Sweet Inspiration: How Food Network Helped Jumpstart My Writing Career

Can you believe it? It’s me, writing a post on my own blog.  Going to try to do it more often from here out. I’ll write about my new book, The Good Neighbor, about writing, about life. They all intersect on most days, so why not? 

Grab a cuppa and tell me about your first or most unusual inspiration in the comments!

Amy xo

Sweet Inspiration: How Food Network Helped Jumpstart My Writing Career

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I’ve read the Sunday paper on and off my whole adult life. Lucky for me, in September of 2006 my reading stint was “on.” I stood at my dining room table, sorting through sections for what I wanted to carry to the sofa. Full disclosure—I hate the feel of newsprint—so the fewer pages to turn once sitting down, the better. Then, while still standing, a column caught my eye. I don’t remember the title, or the byline, but I do remember it was about kids’ soccer games and soccer snacks.

Something bold crossed my mind. “I could do that.”

Naiveté can be a beautiful thing.

Through some research I discovered the author of that piece was the editor of the Perspective section of my Sunday Chicago Tribune. By that time I’d had a popular “slice of life” or “mommy blog” for six or seven months. I had a background in journalism. I had moxie.

I also had nothing to lose.

The worst that would happen was that I’d get no reply.

I emailed the editor and introduced myself. I asked if they ever used freelance writers for Perspectives. I explained why I could write columns that would meet their needs and I attached links to my most popular blog posts.

And she wrote back the next day. She told me that there would be a new editor for Perspectives and that he’d be in touch. He was. Then for two months we talked and brainstormed. He wanted my first piece to really hit the mark. I emailed ideas for columns very similar to things I’d blogged about—life as a Jewish single mom in the suburbs. None of my ideas bowled him over. I remember him saying we’d find the right idea at some point, and that I should think about writing something about the holidays. It was November. I wracked my brain. I made lists. None of them were any good.

Then one night while walking through the family room en route to somewhere else, I passed the TV, which was on. This is normal at my house. Also normal at my house is Food Network. So, the TV was tuned to Food Network and there was a commercial for a show about baking cookies. I stopped in front of the screen.

Everybody loves cookies. I said it out loud. Then I said it again. EVERYBODY LOVES COOKIES!

I ran right to the dining room table where I kept my laptop, next to all the homework papers, backpacks, and folders. I wrote my column about holiday cookies in record time. Then I rewrote it. Then again. I researched some holiday cookie names. Then, after my kids went to bed, I pounded another column about the differences in speech from Philadelphia (where I was born and grew up) to Chicago (where I was raising my own kids), and I focused that piece on some of the words associated with Hanukkah. I was up until midnight, which is not my m.o. If you know me well, you know I’m in bed by ten.

The next morning I emailed both columns to my editor.

On December 6th, 2006 All-Purpose Treat Brightens Every Holiday Tradition was published in the Sunday Perspective Section of The Chicago Tribune.

On December 17th, 2006, At Hanukkah, How You Pronounce Latke Makes A World Of Difference was published.

After that I wrote about ten columns for Perspective over the next 2-3 years, until the Trib stopped publishing that section.

I believe that first column set in motion everything that has happened since.

That experience took me back to my journalism roots, somewhat, as this was part of the newspaper, with headlines (not titles) determined by space, not by cleverness. Although these were more essay than article, I worked with a seasoned newspaper reporter who was the interim editor. He showed extreme confidence in me. He explained every edit, talked through every change. He pushed me farther in my writing than I’d been pushed in fifteen years. He even encouraged me to link my blog to my columns. In retrospect, I should have. But at the time my blog was anonymous, just like the blog in The Good Neighbor, penned by Izzy Lane. The difference is that I wanted to be anonymous so that I could tell the truth. The truth about my meeting my ex’s girlfriend for the first time, the truth about the guy who met me for lunch wearing a wrinkled trench coat and didn’t even buy me a Diet Coke, the truth about life in the suburbs. In The Good Neighbor, Izzy is anonymous because she’s lying.

But just like Izzy, I realized there was only one way to go and that was forward, onward, upward. Life was no longer about being a blogger — this was about being a published freelance writer. Those Chicago Tribune columns were often picked up by other Tribune newspapers around the country. I pitched other publications and was published in them. And the very next year, I decided to try writing fiction. And we all know how that turned out. ;-)

It’s true I took action that day in September when I read the column about soccer snacks. I could have just thought “I could do that” and not emailed the editor. But I did. (I could have said I wanted to write a novel, too. And not done it.)

But—walking through the family room and being hit with the inspiration for the story about cookies from a TV commercial? That was good timing. That was being open. That was realizing if I didn’t try, I’d never know.

That was sweet.

Guest Post: How Do You Picture Your Fictional Characters? by Alana Cash

mirror-clipart-Picture-143-271x300How much do you know about the characters in your writing? Do you know what they look like? I don’t. That’s right! I know everything about their lives and psyches and personalties and quirks, but not always the way they look. I don’t use doppelgängers. I know a few key things that help me write. For instance, in my upcoming novel, The Good Neighbor, Izzy Lane has short, layered hair that used to be long. She’s tall. Her eighty-five-year-old next-door-neighbor and confidante, Mrs. Feldman? I know she’s a vibrant octogenarian, but that’s it. Izzy’s best friend Jade is tall, and has long straightened hair, and Izzy’s cousin Rachel is short, and has short curly hair. WOW. I know hair, don’t I?

But I think I’m in the minority. I think most people really know what their characters look like. And that’s what’s so great about our guest post today. Here, Alana Cash gives examples and tools for really picturing your characters. Is that something you’d give a try?

I’m going to. I’m 75 pages into one WIP and two pages into another. Maybe this new method will spur my imagination in new and unusual ways. 

And that’s always a good thing!

Please welcome Alana Cash to WFW. And share in the comments how you picture your characters!

Amy xo

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Guest Post: An Author Fearing Forty by Meredith Schorr

Here’s a question for you…do you take your age into consideration when making your writing career goals? Your life goals that aren’t writing related? Have you changed your goals based on how old you are and what you have or haven’t accomplished? 

I had my first essay published in a major newspaper when I was 42. My first novel was published by St. Martin’s Press when I was 49. At 50, I’m ready to ramp up, not slow down, or even accept the status quo in anything. I do know that birthdays are milestones, a way to mark time and accomplishments. Even in THE GOOD NEIGHBOR, my next novel, my main character, Izzy Lane, uses her own 40th birthday as a deadline to make a big change in her life. Birthdays are relatable. We all have them (when we’re lucky). 

Today, Meredith Schorr shares her fear of turning 30 and then 40 — and how her next book tackles the age-old topic of women aging–what that means, and what it doesn’t. 

Please welcome Meredith to WFW!

Amy xo

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Guest Post: Multi-Published Author Yona Zeldis McDonough Peels Back Her Women’s Fiction Covers

Yona 1How many of us dream about what our book covers might look like, whether we’re two weeks, two months, or two years away from that process? When The Glass Wives was ready for a cover, I “let go” because not only did I know it was out of my hands and into those of a capable designer (and my editor), but I had no preconceived notions. I knew what I thought wouldn’t work—the popular cupcake, for instance. And if you’ve been around here for a while, or if you glance to the right, you’ll see why I was pleased. The cover for The Glass Wives captured the tone of the book. And THAT was what was most important to me. I have some thoughts (private thoughts) on what I think might work for my next book, THE GOOD NEIGHBOR, but we’re not quite at that stage (soon, though, soon).

Today, amazing author Yona Zeldis McDonough who has written more than twenty children’s books and six novels for adults (and more) reveals what she thinks about the covers for her books. If you ask me (you did, right?) they’re beautiful, but we think so much about what our book covers convey and what they don’t. We wince if we think something is too light, too serious, too vague, too specific.

Share your thoughts in the comments. And take a look at Yona’s book covers as you welcome her back to Women’s Fiction Writers.

Amy xo

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Take Cover!

by Yona Zeldis McDonough

Yona 1Let’s just agree to scrap that old adage about not judging a book by its cover because we know it’s a big, fat lie; we all judge books by their covers, especially when wading through a sea of them on shelves and tables at our local Barnes and Noble or indie bookstores. Covers instantly relay information about the kind of book and author we’re considering. They beckon to some readers and send others heading for the hills. They whisper, they tease, they cajole, seduce and shout. They are of vital importance and so we ought to just own up to that fact: what’s on the cover is crucial to getting a potential reader to actually pick up your book and look inside. As the author of six novels, twenty-three books for children and the editor of two essay collections, I know from whence I speak.

When my first novel, THE FOUR TEMPERAMENTS, came out from Doubleday in 2002, I was mostly pleased with the cover, which was dramatic, bold and intriguing. The dark background suggested the novel’s darker aspects and the placement of the violin suggested the sensual curves of a woman’s supine body. (That the dancer’s foot was depicted in an entirely incorrect position was something that bothered me but not the publisher, who would not change it when I pointed it out.)   The cover was designed to appeal to women but not exclusively so; a man might read the book with censure or embarrassment. This, although I did not fully understand it yet, was a huge plus. My second book with Doubleday, IN DAHLIA’S WAKE, came out three years later. The cover photo—a delicately washed out image of a townhouse in brownstone Brooklyn—was evocative and gender neutral—good things—but also a bit tepid and unmemorable. The book did significantly less well than the first and I do have to wonder about the role the cover played in that.

When I published, BREAKING THE BANK, novel #3, I had switched publishers and was now at Downtown Press, a division of Simon & Schuster. Unlike the first two books, which came out in hardcover, this one was a paperback original.   The cover, which showed a woman from behind over whose red umbrella a shower of bills rained down, was a good one—specific to the book, and attention getting in its own right. But the lone female in the red coat was beginning to inch toward chick-lit territory, a neighborhood I would soon inhabit more firmly with the publication of novels #4, A WEDDING IN GREAT NECK and #5, TWO OF A KIND.

The cover of Wedding depicts not just a woman but a bride from behind and the array of hands that fuss with her dress, as well as the Tiffany-box blue background and embossed gold lettering fairly pulsate with the damning words chick lit, chick lit. And the wedding-themed cover of TWO OF A KIND says the same. I happen to love both of these covers and feel they convey essential thematic information about the books. In the case of WEDDING, which is told from several points of view—though not the bride’s—I loved how the bride on the cover was being done to. She was an object, rather than a subject, a fact that underscores something important about the choice of narration I made in the book. In TWO OF A KIND, the couple (seen from the back—natch!) is seated apart, separated by an aisle. The man is looking straight ahead; the woman is turned in profile looking at him. From their body language we sense the tension and dissonance between them, postures that mirror precisely what transpires in the novel.

Novel # 6, YOU WERE MEANT FOR ME, is even further along the chick-lit spectrum. The dominant color scheme is pink and white. And it depicts shoes (read: girl-y) and not just any shoes either. Pink, peep-toed shoes, with white polka dots. And they face a pair of shoes made for a baby girl.   Now I happen to love this cover. It’s is bold and arresting in its own right, and it really does speak to the book’s essential theme: how motherhood is almost a confrontation with a tiny new stranger.   But it is also a very gender specific cover; no guy is going to be caught reading that book on the subway—not even my husband!

The chick lit association these covers also tend to lighten and even cheapen the words inside them. Now let me say something about chick lit here. Despite the fact that women are—and have historically always been—the big consumers of novels of all kinds, the books designed to appeal to our interests and sensibilities are somehow demoted and tainted with that chick lit brush. It’s a bad brush too: it says your book is unimportant, shallow, trivial and not well written. Never mind that when men write about relationships or domestic issues, they are hailed as brave and revelatory. When we women do it, we are relegated to the chick lit ghetto, a place from which it is hard to escape. I’m sorry to report that my very own indie bookstore, a store with the word community in its name, did not want to carry my new book, despite the fact that I have lived in the neighborhood for more than twenty years. When I expressed my disappointment to the owner of the store, he made it clear that he thought my book had little merit—because of its cover. Had he bothered to read or even look at it, he might have thought otherwise.

The ideal cover is gender neutral—one that either a woman or man would want to pick up. (Many women avoid books with high heels, birthday cakes and back views of female figures standing by the ocean or a lake too.) But most writers do not get a say in their covers. And even when they do, they still need to be attentive to the market place. My books are going to appeal to women, and so the covers should be appealing to them as well. If there are times when I feel the cover skims the surface and does not plumb the depths, so be it. As a wise friend said to me, “The cover is an ad. And the publisher is more experience in creating that ad than you do.”   He was right. I am a novelist, not an advertizing copywriter or art director. And I know that the words contained within my covers are not ads. They are best and truest expression of what I think, observe, believe and feel and I can render. And I can only hope readers will find their way to them, whatever the covers that contain them.

head shot (2)Yona Zeldis McDonough was educated at Vassar College and Columbia University. She is the award-winning author of six novels and twenty-three books for children, and she is also the editor of two essay collections and is the fiction editor at Lilith Magazine (www.lilith.org). She lives in Park Slope, Brooklyn, with her husband, two children and two small, yappy Pomeranians. Please visit her at http://www.yonazeldismcdonough.com and https://www.facebook.com/yzmcdonough.

Guest Post: Traci Borum Asks: Do Books Move Or Manipulate You?

COVER - FINAL VERSIONI love to read while I’m writing. I love to read books that in some way tackle a topic, introduce a character, or explore a theme like one I’m writing. This allows me to not only read like a reader but like a writer. I note what works for me and what doesn’t, how I’d like to accomplish some thing like, or differently from, the author. So when Traci Borum emailed and told me her idea for a post on whether authors move to us authentic feelings or manipulate us — I was sold! What do you think? Do you identify when you feel like something in a book is being pushed at you? Do you mind? Is subtlety enough? Share your thoughts in the comments.

Please welcome Traci Borum to Women’s Fiction Writers! (And check out the trailer for Traci’s book after you read her post!)

Amy xo

Do Books Move Or Manipulate You?

By Traci Borum

COVER - FINAL VERSIONFor authors, getting a reader to care about characters is vital.  If readers don’t care, they probably won’t finish reading the book.  But there’s a fine line between being moved and being manipulated.  If your main goal as the writer is to produce tears in your reader, then be prepared for the backlash.  Your efforts might just produce eye rolls instead of teardrops.  A smart reader, a conscientious reader, can see right through that manipulation.

My friend Karen and I were having this conversation just last week.  She had finished reading a popular best-selling novel that was recently turned into a film.  And although she enjoyed the story, she felt pushed and prodded into liking it every inch of the way.  She could see the writer…writing.  She told me, “{The book} did have some excellent lines, but I didn’t get to feel like I discovered them.  I felt like I was pushed down a neon-lit road to them: ‘Life-changing advice ahead! This way!’”

So how do we, as writers, evoke emotions in our readers without trying too hard?  How do we avoid having readers peek behind the curtain, watching us work, knowing precisely what we’re up to?  It’s actually pretty simple.  Just write the story with truth.  Stay honest in each moment.  Be in that moment yourself, as you write it, and let the character, the plot, the dialogue, all ring with truth.  Don’t worry about the reader’s reaction.  Let the characters tell the story.

Also, it’s important to become invested in your own characters.  If you care about your characters and you write them honestly, it will translate to your readers.  They’ll be right there, alongside you, caring about what happens to these people.

Finally, be aware.  Listen to your gut, your inner editor, and realize when you’re trying too hard—when you’ve got the readers’ reactions in mind more than the characters’ reactions.

A good way to test the “moving vs. manipulating” issue is to let someone read your work—a trusted friend, a beta reader, a critique partner.  Don’t mention what your goal is (to test that your writing is authentic and not manipulative).  But once they’ve read the book or the specific scene you’re worried about, then grill them.  Ask about their reactions to the scene, to the characters.  And be prepared for the result.  If readers feel genuinely moved, they’ll talk about the characters and specifics of the scene, and their reaction will be written all over their faces.  You’ll hear it in their tone of voice—an urgency, an excitement, an involvement in the story.  And that tells you that you’ve succeeded.  But, if readers shrug or feel lukewarm about a scene that should’ve been gripping or life-changing for the character—or if readers use phrases like “I didn’t really connect with it”—it’s time to go back to the drawing board.  You might have to take a different approach, or change the setting or dialogue, or even re-think the entire scene.  Whatever it takes, try again.

Because when readers are absorbed in your story, in your characters, then, trust me—when that character is in pain, or experiences a joyful moment, or when that character dies, your readers will be moved.  They can’t help themselves.  Because by that point, they’ve stopped seeing you write.  They’ve quit trying to peek behind the curtain.  By that point, they’re invested in what happens.  You’ve made them care without even trying.  No gimmicks, no tactics, no forcing of truths or tears.  Just honesty.

Traci Borum pictureTraci Borum is a writing teacher and native Texan. She’s also an avid reader of women’s fiction, most especially Elin Hilderbrand and Rosamunde Pilcher novels. Since the age of 12, she’s written poetry, short stories, magazine articles, and novels.

Traci also adores all things British. She even owns a British dog (Corgi) and is completely addicted to Masterpiece Theater-must be all those dreamy accents! Aside from having big dreams of getting a book published, it’s the little things that make her the happiest: deep talks with friends, a strong cup of hot chocolate, a hearty game of fetch with her Corgi, and puffy white Texas clouds always reminding her to “look up, slow down, enjoy your life.”

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Guest Post: What If You Couldn’t Judge A Book By Its Cover?

If these were the books in front of you, which one would you choose? Uh — you’d have to read a few pages or the back cover copy if there was any. What happens when you can’t judge a book by its cover? Because you know we all do. Today Carole Howard tells us her own cover story and about covers old and new.

Please share some of your favorite covers in the comments!

Amy xo

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A Plain Ol’ Cover Story

by Carole Howard

20140319about-face-ebook2-198x300In a recent nightmare, I was wandering around a bookstore.  I wanted to get some idea of the kind of covers I’m drawn to, since I was going to be working with a designer on the cover of my upcoming Best Seller. (I said it was a dream, didn’t I?)  Plus I wanted a couple of books for summer reading.

I wandered over to the “Staff Picks” table because that’s where I’d found some treasures in the past, probably because the owner/staff were women and we seemed to have similar tastes.  But…..wait a second! All the books looked the same.

There must have been 60 or so books on that table, some old favorites like “Bel Canto” and “The Color Purple,” and some unknown nuggets. They all had cream colored covers with black Times Roman titles and authors.  No pictures, no colors, nothing to indicate genre.  Talk about a blank slate!

Time to wake up and be glad it was a dream.

And yet, in France, covers used to be just that way.  Cream covers.  Simple titles, though not always black, not always Times Roman.  Elegant.  Luscious, even.  And while most of their covers are now just like the ones we’re used to, a French friend told me those old-fashioned plain-vanilla covers are coming back.  Curious, that.

I don’t think the authors would want it that way. Don’t you want the cover of your book to lure potential readers like the smell of chocolate chip cookies baking in the next room?  That’s what I want, to invite potential readers in by giving them some idea of what they’ll find.

I can only imagine the publishers (or the Academie Francaise, the on-high guardians of everything French) thought it was a way to discourage readers from judging a book by its cover.  It’s a worthy goal, I guess, like school uniforms preventing kids from judging others by their clothes.

Mais, non, I say to the Academie.  It’s not about judging a book by its cover.  It’s about

persuading someone to take your book off the shelf, knowing from the cover that it’s about someone just like her, flip through it a bit before deciding whether to take it home to read.  Then she can judge it.

It’s not surprising that I dreamed about book covers, since I was in the throes of re-designing the cover of my first novel, ABOUT FACE.  The original cover was beautiful, stark, dramatic.  But it didn’t give the reader enough of an idea of what she’d find.  I wanted the cover to show some of the story, a bit of the atmosphere.  Working with a designer was an intense exercise in deciding exactly what part of the story I wanted to portray.  (Thank goodness it wasn’t not my job to figure out how to portray it.)

In a previous life, I taught business writing.  If someone’s thoughts needed clarifying because their writing was contorted, confused, and complicated, I’d ask:  “If you had to boil your message down to one sentence, what would it be?”  The question often resulted in a whole lotta squirming; working with the book designer felt like those students’ revenge.

“Well, there’s the whole ‘doing well vs doing good’ aspect of the story.”

“Or, wait, it’s also about the power of women’s friendships.”

“How about middle-aged identity crises?”

“Got it: Corporate executive on the outside, Peace Corps Volunteer hollering to get out. Yes, that’s it.”

While it would have made my life oh-so-much easier if my cover were the default cream color with elegant title and author, in the end, I wouldn’t have been satisfied.  I wanted my cover to say to browsers, like kids at a swimming pool to their mothers, “Look at me, look at me, look at me.”  And, of course, “Buy me, read me.”

So, do you?

Read more about Carole and her books on her website.  

 

 

 

 

 

 

 

 

 

 

 

 

 

Guest Post: How One Author Struggled With Body Image And Wrote A Novel

high res coverWe often get so caught up in getting published, being published, finding an agent, promoting ourselves and our books, that sometimes we forget WHY we read and write what many call women’s fiction. It’s because that along with the relatable characters and real life situations — are some really serious issues. Today, Mary Rowen shares with us her own story of bulimia and how body image plays into real life and fiction. Mary is both eloquent and brave, and I hope you’ll chime in with your own body image experience in the comments and how it has impacted your writing.

Please welcome Mary to WFW!

Amy xo

 How Mary Rowen Struggled With Body Image And Wrote A Novel

by Mary Rowen

high res coverBody image. If that’s not a loaded term for women, I don’t know what is. I’d be willing to bet that the earliest human women noticed what the men in their tribes liked, and tried to make their bodies more attractive for them. But I wonder if there was a little bit more to that than the basic human need to reproduce. I’m guessing that even women who lived in caves appreciated being told—perhaps with grunts, or nods, or some early language—that they looked nice. Because let’s face it: it feels good to know you look pretty and desirable.

Evidence of this can be seen in almost all cultures throughout history, as women’s clothing and accessories frequently accentuate our breasts and other parts of our bodies we find most sensual. This often involves pain and personal sacrifice too, as few people would consider corsets, underwire bras, or stiletto heels comfortable. Some women go so far as to have surgery—literally risking their lives to “improve” their bodies—but even those who draw the line at shopping for flattering clothes and/or makeup will tell you that those things are time consuming and expensive.

Of course, it’s not all about attracting men. Many of us dress to attract other women—or just to make ourselves happy—and many no longer see reproduction as a goal. But the majority of women—despite our age—still seek out the approval of others when it comes to appearance.

Now some readers might jump up and scream, “But men seek approval too!” And yes, that’s true. Most men do want to look good, but in most cases, their desire isn’t as extreme as it is with most women. My husband, for example—a software engineer—looks great every time he heads out to work, but as far as I know, he only looks in the mirror while shaving, and perhaps when he runs a comb through his hair. He has a bunch of similar-looking clothing that fits well—chinos, jeans, button-down shirts—and he wears a clean top and bottom every day. Clean is important. But that’s about it for him. His body image is healthy enough to allow him to put on his clothes and go. And based on my observations of his peer group, that’s pretty much the standard. But I—and most of my professional female peers—spend far more time choosing outfits, blow-drying my hair, putting on makeup, and figuring out which shoes look best. I don’t obsess—and as a recovered bulimic, I know all about obsession—but I do check the mirror several times before leaving the house. Not doing so would be quite difficult for me.

But the one thing I don’t ever do—and I mean never—is ask anyone in my household if my clothing makes me look fat. That’s a gift I hope I can pass on to my daughter, who’s a young teenager. Because back when I was about fifteen, I decided—for some crazy reason—that I’d be more attractive if I dropped a few pounds. Therefore, when I read a magazine article warning about the dangers of anorexia and bulimia, I found it more instructional than frightening. I pored over the article—and the other pictures in the magazine—and something in my head clicked. Prettiness, I decided, resulted in happiness, and the only way to be pretty was to be thin. It was a screwed up equation for sure. But for the next fifteen years or so, I believed in—and lived by—that equation with a sick, almost religious fervor. During those years, I attempted to vomit almost everything I ate, and often felt confused, weak, and dizzy. My confidence level hit rock bottom, and I was hardly ever happy.

Sound familiar? Unfortunately, if you’re a woman reading this, it probably does. A few months ago, I published a blog post about my eating disorder, and got tons of feedback from women who told me they’d been through a similar hell. Or, if not them, then a family member, a close friend, or a work associate.

So now, every time I start thinking about my weight, I remind myself that it doesn’t matter. Of course it’s not healthy to be obese—everyone knows obesity’s bad—but that’s not what I’m talking about here. What I’m talking about is gaining a few pounds here and there, or going up a size in jeans. Or eating something truly decadent and delicious without trying to cut back on calories for the next few days, or doing extra exercise. Because again, in the scheme of things, a few extra pounds aren’t important. The energy expended on stress and extra exercise can be put to much better use.

I could conclude by saying something like, “Hey, a lot of people prefer a heavier partner anyway.” But that’s not the point. A woman’s body is hers. We’re not here on earth to be eye candy, or playthings. Our bodies have so many functions: transporting us across this magnificent planet, tasting, dancing, listening to music, making music, helping us create the things we imagine, bearing us children if we so choose—and sometimes nourishing those children—providing sexual pleasure, rocking terrific outfits, and much, much more. So yes, I believe we should eat well most of the time and try to stay healthy so that we can make the most of our lives, but thinness does not lead to happiness. The only real road to happiness is being OK with who you are. And while it’s fine to like the way you look, obsessing over appearance always leads to frustration and worse.

I’ve written a novel called Leaving the Beach in which the main character, Erin Reardon, is a bulimic woman who’s also obsessed with rock stars. It’s all fiction, and I hope readers enjoy the story. But I also hope it sheds some light on the ways eating disorders affect people. Most importantly, I hope Leaving the Beach will encourage people suffering from EDs to seek professional help. I really do believe that’s the only way to truly recover.

HeadshotMary Rowen is a Boston area mom with a wonderful family that allows her time to write almost every day.  Leaving the Beach, although pure fiction, certainly draws on some personal experience. As the tagline states, it’s “a novel of obsession and music,” and rock music has always been a driving force in Rowen’s life. She was also bulimic for over fifteen years, and really wanted to write a story with a bulimic main character. Eating disorders are so complicated—and dangerous—and she hopes Leaving the Beach might encourage people suffering from them to seek help.  Visit Mary at: http://maryrowen.com/

About LEAVING THE BEACH

Written with heart and keen observation about the day-to-day struggles of a “functioning bulimic,”Leaving the Beach explores the power of fantasy, then shoves it up against harsh reality until something has to give. In this women’s novel set on the sandy beaches of Winthrop, Massachusetts, we meet Erin Reardon, a lonely person who believes her destiny is to save grunge superstar Lenny Weir. Forget the fact that Lenny reportedly killed himself several years earlier; Erin’s not the only fan to believe his death was a hoax, a last-ditch effort by the drug-addled musician to reclaim his privacy. And Erin has felt a special bond with Lenny for years. So when she gets picked up hitchhiking by a mysterious man who resembles Lenny physically, she makes some quick assumptions. After all, he has extensive knowledge of the music industry, there’s a guitar in his trunk, and he has issues with drugs. She’s finally about to fulfill her destiny…

You can find LEAVING THE BEACH at iTunesBN, and Amazon.