Aaaaaaand We’re Back!

October 8, 2019 § 5 Comments

He’s so writing a memoir about this

Query letters. A necessary evil towards the great good of publication. A hoop to jump through towards representation; a lure to draw in the publisher perfect for our story.

Some lucky authors have essays go viral, build enormous social media platforms, or have NYT-bestselling cousins willing to refer us to their own agent. Most of us undertake the slog, often querying a hundred or more agents and revising our query and the manuscript itself many times along the way.

There are some terrific querying resources out there, notably Query Shark, which focuses on fiction but teaches powerful query-letter lessons for writers in all genres. Jane Friedman’s website has information on memoir and narrative nonfiction queries. Absolute Write’s forums are a place for honest chat about specific agencies. QueryTracker helps us chart our progress. Manuscript Wish List shows us which agents might be right for our book. And here at Brevity, we shared suggestions for the actual process of preparing and submitting to agents.

But it is generally more difficult to learn best practices for memoir, rather than fiction, queries—and Brevity is here to help.

The Brevity Podcast returns in November, featuring an interview with Grace Talusan, author of The Body Papers, and a conversation with the Query Shark herself, literary agent Janet Reid.

That’s where you come in.

Podcast host Allison K Williams will discuss memoir queries with Janet, using some examples from Brevity readers & podcast listeners. We’ll assess your clarity and style, how you cover the standard query-letter elements, and talk about what you might do differently (or are already doing well!) to increase your chances of representation.

If you’d like to send in your query for a shot at having it discussed on-air, please paste it into an email, followed by your first two manuscript pages (also pasted), to brevitymagpodcast at gmail.com. Deadline for consideration is October 20th. We won’t use author names on the air, but we will be reading all or part of the query letters chosen, so only submit if you’re willing to have your words read on the podcast, please.

Querying can be overwhelming, intimidating, and depressing. But you don’t have to do it alone, and you don’t have to do it without guidance. Help is out there—and it’s coming to your ears.

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Brevity Podcast Host Allison K Williams, and Editor-in-Chief Dinty W. Moore will also be leading a retreat in Costa Rica in May 2020.

 

 

Brevity Podcast Episode #10: One-Minute Memoir

September 4, 2018 § 10 Comments

It’s been five months of exciting technical challenges since the last Brevity Podcast, but we’re back! This episode, we finally reveal the fifteen One-Minute Memoirs, and our podcast host Allison K Williams and Audio Editor Kathryn Rose discuss why we chose them (from over 300 submissions!), the process of reading and listening to all the submitted essays, and key things writers can do to make their work stand out from the rest of the submissions pile.

Stream the show right from this post, or click over to  iTunes, Soundcloud or Stitcher. If you’re subscribed, we’ll show up in your podcast app queue. And wherever you listen or download us, please take a moment to leave a brief review–it helps us show up in searches and recommendations.

 

The memoirists:

Anne Boaden earned her MFA in Creative Writing at Goddard College and is writing a memoir of her active duty with the United States Marine Corps flying AH-1W Cobra attack helicopters. Her work has appeared in The Pitkin Review and NELLE. She lives in England with her husband, two cats, one dog, flock of chickens, and brand-new baby Robin Anne Delgaard Boaden.

Tracy Royce is a poet, writer, and doctoral candidate in the Department of Sociology at the University of California, Santa Barbara. Her work has appeared in The Fat Studies Reader, Modern Haiku, Frogpond, Affilia, and Mother of Invention: How Our Mothers Influenced Us as Feminist Academics and Activists.

Anne McGrath’s work has appeared in Antioch University’s Lunch Ticket, The Brevity Blog, Chapman University’s Dirt Cakes, The Caterpillar Magazine, and the One Hundred Voices anthology. Ms. McGrath is an assistant contest editor at Narrative Magazine and is pursuing an MFA in creative writing at Vermont College of Fine Arts.

Irvin Weathersby is a Brooklyn-based writer and professor from New Orleans. His work has appeared in literary journals and magazines including Notable Black American Men Book II, Killens Review, The Atlantic, Ebony, and Esquire.

Patrice Gopo is a 2017-2018 North Carolina Arts Council Literature Fellow. All the Colors We Will See, her essay collection about race, immigration, and belonging is now out from Thomas Nelson, and has been named a Fall 2018 Barnes & Noble Discover Great New Writers selection.

MFC Feeley attended UC Berkeley and NYU. She has published in The Tishman Review, Mainstreet Rag, WicWas, Plate In The Mirror, and Ghost Parachute, and was a 2016 fellow at the Martha’s Vineyard Institute of Creative Writing and a 2013 Amazon Breakthrough Novel Award Quarterfinalist. She won the Raven Prize for CNF and is writing a series of short stories inspired by the Bill of Rights for Ghost Parachute.

Jamie Zvirzdin teaches in the Master of Arts Science Writing program at Johns Hopkins University. Her work has previously appeared in The Kenyon Review, Issues in Science and Technology, Creative Nonfiction, and CONSEQUENCE.

Evie Gold is a non-fiction humor essayist, a sushi connoisseur, and a wandering nomad.

BK Marcus is a homeschooling dad in Charlottesville, Virginia, where he also performs and coaches live storytelling.

Erin Murphy‘s work has appeared or is forthcoming in journals including The Georgia Review, Memoir Magazine, The Normal School, Field, Southern Humanities Review and North American Review. She is the editor of Creating Nonfiction: Twenty Essays and Interviews with the Writers, and is Professor of English and Creative Writing at Penn State Altoona.

Georgie Hunt’s writing has appeared in Prick of the Spindle, NANO Fiction, River Teeth’s “Beautiful Things” and Brevity. She was a finalist in Black Warrior Review’s 11th Annual Nonfiction Contest, and holds an MFA in creative nonfiction from the University of North Carolina, Wilmington.

Karen Egee writes to savor the good and try to make sense of the rest. She lives in Massachusetts with her husband and dog. They spend as much time in Maine as possible.

Rhonda Zimlich’s fiction and memoir has appeared in publications such as Crow Pie, Acorn Review, and Ink Stains. She enjoys living in the Pacific Northwest with her husband, twin daughters, and feisty black cats. She received her MFA in writing from Vermont College of Fine Arts this summer.

Scott F. Parker’s book A Way Home from Oregon: Essays has just been released from Kelson Books.

Jennifer Lang writes mostly about her divided self. Her essays have appeared in Under the Sun, Assay, Ascent, The Coachella Review, Hippocampus Magazine, and Full Grown People. She’s been nominated for Best American Essays and the Pushcart Prize, and is writing her first memoir.

Additional voices: Hananah Zaheer (Dubai), Iobel Andemicael (Dubai) and Brian Pastor (Chicago).

Additional music by Sergey Cheremisinov via freemusicarchive.org, and sound effects from freesound.org. Call to prayer from Learn Truth Find Peace.

Next episode, we’ll be talking about Writing Hard Things.

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Allison K Williams is Brevity‘s Social Media Editor and hosts the Brevity Podcast. She’s writing this in Paris, yesterday she was in Tunisia, New York the day before, and tonight she’s back home in Dubai…hence our erratic podcast schedule.

Brevity Podcast Episode #9: Rhiannon Navin and Ander Monson

April 5, 2018 § 1 Comment

This episode, Brevity takes a detour into fiction, speaking with debut author Rhiannon Navin about making fiction from fact and how she turned her real-life emotional experience into a novel. Then it’s back to our regularly scheduled creative nonfiction, with Ander Monson, editor-in-chief of Diagram.

Stream the show right from this post, or click over to iTunes, Soundcloud or Stitcher. If you’re subscribed, we’ll show up in your podcast app queue. And wherever you listen or download us, please take a moment to leave a brief review–it helps us show up in searches and recommendations.

Show notes and links to people, places and things we’ve discussed are below.

Next episode, it’s time for our listeners’ very own One-Minute Memoirs! Audio Editor Kathryn Rose and I will discuss what made the winning submissions stand out, and how to make your own story pack maximum punch in minimum space. And you’ll hear 15 fantastic, very short memoirs.

 

Show Notes: Episode #9 People and Books

Find out more about:

Only Child by Rhiannon Navin

Ander Monson

Letter to a Future Lover

Paul Monette

The Mezzanine

Turtle Island

Casa de los Ninos

Charley Douglas and the “laff box”

Useful Adjectives and Adjectival Phrases to Describe Ander Monson:

  1. phenomenal
  2. maverick
  3. self-involved
  4. trickeration-loving
  5. asinine
  6. straight-shooting
  7. family-betraying
  8. law-breaking
  9. ne’er-do-well
  10. bad boy
  11. future addict
  12. serious and accomplished
  13. brainy but beautiful
  14. chubby
  15. crazy
  16. more than likely delusional
  17. poetryish
  18. encyclopedic
  19. whale-kicking
  20. profane
  21. piratical
  22. regretful
  23. sympathetic
  24. criminal
  25. pensive
  26. bright but misguided
  27. hurt, badly, baldly
  28. good
  29. trying real hard to be good

Additional music by John Stebbe, Ars Sonor, and Kai Engel via freemusicarchive.org.

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Allison K Williams is the host of the Brevity Podcast.

In You We Trust

November 28, 2017 § 10 Comments

Picture of Meryl Streep as a fashion magazine editor in The Devil Wears Prada

…maybe just stop talking.

We’re settled into our seats, ready to watch Meryl Streep perform in the new musical adaptation of Gone Girl (“Gone!”). We’re leafing through Playbill, counting up Oscar nominations, when suddenly Ms. Streep steps out in front of the curtain to address the audience.

“Hi everyone, I’m really excited you’re here for this show, based on the book about a woman who fakes her own disappearance and sets her husband up for a murder rap. I hope you’ll especially enjoy the scene where I write all the journal entries at the same time with different pens.”

Wait, what?

Or she says, “In rehearsals for this show, I worked on my high E notes with a noted vocal coach at Julliard, maybe you’ve heard of him?”

Um, no.

We’re already here, Meryl. We’re ready to watch. We trust you to deliver. Just let us watch you–don’t tell us the story you’re about to tell us. And if it turns out the show isn’t to our taste, your pre-show explanation won’t fix that.

Reading submissions is a lot like being in that audience. Around the Brevity Podcast house, we’re settling in with pages of Submittable entries for the One-Minute Memoir episode. Each essay is the curtain going up on a show we’ve never seen before, enjoying how much humor, sadness, quirkiness, reflection, action, and adventure can be packed into under 150 words, sometimes many fewer than that. There are pieces totally unique in content, and others with universal situations but new approaches. Every author has something truly, beautifully theirs…and some of them tell us about it in advance.

Cover letters everywhere range from a single sentence of author bio to a full page of credits, context, and background information, and every variation in between. Sometimes, authors get nervous that the editors won’t get it. Or they’re really excited about their time working with a prestigious teacher. Maybe they feel like they don’t have enough publication credits, and explaining the story fills up that space. Or there’s a backstory that’s totally amazing.

These things don’t suck, but they’re not helping your submission. I don’t actively read the cover letter until I’ve read the essay–though I end up seeing some of what Submittable displays before clicking through to the submitted piece. Most editors want to come to your words as readers do: a fresh impression on the page. They don’t get to sit down and explain to subscribers what they meant when they picked that piece, why they think it’s great. As authors, we rarely get to discuss why or how we came to write something unless we’re talking about it with our friends or being interviewed. But that’s bonus material for the true fans, not a base to start from with first-time readers. Don’t give away the game.

For example, when submitting your terrific flash essay about knitting with a women’s circle in Guangzhou:

This essay focuses on the time I gave birth in China surrounded by my knitting class.

I wanted to tell the stories of the amazing grandmothers I met while doing handicrafts in China. They all had children who had emigrated, and I saw how conflicted they felt.

Nope.

For the purposes of submission, one sentence maximum about the circumstances directly affecting the writing (not the story).

I wrote this during my missionary work in China.

I’m a professional knitting teacher.

Will detailing parts of your story get you rejected out of hand? Not by us. In the long run, this isn’t a huge issue. For most journals, it doesn’t really matter what you write in that space–at this point in the process, they’re interested in the story and the writing. Explaining neither fixes nor destroys a submission. So don’t sweat it if you’ve fallen into this category before. Just stop doing it.

Reading your story is more powerful than reading about your story. Let us be surprised and delighted and astounded–the way we want our audience to be when they get to read your work.

 

Edited to add: Aerogramme offers some more terrific cover letter advice from Tahoma Review Prose Editor Yi Shun Lai.

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Allison K Williams is Brevity’s Social Media Editor. Her travel-adventure-writing newsletter can show up twice monthly in your inbox, if that’s not telling too much.

Call For Brevity Submissions: One-Minute Memoir

November 13, 2017 § 28 Comments

Rufus P. Turner, developer of the first transistor radio & a professor of literature–Brevity’s kind of guy

We’re trying something new.

The Brevity Podcast is seeking submissions for our One-Minute Memoir episode. We’re looking for ultra-flash nonfiction of 100-150 words (on paper) and up to one minute (recording time). Accepted pieces will be broadcast in our February episode and receive a $25 honorarium.

Deadline for submission is January 6, 2018.

 

You may submit in one of two ways:

 

1) Text only. Submit a .doc. We will record accepted pieces in the Brevity studio.

 

2) Audio file. Submit an MP3 or WAV of your own recording PLUS a .doc with the text. Read our blog post about recording your own work for basic sound guidelines. We will master accepted pieces. Recordings should be a maximum of 60 seconds.

 

Please start your recording with your name and the title of your piece; this doesn’t count as part of the 60 seconds.

 

Brevity publishes well-known and emerging writers working in the extremely brief (750 words or less) essay form. We have featured work from two Pulitzer prize finalists, many NEA fellows, Pushcart winners, Best American authors, and writers from India, Egypt, Ireland, Spain, Malaysia, Qatar, and Japan. We have also featured numerous previously-unpublished authors, and take a special joy in helping to launch a new literary career. Over the past year Brevity has averaged 10,000 unique visitors per month. The Brevity Podcast launched in 2016, and has featured interviews with Andre Dubus III, Dani Shapiro, Rick Moody, and other nonfiction notables.

 

Please use the Submittable button below to submit your work, choosing the category One-Minute Memoir.

 

We can’t wait to hear what you have to say.

 

submit**

Listen Up

October 19, 2017 § 13 Comments

Yes, I should pause there…

When I teach a workshop, I like to audiotape it. Partly so I can send the recording to the class, which takes some of the stress off taking notes and lets everyone participate a little bit more. But also because ItalkamillionmilesanhourifIdon’tstopmyself.

The same thing applies to readings–when I head up for the podium, I leave my phone voice recorder running at my seat. After, I can listen–did I pause in the right places? Was there audience laughter I didn’t make room for? Often, just glancing back at my chair, seeing the phone there, reminds me slow down. Take a breath.

It’s valuable to listen to our own voices. Find out how long that piece really is with audience reactions in it. See if we really sound like a dork (spoiler: usually no). If the recorder is in the audience, it often picks up the kind of supportive murmurs and agreement breaths listeners make when we’re enjoying a story. Those noises aren’t always easy to hear in the moment, when we’re stressed about getting through a piece. And it’s always awesome to re-listen to applause.

As well as being a great tool to improve our own reading, there are places to submit audio stories. The Drum is a fantastic audio literary magazine, and Story Club specializes in nonfiction performance, with the author setting the text after a live show. The Brevity Podcast will be calling for One-Minute Memoirs next week. For all of these, you don’t have to be an audio whiz, but a few simple tricks will help you sound your best.

Check your phone. Phones usually record better than computers if you’re not using a separate microphone, and you probably have a native Voice Memos or Voice Recorder app. On most phones from the last three years, the built-in mic is good enough to get decent live-audience audio, and decent-to-good private taping. Look up where the mic is physically located on your phone, and point that end toward the reader. Try a couple of test recordings to see how close you want to hold it to your face–usually 4-6 inches away is good.

Check your app. On my iPhone, the Voice Memos app keeps going even when the screen locks or if I open another app. But when I’m doing more sophisticated recording with a plug-in microphone and an app called Motiv, the recording stops if the screen goes dark. I found that out the hard, embarrassing, can-I-please-interview-you-again way. Now I turn screen lock to “never” and put the phone in airplane mode. Some phones also stop recording if someone calls or texts. Find out for sure–or just put it in airplane every time.

Pad your space. Recordings are better with less echo. In a public reading, this is out of our control. Setting the phone on a wooden or plastic surface is better than a metal folding chair (they give a slight echo), but it’s not going to make a huge difference for personal recordings. If you’re taping for submission–like, say, the upcoming Brevity call for One-Minute Memoir–test the first paragraph in a couple of spaces to see what sounds best. Rooms with carpet, lower ceilings, and soft furniture work best. Walk-in closets are great. In a pinch, I record in my car (parked and turned off, until it gets so hot I have to take a break) or with a blanket or towel over my head. (Table fort, anyone?)

Repeat. Repeat. Repeat. I always bobble on a few words the first time I read an essay aloud. Plus, speaking into the recorder affects my pace. I try to tape a reading at least three times. Even if I can’t edit, I can at least pick the best take.

Whether you post or submit your work, or just listen for your own edification, taping is a great way to see how you sound. Often, extra lines or awkward phrases jump right out from the audio, or we instinctively smooth out a sentence as we speak it. Why not give it a test run? We’re hoping to hear from you soon, and we’ll tell you how and what next week!

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Allison K Williams hosts the Brevity Podcast. Her most recently available audio class is Write Better with Social Media.

Brevity Podcast Episode #6 Donna Talarico-Beerman

August 31, 2017 § 6 Comments

I hope it’s a podcast!

Surprise! It’s a podcast! We’ve got a few episodes packed and ready from a whirlwind summer of interviews, so we hope you’ll be enjoying (slightly) more frequent listening. Stream the show right from this post, or click over to iTunes, Soundcloud or Stitcher. If you’re subscribed, we’ll show up in your podcast app queue. And wherever you listen or download us, please take a moment to leave a brief review–it helps us show up in searches and recommendations.

Episode #6 features an interview with Donna Talarico-Beerman on the process of becoming a small press, running a conference, and balancing her own writing time in there, too. We’re also talking all things writing conference over the next few episodes, and we’ve got brief on-the-spot interviews from Lee Martin, Sue William Silverman, and some lovely writer-participants from the Postgraduate Writing Conference at Vermont College of Fine Arts.

Show notes and links to people, places and things we’ve discussed are below. Next episode, we’ll be talking with Kristen Arnett about her new book, Felt in the Jaw.

Show Notes: Episode #6 People and Books

Find out more about Donna Talarico-Beerman at her website.

Hippocampus magazine, with links to Hippocampus Books and the Hippocamp conference. You can also follow the conference hashtag on Twitter, and many of the sessions will be live-tweeted.

Today’s the last day to submit to Remember in November

High Ed Web

AWP (Association of Writers and Writing Programs)

Mary Karr

Photographer Dave Pidgeon

Donna’s essay in the Los Angeles Review, Things That Aren’t Theirs

Questions to ask of a character:

What do I wish for?
What do I hope for?
What is my greatest dream?
What is my greatest fear?

The Moth

Lancaster Story Slam

VCFA (many writing programs/conferences)
Kenyon Review Writers Workshop
New York Pitch Conference

Lee Martin

Miller Williams

Sue William Silverman

Amy Braun’s Attic Discovery Project

David Jauss

Manual typewriter thanks to theshaggyfreak via freesound.org
Additional music, Later Fruits, thanks to Axletree via freemusicarchive.org

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Allison K Williams is the host of the Brevity Podcast. She’ll also be appearing at Hippocamp for an intensive workshop on Self-Editing and consultations on your pages.

Brevity Podcast Episode #5 Dinty W. Moore

August 15, 2017 § 7 Comments

Dinty W. Moore has always stood out

It’s time once again for the intermittent Brevity Podcast! Listen right from this post, or click over to iTunes, Soundcloud or Stitcher. If you’re subscribed, we’ll show up in your podcast app queue. And wherever you listen or download us, please take a moment to leave a brief review–it helps us show up in searches and recommendations.

Episode #5 features an interview with Dinty W. Moore, our very own Editor in Chief and founder of Brevity. Dinty will be keynote speaking at the Hippocamp Creative Nonfiction Conference September 8-10 in Lancaster, Pennsylvania.

Show notes and links to people, places and things we’ve discussed are below. Next episode, we’ll be talking with Donna Talarico-Beerman, Editor in Chief at Hippocampus and the Hippocampus Press.

Show Notes: Episode #5 People and Books

We’re guessing you already know who Dinty is if you’re here, but you can find out more about the author of The Story Cure at his website, and follow him on Facebook.

The Accidental Buddhist: Mindfulness, Enlightenment, and Sitting Still, American Style

Joan Didion’s books

Kathryn Harrison’s The Kiss

It’s the wrong time of year for Peeps, but catch them around Easter. If you’re looking for Samuel Pepys, find out more here. You can also read his exhaustive diary, one of the great records of 17th-Century London, including eyewitness reports of the Plague and the Great Fire of London.

Sarah Manguso’s books

Judith Kitchen’s books

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Allison K Williams is the host of the Brevity Podcast. She’ll also be appearing at Hippocamp for an intensive workshop on Self-Editing and consultations on your pages.

Brevity Podcast #4: Brian Doyle

June 1, 2017 § 5 Comments

The Brevity Podcast returns with a special episode featuring our interview with Brian Doyle, originally recorded last year. We wrote on yesterday’s blog about Brian’s work in Brevity, and his legacy. Here he is in his own words.

 

Show Notes: Episode #4 People, Books and Places

 For many years, Brian edited Portland magazine at the University of Portland

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Allison K Williams is a writer and editor based in Dubai, and the host of the Brevity Podcast.

Of Books, Podcasts, and Leaving Home

March 14, 2017 § 7 Comments

Emily and Chris at Savoy v3.jpg

The Book Cougars

By Shuly Cawood

I’ve been listening lately to a new podcast, Book Cougars: Two Middle-Aged Women on the Hunt for a Good Read. I don’t know how in the world the hosts read the number of books they do, but they each read about ten books at the pace I read a measly one. This podcast is where I have learned about free audiobook resources. It’s the podcast where I learned about Roxane Gay pulling her book from Simon & Schuster. It’s the podcast where I can get someone else’s take on the book versus the movie. The two hosts are Chris and Emily, and they take listeners on a tour of their latest reads and biblio adventures, discuss cultural and political issues that come up in the books, provide information about resources at libraries, and share laughter when they find something funny.

It’s the laughter part I love—though don’t get me wrong, I like hearing about authors and new and old books, and just plain learning since I am an author myself. But it’s the laughter that gets me the most. There’s a reason for that, beyond just plain liking to hear joy in people’s voices.

But to explain, I have to tell you a story—well, actually two: one from my life, and one from someone else’s.

When I was in my 20s, I lived for almost two years in a quaint, picturesque college town. The emphasis is on “almost two years,” not picturesque or quaint. I was struggling with love and life and working too hard at a job at which—I heard through the office grapevine—the boss didn’t think I was putting in enough hours, though I was averaging 50-60 a week. To say I was unhappy is putting it lightly. I cried way too much, and I had to push myself to get through the day.

My unhappiness was not the fault of the town or my boss or my job or the apartment I lived in that felt lonely or any one thing but mostly everything all piled together—which means mostly me. At a little over the one-year mark, I wanted to get up and go, but I did not. I was afraid leaving my job would be failing. I realize now I stayed longer than I should have. Even when I had been sad before in my life, I had always been able to find beauty in the landscape—in a sunrise tinged with pink or the swaying of trees—but I remember one day feeling like I couldn’t see beauty anymore. It was winter, and even with the glitter of snow, beauty had vanished for me when I looked out at the world.

Finally, at just over the one-and-a-half-year mark, I got up the courage to give notice—six weeks, so that I would not leave my employer in a lurch. All these years later, I still remember the final day, when I drove with the last of my things on the two-lane then the highways and away from that cute little town that should have been perfect for me but instead, even now, is washed in sadness in my memories of it. They say you can’t escape by leaving. They say that sadness follows you, but mine didn’t. I remember thinking on that drive that the world looked beautiful again, and I had that same feeling the day after, and the next. What I’m trying to say is I know what it means to have to leave a place in order to survive.

I grew up with a friend who was always yearning to leave our hometown. And leave she did—she went to another state for college and then moved to the East Coast where she had her two kids. Then she came back. Not because she missed our hometown but because she knew it was a great place to raise her children. And it was. But, as her kids got older, she kept saying as soon as the youngest was out of high school, she was heading to the East Coast. Meanwhile, she was making friends, running her own business, parenting her (wonderful) children. The years went on. Her first kid graduated from high school, and three years later, her last one did. Still, she stayed put. I knew she was itching for a change, but those roots were deep. It isn’t easy to just drive away when you have a mortgage and a business and long-running friendships and a history. At the same time, my friend knew she had to go, that she just couldn’t live in our hometown anymore. Two years ago, she got rid of most of her belongings, rented out her house until it sold, and got in her car and drove away, landing on the East Coast.

Leaving took guts. If you meet this friend, what you’ll meet is loyalty, endurance, integrity, and strength. She has always been those things. But now she is also happiness—I hear it in her voice, and I can see it in her whole being. This friend loves books—has always loved books. And when she talked about starting a podcast about books with one of her friends, I heard joy in the telling. Yes, she is the Emily of the Book Cougars. So when I listen to the podcast, I hear great conversation, interesting book news, banter about the latest reads, but best of all, laughter.

Hearing her laugh is my favorite part.

__
Book Cougars can be found via the website, www.bookcougars.com, or on Facebook, iTunes, and Twitter.
 
Shuly Cawood’s memoir, The Going and Goodbye, is forthcoming from Platypus Press in August 2017. Her writing has been nominated for a Pushcart and has appeared in The Rumpus, Zone 3, Label Me Latina/o, Full Grown People, and Fiction Southeast, among others. She has an MFA in creative writing from Queens University.

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