
Photo by Gretje Ferguson
I am honored to welcome Anita Diamant whose novels include The Red Tent, Day After Night, and her latest, The Boston Girl.
Diana Bletter: I admire the way you are able to write historical fiction in such a way that the reader feels immediately swooped into the time and place you’re writing. The Red Tent takes places in Biblical times; Day After Night takes place after the Shoah just before Israel was founded, and your latest novel, The Boston Girl, is set in pre-World War I Boston. How do you choose your time periods—or do they choose you? Some writers say they write and then fill in the historical details after the first draft. What about you?
Anita Diamant: I don’t choose a time or place, nor does a time or place “choose me.” My novels usually start with a story. I wrote Day After Night after I heard about the rescue of prisoners from the Atlit detention center in October of 1945. I knew nothing about it and it seemed like a story in need of telling. I came to write The Last Days of Dogtown after reading a pamphlet about how the original settlement of Cape Ann (North of Boston) came to an end in the mid-1800s; and there were several names attached to that tale that also drew me in.
I begin by reading about a historical period so I have a basic sense of the concerns, slang, food, worldview of the period. I am not interested in becoming an expert but I do want to avoid any and all anachronisms. Once I begin writing, I circle back to fill in historical details.
Diana Bletter: The Red Tent was lyrical, almost like a woman-written midrash, and Addie Baum in The Boston Girl is downright funny, throwing out zingers like the one about her Shakespeare teacher, Mr. Boyer, who spoke as if “…every other word started with a capital letter.” Can you talk about finding the right voice in your work?
Anita Diamant: I think I find the voice in the process of revising and revising and revising. Dinah, in The Red Tent, had to have a somewhat “elevated” tone – no slang – but nothing that would read “biblical,” which in English means the King James Version. Addie got funnier and looser in later drafts as I got clearer on who she was – which is to say, a pistol.
Diana Bletter: You’re the founder of Mayyim Hayyim, a community mikveh, ritual bath, and an important educational center. You’ve emphasized the idea that Jewish rituals give our lives meaning. Can you talk about how you chose to reclaim this ancient ritual and put a different spin on it?
Anita Diamant: While writing a book about conversion to Judaism, (Choosing a Jewish Life,) for research purposes I made several visits to the Boston area mikveh that was open for liberal conversions for only two hours a week. One day when I was there, I saw a line out the door. The Conservative movement had graduated a class from its program and brought everyone to the mikveh on the same day so a dozen men, women, and children spilled down the stairs and onto the walkway. In a way, it was inspiring to see so many people waiting and wanting to become Jews. But it was hot in the sun and the mikveh is no place for a queue.
The mivkeh should be a place for reflection and celebration but none of those people had the time or space for a thoughtful, personal ritual. And afterward, there was nothing to do but get back in the car. As if it was no big deal to transform your identity, alter your family constellation, and change the Jewish people forever.
That shondeh, that injustice, started me thinking about the need for a space where converts could linger at the mirror, before and after the blessings and immersions that symbolically transform them from not-Jewish to Jewish. A mikveh where there would be a gracious room for songs and blessings, for hugs and champagne, for gifts of books and candles.
That’s where it started. The Boston Jewish community got behind the idea and ten years ago we opened an amazing resource for marking all kinds of transitions: traditional ones like conversion and monthly immersion, and others based in basic human and Jewish needs: after ending chemotherapy, after a year of mourning, after a period of sobriety.
Diana Bletter: Some writers use an outline to write novels. What about you? Do you find your characters often do things that surprise you? Do you have a set schedule for writing? Any special suggestions for new writers?
Anita Diamant: I do not use an outline. While I wouldn’t say I’m surprised by my characters, they do unfold and reveal themselves as I rewrite them.
I have no set schedule for writing, though my best hours are usually in the morning, after coffee and a walk with the dog.
New writers: read and read some more. Read deeply and widely and from cultures and eras other than your own.
Diana Bletter: What are you working on now?
Anita Diamant: I am not working on a book-length project and don’t plan to for several months. I will be doing a lot of promotion for my new novel, The Boston Girl.
Diana Bletter: Finally, my blog talks about making this the best chapter of our lives. What are the things you do on a daily basis to make each day a part of your best chapter?
Anita Diamant: I try to be as kind as I possibly can and to recognize the kindness in others.
Thank you, Anita, for your interview! For more information on how Anita Diamant discovered the Rockport Lodge and turned the house into her latest novel, read her blog here. You can also read about her novels and non-fiction books on her website.
If you have any questions for Anita Diamant, feel free to ask now!
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How to Keep Writing No Matter What: The Novelist Who Learned How to Beat Writer’s Block
How satisfied can one gal be? This is me getting my first look at the ARC OF ARK — the Advanced Reader’s Copy of A REMARKABLE KINDNESS.
This is a post for all those writers who want to give up. Don’t. No matter how long it takes, keep going.
I was so disappointed when the novel I now hold in my hands, A Remarkable Kindness, got rejected by more than a dozen publishing companies in 2006.
Because I was hurt and dejected and feeling a bit sorry for myself, I stuffed the novel in a drawer and refused to even think about it. Then, in 2013, I was at the Jewish Book Council promoting my memoir, The Mom Who Took Off On Her Motorcycle, and it hit me in one of those epiphanies (if it were a Hollywood movie, there would have been a bolt of lightning): REWRITE THAT NOVEL.
That was in the spring. I reworked it through the summer of 2013. Reworked is putting it mildly. I had to rewrite almost each sentence. I polished it the way a guy might polish his first car – with a toothbrush. I originally had the point of view be a third-person narrator. I decided to make each of my four main characters write in her own voice. I had to change every “she” to “I” and every “her” to “my.” Changing the point of view was important because I had to really get into each character’s head and see the world through her eyes. Would Lauren think in this kind of metaphor? What simile would Emily use?
Still, there were some days when I thought, this is crazy, what are you doing I did not have writer’s block – I had writer’s neighborhood. Why are you wasting your time? But then I told myself,
IF YOU GIVE UP, YOU WILL NEVER FORGIVE YOURSELF.
I felt like I was writing in a cave, scratching away at a dirty stone wall. But I kept going. When I was ready, I gave it to some trusted friends to read. Then I sent it out to literary agents. One kind agent told me that it’s really hard to get the voice right and the characters sounded too much alike. So, I rewrote it all again, changing every “I” back to “she” and every “my” back to “her.”
Can you see how tough this all was?
The first time around, my novel was called, The Dead Can Never Thank You. (My daughter, Amalia, said that it sounded like a ghost story.) When I resubmitted it, I called it The Women’s Burial Circle, which sounded too much like an anthropologist’s look at a weird ritual in Papua, New Guinea.
Then I stumbled upon literary agent, Steven Chudney, who accepted the novel. Like an architect able to envision a house in his head, he was able to envision how the book should be. I reworked it again using his guidance. He sold it to Rachel Kahan at HarperCollins within a few months.
So, if you are reading this and feeling the blues because if you haven’t sold your novel yet, keep working. It took me a lot longer than I thought it would – about eighteen years longer – to sell my second book. But don’t smash your computer. Keep moving your fingers over the keyboard or (as in my case) using a trusty fountain pen.
Right before I opened the box containing A Remarkable Kindness.
If you’re stuck, here is one exercise you might try:
Write a story in which one character has a secret that she/he has to tell someone about. Begin right at the moment she or he tells the secret, and then work backwards. Here’s a sentence to start with:
“What do you mean, impossible?” I said. This is based on the sentence I used to start me writing my story, “One Kiss, One Baby, One God,” for Commentary Magazine.) You can mix it up:
“What do you mean, impossible?” my boss/my best friend/my lover/my son/my priest said…
Set your timer. Give yourself however long you think you can stand sitting and writing fast. Write as much as you can in thirty minutes, let’s say. Do this a little at a time and you will have a story. Then put it aside for a while. Take it out to show your ideal reader. Do not send it out to magazines until you have had it read and edited. Take your time. As Malcolm Gladwell says, we have to put in our 10,000 hours.
And remember – if we write to get approval and admiration, then we’ll always feel slightly dissatisfied. We have to write for the joy of writing, just for the pleasure and the abandon and the free-fall feeling we get putting words together. Approval is an inside job. We have to fill our own wells.
We have to do the thing that calls us.
My husband, Jonny, wrote me:
“It is yours; you did it. You NEVER gave up. You got knocked down but you got up. You have guts. When I think of the word perseverance, your name heads my list. You experienced ups and downs and near crises but diligently continued no matter how many rejection letters you received. I am sitting back enjoying your success – so well-deserved.”
Proving myself – to myself – is the best feeling around. So all I can say to you, keep going. I really believe that the universe supports our dreams.
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