Earlier this year, I assembled a hybrid manuscript (short stories and creative nonfiction essays) and an essays-only version and sent both out to several places. My manuscript was a finalist at three presses this spring and summer, which was encouraging. A few of the editors, writers, and friends who read my manuscript generously provided some useful feedback. Then I took some time to consider next steps.
In September, I had lunch with Sabina Murray, a fiction writer who teaches in the MFA program at UMass Amherst. We were talking about the challenges of selling a hybrid manuscript and she said, “Think about when you go to a bookstore and pick up a memoir or a novel. You are looking for a different experience in reading one over the other, right? We have different expectations for nonfiction versus fiction.”
That made sense to me, even though, given the interest in books like Claudia Rankine’s Citizen or Maggie Nelson’s Bluets, it is also a good time to be publishing “hybrid” work. For what it’s worth, Edie Meidav, another fiction writer at UMass thought it absolutely possible to shop and successfully publish a hybrid manuscript.
My takeaway: there’s no one or right answer. These are just decisions we make and go from there. The word “essay” comes from the French verb essay—to try. So much of writing is to try. And to try again.
After putting my manuscript aside for a few months, I decided to try separating the stories and essays, which meant shorter collections of each—but I could also see how they read differently.
In December, I picked up Ann Patchett’s This is the Story of a Happy Marriage. As in any collection, I found some essays more compelling than others. Many of Patchett’s essays had been published elsewhere first (and some were the text of speeches), and while there were certainly themes, Patchett has a strong following as an established writer. Readers would (and did) buy the book whether or not the essays all worked together to create a unified whole. Beyond that, of course it’s meaningful and valuable to hold a book in your hand, all the writing there at once, instead of clicking to this link and that link online.
I read Patchett’s book from beginning to end, and did not skip around. I usually skip around. I realized that’s in part why I had a hard time thinking about chronology and ordering my essays or stories—the order of stories or poems or essays in a book usually does not have much bearing on the order in which I actually read them.
On the other hand, seeing the structure, reading an introduction or forward, seeing subtitles (as in Roxane Gay’s Bad Feminist and Eula Biss’ Notes from No Man’s Land) did help me to see in part how the writers themselves (and / or their publishers and editors) intended for the book to read. And I appreciated that, could see the value in that.
With a little help from (as Roxane Gay might say) Dr. Google, I found some useful resources:
- Rebecca McClanahan’s terrific and oft-referred-to craft essay, “Forest in the Trees: the Challenges of Shaping a Book (not a Collection) of Essays” in Brevity.
- Nathan S. McNamara’s “How Should You Order a Story Collection?” in Electric Lit.
Assay: A Journal of Nonfiction Studies also has two excellent posts covering recent conference panels on the subject. One is Vivian Wagner’s blog post, “Narrative, Lyric, Hybrid: Crafting Essay Collections into Books.” This post covered the AWP 2015 conference panel of the same title with Renee D’Aoust (moderator), and Rebecca McClanahan, Patrick Madden, Peter Grandbois, and Philip Lopate as panelists.
Rebecca McClanahan began the discussion by addressing the different ways that essay collections can come together. Some books of essays, she said, cohere organically because of subject matter, style, narrative movement, or repeating images. For essays that don’t automatically hang together, however, she said writers have to grapple with a variety of questions. What should one do, for instance, with events that repeat themselves over and over in various essays? Should the writer edit the essays and place a key event once in the collection? What if some of the essays are in present tense and some in past? What about the fact that people in our essays grow up, marriages end, and we ourselves change over time? As McClanahan said, “our reflections may change drastically from essay to essay. There can be several selves on the page colliding with each other.”
Wagner ended her coverage of the panel with this commentary:
I can’t say I came away from this panel with all the answers. I’m still mulling over my yet-to-be-assembled essays. What I did learn, however, is that putting together a book of essays involves more – much more – than just creating a single Word file and piling essays in it until it reaches 300 pages. And that lesson, at least, is a good place to start.
So true. It’s much more than creating a single Word file!
Next, Heidi Czerwiec’s write-up in Assay covered a panel at the 2015 NonfictioNow Conference (I was lucky enough to attend this panel, too): From the post, “Assay@NFN15: ‘Beyond Scaffolding: Constructing an Essay Collection,’”
Audience comment from Heidi Czerwiec: Susan Grimm’s Ordering the Storm contains several theories of how to order poetry books, and Katrina Vandenberg had a great essay in Poets & Writers on how to order a poetry book based on how to make a mixtape, a la High Fidelity. Jericho Parms [panelist] responded that she often looked to poetry books for ideas on ordering.
Audience comment from Robin Hemley: there’s greater importance on the organizing principle, especially on the title of the collection, and how it works as a rubric for how to read the essays together.
I scoured my bookshelves and gathered up books of essays and short story collections and studied them—the titles, where the books opened, the tone of the first line of the first essay or story; how each story or essay closed; where the book ended; narrative arc; whether or not they were divided into sections or parts and whether or not those parts had subtitles. I think it’s worth doing this with any of your favorite books of short stories or essays.
Here are some of the books I looked at (some in great detail and others, just skimming or scanning) listed here in no particular order:
- Joy Castro’s Island of Bones (Essays)
- Adrienne Rich’s Blood, Bread, and Poetry (Essays)
- Joan Didion’s Slouching Towards Bethlehem (Essays)
- James Baldwin’s Notes of a Native Son (Essays)
- Eula Biss’ Notes from No Man’s Land: American Essays and The Balloonists (Hybrid/Nonfiction)
- Roxane Gay’s Bad Feminist: Essays
- Douglas Watson’s The Era of Not Quite (Stories)
- Lia Purpura’s On Looking (Essays)
- Ann Patchett’s This Is the Story of a Happy Marriage (Essays)
- Sonja Livingston’s Ladies Night at the Dreamland and Queen of the Fall (Essays)
- Jo Ann Beard’s Boys of My Youth (Essays)
- Rachel Hall’s Heirlooms (Stories)
- Leslie Jamison’s The Empathy Exams (Essays)
- Audre Lorde’s Sister Outsider (Essays & Speeches)
- Rick Moody’s Demonology (Stories)
- Junot Diaz’ This Is How You Lose Her and Drown (Stories)
- Meghan Daum’s My Misspent Youth (Essays)
- Jhumpa Lahiri’s The Interpreter of Maladies (Stories)
- Laurie Colwin’s The Lone Pilgrim (Stories)
- Andrea Barrett’s Ship Fever (Stories)
- Susan Steinberg’s three books: Spectacle; The End of Free Love; Hydroplane (Stories)
Ones I intend to look at:
- Ryan Van Meter’s If You Knew Then What I Know Now (Essays)
- Julie Marie Wade’s Small Fires (Essays)
I found the process of ordering my stories and essays and thinking about how the individual stories or essays speak to one other, themes, etc., to be more challenging than I imagined it would be—even though I had done another version of this process in 2013. Or perhaps I knew it—and this is why it took me many years to do it again.
Finally, I had a really thoughtful conversation over email with my friend Nate Pritts, author of several poetry collections. From his email:
These questions, about ordering, are really so crucial. I think about them a lot. I have much I could say. But maybe first I’d say you should trust yourself – reading those first and last paragraphs to see what resonance there is makes a lot of sense. Also, if your instincts suggest coming up with a structure for sections, I’d say go for it, explore it. For me, sections have always been obvious (ie, series of poems, or seasonal) or mysterious (which is to say, I roughly feel like there is a first and second section and organize poems according to those currents).
Maybe just think about the pieces overall. What shapes or recurrences or narratives define what you’re writing about: interior / exterior, journeying and returning, etc. The question then is, for example, if you can ascertain a rough interior / exterior divide, do you separate them or intersperse them for strengthening?
For poems, I tend to print out ALL the poems and spread them on the floor (or desks, whatever, all over the house) and then just walk around reading them and picking them up as I go as it makes sense, if I’m finding those riffs and connections. If these are shorter pieces, maybe you could do that too? Or maybe you could just start with one piece – is there one that seems like a center or kernel? Then what piece of the other 21 pieces goes before it? Or after it? And start working out organically in waves.
Nate’s advice resonated with me. Before this year, I had no idea how other writers came to this process. Like Nate, I had printed out copies of all the essays and stories and spread them across my office. I could see all of the pieces and move them around as actual physical objects—well before any cutting and pasting on the computer.
Many years ago I ordered the stories in my MFA thesis in the final days and weeks before handing it in and the whole process felt rushed and somewhat random—just putting things together in a word document. In the end, it was a thesis, but not a book.
Maybe assembling a book is a little like taking stock of the year—here we are on New Year’s Eve. What’s your story about 2016? Themes, highlights, recurring images? It’s stepping back and seeing the forest, as McClanahan said— (after, for me, counting up, classifying, and mulling over the variety of trees and various vegetation).
Our country’s story in 2016: The rise of Trump. A loss of heart. The loss of so many gifted musicians and writers.
The to-do list: I still have to research long-term care insurance.
Writing: I bought a new desk and two new file cabinets. I assembled manuscripts and mulled over titles and subtitles and epigraphs.
Obviously, there’s much more to the lists than this, but it’s getting late in the day and this blog post is already long. (And I need to take a shower.)
What’s on your list? What are the important pieces and parts and stories of your year?
I wish you and yours health, happiness, wild creativity, and meaningful order in 2017. And to trust your instincts. And lots of reading and writing.