I’ve just finished rereading Henry James’ The Portrait of a Lady and have mixed feelings about the era and the characters. It’s difficult to read about Victorian morés from a 21st Century perspective. Not only do I need lenses that will give me a bi-cultural perspective, but I also feel squashed between a culture clash. Just after I finished with Portrait, I read a review of A. M. Homes’ book May We Be Forgiven in The New York Review of Books. One of her main characters says, (more…)
In the SF Bay area, we’ve recently had unseasonably warm days, totally out of character for us at this time of year in San Francisco and the other nearby coastal regions. Most of us have been delighted to sit out in our yards at night and enjoy this new balmy climate. But then I read in the paper recently that the planet has been recording one of the hottest springs, reminding me that while I’m luxuriating in these above-average temperatures, the weather extremes are killing the planet. It’s a startling and disturbing statistic. 
A week ago I typed THE END on page 264 of the manuscript for the fourth and final book 
I guess there is something comforting about the way today’s youth have become accustomed to their parents/guardians checking on them at all times via smart phones, etc. It may feel like being held in a kind of web (and here I’m not referring to the World Wide Web), a loving network. But it also suggests to me what it’s like to be trapped in a spider’s snare. The idea that none of us can have a moment when we aren’t being scrutinized in some way makes me shudder. What has happened to the notion of privacy and freedom? Am I old-fashioned to think they still are virtues?
I’m grieving the loss of dictionaries, thick, massive volumes that I used to get lost in. I would open a page and find hundreds of words, all of them demanding my attention, each a miniature world to explore. But now I’ve become a victim of on-line lexicons because they are handier than putting aside my laptop computer and marching into the other room to unload the Oxford from a bookshelf where it resides. 
Foghorns blast through the 7 AM San Francisco overcast. The only woman in the place, I saunter into the longshoreman’s union hall, trying to appear as if I did this every day. A few cigarette-scarred wooden tables offer a place for the men to gather and talk while waiting to be called to work. Billowing clouds of cigarette smoke hang ominously over everyone. 
Like detectives, writers need to be constantly observant, picking up clues from what people are wearing, how they gesture, the words they speak, the way they interact with others. They study people’s facial expressions and what they might suggest about the person, storing away the data in their memory banks. Or they’ll take notes in a writer’s journal that they’ll refer to later. 
Memoir writing blurs the line between truth and imagination in this revealing conversation with Lily Iona MacKenzie. We explore how creative writing techniques shape both fiction narrative and personal stories, as Lily explains her unique approach: “you lie in service of the truth.”
Yesterday, I had to kill time (terrible metaphor) while waiting to hear a friend of mine do a reading of his newly published memoir at a Corte Madera bookstore. So I hung out at Marin County’s Corte Madera Library. 
For years I felt guilty about breaking the heirloom toys my stepfather’s mother had preserved, relics of another era. I can still remember the excitement of lifting each object out of the boxes where they had been stored and bringing them to life again: tiny china dishes with hand-painted flowers; a miniature stagecoach carrying riders and pulled by horses; dolls with porcelain faces and hands, features frozen in smiles, dressed in stylish Victorian gowns; a doll house with elegant furniture and a family. 
Editing writing requires tremendous restraint. I was reminded of this recently when a poem I had submitted to an anthology was accepted providing I approved of the editor’s changes. I’m open to thoughtful revision suggestions—a text can always be improved—but I assume the recommendations will be just that, insightful observations that cause me to re-think my work. In that light, I can re-enter a poem or story and see if any of the ideas resonate enough for me to make changes. Yet since I’m the poem’s creator, I expect to revise it myself and have the last word on its content. 
I’ve been thinking about how loosely we use abstract words like love, happiness, and truth as if they had concrete, observable meaning. I tend to revolt from using love to close my email or other exchanges unless I really feel love for the person I’m corresponding with. It bothers me when people sign their correspondence “love” without considering whether or not the emotion really applies to the recipient. Maybe you feel loving towards someone on most days, but not every day. Isn’t it deceitful to say “love” if you aren’t feeling it at the moment? Wouldn’t such a response seem confusing? It leads the reader to believe that the writer actually has such strong feelings, that somehow we’re part of the writer’s inner circle. Often that isn’t true. 
Being a first-rate writer requires the same kind of training that an architect receives. A typical program includes courses in architectural history and theory, building design, construction methods, professional practice, math, physical sciences, and liberal arts. Writers may not need to study math or the physical sciences, but they do need to give themselves the best liberal arts education they can find, both formal and informal. And like architects, in order to be successful in their field, writers need not only vision and a rich imagination but also a strong foundation. 
Thank you, Zackary Vernon, for taking the time to share your professional writing journey with me and my readers. 
Being part of an on-line writing group for several years has provided many benefits. But with the positives come a few negatives.Another pay to play scheme: Feeding on the dreams of writers!
July 21, 2025
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| I’ve written before about how difficult it is these days to make a living as a writer. Besides the proliferation of ways to be published (traditional, hybrid, self-publishing), entire industries now exist to convince writers that this publication or that award or this marketing company will “spread the word” far and wide about their work. I was pretty sure that after decades in this business and a recent deep dive into the bogus contests one is encouraged to enter, I had insulated myself against any of these “pay to play” schemes.
I was wrong.
This time the request for an interview came from an outfit describing itself as “a literary magazine based in London.” The first third of my memoir Daughter of Spies is set in England so this seemed like a perfect fit and one that would help increase British sales. I spent three precious writing hours fashioning thoughtful answers to their interview questions which were impressively detailed, another reason I thought this was a legitimate outfit. Someone had really researched the depth and breadth of my published work. And they included my favorite photo with the credit line.
photo by Christiane Alsop Once I submitted the answers, I received a letter from someone calling herself the Editorial Director of this “magazine.” She should have used AI to write the letter if, as I suspect, English is not her first language. All typos are hers, not mine. This is A, Editor In Chief of the magazine. I’d like to thank you for participating the inteview. We found insightfull to your inteview and decided to include print editotion. And the punch line. Authors are expected to order copies of the print magazine at $35 each although Readers House can offer a 60% discount. And although they talk about distribution in 190 countries and you can buy one online from Barnes and Noble for $32.99 (!), it’s not clear, as I should have read first in an article on this excellent website, Writers Beware, that this print magazine is widely available in retail outlets in the UK or anywhere else. Two independent bookstores they list on their site had never heard of the magazine. As Victoria Strauss of Writers Beware points out, “Reader’s House basically admits, in one of its followup emails, that acquiring readers is not its main goal: ‘Unlike other magazines, our print edition is designed for authors rather than readers.’ In other words, author, you are our customer.” So this is not exactly a scam but it’s what we’ve come to call a pay to play scheme. As I wrote in an earlier post, “the one thing that has stopped me in my tracks is the number of “come-ons”, scams, and false promises that land in my inbox daily. Every one of these involve me spending money and, in the end, they will cost me far more than I ever expect to make in royalties. And all of them prey on a writer’s desperate desire to be lifted above others in the great cacophony of modern life where people more and more choose visuals on devices over reading the printed word.” I’ve informed Readers House that I won’t be buying any print copies although I appreciate the online exposure. However, I hope to include excerpts from the interview in a future Substack newsletter because, as a writer always pressed for time, I can’t stand the thought that one minute of mine was wasted. Elizabeth Winthrop Alsop (www.elizabethwinthropalsop.com) is the author of over 50 works of fiction for adults and children under the pen name Elizabeth Winthrop. These include the award-winning fantasy series, The Castle in the Attic and The Battle for the Castle as well as the short story, The Golden Darters, read on the nationwide radio program, Selected Shorts, and included in Best American Short Story anthology, and Island Justice and In My Mother’s House, two novels now available as eBooks. She is the daughter of the acclaimed journalist, Stewart Alsop. Daughter of Spies: Wartime Secrets, Family Lies, a family history about her parents’ love affair during World War II and their marriage lived in the spotlight of Washington during the 1950s was published by Regal House, October 25, 2022. Follow her newsletters on Substack. |
For thirty years now one of my favorite teaching topics in memoir classes is showing characters.
I first went to work in publishing five decades ago. It was a move I made consciously in order to understand the inner workings of what was then called Harper and Row (now HarperCollins) because I wanted them to publish my work. I started out as an editorial assistant in the department headed by the legendary 
American films tend to follow a three-act story structure with a key turning point at the end of the first and second acts. Memoir has no single formula like that for its structure, though it’s not a free-for-all. There are options to choose from.
At a New Year’s Eve party, someone asked if I’m writing lately. I said yes, I’m always writing. The next day, I decided to sit down for 10 minutes to explore the reason for my answer. Writing nonstop for 10 minutes on the topic turned out to be another good example of how writing lets us dig deeper and find out what we really think about something.
Welcome to Michelle Cameron, the author of Jewish historical fiction. Her most recent is Napoleon’s Mirage, the sequel to Beyond the Ghetto Gates. Previous work includes Babylon: A Novel of Jewish Captivity, a finalist in religious fiction in the 2024 Next Generation Indie Book Awards, the award-winning Beyond the Ghetto Gates and The Fruit of Her Hands: the story of Shira of Ashkenaz. Michelle is a director of The Writers Circle, a NJ-based creative writing program serving children, teens, and adults. She lives in Chatham, NJ, with her husband and has two grown sons of whom she is inordinately proud. 
As we sit here the week before the US elections and to my mind, the most important election in my lifetime, I wonder as I often have in the past, what’s the point of continuing to write in the face of all that worries the world. I felt this way after 911 and during the pandemic and the feeling is coming back again. I’ve been doing lots of political work which has lifted my spirits because, for me, action is the only cure for despair. But I’ve developed a powerful case of what I call “creative anxiety.” It’s happened to me before and I’m sure it will again. I’ve been away from the novel I’m working on for over two weeks. My characters are calling to me from where I left them, mounted on horses, hiding in a thick forest, searching for a young woman who has fled a convent.
I’m grateful that I live in a big city where I am forced to rub up against people who are not like me.
Valerie Nieman’s historical novel, Upon the Corner of the Moon, is now available for pre-order with the release set for March 2025. This is the story of the Macbeths you never knew, rightful rulers who united Scotland in the tumultuous 11th century. The second of the two ALBA books, The Last Highland King, will appear in 2027. In the Lonely Backwater, winner of the 2022 Sir Walter Raleigh Award, has been called “not only a page-turning thriller but also a complex psychological portrait of a young woman dealing with guilt, betrayal, and secrecy.” To the Bones, a horror/Appalachian/ ecojustice novel, was a finalist for the 2020 Manly Wade Wellman Award, and now has a sequel, Dead Hand. She is the author of three other novels, a short fiction collection, and three poetry books. A graduate of West Virginia University and Queens University of Charlotte, she has held state and NEA fellowships and is professor emerita of creative writing at NC A&T State University. 
Winner of The Writer’s Union of Canada’s Prose Contest in 2016, 
David received his undergraduate Communication degree from Stanford University. After moving to New York City to pursue a career in documentary film production, he began MA studies in Creative Writing at New York University, which included a course with his first literary hero E. L. Doctorow. He took a leave of absence after a semester to focus on supporting his growing family. That leave lasted thirty-five years and was primarily spent writing and/or directing and/or producing business communications. 
Ellen Birkett Morris is the author of 