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The Fourth Annual San Diego City College International Book Fair is just around the corner! It opens on Friday eve., October 2, with two speakers and a knock-your-socks-off concert by Perla Batalla, and then continues all day Saturday, October 3. I’m really excited and deeply honored to be one of the writers on the program.

The biggest excitement for me is the chance to connect again with a fellow author I met several years ago on a panel at a conference in New York. William Powers writes with quiet dignity and eloquence about what he calls the “soft world.” His subjects are indigenous people living amid the cultural onslaught and environmental degradation of international corporations in places like West Africa and South America. His books UNDER THE PANDA’S THUMB, and BLUE CLAY PEOPLE are must-reads for people advocating for true global citizenry, and Bill himself serves as a good example of what one tenacious person can accomplish.

He would be a hard enough act to follow, but looking at the schedule I see that I also have to come after someone who is arguably the best-known person on the program. Marilyn Chin is a renowned poet who has now written what sounds like a very entertaining debut novel about two young Chinese women trying to balance assimilation with traditionalism while driving a delivery van for a (bad) Chinese food joint.

An hour of inspiration followed by an hour that promises lots of laughter, and then it’s my turn. Gulp.

Nevertheless, I must admit that I am truly excited about the opportunity to speak about UNTIL OUR LAST BREATH. Most of my appearances since the publication of THE FOUR SEASONS have been about that book, and I have been hoping for opportunities to share with audiences what I learned from writing UNTIL OUR LAST BREATH. After a short introduction to the book’s specific subject matter—Jews who fought back against the Nazis in Vilna, Lithuania—my experiences writing the book will be the primary focus of my talk.

The fair is an important part of San Diego City College’s emergence as a hub for writing in the San Diego area. It’s the brain child of Professor Jim Miller, the original director, and thrives now under current director Virginia Escalante, with the enthusiastic support of college president Terry Burgess, the City College Foundation, and many local sponsors. Come on down, if you can, and bring your kids–there a whole children’s area for budding authors. Here’s a complete list of speakers and events.

It’s mid-September, so what’s up with these greetings? My Jewish friends will understand the first. This weekend marks the Jewish New Year, Rosh Hashanah (“Head of the Year”). The High Holy Days, beginning with Rosh Hashanah and ending with Yom Kippur, are a time for reflection on the past year in a uniquely Jewish way.

One important part of the process is a meditation known as Vidui. It’s essentially an inventory of all the ways a person can fall short of the mark. Though much of the prayer is focused on what is perceived as improper behavior toward God, there are also sections in which the focus is how we might have let ourselves and others down by not being the best person we can be.

The idea is to identify shortcomings and make amends if these have caused harm to others. Being sorry is not enough. One has to act on that sorrow with a genuine desire to heal the damage, directly if possible and indirectly if not, and then resolve to not fall short in that way again.

It’s a deeply moving process, if taken seriously. I have found in my own life that the High Holy Days have helped me come to grips with the unfinished business of the past, find a healthy and forward-looking resolution, and truly feel I can move on. Whether a believer of another faith or not, reviewing the Vidui for yourself can function as a form of self help–free therapy from an ancient rite! Those who want the secular take can scroll quickly through the rest.

So why is it Thanksgiving? This is more personal. There’s a ceremony on the first day of Rosh Hashanah called Tashlich, where Jews throw bread upon water as a way of casting aside the last year and moving into this period of renewal. I feel I keep a pretty close watch on myself year-round. I think I do a pretty good job of being mindful of the needs and feelings of others, and I do my best not to behave in a way that loads others down with burdens that rightfully I should carry. I’m pretty good about finding what requires atonement and doing it at the time. Since I’m not very good at coming up with a long list of things to repent, I use Tashlich a different way.

As I stand at the edge of the Pacific Ocean, I do my best to be grateful for something specific as I throw each morsel of bread. I’m grateful for friends and family; for meaningful work to do; for a comfortable standard of living; for opportunities to grow artistically, intellectually, and spiritually; for good health, and for so many other things. I give thanks, in essence, for the opportunities life provides me for happiness and the ability to move on from the things that stand in the way. May it always be so. Happy New Year!

“You know, there’s someone else with the same name out there publishing books,” an acquaintance said to me a few days ago.

“Seriously?” I’m definitely listening.

“Yeah–I saw the titles online. They were really different from your books, though.”

A light is starting to dawn. “Were they mostly about countries? Shorter books maybe, for teenagers?”

“Maybe….” She still looks puzzled, but I’m not. “That’s not someone else,” I tell her. “It’s the same old me.”

When I launched this website in January 2009, I made a decision to streamline a lot of what had been on my separate websites for THE FOUR SEASONS and UNTIL OUR LAST BREATH. One of the things I eliminated was a page about the books I had written

when I was just starting to write for publication. My first published volume was for Lucent Books in 1999, a Young Adult (YA) book on Kenya. I followed that over the next several years with sixteen other YA titles, mostly in a series called Modern Nations. My other strong interest was Judaica, and I ended up writing several YA books on aspects of that (images of the book covers for those are shown here).

I stopped writing for Lucent Books in 2004, when Michael Bart asked me to be the author of UNTIL OUR LAST BREATH. It was a good experience writing for young adults, and I highly recommend it for anyone interested in trying out the idea of a career as a writer. I discovered a great deal about the overall process of publishing a book, including all the behind-the-scenes roles others play. I learned to work within parameters for such things as word count and level of reading difficulty. I learned about meeting deadlines and following formats, and about the reciprocal expectations of author and editor. But most of all, I learned to write more clearly and succinctly, and to explain things well. This above all played a role in my successful transition to adult non-fiction with UNTIL OUR LAST BREATH.

Lucent Books publishes primarily for libraries, so if you’re interested in books by the “other me,” or in the subjects I’ve written about, you might want to check out your kids’ or grandkids’ school library, or your local branch of the public library.

Funny how a misunderstanding can sometimes lead to an entirely unrelated insight. A few days ago my partner was talking about a paper he was working on in his scientific field, and I heard him say, “it’s an instruction from my imagination.”

“That’s exactly what writing is like for me!’ I replied.

Turns out what he actually said was “it’s a construction from my imagination,” and that’s apt too, but fiction writers already know that our work is constructed out of our heads. It was the misunderstanding that provided real insight into my own creative process.

Some people may picture the Muse as a creature with a toga and a crown of laurel (which I like to think of as a Laurel Corona). She sits on a writer’s shoulder and sings inspirational songs while accompanying herself on the lyre. My muse isn’t like that at all. She’s more like a drill sergeant barking orders. Get up! Get to work! Stay put! You have a novel to write! With all my novels, it was like getting instructions from my imagination, instructions I had no choice but to accept.

I’m not saying I don’t love my Muse. She has never let me down (although, as for all authors, the Muse’s relationship to our unwritten books is yet to be seen). But writing is a real taskmaster, and writing a book feels like going to a very, very long boot camp.

Long indeed. I realized the other day that I have written four full-length books–three novels (THE FOUR SEASONS, PENELOPE’S DAUGHTER, and my in-progress work, THE LAWS OF MOTION) and one narrative non-fiction work (UNTIL OUR LAST BREATH) in six years. I have never not been writing a book since the beginning of 2004, and in some cases, most notably with UNTIL OUR LAST BREATH, rewriting and heavy editing overlapped with creating the first draft of THE FOUR SEASONS.

Those are some pretty serious marching orders! So I’ve been appreciating the fact that, with the first draft of THE LAWS OF MOTION done (and with no editor yet to take the place of the Muse), I have no orders at all. I’m back to having only one full-time job, teaching humanities at San Diego City College, and it is really a treat to be able to give it my full attention. Who knows? I might actually do some reading for pleasure this fall. Play a little more tennis. Get back regularly to the gym. Read more than the headlines in the paper. This could be fun!

But I’m keeping quiet about it. You never know what the Muse might do if she starts feeling insecure about her hold on me. But I don’t worry too much. Whenever she wants to return I will welcome her with open arms–that is, after dropping and doing a few sets of push-ups.

I’ve just finished the first week of instruction of the Fall 2009 semester at San Diego City College. It was a great first week, filled with all the affirmations that have kept me doing my job with a lot of joy in my heart since I went back to teaching full-time about fifteen years ago. Here are some of those affirmations:

YES to students who believe in the power of education to change their lives.

YES to students who are full-time workers and parents, who manage to work it out so they can be sitting in classrooms ready to learn.

YES to students who WANT to go to school with people different from themselves.

YES to students who have never given up on themselves despite the stunning obstacles they have faced.

YES to students who don’t give up on themselves despite the stunning obstacles they face right now.

YES to students who come up and say “this class sounds really hard, but I like that.”

YES to students who think the same thing and keep it to themselves.

YES to students who believe they have a voice that should be heard, and know that learning to express themselves articulately and passionately will help make that happen.

YES to students who ask questions.

YES to students who’ve already started reading the book.

YES to students who respect their teachers.

YES to teachers who respect their students.

YES to colleagues who pull out all the stops to be the best they can be.

YES to staff who remain good humored when professors are flaky and disorganized (and sometimes downright rude).

YES to Fall semester 2009.

And, YES, I’m glad the first week is over.

This from the website of UNITED THROUGH READING:

“What began as one woman’s vision for separated military families has now benefited over a half million people, both military and non-military, through the power of reading aloud. Today, United Through Reading offers parents separated from their children by distance or circumstance a opportunity to be recorded on DVD reading storybooks to their children from nearly 200 recording locations around the world.

“Imagine a US Army Soldier entering a tent in Afghanistan, dropping his gear and picking up a copy of Goodnight Moon to read to his son at home. Imagine a child, living in foster care while her mother is incarcerated, sitting down with a brand new copy of Go, Dog, Go! in her lap and being read to by her mother. Imagine a child getting to know his great-grandmother because, even though she can’t travel, she can read him a bedtime story from her local library. Now imagine doing that for over a half million people, and you have 20 years of United Through Reading.”

I can’t imagine a charity that could be more inspiring–or timely–as we experience war and social upheaval in our own lives. I recently became aware of this group when Dr. Sally Ann Zoll, CEO of United Through Reading, contacted me to ask if I wanted to donate my time as part of a silent auction item at the organization’s upcoming Storybook Ball. It will contain eight signed copies of THE FOUR SEASONS, and a restaurant lunch for eight with me coming as their featured guest to lead a book discussion. This is something entirely new for me–an honor of course, and what a lot of fun in an excellent cause!

The Greater San Diego Council of Teachers of English website recently began advertising their fall “Promising Practices” conference, at which I will be both the opening and the closing keynoter. My opening talk is titled “Writing Scared,” a feeling any serious writer will understand perfectly. Writing IS scary, unless there’s no chance for growth in it, and in that case, why bother?

In the years I taught college composition, I used to tell my students that it was easy to think of a writing assignment, or indeed any challenge, in a way that would overwhelm them. The trick is to whittle down big problems in smaller ones that aren’t overwhelming and that can be handled one at a time. Is a ten-page paper on the Russian Revolution too scary? Well, how about one paragraph on the lives of serfs? And then how about a paragraph on how the revolution was supposed to improve their lot? Can do! And then, how about…well, you get the picture. Lo and behold, eventually you hit page ten.

In the years I wrote Young Adult (YA) books for Lucent Books I didn’t think about the 120-page length. I thought about writing 6 consecutive 20-page papers about various subtopics. That length of paper wasn’t too scary for me–after all I’d gotten through grad school, hadn’t I? Within that I asked myself, “Can you write a paragraph about Jomo Kenyatta? A page about colonialism?” Voila! A 120-page book took shape sentence by sentence because I was successful in never seeing it as a 120-page book.

A few years ago, the same thing got me through writing UNTIL OUR LAST BREATH. An accurate and compelling portrait of the Jewish Partisan movement? Yikes! A contribution to the literature about the Holocaust? Double yikes! A page about the Nazi invasion of Lithuania? Yes. A paragraph about ghetto administrator Jacob Gens? Yes. A book? Eventually.

The fact that writing never stops being scary is tied to the fact that it never gets easy. The biggest difference between my attitude and theirs, I used to tell my students, is that I probably have more confidence it will work out well in the end than they do. And that’s true. I know I can write what I put my mind to. I just have to figure out the baby steps every single time.

I’m thinking about this a lot right now, as I finish up the first draft of my novel THE LAWS OF MOTION. After it’s really done (i.e. revised, edited, revised again, edited again, etc., etc.), I’ll be starting on another, based on an idea I’ve had for several years. The thought scares me as much as starting LAWS OF MOTION did. Some things never change. Can I write a novel about Sephardic Iberia? Wow, I don’t know about that. It’s pretty big, pretty scary. Can I whittle it down into do-able pieces? Awfully glad I think so.

There’s something really exciting about the first signs of fall. Here in coastal Southern California I’m not talking about leaves turning color or clouds of breath billowing in the crisp air. Instead, for me the unmistakable sign of fall is the start of school. So many things seem to go on hiatus for the summer, including book clubs and other organizations interested in hearing from authors. Since last spring I’ve had a few things on my calendar that were months away, scheduled for “when everybody gets back.” And now what was once too far away to think about is right around the corner.

So hello to Tracey Crawford and Tricia Guerra of Oceanside, California–can’t wait to check out what Tracey calls their annual firepit/marshmallows/s’mores book club meeting! And hello in El Cajon to Anne von der Mehden, founding mother (with Mary Barr) of the San Diego Area Writing Project, and all Anne’s fellow book club members and Helix High School faculty buddies, who traipsed down to my reading at Bay Books in Coronado last spring and got the idea to have me spend an evening with them “when everybody’s back.” And hello to Hatikvah Hadassah in La Mesa, who are having me as a guest at their study group in September. I’m excited to meet you all and talk about my work as an author, past, present, and future.

Oh yes–I almost forgot. I have a job! Next week it’s back to campus for faculty in-service before the start of the fall semester at San Diego City College. I am so blessed to

have work I love. It may still be August, but as the late writer and commentator Eda LeShan once said, the first day of school is another kind of New Year’s Day. Hello to all my colleagues and friends. I’ll see you in the mail room! Love, Laurel

I admit it–I’m a big fan of Professional Bull Riding. The bulls are doing what they are born to do, and they trot out of the arena so quickly they must be expecting a sweet reward after they’ve left some cowboy clinging to the fence. (That’s the aptly named Ryan Dirteater in the photo to the right–a young Cherokee rider who’s the latest sensation.) It seems to me to be the fairest contest between “man and beast” in sport–and no, it isn’t true that the bulls’ testicles are cinched to get them to buck–that part of their anatomy is far too valuable to mess with! I also have to admit that I don’t like women’s gymnastics very much, despite the incredible things gymnasts can do, largely because so many of the contestants look like sad and stressed-out little girls.

I’ve been thinking about an article I read recently, raising the question of why writers tend to whine so much about what hard work writing is. I’m not sure they actually do, but if so, one possible explanation is that a lot of non-writers seem to think there’s not much to it. Some may think that “having a book in you” is really the important thing, and all that remains to be done is throw down the words on the page, which pretty much anybody could do if they had the time, or knew someone who could give them some advice about how to get started, or had a ride to the local college to check out a creative writing class. It seems as if we’re all pretty much equal–the ones who have done it and the ones who are going to do it some day. “You wrote a book? Hey that’s cool–listen to this great idea I have!”

So what does this have to do with vaulting and bull riding? I think a far bigger reason writers feel misunderstood is that we make it look easy. The writer’s goal is to disguise all the hard work under a smooth flow of words and ideas, to make it seem delivered from Plato’s world of perfect forms by a toga-wearing muse. Gymnastics is like that too. Perfection is the goal–a flow of movement without any glitches. Rather like a flow of words without any glitches. We all know how hard gymnasts work to deliver that short burst of visible effort, but I wonder whether people understand it’s really like that for writers too. On the other hand, bull riding is about handling glitches while a crowd watches. A rider scores by staying on for “only” eight seconds, but the bull’s score is added to that, based on how tough the glitches were to handle. It’s not always pretty, and no one would ever say it looks effortless.

Being an author is a bit like lettering in both sports. Writing UNTIL OUR LAST BREATH and THE FOUR SEASONS took, I calculate, approximately 2000 hours of time apiece, spread out over a several year period. That’s an entire year of forty-hour work weeks, with two weeks of vacation. And quite frankly, I think that’s an underestimation. And then, when it’s there on the page, it seems as if it all poured out, with little more effort than it takes to read. I’m noticing this particularly right now, since I’m finally satisfied with a passage of about 1500 words from THE LAWS OF MOTION that took me just three hours to draft, but more than ten to revise. Okay, I hear myself whining. I guess the guy who wrote the article was right.

Serious writers bring everything they have to the task–their life experience, their passions, their research, a lifetime of learning from reading, their past successes and failures with the written word, and mountains of stubborn willpower to make it all come together on the page. We lay it all out there while we’re sitting in front of that computer screen, and sometimes it’s just as intense when it looks as if we’re doing something else entirely, like staring out the window or going to get the mail. A cross between bull riding and gymnastics. Now there’s a sport for you!

I’ve been told that one of the things new authors tend to do is obsess over ratings and reviews. Because I’d had a lot of experience with Young Adult (YA) titles before breaking into the adult trade book market, I’d gotten over a lot of that. I can laugh off the occasional cranky review, and don’t expect to see the whole world talking about my book. My YA contracts were “work for hire,” so I didn’t even have to concern myself about sales after publication. Freelance writing is different, though, and it’s hard not to care at least a little about how the public is responding.

I’ve learned that Amazon rankings usually give a sense only for whether the book is selling almost no copies, selling a few, or selling a little better than that. The rankings fluctuate widely with the purchase (or lack of it) of only a few copies, and a book has to be in the top several hundred to be filling up the trucks leaving the warehouses. I’ve learned that the proliferation of websites devoted to reader reviews means that I will probably never see the majority of published comments about my work.

For a new writer of mainstream books such as UNTIL OUR LAST BREATH and THE FOUR SEASONS, it’s important to remember that sales are a significant marker of success, but not the only one. Libraries, used book stores, and book-sharing networks are all means by which authors develop a reputation that will carry over into the next book, so it’s impossible to know how much impact the sale of an individual copy is having.

That’s why the statistical data for this website have been so interesting to me. Yesterday, for example, there were more than eighty visits to the home page. All those people had somehow become aware of my work as an author and were interested enough to track my website down. Some clearly have come more than once, since over the course of each month, approximately eight hundred unique visitors make around two thousand visits total. What do they do when they get to the home page? Almost all look at the diary and scroll through the photos. Dynamic pages–the ones that get frequent updates–are by far the most popular.

So what does this tell me? People are showing interest in my work, and that’s very good news indeed. Thanks for coming to my website, for loving books, and for supporting authors.