen times over the course of my life, and it's never been pretty. I'm not proud of how I've turned my fear into anger and stabbed out at those around me. I'm trying to learn to handle them better. My intrusive thoughts are merely the worst possible course of what if, and a life well lived is a life spent in the now, breathing deeply and remembering that no matter what, I can get through it, and it probably won't even happen. I can't worry about the bad thing happening until it does. The ironic thing is that sometimes when the bad thing happens, it's a relief, because there's no more anticipation of the bad thing; there's only dealing with it.

I think that I can make these decisions, because I have to in order to manage my anxiety disorder. The truth, though, is that our subsconscious minds decide things, and then our frontal lobes take credit for them. A study done in 2000 found:

Participants in the study were asked to make a decision about whether they would use their left hand or their right hand to press a lever.  By using fMRI scans of the brain’s activity, the researchers knew the participant’s decision by analysing the activity in the frontopolar cortex of the brain.  This information about the participant’s decision was available up to seven seconds before the participant had “made” a conscious decision.  The researchers used the information from the scans, to predict with success, the 36 participant’s decisions before they had consciously made them!

What does that mean for someone with intrusive thoughts? What is really more frightening than imagining you've lost the ability to control your own mind? In PET SEMETARY, as Louis Creed drives to his son's grave to do you-know-what, he thinks:

"He supposed he had known that he would do that, but what harm? None."

Because, of course, subconsciously he'd already decided to hop on the Micmac Indian train and ride it to the end of the line.

Brain research is fascinating, but it also brings into question the moral compass, free will and how easy it would be to slip into distressing thought patterns. I know, in my rational mind, and I'm sure I knew then, that it would be really hard if not impossible for a snake to climb up two stories of slick ductwork, and quite frankly, if a snake wanted to eat my baby, all it would have to do is climb the stairs. Heaven knows the basement door didn't really shut. That my brain conjured this elaborate lie out of turn-of-the-century grates still amazes me.

But then it doesn't.

Writers observe things, details. Details make the story interesting. But they also lead to the what ifs, and sometimes those thoughts are better off dead. 

Four Answers About My Writing Process
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Thanks to Grace Hwang Lynch of HapaMama for inviting me to talk shop. Check out her post here!
 

On Writing

I recently did a Skype author interview with my niece's English class. They asked when I started writing, and I realized I was younger than their 14-year-old selves when my fingers started itching. I began with poetry heavily influenced by Shel Silverstein and progressed to thinly veiled plagiarism short stories in the style of Ray Bradbury. After being published in a chapbook that I think probably published anyone who sent anything in, I had the bug bad, and it really never left. So let's talk about writing. 
 
What am I working on/writing?
 
Right now, I am not writing anything. A few weeks ago, I sent my contemporary new adult novel, THE BIRTHRIGHT OF PARKER CLEAVES, to my agent. He said he would read it. I was happy, though I felt none of the excitement that I felt when people asked to read THE OBVIOUS GAME, because now I know not to drink the water until it's been filtered, or some other terrible metaphor for becoming jaded by the publishing beast. I have a few ideas for my next novel, but for now, I wait to see if my agent will represent PARKER CLEAVES or if I need to go to Plan B. (I do not know what Plan B is yet.)
 
How does my writing/work differ from others in its genre?
 
Well, for one thing, it's in my voice. I know that sounds silly, but it's true. If I find a writer I like, I'll read anything that person writes. I fangirl easily. It's my dream that people will like my voice and then want to read anything I write, and I realize that is totally vain. But it's the truth. So I work hard to make my voice sound different than other people's voices. THE OBVIOUS GAME was turned down by some major publishers because "they already had an anorexia book on their lists." That was frustrating for me, because that makes it sound like the book is all subject and no voice. I get it from a business/catalog perspective, but it also made me want to scream. I think it's clear the same person wrote THE OBVIOUS GAME and THE BIRTHRIGHT OF PARKER CLEAVES even though the subject matter is vastly different. All of my writing tends to be less action/more character development than other books in my genres. I also try to portray strong parent/child relationships, because it seems like every young adult or new adult book I read has a crappy mother in it.
 
Why do I write what I do?
 
Someone super famous but apparently not easily googled once said, "Write the book only you can write." So that's what I try to do. My writing is influenced by my life experiences, my observations of people and events, my politics, my anxiety disorder, my sense of humor. It does no good to try to follow trends, because it takes so long for most of us to get a book published, the trends will change by then. When I'm planning a book, I start with a takeaway I want the reader to have, and I build a story around that. It's kind of like building an outfit around a belt.
 
How does my writing process work?
 
When I wrote THE OBVIOUS GAME, I just wrote in a linear fashion. Then I ended up having all these structural problems and rewrote and moved and rewrote four or five times over two years, and that was really painful. When I started THE BIRTHRIGHT OF PARKER CLEAVES, I used StoryMill software and outlined scenes in three acts. I figured out who all the characters were and when they would appear. I figured out the climax and most of the major events. And THEN I wrote, one scene at a time instead of one chapter at a time like THE OBVIOUS GAME. This time, too, I used my beta readers differently. I wrote a very loose and short rough draft and gave it to beta readers. Then I incorporated their feedback into the second draft and gave it to different beta readers. Finally, I incorporated that feedback and came up with a third draft, which I gave to yet again different beta readers. Then I shined it up and sent it to my agent. It'll probably change again, but I'd reached the point when I hated the whole thing, which is typically a good sign that you're done revising for a bit.
 
Next week, you can read about my friend Kyran Pittman's writing process. She's the author of PLANTING DANDELIONS, which is a really good book that I enjoyed muchly. 
The First Leaving
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The other day on the radio I heard that song from Pretty in Pink. You know the one. 

I touch you once.

I touch you twice.

And the kill shot: You always said we'd meet again, someday.

I'm back to revising THE BIRTHRIGHT OF PARKER CLEAVES and nineteen years old again in my head, and that line might summarize eighteen, nineteen, twenty and twenty-one for me. A series of leavings. Wondering if we'd stay friends, stay in love, stay in fucking touch. 

Watching people on whom we hung the future smile and wave and wander off until the phone calls and letters became memories and "do you remember" conversations and awkward introductions of people who were now our new everything. 

And feeling -- or at least I felt -- so betrayed by others and my own self that feelings that were once so intense could flame out so quickly without daily fuel. Surely there must be something wrong with her or him or them or me that we could have nothing left to share but the past? Something that maybe should be punished?

You always said we'd meet again, someday.

But after the first leaving of high school and the second, third, fourth and fifth leavings of each successive college class graduating and then all the leavings of friends picking up their bags and loading up their cars and moving on with their lives in different cities or states or countries, after the stay-at-home leavings of friends getting married, getting divorced, having children, changing jobs and moving away, after all of these leavings, each one gets less personal. 

I learned to say "goodbye" without having to say "see you again soon." Sometimes it's just "goodbye," and that's okay. It doesn't mean there was a betrayal.

Maybe that's why when I hear that one song from Pretty in Pink, I'm nineteen years old and hurt again by those words that I no longer attach to any one person but maybe all of them, all of those  people who left, even me.

You always said we'd meet again, someday.

Ten Long Years
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So ... I'm never sure if anyone is still reading my new posts, but if you are ... next month is Surrender, Dorothy's ten- year anniversary. What would you like to see?

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