Category: For authors


Q&A with WRITING FOR ANIMALS contributor Hannah Sandoval

By Midge Raymond,

Hannah Sandoval’s essay “Rabies Bites: How Stephen King Made a Dog a Compelling Main Character” appears in Writing for Animals.

 

Q: In what ways has your writing changed as your knowledge and awareness of animals has evolved?

A: I feel my depictions of animals have become more realistic. In my first novel, the protagonist’s dog was highly involved in the plot, but he was a bit cartoonish. He fell into that stereotypical category of dogs that “practically speak English!” He barked at just the right moment, as if he was agreeing to plans. He understood complex commands with no training. That sort of thing. That’s cute, but it’s not really an accurate portrayal of dogs, and it does them a disservice in some ways. Dogs aren’t humans. They possess many traits that humans either don’t have or struggle hard to maintain, such as unconditional love and total appreciation of the present moment. They don’t speak like we do, but they do speak, and that is what I now try to capture when writing dogs or any animal into my stories.

Q: What is the most important thing you feel writers should keep in mind as they write about animals?

A: Writing them as they are, not as you need them to be to further a plot. Yes, as a writer you must always keep your plot in mind, but if an animal doesn’t fit naturally into it, don’t write it in. Shoehorning in an animal does nothing for the story and usually leads to an unbelievable and inaccurate portrayal.

Q: Which authors/books do you feel do a good job of realistically and compassionately portraying the lives of animals?

A: It is extremely difficult to find books in which animals are both a main character and realistically and compassionately portrayed. Often, if animals are main characters, they are anthropomorphized. For instance, I loved Brian Jaques’ Redwall series and Kenneth Grahame’s Wind in the Willows as a child, but though they are enthralling portrayals, they aren’t exactly realistic. King’s Cujo is unique, in my opinion, in its minimalistic, realistic portrayal of the workings of a dog’s mind. Cujo is certainly the main character; the readers feel great compassion for his plight, and he feels like a real dog. The only other book that I can think of that writes an animal in that same vein is Jack London’s Call of the Wild — another childhood favorite. London keeps the reader pretty much exclusively in Buck’s perspective, rather than showing him in an outside POV, like King does, which requires he stretch the boundaries of “realistic” a little bit. Still, I feel it, too, is a realistic, compassionate, and well-crafted portrayal of an animal character.

 

Q: In your essay, you write about Stephen King’s bestselling novel Cujo. In what ways to you think this popular novel both helps and hurts dogs and other animals?

A: As discussed in my essay, I think the actual novel is a very realistic, intuitive, and compelling portrayal of a dog in distress. The novel makes the reader feel for Cujo and see him as an individual undergoing an internal struggle as complex and difficult as that of any of the human characters. It portrays an animal not as a set piece but as a sentient being with feelings, desires, and fears. And it certainly helps raise awareness of the rabies virus and why it is so important to vaccinate your pets against deadly diseases.

However, King’s nuanced portrayal of a good dog battling a villain called rabies was lost in the film version of the novel. Cujo’s name has become synonymous with violence and terror for film lovers. In many people’s minds, he is a pop-culture monster. This is because there is a lot of violence portrayed in the novel, and Cujo ultimately meets a violent end. When stripped of the omniscient narration that is the strength of novels as a medium, one is left only with a dog who commits violence and has violence committed against him. While that violence fits in with King’s ultimate theme, and while Cujo is written with the same respect given to the human characters, thanks to the story being taken out of its original form, it has done damage in the minds of many people who haven’t actually read the book.

Hannah Sandoval is a full-time freelance manuscript editor and ghostwriter and the founder of PurpleInkPen. She has a BA in English and is a proud member of the International Association of Professional Book Editors. Her novel Arcamira is the Best Fantasy Series winner of the 2017 Channillo Awards. Her Pembroke Welsh Corgi, Vanellope, embodies more sass than her owner could ever hope to.

Q&A with WRITING FOR ANIMALS contributor Paula MacKay

By Midge Raymond,

Paula MacKay’s essay “Rewilding Literature: Catalyzing Compassion for Wild Predators through Creative Nonfiction” appears in Writing for Animals.

 

Q: In what ways has your writing changed as your knowledge and awareness of animals has evolved?

A: I’ve come to recognize that creative storytelling about animals (and people) is key to wildlife conservation. Early in my career, my writing tended to be more journalistic and scientific: magazine and journal articles, newsletters, op-eds, and the like. But as I’ve become more knowledgeable about wildlife through my work in conservation and field biology, I’ve increasingly found myself trying to imagine life and landscapes through the eyes of the animals I study — and wanting to share this imaginative empathy in my nonfiction writing. A few years ago, I enrolled in the MFA program at Pacific Lutheran University to learn how to improve my craft so that I could inspire readers about wildlife in a more compelling and personal way. This is a work-in-progress, and I still very much value science and science-informed writing. But I hope my writing continues to evolve such that I can help inspire readers to love and care about our wild neighbors through their hearts as well as their minds.

 

Q: What is the most important thing you feel writers should keep in mind as they write about animals?

A: We shouldn’t be afraid to let our passion for animals shine through. Of course, we can never truly know what it’s like to inhabit an Other’s reality — and, in the case of nonhuman animals, we should take care not to project too much humanness on the animals we’re writing about (for example, my sense is that malevolence is mostly a human attribute). Nonetheless, I think it’s important to recognize the intelligence, social and family bonds, curiosity, personalities, and other remarkable traits of animals in our writing, and to reveal our own inner worlds as they relate to animals so that readers can emotionally connect with us, our stories, and the animals themselves.

 

Q: Which authors/books do you feel do a good job of realistically and compassionately portraying the lives of animals?

A: I’ve read numerous books in this category and I hope to read many more (and maybe even write one myself!). But here are a few off the top of my head:

Rick Bass, Ninemile Wolves
Marc Bekoff, Rewilding Our Hearts
Jane Goodall, Reason for Hope
Ted Kerasote, Merle’s Door
Helen Macdonald, H is for Hawk
Ellen Meloy, Eating Stone
A. A. Milne, Winnie-the-Pooh (who doesn’t love Winnie-the-Pooh?)
Sy Montgomery, The Good Good Pig, The Soul of an Octopus
David Quammen, Monster of God
Carl Safina, Beyond Words
Eva Saulitis, Into Great Silence
John Vaillant, The Tiger
E. B. White, Charlotte’s Web, Essays of E.B. White
Peter Wohlleben, The Hidden Life of Trees (okay, trees aren’t animals—but they are living beings)

I’d also like to recommend Wild Hope magazine—a relatively new publication (to which I contribute) that does an excellent job of blending wildlife science and storytelling.

 

Q: In what ways can humans use nature to reconnect with animals, both on and off the page?

A: My time in nature — local forests and beaches, and especially wilderness — is key to reconnecting with other animals and myself. The human world is full of distractions and distressing events these days, which create so much inner noise that it can be difficult to hear ourselves think or to tune into the sounds of nature. When I walk through the woods or in the mountains, I’m reminded that there are many, many realities out there (imagine the life of a woodpecker or a wolverine!), not just the personal and political realities that tend to occupy my mind, and I find a sense of peace that escapes me on the streets of Seattle. With this quietude, I feel a deep communion with other animals and the inspiration to give them voice in my writing.

Paula MacKay completed her MFA in Creative Writing at Pacific Lutheran University in 2015. For the past seventeen years, she has surveyed bears, wolverines, wolves, and other wildlife with her husband, Robert Long, with whom she co-edited Noninvasive Survey Methods for Carnivores (Island Press, 2008). Paula has written about animals and conservation for numerous organizations, scientific books and journals, and magazines. Her essay “My Sister’s Shoes” was recently published in Siblings: Our First Macrocosm.

Q&A with WRITING FOR ANIMALS contributor Kipp Wessel

By Midge Raymond,

Kipp Wessel’s essay “Meeting the Wild Things Where They Are” appears in Writing for Animals.

Q: In what ways has your writing changed as your knowledge and awareness of animals has evolved?

A: I’m a fiction writer, and my strongest artistic instinct is to write solely from experience and imagination. But when it comes to wild things, I also incorporate disciplined research. I want the animal lives in my work to live and breathe and shape their own personality as much as anything else I write about — I want them to be just as complicated and messy and unpredictable. I don’t want to be a writer of test-tube wildlife. But I also want to make sure their presence and energy are grounded in the reality of how individual species cope and react. Also, when you start unraveling the layers of what animals are — that research expands narrative possibilities.

The other significant change stems from how animals have changed my life. I’ve never shared my life with an animal I haven’t fallen in love with. Completely and irreversibly. I don’t know if I’ve ever met one I haven’t fallen in love with. And when you fall all the way into that dynamic, when you love someone with your complete heart, no matter who it is, it changes you. The animals in my life are constantly teaching me about attachment, play and meaning — and those are themes and qualities infused in my creative work.

Q: What is the most important thing you feel writers should keep in mind as they write about animals?
A: Here’s the most important thing I try keep in mind — the act of emptying it. My preconceptions. It’s so easy to interpret the behaviors of other beings through the veil of our own instincts, drives and emotions. We’re hard-wired for that. I’m pretty sure all species share that myopia. But when we misinterpret wild things and places within our work, when we don’t do the hard work of setting our preconceptions aside, our work doesn’t just risk inauthenticity. It can also mute or miss the raw and untamed energy we could be tapping.

I remind myself to forget what I think I know, but also be suspect of what others think they know. About animals. Including biologists and scientists. Because science gets it wrong, too. We are constantly underestimating the intellectual, emotional and social lives of animals. When we wade into the lives of animals, it’s a deep pool. We have to be open minded about all that’s hiding in those waters.

Q: Which authors/books do you feel do a good job of realistically and compassionately portraying the lives of animals?
A: When I immersed myself in the subject of grizzly bears for my novel, I was moved by Doug Peacock’s Grizzly Years: In Search of the American Wilderness. I really admired how he used his own personal curiosity of grizzlies to fuel an intense and vital exploration of the animal. Rick Bass writes beautifully of wild things (and everything else). He has written several books on animals that unfold like mysteries. And his eloquence when writing about the wilderness where wild things thrive serves as inspiration and a nudge for us to make sure these unique places, and the animals within them, remain. Mary Oliver writes beautiful poems about our connection with animals. Jane Goodall demonstrates equal parts compassion, study, patience, and nothing short of sainthood. Those are a few I admire.

Q: In your essay, you write that animals are as sentient and multifaceted as humans, if not more so. What in your own experience with animals brought you to this realization?
A: Every experience. Every time an animal has stood or crouched or bounded in front of my eyes, I’ve only viewed them as fascinating worlds with their own complex emotional lives.

But I often wonder that question from the opposite direction. What is it within the human subconscious or ego that pushes us to subvert the sentient truth of animals? What inspires us to deny the emotional capacity of species separate from ours? For what purpose? Because it’s not our initial reaction. Watch a child observing an animal, before that child is verbal, and her entire being is locked in wonder. The child sees the animal as the individual being it is. She doesn’t question if the animal feels or is conscious, because both things are so obviously staring back at her. She doesn’t weigh the animal’s existence, abilities or merit on a scale against her own. Her sole response and interest is contained in the act of seeing the animal.

She asks: What are you? Who are you? Both questions.

When I was four years old, I came face to face with my first wild rabbit — a furry, piked-ear alien that vaulted and then froze in the tall grass of our backyard. The two of us, young child and rabbit, stumbled into that moment on equal footing. Between us, our astonishment was divided evenly. I stared into the rabbit’s wet, round eyes. My breath clutched in the hollow my chest. I watched her twitching, soft nose and the way her whiskers trembled the wristwatch drumming of her heart.

That’s the moment I try to experience every time I’m fortunate enough to find my way into the presence of an animal. It’s a bi-directional moment. We observe, contemplate and react to each other. Me to her — she to me. If she isn’t conscious, how can I be? It’s both of us or neither. We’re either in this together, or neither of us is.

Animals feel. They think. They play. They attach. They mourn. They are. Animals are sentient, fully conscious beings that demonstrate a tapestry of emotions, from the pronounced ones of joy and grief, to the more nuanced ones of empathy and worry. They feel pain. They suffer. They collaborate and compete. And those are just emotions and behaviors we have in common. Imagine the universe of others we don’t share or aren’t even aware of. They are individual nebulas of personalities, emotions, and perceptions.

And here’s the thing — the sentient ability of animals doesn’t confine or constrict the gravity of our own weight in this shared universe. Darwinism needn’t be garbled into interspecies cage match incoherence. Our continued understanding and appreciation of the complex and diverse beings sharing our homes, yards, and planet only amplifies the significance and possibility of our own experience and existence. It widens, not lessens it.

Maybe that viewpoint isn’t universally shared. I don’t know. It’s impossible for me to see it any other way.

Kipp Wessel’s debut novel, First, You Swallow the Moon, a novel of heartbreak and wilderness, was a BookLife Prize in Fiction finalist and earned a Writer’s Digest first-place award. His short stories have been published in a dozen commercial and literary magazines, and he’s taught fiction writing at the University of Montana (where he completed his MFA), the Loft Literary Center in Minneapolis, and regional community arts programs.

 

What’s new with ACP authors…

By Midge Raymond,

We are always thrilled to receive updates on what’s new with our brilliant and talented Ashland Creek Press authors, and we are long overdue in officially sharing some of the good news. (If you don’t already follow us on Facebook, Twitter, and/or Instagram, come find us there, where you can stay up-to-date on all the news.)

Among the fun news we have to share…

Mindy Mejia, author of the The Dragon Keeper, published Everything You Want Me to Be (Emily Bestler Books) last year to rave reviews (from a Booklist starred review to People magazine) and international acclaim (click here to see the international editions). Her new novel, Leave No Trace, is forthcoming in September.

Ray Keifetz, a contributor to the first edition of Among Animals, won the Bitter Oleander Press Library of Poetry Award for 2017 for his poetry collection Night Farming in Bosnia. To learn more about Ray and his new book, check out his interview with Literary North.

Jennifer Caloyeras, author of the YA novel Strays, is also the author of a critically acclaimed short story collection, Unruly Creatures, published last year by West Virginia University Press.

If you love the stories in Jean Ryan‘s collection Survival Skills as much as we do, don’t miss her new collection, Lovers and Loners, as well as her nature-infused essay collection, Strange Company.

JoeAnn Hart, author of the award-winning novel Float, has a new book forthcoming from the University of Iowa Press in September of 2019: a non-fiction crime memoir, currently titled Old Scofieldtown Road, A 70’s Tale of Race, Death, Love, and Real Estate. Stay tuned!

We congratulate our wonderful authors on their successes and hope you’ll check out their new books (and their ACP books, if you haven’t already!). We look forward to bringing you more news on what’s new and forthcoming from the authors of the ACP books you love.

On book returns & book tours

By Midge Raymond,

Most people outside of publishing don’t know anything about the concept of book returns, but for those of us in the industry, it’s a constant topic of conversation. Either we’re bemoaning the number of books that are returned (usually not in salable condition), or we’re wondering whether we’re missing opportunities by not allowing returns.

So, what does the term “returns” actually mean in publishing?

Thanks to a Depression-era tradition that encouraged booksellers to take books on credit and return any unsold copies, books can still be returned to publishers by booksellers, unlike nearly every other consumer product out there. Despite the fact that we’re no longer in the midst of the Great Depression, the tradition continues. For the booksellers, it means they can take a chance on books without having to sell them; if they don’t sell, they can simply return the books and not have to pay for them.

For publishers, particularly small presses, it’s a bit more complicated. While the Big Five publishers are better able to absorb the losses incurred by book returns, it’s not as easy for the little guys. Publishers are expected to cover the return shipping, and books often arrive in damaged, unsalable condition, which means not only a tremendous amount of waste but losses for both publisher and author. It’s especially difficult for small presses to stay in business with such losses, which is why so many small presses (like us) can’t afford to take returns.

Yet we’ve found ways to work with both authors and booksellers to make sure that our titles are visible and available to readers. Sometimes it means offering free shipping; sometimes it means asking authors to take extra copies because the bookseller prefers to under-order; sometimes it means selling our books to bookstores one book at a time. While most booksellers initially do balk at the idea of no returns, we’ve found that many are also happily willing to work within our parameters to support the authors in their communities.

As more authors publish with small presses (as well as self-publish), there are a few things to keep in mind when it comes to bookstore events. After all, the goal for both author and bookseller is to sell out — so whether you’re with a small press, a Big Five publisher, or self-published, these are good tips for authors to keep in mind.

  • Work with indie bookstores to gauge the number of books you’ll need for an event. Ask the events manager to collect names for a free registration, and sent out e-invitations with RSVPs so that the bookseller can try to order just the right amount (studies have shown that one in four attendees buy books at author events). Always bring extras of your own in case.
  • Promote your event! Many authors are under the mistaken notion that it’s a bookstore’s job to bring in the crowds — yet many booksellers don’t do as much promotion as a new author may need (also, they can simply return any unsold stock without losing a penny). So if you want to avoid returns — and especially if you want to avoid facing an empty room — be sure to go the extra mile to promote the event: in addition to alerting friends and family and sharing it on all your social networks, send announcements to local media, get your event into community calendar listings, create a flyer that the bookstore can post — and most important, ask the bookstore how you can work with them to make the event as big and successful as possible.
  • Hold your events in cities in which you’re confident you can draw a crowd, either via friends, family, and colleagues or by the topic of your presentation.
  • If the bookseller over-orders your book, offer to sign them and ask if the store will hold onto those extra copies and work on selling them rather than packing them up and shipping them back the next day (which is often exactly what happens). If your publisher doesn’t take returns, you can buy back the books at the publisher’s discount and sell them at another event.

Managing returns is helpful for everyone involved — not only does it behoove authors and publishers, but it limits the vast amount of waste in publishing (the carbon footprint involved in shipping books back and forth, the destroying of unsalable copies) is good for the planet, and it’s worth everyone’s time in the long run.