We met Patricia Spears Jones at Rutgers Writers Conference and knew we had to share her wisdom with you. She talked with us about poetry, writing communities, and her advice for writers.
Filmed at Rutgers Writers Conference 2019.
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PATRICIA SPEARS JONES
Patricia Spears Jones is the recipient of The Jackson Poetry Prize, one the most prestigious awards for American Poets via Poets & Writers, Inc.
Spears Jones was named in Essence.com as one of its “40 Poets They Love” in 2010. In 2018, her poem “Seraphim” is listed in The New Yorker’s Year in Poems.
She is author of the poetry collections: Painkiller and Femme du Monde from Tia Chucha Press and The Weather That Kills from Coffee House Press and five chapbooks including Living in the Love Economy. Her fourth collection: A Lucent Fire: New and Selected Poems from White Pine Press (White Pine Press Distinguished Poets series) which features her 2017 Pushcart Prize winning poem, “Etta James at the Audubon Ballroom.”
Learn more at https://psjones.com.
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Imagine Being the Writer You Are Not…Yet
We first met Cathy Salit when she had an idea for a book. As the CEO of Performance of a Lifetime, a company that helps individuals and organizations with all things related to human development, we knew she had a life-changing book on her hands. Performance Breakthrough: A Radical Approach to Success at Work can now be found in the business section of bookstores. But we think it’s a book that everyone interested in becoming a better version of themselves should read, especially if you’re an author without writing experience, or a writer without publicity and marketing experience. You’ll see why.
The Book Doctors: In your book, Performance Breakthrough, you talk about the idea that you can be who you are and who you’re not at the same time. Can you explain what that means?
Cathy Salit: We human beings all have an innate ability to perform, to project, to imagine, and to play. This ability is something we are able to exercise effortlessly as children. We play mommy and daddy and different superheroes, on different planets, different animals, and so on. It’s something that is not just a cute and wonderful thing about childhood; it’s also a very big part of what enables children to learn and to grow. But what happens is, at a certain point in our childhood, all that playing and all that experimenting gets pushed to the wayside, and now it’s time to learn and behave and to get things right. This is for a good reason, in the sense that you don’t want to play and experiment with how to cross the street. But we end up minimizing the part of ourselves that can, and should, and could continue to play and experiment. We develop our identities, our personalities, and define ourselves by our profession, who we love, what we like to do. Performance Breakthrough proposes that what it means to grow–to keep learning and keep developing–is to combine who we already created ourselves to be and who we are not yet.
TBD: With a lot of authors, especially of nonfiction, the first thing they say is, “I’m not a writer.” Either they’ve had careers that they’re writing about, and that career has not been writing, or they are people who have always dreamed of writing a novel, but they have a day job, et cetera. Using the principles of Performance Breakthrough, how does one take on the role of “Writer” while thinking that you are not one?
CS: What if they don’t have to own that they’re a writer? What if they just pretend to be a writer and not worry about whether they really are? A helpful concept is to creatively imitate writers, and that can include learning more about what it means to be a writer. One of the many, many things that I did to put myself in the zone of being a writer was reading books about writing by writers, like Anne Lamott and Stephen King, and creatively imitating and doing what they said to do. Number two, as a performer, I’m a talker. I’m a speaker. I pretended to trust that I could just write down what I would say, and that would be enough to get started.
TBD: Today, being a writer means more than just writing. It means being a salesperson, a publicist, a marketer. Many of these jobs are completely the opposite of what most writers want to be doing. Many writers are introverted and are not comfortable in these scenarios of having to publicize and market and sell their work. We’re curious about how you would talk about using the ideas in Performance Breakthrough for adopting these roles.
CS: Yeah, it’s hard! I am a salesperson. I am a marketer. And I find it hard. You can think about it as a scene in a new play that you’re in where some scenes are alien to you. Give yourself some lines to say. Those could include: I’m not used to speaking in public. I’m not used to doing podcasts, or being on the radio, so bear with me. You can be playful and honest about this not being your natural habitat. You don’t want to do that endlessly, but it’ll help make you feel more comfortable. Also, it will lower your expectations and relieve some of the pressure.
TBD: Do you have any advice for people who, like you, are translating a lifetime of work to the page?
CS: What occurs to me is the importance of voice. This might seem contradictory, but you can never stop being who you are. If you’re trying to put onto the page your passion, your work, don’t let the fact that you’re putting words on a page and having to use a medium that is maybe not your natural habitat rob you of your voice. Find a way to still be who you are, even while you’re being who you’re not. It’s back to our philosophy that you need to be both. You’re not just being who you’re not. You’re being who you are, too. It’s got to sound like you. It’s got to feel like you. You don’t have to impress anybody. One of the biggest compliments that I’ve gotten for my book is that people feel like they’re in the room with me. Perhaps that’s particularly important for my book because our work is of such an experiential nature.
Cathy Salit is the CEO of the innovative consulting and training firm Performance of a Lifetime and author of PERFORMANCE BREAKTHROUGH: A Radical Approach to Success at Work (Hachette Books). She is a speaker, facilitator, executive coach, instructional designer, and social entrepreneur. Cathy performs regularly with the musical improv comedy troupe the Proverbial Loons and, less frequently, sings jazz and R & B on any stage she can find or create. She lives in New York City.
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As many of you know, we regularly interview authors on the Huffington Post. There’s one question we always like to ask: What advice do you have for writers? Below, we’ve culled some of our favorite answers. These gems might just help you get through another writing day!
Irvine Welsh: If you think about the market you are in a very different game. Write what you want to write; work out how it sell it when it’s done.
Click here to read Irvine’s full interview.
Jenny Milchman: If I had to boil all advice down to one single nugget it would be this: Know that anything we write can always use more work. It is never as good or done as we think it is. Critical feedback is like gold. Whether we accept it or not. Hearing different takes on what we create is the only way we will make it appeal to a broad range of readers. And that’s what we’re all hoping for, isn’t it? That’s why we write and read. To find the story that will carry us away.
Click here to read Jenny’s full interview.
Lance Rubin: Here’s my two cents: whether you’re published or not, you need to start operating as if you’re a published writer. Make writing a part of your daily routine, as if it’s your job. Don’t wait for inspiration to strike; just sit down and do the work every day. If you don’t take yourself seriously in this way, then the universe won’t be able to, either.
Click here to read Lance’s full interview.
Jerry Stahl: My only advice: don’t listen to me.
Beyond that, I don’t give advice. My experience, however, is if writing about your life (or writing in general) is a choice, you probably don’t need to be doing it. If, however, you’re doing this… thing–and are compelled to keep doing it–then you probably wouldn’t listen to anybody anyway. From the time I was 16 on, I had people telling me not to write, to get a day job, etc… etc… If I could have, I would have. But I have no particularly marketable skills, so of course I became a writer. I admire people who can come up with gimmicky ideas and make a shit-ton of money. I just don’t find them particularly interesting. At the end of the proverbial day, I’m always gonna take Raskolnikov over Romney.
Click here to read Jerry’s full interview.
Ylonda Gault Caviness: You’ve gotta go for what you know. It’s the only way to be truly authentic. And if people don’t get it, the hell with them. You have to keep on keeping on.
Click here to read Ylonda’s full interview.
Andy Ross: For writers of literary fiction, most of it won’t find a publisher. If I’m representing you, you are good enough to get published. But commercial publishing is a business. You have to be good, but that isn’t enough. They usually make decisions more for marketing reasons than for aesthetic reasons. Rejections are a big part of this business. Learn to live with it and keep writing. If you are writing memoir, it’s often even harder to find a publisher. Remember that the journey is the destination. Or as Camus famously said: “The struggle itself is enough to fill a man’s heart.”
Click here to read Andy’s full interview.
Stephen Mooser: My advice is for the new writer just entering the field. The competition is stiff–publishers get tens of thousands of manuscripts every year so you have to give them something that they have never seen before. I go to the movies once a week and I enjoy many of them, but most of them are just a variation on a theme–but every once in a while I see something that knocks me out–Star Wars, Pulp Fiction, Moonrise Kingdom were for me those films. If you come up with something fresh, whether a story idea or a character or an art style, you will sell that book even if you don’t have a track record or an agent. So, think hard, study hard and work hard and you will succeed–I promise you–in my forty plus years of children’s books I’ve seen that hundreds of times.
Click here to read Stephen’s full interview.
Bruce Holsinger: Keep writing, keep writing, keep writing, and don’t spend time fretting about a publishing industry that doesn’t recognize your genius. It took me fifteen years and two manuscripts in the drawer to get a novel picked up. All the clichés about persistence are true!
Click here to read Bruce’s full interview.
Judith Fertig: Adjust your book as you go along. You may start writing and a new character can appear or a plot twist present itself or something equally surprising can occur when you’re into it. AND join a good writers group. Feedback is so important.
Click here to read Judith’s full interview.
Jon Pressick: Start a blog. Have a public space you write in and contribute to it often. Let people know they can read it. Encourage feedback. Fight for your words when people critique you…but at the same time take time to learn and admit as much when you fail. Write without shame, but don’t shame others. Work hard at finding your voice, your technique and your power. You have it, find it.
Click here to read Jon’s full interview.
Cathy Camper: One crucial tip I’ll pass on is that so much of the quirky DIY stuff I did for many years for free ended up being what led to this book. For example, for decades I’ve written reviews of books for School Library Journal, Kirkus and Lambda Literary. I’ve also written and published zines and supported them as a zine librarian. I didn’t see it until now, but those things not only honed my writing skills, they created two huge support networks of people who knew my work. The adventures I’ve had and the people I’ve met via DIY vs. mainstream connections are equal. Don’t underestimate the value of what you do just because it’s not mainstream.
Also, as a librarian, I’d tell writers, don’t write in a bubble. Be aware of the market your book will fall into, its audience, and the reason why people will read it. If you’re going to spend time writing a book, do research, talk to librarians and bookstore folk about what people are reading, read other books in your category so you’ll know who your competition is. Think about what would make a publisher sink time and money to back your work. Your book may fall in a large category everyone already reads or it might be the first to fulfill a long-felt need, but that should to be part of your pitch, and an intrinsic part of the book you write.
Click here to read Cathy’s full interview.
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