SG:
First of all, congratulations. I LOVE your book. I slurped it down. I don't
think we can ever hear enough stories about the Excitement of Selling a Book to
a Publisher. How did that go for you-- did you start by getting an agent
interested in a proposal, or did you write the book first? And also, along the
lines of process, how long was it from inception to published book?
Thanks for the compliments! I love the word "slurped." That is
exactly how I want people to feel.
I got my book contract the way I've done most other things, completely backwards and through a side door. I started out as an obsessed fangirl, trying to turn my favorite perfume blog posts into an anthology/guide to loving and understanding perfume. That project gave me the courage to try and find an agent (which is a whole other side door kind of story--we started off by agreeing we were wrong for one another but met for lunch anyway).
When we were shopping the first project around a couple of the editors said, basically, "Hey, I don't want this book but you're a very good writer. Why are you trying to do a guide? Why don't you just go write your own book?" One editor in particular expressed very strong interest in seeing another proposal for a memoir. I had already written some short personal pieces for the proposal we were trying to sell, so I said to my agent, "Oh, no problem, just give me a few days." Then I lay down on the floor and had a small panic attack. Six weeks later I had an initial draft of a proposal, but it took me almost a year to truly get it into shape and to write the two sample chapters we submitted, mostly because I had to keep taking little breaks to lie down on the floor again. I was teaching myself as I went--I'd never written anything like this before and had no idea if I could. The first time I wrote a scene with dialogue I had this feeling of relief: "Oh, look! I do know how to write dialogue! Who knew?"
I signed my contract at the end of July 2009, and it gave me 18 months to write the book. After that there was six months of revision--one round of major restructuring, and then two more rounds of line edits and copy-editing with a fair amount of waiting around in between each submission. I'm going blank on the date of my final submission--I'd have to look at emails--but I think it was the beginning of October 2011. That probably seems like a long time to most people, but am a very slow writer (it took me nearly four years to write my dissertation) so it seems astoundingly speedy to me. Except for the waiting around to hear back after the first round. That seemed like an eternity.
SG: Of the many things I love, I really think you did a great, honest job of describing how you went from being serious doctoral candidate, dedicated feminist, etc to perfume lover and pending bride. I can't overstate how much I appreciate the authenticity of your voice-- I read too many articles/books (before tossing them across the room) where it feels like the writer is trying to force a false narrative, created after the fact, to please a publisher. But I find your journey and your voice very real. When you first began writing on topics not associated with feminism, did you have any feelings of guilt or betrayal or just weirdness or did it just feel real from the get-go?
I got my book contract the way I've done most other things, completely backwards and through a side door. I started out as an obsessed fangirl, trying to turn my favorite perfume blog posts into an anthology/guide to loving and understanding perfume. That project gave me the courage to try and find an agent (which is a whole other side door kind of story--we started off by agreeing we were wrong for one another but met for lunch anyway).
When we were shopping the first project around a couple of the editors said, basically, "Hey, I don't want this book but you're a very good writer. Why are you trying to do a guide? Why don't you just go write your own book?" One editor in particular expressed very strong interest in seeing another proposal for a memoir. I had already written some short personal pieces for the proposal we were trying to sell, so I said to my agent, "Oh, no problem, just give me a few days." Then I lay down on the floor and had a small panic attack. Six weeks later I had an initial draft of a proposal, but it took me almost a year to truly get it into shape and to write the two sample chapters we submitted, mostly because I had to keep taking little breaks to lie down on the floor again. I was teaching myself as I went--I'd never written anything like this before and had no idea if I could. The first time I wrote a scene with dialogue I had this feeling of relief: "Oh, look! I do know how to write dialogue! Who knew?"
I signed my contract at the end of July 2009, and it gave me 18 months to write the book. After that there was six months of revision--one round of major restructuring, and then two more rounds of line edits and copy-editing with a fair amount of waiting around in between each submission. I'm going blank on the date of my final submission--I'd have to look at emails--but I think it was the beginning of October 2011. That probably seems like a long time to most people, but am a very slow writer (it took me nearly four years to write my dissertation) so it seems astoundingly speedy to me. Except for the waiting around to hear back after the first round. That seemed like an eternity.
SG: Of the many things I love, I really think you did a great, honest job of describing how you went from being serious doctoral candidate, dedicated feminist, etc to perfume lover and pending bride. I can't overstate how much I appreciate the authenticity of your voice-- I read too many articles/books (before tossing them across the room) where it feels like the writer is trying to force a false narrative, created after the fact, to please a publisher. But I find your journey and your voice very real. When you first began writing on topics not associated with feminism, did you have any feelings of guilt or betrayal or just weirdness or did it just feel real from the get-go?
Oh, I felt tremendous guilt and worry! Especially in the beginning. I had the same boring argument with myself about selling out every five minutes or so. But that was less about my feminism per se, than about my general lefty politics, especially my politics regarding class, and a certain kind of literary snobbery that I'd picked up in graduate school. I had spent years being critical of memoirs not unlike the one I was about to write, and even longer championing books that were dedicated to telling stories about people and events that usually get excluded from the mainstream. Not only was I writing about myself, I was going on and on about a high-end luxury product with no redeeming value other than its beauty. But those worries and internal conflicts were part of the story I was trying to tell--the way my desire to be good, to live an engaged life, had turned me into a much narrower person than I needed to be--and they were also the source of a lot of comedy.
Really,
it was my feminism that allowed me to write the book. It taught me to look
closely at anything that gets dismissed as frivolous and feminine to see if
something subversive might be going on. And it gave me a lot to say about women
and femininity and pleasure that I hope goes beyond perfume.
SG: Something else I so admire-- the narrative arc felt really natural. I'm in awe of your storytelling skills, how you build up suspense, introduce so many interesting characters, and weave in the perfume story and the wedding story. Was your writing process tortured or did the pages just pour out of you? Did you take many writing classes in school or are you to the quill born?
SG: Something else I so admire-- the narrative arc felt really natural. I'm in awe of your storytelling skills, how you build up suspense, introduce so many interesting characters, and weave in the perfume story and the wedding story. Was your writing process tortured or did the pages just pour out of you? Did you take many writing classes in school or are you to the quill born?
This
question made me laugh out loud for a long time. Then I wrote to my editor and
asked if she had heard me laughing all the way in New York. Thank you so much
for the lovely compliment but no, building a narrative arc is not at all
natural for me. I digress, I say everything three times, I spend too much time
on details and I'm always trying to pack too much in to too small a space. I took a few writing classes as an
undergraduate but I was trying to be a poet so they taught me nothing about
narrative. I did learn something from my brief career as a journalist and I
learned a tremendous amount about writing for a specific audience by reading
and writing for the perfume blogs that led me down the rabbit hole. And once I knew
more about the kind of book I wanted to write I read dozens of memoirs, good
and bad, looking for things to steal and avoid, and just teaching myself more
about the genre. I'm an incorrigible eavesdropper and a pretty good mimic so
dialogue and characterization turned out to be fairly natural for me. My editor helped a great deal with the
overall structure of the book--the three sections were her idea. But mostly I just wrote and re-wrote
and started over and over again until I got at least halfway to what I could
imagine.
SG: I'm always curious about how characters that appear in memoirs feel
about the way they are depicted. In your case, I happen to know some of the
folks in your book and I felt like you really captured their spirits well. Have
you had any feedback from them? Any advice for aspiring memoirists who are
struggling with the desire to write about people in their life vs. upsetting
those people?
Most
of the direct feedback I've had has been very positive, though I expect people
are talking to one another more than they are talking to me, which is just
fine. (I don't have to know everything, and people have a right to feel more
than one way.) I told all the
major players in the book that they would appear and I asked permission to
include certain stories. I even offered to show drafts, but no one took me up
on it. I also gave nearly everyone pseudonyms, and I tried to make it clear in
the book that I was not telling all that could be told--that these people would
have their own versions of the events at stake.
It's
very scary to write about real, living people. My book is basically a romantic
comedy--I'm not trying to expose any wrongdoing or bear witness to trauma--but
I still felt like it was a possibility I could alienate myself from people and
communities I loved. I don't know if I have any useful advice for people beyond
trying to remember that every single human being is complex enough to deserve a
book--or dozens of books--of their own. I feel like it's my job as a writer to
imagine as much of that complexity as I can, even if only a tiny amount of that
story makes it into the book. It's not always possible to have that kind of
perspective in daily life, of course, but I think it's something we can do as
writers--it's an opportunity we shouldn't pass up.
SG:
I went into the book really despising perfume but as I read along the
descriptions, which are awesomely pornographic (I mean that in the best sense
of pornography), I felt like, "Hey, maybe I should try this perfume stuff."
And you know, sometimes now I will put on a little spritz when I'm out
shopping, to see if maybe I can awaken a latent love of perfume. I have to
confess I still don't like perfume (though I dig some essential oils like
lavender) but I'm impressed that your writing could convince me that maybe I
had it all wrong. And in your adventures, you have converted a number of
previous non-believers. What's it like for you, these conversion experiences?
I think
you should let me come over to your house with my portable chest and let you
find out firsthand! I'm convinced the for most people perfume is like poetry.
They say they don't like it, but they really mean they don't know what to do
with it, how to find the thing they can love. Of course some people won't ever
care about it, just as some people don't like wine or food or music or animals
and that's fine, too. I am truly more interested in perfume as a gateway to
waking up, to sensuality, play and pleasure, than I am in converting people to
the stuff itself.
But to
answer your question--most of these little conversion sessions I have with
people are very moving. We're talking about scent memories and the way they see
themselves walking through the world. It usually goes much deeper than,
"Do you like this?" And even when it doesn't sniffing things together
is a very silly, very intimate thing to do. There's a lot of giggling and
delight. There's a sense of daring, exploration and expansion. How could I not
love that?
SG:
I'm spending a lot of time here talking about the perfume side of the book. As
for the wedding part-- so, okay, looking back and knowing what you know now,
what are three tips you would offer brides preparing for their weddings?
1) I
think the most important thing I learned was that unless you plan on eloping,
weddings are as much or more about family and community as they are about
brides and grooms, which is to say they are difficult, messy, joyous
neogtiations that begin the second you tell people you're engaged. This also
means that...
2) You
can try to make your fantasies of a special day come true, but be prepared for
the fact that you will probably run up against a whole lot of other people's
fantasies while you're doing so, from your mother's ideas of a perfect party to
the white-dress dreams of complete strangers who feel free to give you advice.
As a bride you're part of a powerful story (I was very surprised by just how
powerful) that's much bigger and older than you are. You've become a symbol
and, in many cases, a chance to make money (never tell people you're shopping
for a wedding). Try not to take it too personally. But do...
3)
Reserve a few parts of the wedding that are yours alone, and a few that belong
to you and your groom. For the two of us it was the ceremony. For me it was
perfume.
SG:
What's next for you-- book tour? Working on a new book? And where can we find
you on the internet?
I had a
very tiny tour--San Francisco, Austin and New York--that will officially end in
September with a trip to Boise to read in front of lots and lots of people who
are in the book. Yikes. I'm going to need a little time to sit and think and
write before I'm sure of my next project, but I want very much to be in the
middle of a new book, it's my absolute favorite thing to do even when I'm
complaining about it. In the meantime, I'm getting a blog up and running on my
website--www.alyssaharad.com--which will also be full of reviews, recommendations, recipes and
who knows what else. And you can find me on Facebook (http://www.facebook.com/alyssa.harad.author)
and Twitter (https://twitter.com/alyssaharad)--probably a little too often.
Thanks for this interview, fun read. I was in Book People today and saw the book in the "new/local" section and picked it up. Congrats to Alyssa!
ReplyDelete