Some writers grapple with being blocked; they spend hours paralyzed, gnashing their teeth, and downing large quantities of coffee, hoping to catalyze words with caffeine. Other writers can’t focus, can’t find the topic that maintains their interest, and they do everything possible to procrastinate putting fingers to keyboard. I don’t have either of those problems. I’ve made my living as a writer and editor for more than a decade. I love to write! And although I have periods of paralysis, I prefer to call them “pauses.” I trust that something is germinating and I believe it is my job to wait for it. My problem is much more pragmatic: selling my writing. Selling often involves talking, and talking about my work scares the bejesus out of me. Read More
I think I was inadvertently and divinely prepped before seeing the Off-Broadway play Blood from a Stone by Tommy Nohilly last night. For the last few weeks I’ve been editing some stunning books about life and death, anger and forgiveness, and compassion. I’ve also been speeding down a runway to a “big” birthday—eliciting my keen awareness of how fleeting our time is and how I don’t want to squander it feeling lousy. And I’ve been inexplicably waking at 3 a.m., getting up, and spontaneously meditating. I recommend all of these preparations before seeing Blood from a Stone. Or none.
I have an ambiguous relationship with the language police. On one hand, I appreciate that discouraging the use of belittling, offensive, or just plain inaccurate language can move our culture toward inclusiveness and respect. I lived through the days of being called a “my girl” when what my boss meant was that I typed for him, and even before anybody thought there was something wrong with that, it used to make my skin crawl. But I used the phrase myself when writing about that period in my novel, 
I came to the TV series Mad Men late. Although I'd heard about it from friends, it wasn't until a few months ago that I began borrowing the first three seasons from the library. I thought I'd be interested in it because of my background in advertising. My father was an account executive, my mother was one of the first female copywriters, and briefly toward the end of the seventies, I entered the family trade as a secretary and production assistant (material I put to good use in my novel