Sophie Cousens, THIS TIME NEXT YEAR

Zibby Owens: Hi, everybody. I'm half a minute early, so I won't be too official. I am so excited. Here we go, one o'clock. Hi, everybody. It's Zibby Owens. I'm here from the podcast "Moms Don't Have Time to Read Books" to have a great discussion on GMA Book Club's Instagram account with Sophie Cousens, This Time Next Year: How Many Chances to Meet Your Perfect Match, a novel, which is the GMA Book Club pick for December. I am so excited to be welcoming her in. I can't wait to talk to her about this fantastic book, especially as New Year is quickly approaching. A lot of her chapters begin with that. Hi.

 

Sophie Cousens: Hello. Hi, Zibby. How are you?

 

Zibby: Good. How are you?

 

Sophie: I'm good, though I've got a bit of a phobia of Instagram Live because the last couple I've done the connection's gone halfway through. Fingers crossed the internet gods are with us tonight.

 

Zibby: So far so good. I was sure this would be cancelled. There's a snowstorm here in the Northeast.

 

Sophie: Oh, no.

 

Zibby: I know. We'll just hold our breath and see. At least you came on and spared me from just talking to myself, which I hate. It's always my least favorite part. I'm like, here I am. [laughs] It's a delight to meet you. Thank you for doing this conversation with me.

 

Sophie: Not at all. Thanks for having me on. It's been really exciting. The whole Good Morning America thing has been incredible.

 

Zibby: Let's start with that. Tell me about finding out that you became the GMA Book Club pick for December and your reaction and where you were. Give me the whole thing.

 

Sophie: I got a text from my editor in the UK saying, "Oh, my god, have you seen your email? Have you seen your email?" I hadn’t seen my email. She didn't say what it was. Then I quickly looked at my email and saw that I'd been selected by Good Morning America. It was just such a game changer moment. When you're writing your first novel, you just hope if even my parents and five other people read it, then that would be great. It's opened the book up to such a wide readership. I've just been blown away by the support from people. It's been a dream come true, completely.

 

Zibby: Does it hold any less weight not being American yourself, or is it just as exciting? What do you think?

 

Sophie: I think more exciting. I lived in America when I was a teenager, actually. My parents lived in Virginia for three years. I felt like I absorbed a bit of American culture and got into all the morning TV. I miss my potato skins and bacon bits. Those were the [indiscernible/laughter] in America in Virginia at the time.

 

Zibby: Next time I see them at the grocery, I'll put aside a pack. In case you get a craving again, you can just text me or something. That's funny. Tell me about writing this book. It's your first book. Tell me about the whole process, how you came up with the idea for the story. What inspired you to write a novel to begin with?

 

Sophie: I've always wanted to be a writer. That's always been ticking away in the back of my head. Since I was a child, I was always telling stories and writing silly little ideas down. I've been a TV producer for twelve years. In that time, I had the odd lull where I thought, I really should write something now, but those kind of jobs, they're so all-consuming. They just don't really leave much space for anything else. I had tried a few things. I actually wrote a YA sci-fi novel as well in my twenties, but that didn't get picked up for some reason. Who knows why? [laughter] Then I had children. Then I thought, you know what, there's never going to be spare time. There's always something. There's always work. Of course, having children, there is no spare time. I thought, if I want to do this, you just have to make the time. I had a job at the time. I had two children under four.

 

I was like, I'm going to really commit to finishing a book and giving it a go properly. I love rom-coms and humor, so I thought this is the area I should be focusing on. Then the idea for the story, I've just always loved the idea of first impressions not being what they seem. I think that especially in this story, Quinn, you look at him from the outside, and he's got everything. He's very good looking. He's had an amazing job. He's very successful. I really liked the idea of exploring that that just isn't usually the case with most people. Nothing is as perfect as the veneer the exterior might convey. That was the seed of the idea. Then the structure of basing it around New Year's Eves, that's a really good way of dipping into these characters' pasts to see, what were the building blocks that made them the people that they are in the present? That's how it all started.

 

Zibby: Wait, going back to what you just said about being so busy as a mom and all that stuff, literally when did you do it during the day with the two kids and all the rest? Did you wake up early? Did you do it on a computer? Where and when did you do it? I just want a visual.

 

Sophie: I basically was working in the day. Then I'd come back and do bedtime, put the children to bed. Then I'd pretty much write between eight and ten at night. I had a deadline because I had a book deal when I was halfway through. I knew I had to write five thousand words a week in order to get it finished. I worked that out as five sessions a week. I had to do a thousand words in each session. Between eight and ten or eleven, I basically had to write a thousand words before I could go to sleep. Strangely, I've almost found that easier than what I've got now where I've quit the day job now. I've got the day to write, which is an enormous privilege. I feel incredibly lucky, but there was actually something quite focusing about that very small window of time after a day with work and children where it just had to get done or it wasn't going to get finished, you know? I'm sure you know. [laughs]

 

Zibby: I do know. I have heard that from many other authors, that when you squeeze it in -- it's like, give a busy person something to do. You just throw it on the heap, put it on the pile. Then boom, boom, boom, it's done. When you're like, I'll spend all day, then you get two things done.

 

Sophie: Completely. Also, I think that there's not enough time for procrastination. When you know you have to hit a certain amount of words before you can go to bed, you're much more focused on just getting it done. Whereas now, there's a lot of distraction of just, ooh, let me look on Amazon and see what number my book is or read this article, someone being nice about my book. Actually, it's kind of better to be a writer maybe in a cave and just not look.

 

Zibby: I think maybe you should keep doing the thousand word a day, five days a week thing. Breaking it down into tiny -- not tiny. A thousand words is not tiny, but into achievable goals and spread it out over time. Even to me, I'm like, I can do a thousand words five times a week. All of a sudden, you have a book.

 

Sophie: When people ask me, if they want to be writers, what advice I would give, I do think that a weekly word aim is a really good way to go because you just know if you hit Friday and you haven't done enough words, you have to cancel your plans and not go out. You have to write. In the world of COVID, no one really has any plans anyway. In the old days, you would have to cancel your plans to go out to write.

 

Zibby: Excellent, so this is an even better time to focus on writing since you're not really missing anything anyway.

 

Sophie: Exactly.

 

Zibby: How did you come up with the idea of getting stuck in the bathroom at a party overnight? You must have gotten locked into a bathroom at some point. Of course, this is one of the first scenes in the book.

 

Sophie: I think I have momentarily been stuck. You know when you try the handle and it doesn't click? You're like, hang on a minute. You have that sudden panic in your chest of, I'm going to be stuck in here. I think it was based on that, but it was also just this idea of Minnie has so much bad luck. It was just thinking anything that could go wrong at a party was going to go wrong, so tripping over someone, getting vomited on. Then it's almost like fate really has a sense of humor with Minnie. As soon as she's in bathroom thinking -- she has a little pep talk with herself. She's like, right, I've got this. Stop being paranoid. There's no jinx. Then, of course, she almost looks at the heavens and thinks, okay, you're playing with me now, because it's just another thing in the catalog of problems.

 

Zibby: I feel like her jinx became a self-fulfilling prophecy. Each year would come around, and then she’d be so worried. She ends up sleeping the whole day. [laughs]

 

Sophie: Again, this is a theme that I feel like I only scratched the surface of in this book, in a way, of this idea of luck and almost it being self-fulfilling. It kind of feeds into the superstition thing as well. All of us, whatever beliefs you have, everyone spills salt and they're like, [gasp], over their shoulder. There's various superstitions and beliefs that has just crept into all our culture. I always knock on wood. If you say nothing bad has happened so far, I always knock on wood. Where does that come from? For Minnie, it is a self-fulfilling prophecy because for so long her mother has said, "You were born unlucky. Nothing's ever going to right for you on this day." If you have that mentality, maybe it doesn't, or maybe the jinx is real and everyone's giving her a hard time.

 

Zibby: Or maybe it's having a mother who is telling you that you deserve that bad luck. Really, the time you're born, there are so many factors. Whether or not you win the first baby of the year award doesn't usually have a traumatic effect because you don't know if you've won or not. Maybe it's just the proximity of losing -- I don't know. I think the family lore, the family perpetuating that myth.

 

Sophie: Completely. I also think that what was interesting to explore with Minnie is this idea of, she has low self-esteem. The book slightly unpacks why she has that low self-esteem. A part of that is definitely her relationship with her mother. It’s the relationship with her mother, but it's also her name, which led her to be teased. I think that if you're teased at a very impressionable time in your life, it can really affect your self-esteem. It’s one of those names that, on the surface, you imagine everyone meeting her and saying, oh, Minnie Cooper like the car. Then you actually think, imagine having that all the time with everyone you meet, and especially how cruel teenagers can be. It just was interesting to me to imagine all these little external factors that had made her have low self-esteem. Then actually, Leila is the friend that comes in that actually helps turn that around for her. The importance of friendship is another big theme in the story.

 

Zibby: I have to tell you, I almost named my second daughter Minnie. In fact, that was the name that I had picked. She was born. I told my closest friends and family, "Welcome, Minnie." My family staged an intervention. They were like, "You cannot name her Minnie." I was devasted. I haven't even gotten to the room yet. I'm still on the gurney or whatever you want to call it with my newborn girl who I was all fawning over. They're like, "She's going to get teased. What if she's really big?" [laughs]

 

Sophie: I love the name Minnie.

 

Zibby: I love it too.

 

Sophie: My agent's daughter is called Minnie. Then when I was having this joke about Minnie, I was like, "No, no, no, it's a really lovely name." It's just the combination of being Minnie Cooper or, as you say, if you're called Minnie and you end up being really tall. Someone's just asking on the chat if it's available on audio or Audible. It is available on Audible, but it's not me reading it, luckily. I would be like, blah, blah, blah. It's Hannah Arterton, who's brilliant. It is available on Audible.

 

Zibby: I feel like Minnie was always getting herself into these situations almost in a Bridget Jones type of way. She reminded me a lot of her at various points, particularly the moment -- I don't want to spoil because it's so genius -- when she's traveling in the airport in India and the gift from her friend gets discovered, Leila's gift. She has to confront the security guards and explain this very personal, unexpected item. I was cringing reading it. Then answering the phone and thinking it was Greg, but really, it was Quinn, about the dental stuff. [laughs]

 

Sophie: That's my favorite bit. You know what's funny? Maybe I'm wrong here, but I think it's quite a British sense of humor thing to kind of enjoy the cringe of a situation. That's definitely what I loved about Bridget Jones. When I read those books for the first time as a teenager, I was just like, this is so my sense of humor. This is so funny. Because maybe the British have a bit of a reputation of being a bit more uptight and a bit more, everything's fine, so that then when stuff is really embarrassing or cringey it's even more just so embarrassing. I really enjoyed trying to put her in situations that you just want the world to swallow you up because it's so embarrassing.

 

Zibby: What do you think about fate intervening? I know fate is sort of different from luck. This is maybe too broad a question, but just how people's lives can intersect in all these different ways and how this probably happens all the time.

 

Sophie: I think I read an article that said -- I can't quote it because I can't remember the statistics. It was something about the likelihood of you having met the man or woman that you end up with a number of times in your past. You probably wouldn't have known it. I've actually got friends here in Jersey, they were looking through old photo albums and they found a beach holiday. In the background was his wife.

 

Zibby: No!

 

Sophie: As a child, yeah. It was just they happened to be on the same holiday at the same time. I think statistically, it is quite likely. What I quite liked about this story was exploring some of those near misses. Is it just a coincidence, or is it fate that's drawing people together? One thing people have asked me about the book is they said, I would've loved for them to realize at the end and to piece together all of the jigsaw puzzles. I very consciously didn't do that because I think life is not -- there's so many things none of us will ever know about when you might not have crossed paths with your partner. I think with Minnie and Quinn, they would work it out because they'd get talking about [indiscernible] and they'd say, I was there that year. There's enough little clues. They both like Star Wars. That's going to come out. I didn't want to do it completely overtly because I like that touch of the universe will know, but we won't kind of thing.

 

Zibby: I know. I always wish I could rewind, I could just rewind and get a wide-angle view of all these situations. What would you see? What wouldn't you? But no, not meant to be. [laughs]

 

Sophie: I know. I love the movie Sliding Doors. You know Sliding Doors?

 

Zibby: It's one of my all-time favorite movies.

 

Sophie: I just love that that expression has become like, oh, it's a sliding doors moment. How amazing to come up with a story that then it becomes an expression. It's brilliant. I do love stories that explore the alternate universe of how something might have played out differently. Then actually what's interesting about this time next year is that they missed each other all those times, if that was their one chance to meet their soulmate and they missed it. Maybe the universe works in its way that it'll just find another opportunity and another opportunity. That's actually quite a nice thought that it's not all totally down to being on the right beach at the right time looking in the right direction.

 

Zibby: You have to sometimes be clobbered over the head by fate. It takes time and time and time again. Then finally, you see the person. Tell me also about the role of baking and the pie business, which was hilarious, and putting recipes in the book and even in your book club guide and everything. Tell me about that and your own personal relationship to cooking and baking.

 

Sophie: I love baking. I'm more of a cake baker. I'm not very good at cooking, actually, but I do love baking cakes. I always make very elaborate designs for my kids' birthday and stuff. Every birthday, I'll say, "You can choose whatever you want to have." Then I'll try and make it. My daughter said she wanted an armadillo cake this year, which was challenging, but I tried. I do love baking. In this story, it came up because I wanted Minnie to have a job that she was very much helping others. That's the thing about Minnie. When you first meet her, she's a bit bristly and a bit prickly. She's definitely got a chip on her shoulder. You might not completely love her when you first meet her. I wanted to have this contrast that she was a bit spikey, but you could see she was really kind, and the way that she interacts with her friends. Also, she set up a business to basically bring food to people who can't cook for themselves or who can't leave the house. That really came out of a genuine affection for the community. For me, baking for others was a really good way to illustrate her kindheartedness and her love of community. It's also a really communal job. I love that idea of when she's with the friends and her colleagues in the kitchen, it's a very sociable job, sitting around the kitchen kneading dough. It just gave a lot of opportunities for interaction that maybe other jobs would've been harder to find, I suppose.

 

Zibby: And the disappointment with the burnt pies and all of that and have to restart and all the meaning, the themes of starting over.

 

Sophie: Exactly. Also, it's the kind of job we can all sympathize. You all kind of sympathize with, okay, it seems quite simple. Bake a pie. Take it to someone. Get paid. Actually, it was quite fun to explore all the problems they have on the way and things that can go wrong. When they're in India as well and her and Leila are talking about this ideal company they'd love to run where they employ people who need a second chance, who maybe have had some issues in their life, then you flash to them working in the pie shop and actually realizing some of these people are making life harder for them. [laughs] At what point does your public spiritedness have to compromise for commercial interest?

 

Zibby: I loved their relationship. It was such a great example of female friendship, female work partnership, sort of like a work wife trope, if you will, and how they even get annoyed at each other sometimes. I feel like there aren't so many best friend examples in fiction all the time. This is a particularly vivid one. I know you've talked in the past about your own close girlfriends. Tell me about how your own friendships made this one so rich and lifelike.

 

Sophie: I love rom-coms, but equally, there's so many good ones that have been written that you can find yourself falling into the trope of the kooky best friend and then the inaccessible man. For me, I wanted to write something warm and engaging but that also had a little bit of edge of something a bit different and also slightly playing with undercutting those kind of expectations. Even though Leila is kind of the kooky best friend, I wanted her to have so much more heart and importance in this story than just being a sounding board to Minnie for her romantic life. That's what was important for me as well. The slightly more old-fashioned fairy tales of Cinderella being rescued by her prince charming feel very outdated now to modern readers and modern viewers. I think that love and relationship should be something that is the cherry on the cake of your life, but you've got to have -- look at me, I'm doing cake analogies. This is how embedded in baking -- the sponge needs to be your own self-belief and self-worth, which is, again, about community and friendship and family. Then romantic relationships, in my view, should be the icing on the cake that make your life that extra bit special, but they can't be the thing that you're wanting to fix you or make you happy. That's got to come from something a little bit deeper down. For me, her friendship with Leila, she's known her since she was fifteen. It's really important to her. It's also really affected her life and her journey and her career and her self-image. I wanted Leila to be more than the kooky best friend who just talked her dating, basically.

 

Zibby: How have your friendships been impacted by both the success of your book and also having kids? I feel like no matter how committed I am to my friends, there's just not enough time to see them, essentially.

 

Sophie: What's been interesting, actually -- I used to live in London around about where this book is set and then six years ago moved to Jersey, which is a channel island between England and France. That was quite a challenge because most of best friends were my school friends and they all lived in London or the UK. I moved away and then had children and so felt very removed from them physically because it's not that easy to just jump on a plane or jump on a boat and go and visit your friends when you've got a six-month-old in tow. I just got quite good at having people that I call regularly and would do Skype and WhatsApp to. Almost pre-this year where everyone's had to have their friendships like that, some of my best friends, I very much had that going on already. Also, I think your oldest friends, you can not see each other for years, and nothing -- I've actually got a really good friend called Jen who lives in Canada. I went to university in Canada for a year. She was my best friend when we were at Ottawa together. I haven't spoken to her probably in six years. She texted me and said, "Oh, my god, I heard your book was a New York Times best seller. I have to talk to you." I had a Skype call with her last night. We chatted for about three hours, and it was as if it was yesterday, and just caught up. Isn't that what's amazing about life and friendship? You can just pick it up. If you really love someone and know them and know that you like them, then the time and distance can be overcome, hopefully.

 

Zibby: Yes, I totally agree. I have friends like that too. I'm like, thank god that we can just -- the ones where you don't have that ease of relationship, it's easy to separate the wheat from the chaff, or whatever that expression is, when you have kids or you have a book or something big is coming on and you don't have time. Then to be able to reconnect easily is a hallmark of a really strong friendship.

 

Sophie: Completely. To be honest, it also sifts out -- when you live away from where most of your friends live, the ones who don't regularly call or WhatsApp you or message you, they are much harder to keep up, these friendships. Again, when you've got little children, sadly, life just gets whittled down, doesn't it? I've made loads of new friends in Jersey as well, mom friends. Life evolves. Someone's just saying on the questions, is this a fictional story or based on true events? It's very much a fictional story. I'll just remind them that is the...

 

Zibby: Sorry, here's the cover.

 

Sophie: It's definitely a fictional book.

 

Zibby: Does female friendship play a role in your next book that you're working on? What's that about? Are you allowed to say?

 

Sophie: The next book is called The Way We Met. It's all set in Jersey where I live. It's basically about a girl, Laura, who travels to Jersey for work. She picks up the wrong suitcase at the airport. Inside, she sees the contents, and she's convinced that this is the man of her dreams. Lots of the stuff in the case points to the fact that this is her soulmate. She sets off to try and find him. It's very much about someone who, again, believes slightly in fate and destiny and has very strong ideas about romance and [indiscernible]. She really wants to have this amazing [indiscernible]. There's definitely friendship and family that I explore in the book, but slightly different themes and slightly different ideas. It's been really fun to write, actually. I hope people are going to enjoy it when it comes out.

 

Zibby: Can you share how you met your spouse? I don't know if you're even married.

 

Sophie: I am married. This is so funny. Someone came over the other day who’d read the book. She met my husband. She said, "My god, you must be so romantic." She basically thought he must be kind of Quinn. I was like, no, he's not. [laughs] We met through, my best friend is married to his best friend. It was kind of a setup in our early thirties. We had lots of friends the same. It's not a particularly exciting story. It’s lovely to start dating someone when you know so many of the same people. We've been on lots of double dates with our best friends together. It's been really nice.

 

Zibby: That's nice. Awesome. Do you have any advice? I know you already gave some, but more advice for aspiring authors?

 

Sophie: I would say that sticking to a word count would be good. Then the other thing that really helped me is just applying for lots of competitions. The idea of finishing a whole manuscript can be so daunting, especially if you've just got no idea whether what you're writing is any good. There's lots of competitions for short stories or first chapters or extracts of writing. If you can apply for that kind of thing, it really bolsters your morale and your confidence. I first got published when I entered a competition called Love at First Write, which was for the first three chapters of a romance. Winning something like that can just really boost your self-esteem and make you think, actually, maybe there is something in this. It can also help you get seen by agents and stuff. That would be definitely a tip. Also, get friends to read your work who you trust to be brutally honest. I've got some friends who will read my draft and be like, "It's great. Excellent," which is not really that helpful. Two of my friends, [indiscernible] and Tracey who read my drafts, they're like, "Okay, this is where it's boring. This is where it's slow. I don't like this character." You might not take it all on board, but it just really helps to have someone who will be incredibly frank with you because that's what you need. Someone's saying, when will the new book be out? I think in the US it'll probably be out in the autumn next year. That's the plan. Hopefully, people will still remember who I am by then.

 

Zibby: Of course, they’ll remember who you are. You're just getting started. Are you kidding? Sophie, thank you. Thanks for doing this GMA Book Club live. Also, this will be a podcast on "Moms Don't Have Time to Read Books," little double-header situation. Thank you so much. It was so great to talk to you.

 

Sophie: Thank you so much. It was really fun. This is the first Instagram Live I've done that hasn’t been plagued by technical errors, so yay! Thank you so much for talking to me. That was wicked. Thank you.

 

Zibby: Good. Thank you. Have a great day.

 

Sophie: Thank you. Bye.

 

Zibby: Bye.

Sophie Cousens.jpg

Sarah Crossan, HERE IS THE BEEHIVE

Zibby Owens: Welcome, Sarah. Thank you so much for coming on "Moms Don't Have Time to Read Books."

 

Sarah Crossan: Thank you. Thank you for having me.

 

Zibby: Here Is the Beehive is so good. I love how you did it in a poetic style. It's almost like one big long poem. I want you to tell listeners what it's about. Then tell me about your decision to make it styled in this way, please.

 

Sarah: It opens with Ana Kelly who's a solicitor, an estate lawyer, getting a call from a woman to say that her husband has died and that she took care of the last will and testament. Ana realizes very quickly in this conversation that the woman is referring to her lover and a man that she had been having an affair with. This is how the book opens. We learn straight away that her lover is dead. It's how she deals with this grief. The book takes place in -- it's sort of a parallel text. You have the past where you see how she met Connor and how that relationship blossomed. Then you also have the present tense. We see how she copes with the loss of this person who she cannot tell anybody about. She has to grieve alone because of the secret nature of that relationship. She has things about her life that come out through the book. I think the reader is, on occasion, surprised by things that we find out about her life. Writing in verse, it wasn't a decision at all. It just happened that way. I've written lots of YA novels, children's novels in verse. I started to do that when I read the wonderful Out of the Dust by Karen Hesse which won the Newbery Medal in the eighties. I was teaching that to a sixth-grade class in New Jersey. I thought, my goodness, what is this way of writing? It's amazing. I started to write that way at that time. I haven't been able to let it go. I have written some prose novels. This is my first adult novel. I felt it had to be written in verse, really.

 

Zibby: There you go. I loved, actually, in the first few pages, trying to figure out who everybody was. I read a couple passages again. I was like, no way, is this really what's happening? I couldn't believe it, the way you had it set up and just sitting there, this lawyer with the run in her stockings getting this horrific news and then the devastation that followed. It's the combination of horrible secrets with affair and love. You got all the ingredients. I was reading it this morning as my kids were crazy. I grabbed a little scratch paper and wrote this by hand, a quote from your book. You wrote, "We plan for death, make sensible decisions while gorging on life, but no one intends to die." I loved that quote. Tell me about that thought behind that and all of it.

 

Sarah: I think that we always believe we're promised a tomorrow. I don't know that we are. This book was written before COVID, but I think COVID has made that perfectly clear to all of us. What house have you chosen to live in or apartment have you chosen to live in? Who have you chosen to live in that space with you? Those things become glaring and have become glaring in the last six months. I just wanted to imagine a world where something was taken away suddenly and then the collapse, the aftermath of that. For me, it is absolutely a book about grief and who is eligible to grieve. I think that a lot of people come to the book really disliking this character because the setup is sort of exposing for them. A lot of readers have reacted quite violently and said, well, she was having an affair. Who cares how she feels? I think that's a really interesting reaction. Women particularly have had very, very strong reactions to the book; young women, perhaps stronger reactions than older women who have scars and know that life is complicated. That's been really interesting for me, that it has polarized people. I have people saying they love the book and then people hating the book. [laughs] It's been a good one for book groups. I've chatted to a few book groups. In the nicest possible way, people say they don't particularly enjoy the character. As I say, I think that's because it's kind of exposing for the reader. It's not really about the character. I think it's about the reader and what the reader is bringing to that story.

 

Zibby: Your book already came out in the UK. Is that where you had the book groups?

 

Sarah: Yeah. The UK and Ireland have had some book groups. It came out on August 20th over here.

 

Zibby: It's like ESP. You get a little glimpse forward of what's going to happen over here, a little test marketing run. Not really a test market. It's an enormous market. Where did writing from grief come from? Have you gone through something yourself? Is this something that you just wanted to tackle? Tell me where the feelings of this came from.

 

Sarah: I've experienced grief, not in the same way that the character, Ana, has experienced grief. I wanted to also write about secrecy in grief. I think there are a lot of things that for a lot of people, they grieve silently, whether that's that they have -- doing the research and speaking to lots and lots of women, I didn't just speak to women who had affairs. I spoke to women who were going through grief. Then I just tried to talk to women generally about, what is a secret that you keep? In terms of the relationships that women have had in their lives, the secret the women have kept, having an affair with a coworker, a relationship with someone of the same sex, someone of a different religion, a family member, a teacher or a professor, a huge number of women that I spoke to were in secret relationships. Then also just other types of secret grief, so speaking to a woman who had a child who was not neurotypical and how that felt for her on a day-to-day basis. She didn't really want to talk about it because she felt so bad about that. She felt so bad that she was even upset in the first place that she had a child who was a challenge to her. That's what I meant at the beginning, is legitimacy of grief. Who is entitled to grieve? For what are we entitled to grieve?

 

I was listening to Brené Brown speak on her podcast recently about COVID and how we say to ourselves on a daily basis, well, I shouldn't get too upset because I have a house. I have food on the table. My home is warm. She said there's no hierarchy here. We're all allowed to have our feelings. Just because a person might be going -- externally, it appears to be something that's much more difficult. Doesn't mean you don't have your cross. We're all bearing something. When we have empathy for ourselves, we're much better at having empathy with other people. When people do say they don't like the character of Ana, I think, I wonder how hard you are on yourself, the fact that you can't empathize with this character who is grieving in this book. Are you particularly hard on yourself? From the friends that I know who read the book, it does seem that those who dislike the characters have things about themselves as well that they're not coping with too well. That was a challenge for me to like this character. As a writer, it was a real stretch. Can I give her nothing that makes her sympathetic and yet can I as a writer, by the end, be devastated for her and feel for her and cry for her and want her to be okay? That was work. That was me having to do a lot of emotional work myself to get there, to feel for this person who if you told me her story, I wouldn't like her either.

 

Zibby: Wow. There is that universal human compassion. Whenever anybody has someone ripped away from them, you also immediately kind of put yourself in their shoes and think about the things that have been ripped from you and then have that compassion. I think it's hard to limit it based on circumstance.

 

Sarah: I think that says a lot about you, actually. I don't think that's a general feeling. That hasn’t been the general reaction. I think that says a lot about the person who is listening, not necessarily about the story that's being told or a general compassion that we have. I think it says something quite nice about you. [laughs]

 

Zibby: Thank you. It's just in the same way that no matter how terrible a person is, I don't want anything bad to happen to them. There's all this stuff in the news now. Everybody's hoping for terrible things to happen to people who can be terrible. I don't think anything justifies -- I don't know.

 

Sarah: I know. I think it's Scott Turow, the writer, who said you judge a society not on the way that we treat people who are loved, but on the way we treat people who are hated. How do we treat the people who are most hated? That shows a lot about who we are. I think you're right. There's a lot of sending ill wishes towards particular people at the moment hoping for their downfall.

 

Zibby: I think you also, in your book, captured some of the immediate aftermath, that shock value of grief and how Ana stops eating and lets her hair go. Everybody notices, but no one can pinpoint it. The fact that she can't reveal it, it just makes it all the worse. Those first days or weeks when you're integrated that information with everyday life are so challenging. I feel like you got to the heart of that particular time.

 

Sarah: Thank you. It was watching, observing, having gone through things myself, but also -- spoiler. It's a spoiler. I don't know what page it comes out on, but she's a mother as well. She finds that difficult. That's something that readers have judged her for as well. She's just this terrible mother. Have we all not had moments where we have not been our best selves? I can think of many. I'll write you a list. It will be pages and pages where I know I could've done better. That's the one thing that's leveled at Ana which bothers me. I think if the protagonist had been a male, that wouldn't be leveled at him, that he's a terrible father, he's disconnected from his children. Of course she's disconnected from her children. She's disconnected from herself. She's disconnected from her whole life.

 

Zibby: Having kids makes everything more complicated. I was on Instagram debating if I should admit how not proud of my mom behavior I was the other day. I was like, nope, I think I'm going to delete this. Nobody needs to know. They can imagine. Everyone's been there. Still, I don't necessarily need to put it on display. Everybody slips, not in a lifelong-damage way, but it's a lot having kids. When you throw on extra emotion over it, it's a lot. Then they take on your emotion too. Kids are like sponges. You can't hide it, necessarily.

 

Sarah: They're a reflection, aren't they?

 

Zibby: How old is your daughter? Do you have other kids? It's just your daughter?

 

Sarah: I just have one, yeah. She's eight. She's back at school now after six months. She's not happy. I thought she would be delighted to go back, but she's not enjoying it massively. I think she feeds off my anxiety. I feed off hers. I need to be better at hiding my feelings. [laughs] I don't know that a psychologist would say that was a good thing. I suppose because she's been at home so much, I end up revealing things to her or she ends up overhearing conversations that I'm having. There was an illness in my family. I was trying to deal with that. There was nowhere for me to go. I'm on the phone. I have to take the phone call. I keep talking about the pandemic. During the pandemic, I think parenting has been particularly difficult. We spend so much time protecting our children from things, and then they're face to face with it. There's nowhere to hide.

 

Zibby: It's true. My mother-in-law and grandmother-in-law both had COVID and both passed away during this summer within six weeks. My husband, Kyle, and I, were in charge of her care. It has to be remote. She was in Charlotte, North Carolina. Anyway, I have four kids myself. As all the calls were coming in, and the nurses, I tried to be like, everything's good, let's go on the trampoline. It seeps in. Then it comes out of them in other places too. Then all of a sudden, they're having separation anxiety, which they haven't had in years. Even if you put on a happy face and don't talk about it, they feel it. It's one of these things that nobody really warns you about. You can't actually hide your feelings. You have to change your feelings if you don't want your kids to feel them.

 

Sarah: I completely agree. I was speaking to a psychiatrist not that long ago who was saying one of the worst things for children is a house where there's silence because they know there's some kind of danger, silence in terms of tension, silence in terms of a house where people are not getting on very well, but they're not shouting at each other. A child senses it. They know. They feel that energy. They attach that danger elsewhere. I notice something's not quite right, but everything looks right, so you know what? I'm going to suddenly be scared of buttons. I'm going to suddenly be scared of ice cream or whatever, not likely.

 

Zibby: It's just like a dog approaches a situation. You don't hear anything, necessarily. They pick up everything. They just freeze, and they're looking around.

 

Sarah: With my dog, it's howling in the middle of the night. [laughs] Be quiet, Hilda. Be quiet.

 

Zibby: So tell me more about the process of writing. What's your writing process? Do you work there at a shared space? How long does each of your books take? What made you switch to adult fiction versus younger children's fiction?

 

Sarah: I used to work in a cowriting space in the Writers Room in New York City, actually, when I lived in Jersey City. I used to go in every day. Then my daughter was born, and I stopped doing that and then eventually relocated to the UK. Then I had a writing space built at the end of my garden. Actually, that stopped working. That kind of isolation in my own studio didn't really benefit me creatively, I don't think. I was a schoolteacher for ten years. I need people. I need relationships. I need noise. I, half the time, ended up going out to a library or to a coffee shop anyway. I'm now relocated again. I'm still in the UK, but I've moved two hours away from where I previously lived. I found this amazing coworking space where I'm allowed to bring my dog. They have little rooms for Zooms. They have desks that you can book out and tea and coffee. It's lovely. I'm trying to not come as much because I'm trying to stay as distant from people as possible, but it's great. There's hand sanitizer everywhere. You have to spray all your desk down. People stay away from one another.

 

Just the noise, it's quite nice to have this noise in the background of other people living and working. There's all different types of people working here, which is quite nice as well. You might chat to an architect one day and a web designer another day. That's quite interesting because writers tend to talk to writers, and that it. We forget all these other amazing jobs that exist. That's how I'm working at the moment. In terms of writing for adults, it was not a conscious decision at all. It was just that I had this idea, this hook that I imagined. What would it be like if a woman was to lose somebody and she couldn't tell the world about it? Then I had a conversation with some friends when we were out in the pub one night and asked, "Have you ever been in a relationship with a secret?" Slowly but surely, every single person around the table revealed a secret. I thought, gosh, this is a really universal experience. I wanted to write about it. I couldn't write about it within children's fiction. I couldn't find a way into that story.

 

Zibby: Oh, yeah, that's probably better.

 

Sarah: I gave it a go.

 

Zibby: Did you? [laughs]

 

Sarah: I thought, could I write about a parent having a relationship and it being secret and what that does to the family? I decided to write an adult novel instead. I was interviewed by someone who said, "your apprenticeship in children's fiction." I was horrified because I absolutely don't see writing for adults as a step up in any way. In fact, to some extent, writing for adults has been a little easier because I don't have to watch every single word. I do in terms of making the language as good as it can be, but the swearing and being careful not to say something that may be interpreted by a child in a particularly way that is damaging or just not of my politics. With an adult reader, you can say what you want and let them do the hard work of dismantling it. I need to make my children's books palatable to teenagers. I don't have to do that for adults. I don't care about it being palatable. I just want it to be as real as possible. In a way, it was kind of freeing. Easier is not the right word, but definitely freeing and less painstaking in some ways, especially when it came to the edit. The edit was so joyous compared to editing a children's book.

 

Zibby: How long did the book take to write, the first draft?

 

Sarah: About three years. Probably, three years in total. I think it was kind of clean when it got to the publisher, which is always quite nice to not have a huge edit to do with your publisher. I will, probably, for the next book. For this one, it was kind of clean. That was nice.

 

Zibby: Tell me about your next book.

 

Sarah: I haven't started writing it yet. I'm actually meeting my editor in a couple of weeks so we can talk through some ideas. I had written some stuff and sent it to her. She said, "Do you really want to write this? It just doesn't seem to have the energy." I was like, "No, not really, but I'm on deadlines. That's what you're getting." [laughs] She said, "Hey, why don't we just wait and see what comes to you rather than forcing you to write something that you don't want to write?" In the meantime, I've written a YA, a young adult novel in verse again. That's going to come out in August, but I haven't edited that yet. I'm doing that at the moment.

 

Zibby: Excellent. Do you have any advice to aspiring authors?

 

Sarah: Yeah, I guess. If you wanted to be a connoisseur of wine, you drink loads of wine. [laughs] That's what I would do. If you wanted to play tennis, you'd just pick up a tennis racket and you'd start banging a ball about. I think a lot of people have an idea of what it is to be a writer which is a fantasy and a romantic idea. Being a writer, there's a lot of drudgery involved in it. To write, you just got to sit down and get writing rather than have a fantasy about it. Also, it's so easy to think of publication as the holy grail. With publication, come other problems. Where I am on the best-seller lists? Have I won a prize? What are my reviews like? That idea that you will suddenly feel like a real writer once you get published, that's not true because there are always new mountains to climb and hurdles every day. I'm giving a lot of advice now, but another thing I tell people is it's not going to make you happy. I think a lot of people think that once they get an agent or once they get a publisher, it's going to make them happy, but your other life goes on. All the other stuff continues.

 

I won a big prize in the UK, a children's prize called the Carnegie Medal. I got a call from my publicist to say, "Are you sitting down?" I thought someone had died. I was like, "Yeah." She was like, "You've won the Carnegie Medal." I said, "Oh, my goodness." I'm screaming. I was like, "I'm so happy." Then I put the phone down. My daughter was basically saying I needed to wipe her bottom. [laughs] She was like, "I need you wipe my --" I was like, okay, there we go, back into reality, back into life. I was given four seconds to enjoy this moment. Then, right, you're a mom. Back to your real life. So it's not going to make you happy. It might add to it. It might take away from it. It's certainly not going to give you everything that you think you want in life. For me, it took winning the Carnegie to realize that my relationships had to be the thing that fed me and nourished me, which they do now.

 

Zibby: Although, I would say that phase of parenting is not always the most nourishing when you're in it. I wouldn't beat yourself up about that too much. [laughs] Sometimes you just have to get through certain things. That's great perspective to have. Thank you. Thank you for coming on "Moms Don't Have Time to Read Books." I have a virtual book club called Zibby's Virtual Book Club. We have authors come on. We all read the book. Then there's Q&A with the author. If you have any interest, I think this would be a great book for my club. If you want to do it, I could work with your publicist and try to find a time.

 

Sarah: Yeah, I would love to. One thing, if the readers were reading it, my mom suggested that readers were one of three people. She suggested that the reader was either a person who had had an affair; a person who had had an affair done to them, they were the victim of it; or they were a person who was terrified it was going to happen to them. When I've spoken to book groups before, it's like, which of those people are you before you go into it? Know who you are when you're going in. It will tell you a lot about why you feel what you feel when you come out of it. I would love to. I would really love to.

 

Zibby: Your book is like a Rorschach test. I am divorced and remarried. This is years ago. When I would tell friends and sit down with them, I'm getting a divorce or whatever, their reaction had nothing to do with me. It just said everything about their own marriage. It was basically like, if you want to find about your friends' marriages, tell them you're getting a divorce. See how they react. Then be like, I'm kidding. [laughter] That's the way to get at the heart of -- I don't actually recommend that. I'm just joking. Sometimes when you put up a sort of mirror is when everything else comes pouring out in the same way as your book does.

 

Sarah: I had a friend who, when she told another friend that she was getting divorced, her friend said, "Who's going to do things like change the lightbulbs in your house?" She thought, that is literally the only use you can see for your husband. [laughs] He changes lightbulbs. That is it. That's the extent of what he adds to the marriage.

 

Zibby: Husband handyman. [laughs]

 

Sarah: It was so nice to speak to you. It's been really, really nice.

 

Zibby: You too. Have a great day. Thanks so much.

 

Sarah: You too, Zibby. Bye.

Sarah Crossan.jpg

Tami Charles, ALL BECAUSE YOU MATTER

Zibby Owens: Thanks for coming on "Moms Don't Have Time to Read Books," the Instagram version and eventually the podcast. Would you mind holding up your book so everybody can see it? All Because You Matter, so beautiful. You had an amazing unboxing video with your son, which was just awesome. Would you mind telling everybody what your children's book is about?

 

Tami Charles: All Because You Matter, really, it's the book of my heart. I wrote this book for my son, essentially. His name is Christopher. He's ten years old. It's really a tribute to him and to all children, especially children from black and brown communities, marginalized communities, to really just remind them of all the ways that they matter to us and in the universe. All Because You Matter, this is my book baby.

 

Zibby: Beautiful. Would you mind opening one to three pages?

 

Tami: Absolutely, yes. I'm going to read the intro. "They say that matter is all things that make up the universe: energy, stars, space. If that's the case, then you, dear child, matter. Long before you took your place in this world, you were dreamed of like a knapsack full of wishes carried on the backs of your ancestors as they created empires, pyramids, legacies, building, inventing, working beneath red-hot suns and cold blue moons thinking of you years ahead because to them, you always mattered."

 

Zibby: You're a poet. It's like poetry. Did you start out writing poetry? How did we get here? Where did you come from? Where were you born? How did you start writing? Let's back up.

 

Tami: I was born in Newark, New Jersey. What state are you in, actually?

 

Zibby: I'm in New York.

 

Tami: New York, awesome, so you might have heard of Newark, New Jersey. I was born in Newark, New Jersey. I'm the daughter of a technician and a retired teacher, vice principal, and principal at my school. When I was growing up in my elementary school, my mom was very, very key in developing my love of reading. I loved books as a child. That filtered into my adult life. The one thing was, for as much as I loved books, I didn't really think that I could be an author growing up because it wasn't something that I saw. I didn't have access to books that featured positive depictions of kids of color, so I kind of thought I couldn't be an author. I did the next best thing. I became a teacher. I did that for fourteen years. It was wonderful, but I always had that hidden dream tucked in my back pocket that I really wanted to be an author. When I began my career teaching, I started to notice that there were a lot more diverse books for kids today than what I was used to growing up. My students and I, we would read these books. We would write stories together. They would say, "Miss Charles, you should do this. You could be an author." It's almost like my students gave me the green light to follow my childhood dream of becoming an author, so I did. I got rejected along the way in the beginning, but I kept pushing and I kept pushing. Eventually, I was able to become published. It's really been such an amazing journey for me. That's where we are now. I no longer teach because I write full time. It's great. I became published in 2018. I'm still a baby with this stuff, but I'm loving it.

 

Zibby: Tell me about your first book.

 

Tami: My very first book that published, it was called Like Vanessa. That's a middle-grade novel that I wrote about a thirteen-year-old girl from Newark who shyly enters her school's beauty pageant even though the kids at school, there's some kids who think that she doesn't stand a chance. That's called Like Vanessa.

 

Zibby: This picture book that you just wrote is not only lyrical and beautiful, but so important for the times that we're in right now. When did you write this? Not that it matters month to month, but when did you write it? Was this always in the works? Give me the timing.

 

Tami: The timing is this. First of all, I want to say this was the book that, as a mom, I didn't want to write. The second I became a mom of this little boy, I just wanted to keep him small forever. I wanted to keep him shielded from the cruelties of the world, some sad realities that have been going on in our communities, especially communities of color. I didn't want him to even know about the bad stuff. As time went on, I knew that my son would grow up and he would experience things. Maybe he himself would be put in situations where maybe he feels like he doesn't matter. I knew that I had to write this story to have a starting point for conversation for those tough questions that I knew would eventually come. They started coming once he entered school. He learned things. He met friends of all kinds. I remember one of the earliest questions was, "Mommy, if Dr. King was such a good person, why did they hurt him?" He was five or six when he asked that. I was like, okay, I can't avoid it anymore. I have to find a way to get real with him, let him form his own opinion about things that have happened in our history, but all the while reminding him of how much I love him. I kind of put that off for years. My son is ten years old. In 2018, by this point, he was eight.

 

I had a dream one night. I literally dreamt of this book. I dreamt of all the words. That never happens, by the way, at least for me. I dreamt of all the words. I saw the art. I knew who did the art in my dream. I woke up that morning and I wrote it really, really fast. I remember my husband was on a business trip. I called him and I read it to him over the phone. He goes, "You need to send that to your agent now." I'm like, "No, that's not how that works. I need time. I have to revise it. I have to workshop it." I sent it to her that day. It was a Friday. I remember getting in the car to drive to the Boston Book Fest. By the time I was in Hartford, Connecticut, I stopped for coffee, I got an email from my agent saying, "We're going out with this on Monday. Let's go." I think by either that same day or the next day, we already had an offer on the table. This was one of the fastest projects I've worked on. It never works like that.

 

Zibby: Oh, my gosh. Now it's coming out in this time, congratulations, tomorrow. So exciting. First of all, how are you celebrating this? Second of all, how do you feel compared to 2018 when you had a traditional release of a book to now?

 

Tami: This COVID is keeping us apart. I can't take it any longer. I miss humans. I miss traditional gatherings for book-ish events, but here we are. At least we have this. I'm very thankful for this. As far as tomorrow goes, my son -- that is him on the cover. When he was eight years old, we did the cover. My son told me, "Mom, this is my book. I'm in charge tomorrow of our day." He claims it's a surprise, but I think I know what we're doing. The book is in Target, which is a big deal because I've never had a book in Target. I believe we're going to Target tomorrow. I think we're also going to Barnes & Noble because the book is there. It was selected as one of the best books for October by Barnes & Noble. We'll be going to those two places. I'm hoping there's going to be some kind of food involved.

 

Zibby: I'm always hoping there's going to be some sort of food involved.

 

Tami: I think that's what we'll be doing, and then just coming home and having a quiet little celebration at home. He's in charge. It's his book. I'm just the [indiscernible].

 

Zibby: The video you sent me, he asked you if he was getting paid for this book. You're like, "Yeah, with [indiscernible], essentially." [laughs]

 

Tami: That kid's a hustler, I tell you. Yesterday for the book launch, I had a virtual launch with Books of Wonder. I didn't have to bribe him to do it because he was really happy to do it, but you better believe that he said, "So I don't have to do my chores today, right?" [laughter] No, he didn't have to do his chores yesterday.

 

Zibby: I loved the basic premise of the book, which is obviously, people of all kinds, shapes, sizes, colors, whatever, we all matter. The people who came before you have been working in the effort to make sure you have better lives, which is for all generations to come. This word matter is so of the moment with Black Lives Matter. Yet in the book, you don't reference that at all, unless I missed it. It wasn't the introduction. It wasn't in the author's note. It didn't speak to that particular movement. Was that on purpose? Did you choose the word on purpose, or it just happened to be that way like matter in the universe?

 

Tami: I think I did a bit of a word play. When you think of matter, you think of -- at least when I first heard the words in my mind, I thought of the universe and all the things in the universe, everything that makes up this universe, the sun and the stars and the moon and even grass. In thinking of that and positioning that with the fact that there's been such an increase of injustices against people of color, particularly black people -- my son, now that he's getting older, he was seeing that. He had questions about it. If you think about the universe and if you think about what has been going on in our country, I had to write it in a way where I let him know that there's been a place for you in this universe from the moment that it was created. Of course you matter. You matter because the people that came before you worked hard and they made it so that you could be here today and enjoy the fruits of their labor. Absolutely, this is an homage to the belief that black lives matter. Of course we do. If all lives matter, then we matter as well. I have to say that in order for all lives to matter, we have to really acknowledge the ones who feel that they don't.

 

I know that there have been times where my son would see certain things and he would have questions about it. I said, I have to let him know that he matters because that's my job as his mom, to pour love into him, to let him know that as you navigate this world you are literally carrying on your backpack, the hopes and dreams of your ancestors. Someone asked who illustrated the book. Bryan Collier is the artist of the book. He did it so lovingly. If you look throughout the art, he uses ancestral petals. Within those petals, you see different parts of faces. Those are the voices and the faces of our ancestors. They're whispering to our children, you matter. You mattered before you even got here. Don't forget it. Carry that with you as you navigate this world. I tried to do that in the most loving way. I didn't want to do it in a way didactic way because you may see something in the text or in the art that is totally different than what another person may see. I wanted to write it in a way that opens up interpretation and conversation. You hit the nail on the head. At the end of the book, there is a spread of all the people and all the people marching and really amplifying the belief that our children matter. It's in there. It's in the art. If you hear it out loud, you can hear it whispered in between the words.

 

Zibby: Even the way you talk is so beautiful. It's so visual.

 

Tami: It's in there. I want my son to know that. As I mentioned, I'm a former teacher. I remember this very look, that look. It's the same look of all children. It's a look of a student who looks at a teacher and says, "You say I matter. Okay, tell me more. Tell me more about that." It's that look of longing. It's a look of hope. I'm really hoping to convey that to anyone who reads it, but particularly for those who need to hear it the most.

 

Zibby: That's the magic of a successful book. It's giving people what they need that they didn't necessarily even know they needed it. Then there it is in your hands, and boom.

 

Tami: I'm telling you, when you tell a child that they matter, there's a power in that. Something about that will lift them and catapult them forward in their future. I've seen it. As a teacher, I've seen it. I have students right now who are -- oh, my gosh, I have students who are business owners now. They're married with children. They own this. They travel here and there. I'm just looking back like, wow. I've had students come to me and say, "Miss Charles, because you told me this, I knew that I could do this." Imagine the power that you have as an adult to just whisper those words in a child's ear. You matter.

 

Zibby: It's so important. It's great. Can I steal that and use it on my own kids? I know I'm not your target audience.

 

Tami: You know what I love that Scholastic has done? They're really billing this as an all-ages picture book. I love that. Someone just wrote, can she give us a look at the artwork? I'll hold up a picture. This is one of my favorite images. You can see it. That is a child taking their first steps to their mom. It's supposed to be my son. One of my favorite memories is when he took his first steps. That's a moment that matters. Children have all these little moments in their life that matter. What a gift it is for us to be there and witness that. It's been such a great journey with this book. I really do think that anyone of any age can read this book and pull something out of it. Listen, I'm forty years old. I still need to be told that I matter. [laughs]

 

Zibby: When you were saying that about how good it makes kids feel, I was like, that would make me feel good too.

 

Tami: Exactly. Even now as a grown adult, I have moments where I feel a little less than. That kind of message is something that, really, anyone of any age can benefit from. I know first and foremost our children need to hear that, for sure.

 

Zibby: Are you planning brand extensions? I could just see this as a pillow because your artwork is so gorgeous, or a framed thing or "You Matter" T-shirts.

 

Tami: All of it. I want to show another picture. If you lift up the cover, check this out. I didn't even know this until recently.

 

Zibby: Oh, my gosh. Wow.

 

Tami: Such a powerful image. That's my son with his eyes closed. Those lines, Bryan recently explained why he chose to put those lines across his face. Those lines are paths. They're roads and rivers. They almost represent interconnectedness, that connection, the ties that bind us together. I love that. I love what he did with the art. If you even look around his face, you see the word matter, just a little piece of it. Here are all the people surrounding this child whispering to him, marching for him, taking a stand for him, all because he matters. The art is spot on. I wish I could take credit for it. I can only credit for, that's my baby on the cover and in the book.

 

Zibby: You're the inspiration. You wrote it. You can take credit for as much as you want.

 

Tami: Yeah, there we go. [laughs]

 

Zibby: Are you working on anything else now?

 

Tami: I am. Let's see if I have it. I do. I write books of all kinds in all ages. I write young adult novels, middle grade, and picture books. I also write nonfiction. This book, All Because You Matter, publishes tomorrow with Scholastic. I'm really excited about that. I actually have some more projects forthcoming with Scholastic. My next book that's publishing with them is on the young adult side. This is a young adult novel. It's written in verse. It's called Muted. Little fun fact about myself, when I was a teenager/in my early twenties, I was in a singing group. This was in the late nineties when the music industry was saturated with girl R&B groups. We tried really hard to make it. It didn't happen, but we did have some good times. The music industry had and still has a bit of a Me Too moment. I noticed that it's been really increasing now. Full disclosure, my singing group, we came out unscathed. Even though we did not get the record deal and the Grammys and all of that, we came out on the other side okay, but there are people who don't. I wanted to explore that, the dark side of the music industry and what it takes to fight back and get your power back. Muted tells the story of a seventeen-year-old girl who does just that. That comes out February 2nd.

 

Zibby: I feel like if I spent a week in your house, I would leave feeling so great about myself. Everybody gets this boost of -- you just infuse confidence and power into [indiscernible/crosstalk].

 

Tami: Thank you.

 

Zibby: That's how I'm seeing it. [laughs]

 

Tami: I appreciate that. Thank you.

 

Zibby: Do you have any advice for aspiring authors?

 

Tami: Yes, lots. First off, this is not easy. You got to go into that knowing it. I've had friends and family members along the way who probably thought it was, but after they’ve seen this, years and years of the journey, they're like, oh, this is harder than what I thought. It’s not easy, but it’s so worth it. It's so rewarding. If this is your dream, you just have to keep going. My biggest piece of advice is put your blinders on. Just focus on whatever those writing goals are for yourself. Focus on those because it can be very tempting to see how other people are doing, how other writers are doing and feel like, oh, man, I'm not writing fast enough or my writing isn't good enough. No. You have to put your blinders on. You can still clap for the other writers. There are so many writers that I admire and adore. Your process is your process. You have to celebrate every moment along your journey. Just don't give up.

 

Zibby: Excellent. Thank you. Thank you so much for coming on. I'm so excited to have caught you right before your big pub day. Obviously, you have so much more in store. I look forward to following all of your releases. I think this book will be a smash hit. It has all the elements of a successful book. It really helps people.

 

Tami: I hope so.

 

Zibby: I think it's great. Thank you.

 

Tami: Thank you so much.

 

Zibby: Buh-bye.

 

Tami: Bye.

Tami Charles.jpg

Eva Chen, ROXY THE LAST UNISAURUS REX

Zibby Owens: Welcome, Eva. Thank you so much for coming on "Moms Don't Have Time to Read Books."

 

Eva Chen: Thank you. Thank you for having me. I am super in awe of your rainbow stacks behind you.

 

Zibby: Thank you. Thank you. They're all over. This is my pride and joy. They go all the way up.

 

Eva: You have the dream-state of a library.

 

Zibby: Yes. On Instagram the other day, I posted, I was like, I don't buy shoes, I buy books. You're all about fashion. I am not. That's not my strong suit. Books is my addiction.

 

Eva: The only thing you need to make that library even more perfect is a ladder like in Beauty and the Beast when Belle swings with her arm. You know the scene I'm talking about?

 

Zibby: Actually, growing up and still in my mother's apartment, she has a library that's a maroon-y color, and she has a ladder. In fact, it actually does this weird thing where it folds up. It's an antique. I don't know if I could go there. [laughs]

 

Eva: I think you should just embrace the Beauty and the Beast life and get a library ladder. I truly dream of having a floor-to-ceiling library with a ladder. With two very young children, three and five, not good to have ladders just hanging out.

 

Zibby: I have four children. My youngest is five. He likes to climb up this chair and try to grab books all the way at the top when I'm on Zoom.

 

Eva: My son does that too. I'll turn around and he would literally somehow be at the top of the bookshelf, but there's no climbing surfaces. He literally, like Spiderman, scales the bookshelves. It's constantly stressful. I'm always like, where is he? What's going on? One of the characters in my first book series, Juno Valentine, is named Finn Valentine. He's always getting into trouble. He was a little bit inspired by my three-year-old son, Tao.

 

Zibby: There's no lack of material when you have little kids. I feel like every day, I'm like, this could be a book. That could be a book.

 

Eva: It's really like a zoo. It's a constantly circus, zoo, anything chaotic. It's 2020, chaos.

 

Zibby: Chaos squared or something. So you have had this whole fashion career. You were the editor-in-chief of Lucky, which is so cool. I loved that bag. In fact, I went to some event once a while ago, and they gave out these free Lucky totes. I used it all the time. It had pink letters on a white tote. This is ages ago.

 

Eva: It was probably the event Lucky Shops.

 

Zibby: I don't know what it was. You know how sometimes a tote just makes it into your rotation for whatever reason? It's the perfect length or weight or something. Anyway, that was my bag for a long time.

 

Eva: Wonderful. I was at Lucky for two years. I was a magazine called Teen Vogue before that, which is the woke little sister version of Vogue. I was there about seven years. I was at Elle magazine before that. Now I'm at Instagram working on the fashion team there. Really, it's this been weird path from -- I'm a first-generation American. My mom was always very fashionable. I never thought I would end up working in fashion. Now to work in the tech world, it's all been this crazy adventure that I never would've predicted. It's a very windy path to where I am now. Now I'm writing children's books, which is a dream in life. It's come to true.

 

Zibby: I saw on one of your Instagram posts that you said that's really what you wanted to do. People were surprised by that. All you really want to do is write children's books.

 

Eva: I remember when I left, I think it was Teen Vogue that I left. That probably was about seven years ago. Amy Astley was the editor-in-chief then. She's now the editor-in-chief of Architectural Digest. It was Amy Astley I did an interview with, and Anna Wintour who was the editorial director of Teen Vogue, being the editor-in-chief of Vogue. I remember both of them were like, "Tell us about your experience. Where do you see yourself? What is your goal? What is the dream?" Most people say something like, I want to be a stylist or I want to be a designer or I really want to be an artist or whatever it is. I was like, "I just really want to write children's books. It's my dream." They were both like, "Oh, we have not heard that one before." I think it's because I grew up kind of feeling -- as a child of immigrants in this in-between state of, I'm living in America, I'm very proud to be an American, but I speak Chinese purely at home. English was not my first language and still is not my parent's primary language. There was this sense of feeling like, I don't know where I fit in. I don't know where I belong.

 

I think that I always turned to books as a place that -- they didn't know my background. I just could fit into these worlds. I read books, probably like a lot of young ladies and now gentlemen read. The Ramona books, Beverly Cleary, they really informed a lot of my personality. Now as a mother, I remember reading those books and thinking this is the perfect little girl. I see those traits in my daughter where I'm like, I love her spunkiness and quirkiness. I think back, it's like, oh, my gosh, I wished this. I wished for this. I wished for a girl like Ramona Quimby. I read books like The Babysitter's Club. I got a signed copy of Baby-Sitter's Club, Kristy's Great Idea, from Ann Martin around the time Netflix launched their series. I think they sent out first editions because that would be just way too much for me. My brain would explode. Then when I got it, I was like, oh, my god, I can't believe Ann Martin touched this. I've always been a book nerd. It's truly so exciting. It's truly a dream come true to be writing children's books. Sorry, Zibby, I literally talk in run-on sentences. I talk a lot.

 

Zibby: I love it. That's the whole point, is getting to know you. If you weren’t talking, this would be a very awkward conversation. I am interested in what you're saying, so don't worry about it. This is great. I just want to hear. So Roxy the Last Unisaurus -- is that what it's called? So amazing.

 

Eva: Yes, Roxy the Last Unisaurus Rex. It's my new baby. I'm very excited about Roxy.

 

Zibby: It's adorable. I love it. I love the message and the illustrations and the whole thing. It's just so cute. It does come, again, from this place of feeling alone a little bit, like an outsider of sorts. Do you feel like that came from what you were just referring to, your first generation-ness?

 

Eva: It was interesting. I wrote Roxy when my daughter who is now five, almost six -- she's always loved dinosaurs, always gravitated towards dinosaurs, would see dinosaurs on a onesie and would be happy, plays with t-rexes and stegosauruses, always running into my room asking me, "Have you seen the triceratops?" I'm like, "I just stepped on it." Those three horns, not so comfortable on the feet. I really wrote Roxy because she had an incident with a friend who was like, "Don't you know that girls don't like dinosaurs? Girls like princesses and unicorns." She was kind of crestfallen. It was a cool, older friend who was probably seven at the time. She was like, "Is it true? Am I not supposed to like dinosaurs? Am I only supposed to like unicorns?" She likes unicorns too, but not like the passion she has for dinosaurs. That's how the idea of Roxy really came about. You can like dinosaurs. You can like unicorns. You can like both. Why not make a dino-corn like a unisaurus rex? It's interesting because when I announced the book, it must have been in March that I announced it, a lot of people found different meanings that resonated with them.

 

I had some followers reach out. They were like, "Is this an allegory for being biracial?" I was like, could be. Then I had other followers say, "I'm the parent to a non-gendered child. Is Roxy about that?" I'm like, honestly, okay. That's the magic of children's books. People read children's books and they’ll find what they need from it. In Harry Potter, the Room of Requirement, where Harry and his friends can only find this room when they need it and it gives you what you need at the time, I think that's the thing with children's books. They should allow kids to see themselves in a myriad of ways. Roxy is trying to figure out where she fits in. She doesn't fit in with the regular triceratops. The stegosauruses and triceratops don't want to hang with her. The velociraptors just run away from her. It's about finding her place in the school. Yes, dinosaurs go to school. It's, I hope, a story that a lot of little kids will take some comfort from. It's also funny and weird. There are lots of pop culture references. Of course, there's a Mean Girls reference. Of course, there's a Royal Tenenbaums reference because you got to have those easter eggs for the parents so that they're not bored out of their minds reading the same book for the six thousandth time.

 

Zibby: Thank you for that on behalf of all parents. Tell me about the publication of your first children's book. How did the whole journey begin? I know you wanted to do it. When you sat down and did it the first time, tell me about that.

 

Eva: When I was at Teen Vogue, a mutual friend introduced me to my now book agent, Kate. I was a beauty editor at the time. I was focusing on skin care and beauty tips and self-esteem. I wrote a lot about health issues for younger women. She was like, "I really want you to write a book that's a biography and then also tips on style and advice." I was super behind on that. Every year, it's like she had a calendar invite to remind me to be like, where's that book? Then finally, one day I emailed her. "I have my book. I wrote it." She was like, "Oh, my god, thank you." I was like, "It's a children's book." She was like, "Not what I was expecting." That book was Juno Valentine and the Magical Shoes. It's about a little girl who loses her favorite pair of shoes. Then she travels through time and space to find her shoes and encounters icons from Gloria Steinem, Anna Wintour, Yayoi Kusama. It's kind of a fashion feminist fairy tale in a way. We have Juno Valentine and the Magical Shoes. The sequel to that is Juno Valentine and the Fantastic Fashion Adventure. Then I have two board books. One is called A is for Awesome. The new one is called 3 2 1 Awesome! It's coming out on the same day as Roxy, which is a little -- did not expect to have two books coming out on the same day. I love these books. The board books have become -- I've seen a lot of teachers add them to their classrooms. I feel like that's the highest compliment as an author.

 

The new book has Megan Rapinoe and Rhianna and Greta Thunberg on the cover. There's a lot of diversity in it from Twyla Tharp and Temple Grandin to Sonia Sotomayor, Zaha Hadid. Spoiler alert, Sonia Sotomayor is in it, and Ada Lovelace. We try to have different women and their accomplishments. A lot of people say it's a little girls' book. It's a great book to give little girls. People should buy it for their sons too. I'm not just saying that because I'm an author and I want you to buy my books. I went to an all-girls school, as did you. I do think there's this element of the earlier you're exposed to the accomplishments of women, the better. That shouldn't just be for girls and empowering girls. You want little boys to grow up knowing, hey, a woman can be an executive. A woman can be a supreme court justice. She can do many things. She can be an activist. She could be a pro soccer player. It's just about exposure. Kids learn through osmosis. They learn when you expose them to things. I have strong feelings about this.

 

Zibby: It's true. Kids should learn that anybody who accomplishes something really cool should be celebrated and used as a role model, man or woman. It's absolutely true, a hundred percent. It shouldn't have to be like, look, women can do it too. It should just be natural, like, yeah, look, look at what these awesome women did.

 

Eva: This year is obviously a really weird, stressful, dramatic, traumatizing, let's throw in all the alarming adjectives in there. It's been a really rough year. Normally around this time, I'd be setting off on a book tour. For each of my books, I've gone on ten to fifteen city book tours. I go to these events. Really, you feed off the energy of these readings and all these young children, and especially young girls, and seeing that they see themselves in a book. I'm not doing that this year for obvious reasons, COVID. I realize on these book tours, honestly, that not every child hears that message that you should dream big, you should go after what you want, you can achieve great things. That's a luxury. I've been doing a lot of fundraising for public school teachers recently. It's a cause that's really close to my heart. I do hope these books send that message to children even if they're not hearing it in their personal lives and in their own lives.

 

Zibby: Absolutely. By the way, I actually went to an event of yours for A is for Awesome at Bloomingdale's with Darcy Miller. I brought my girls to this event because I've known Darcy for a long time. In fact, she was also on this podcast. I tried to get your book, but the line was so long. People were around through all the different aisles of Bloomingdale's to sign up and get your book. I was like, who is that? What on earth? What's the line?

 

Eva: I'll send you a signed book. Come on. [laughter] I really love signing books and writing messages. I had a lot of books growing up. My parents always were very generous with books. I didn't really have any signed books growing up. I met the author of -- I don't know if you've read the Dory Fantasmagory series. It's a great early reader chapter book for kids. My daughter loves them. The author's name is Abby Hanlon. It was at this bookstore called Books of Wonder, which is my local bookstore. It's this gem of a bookstore in the Flatiron District.

 

Zibby: I've been there. It's great.

 

Eva: So great. It's been open for like forty-five years. It's only children's books. I spent a lot of time there when I was researching my books. Also, it's this magical meeting spot for authors. I bumped into the author of Dory Fantasmagory. I fangirled out so hard. It was so awkward. I was like, "Oh, my god. Wait, I have to come back. I have to bring my daughter." She was like, "Okay." I was like, "I love you. You're such a great writer." Anyway, she signed all the books. It was very special to have something that the author touched and that has a special message for the child. I think that's the best gift.

 

Zibby: Totally. I went to this Brooklyn Book Festival event, Children's Brooklyn Book Festival last year. All these authors were there. My son had just gone to boarding school. One of his favorite authors who -- now I'm blanking on who wrote New Kid who's super famous. I cannot believe I'm forgetting his name. Anyway, he was there. I was like, "Hey, could you sign a book? You're my son's favorite author right now. Maybe even, could I video a message where you're like, 'Don't be homesick. It's all good.'?" He did.

 

Eva: That's so sweet.

 

Zibby: It was amazing. Vashti Harrison came over and drew a little monkey for son.

 

Eva: So cool.

 

Zibby: I know. I love all this stuff. I'm so into it. I have the coolest gig going here, I have to say. If you have a fangirl author syndrome as I do as well, this is the greatest thing.

 

Eva: I remember going to BookCon or BookExpo. For the people listening, it's like Comic-Con, but for books. I met Jodi Picoult who has written, as you know, just reems of books. I remember being like, "Oh, my god. How do you do it?" She was so nice. Now we're Instagram DM friends. It's always weird because I've had these books in my homes, apartments, etc. When you meet the person behind it, it's almost mythical. I am more starstruck by authors than I am by actors and actresses and models. I'm so used to meeting -- this sounds very -- I don't even know what it sounds like, but I'm very used to fashion and models and designers. When I meet an author, I'm like, oh, my god, it's Roz Chast. I can't talk to her, no, no. People will be like, "Go talk to her." I'm like, "I can't talk to her." I'm awkward. I don't know what to say. I am often like that. I met the author of The Day the Crayons Quit, which has literally been on The New York Times since like 1882. It's been on the New York Times children's books list forever. Oliver Jeffers is his name. I was super like, oh, my god. He's this cool guy with tattoos and a beard. He's Irish. I was like, I did not know these things about you. It's fun to put a face to a name on a spine.

 

Zibby: I could not agree more. Actually, I'm interviewing him next week.

 

Eva: Great. We share a book birthday, which is, not going to lie, slightly daunting. My new book, Roxy, comes out the same day. I was like, "What day does your book come out?" He was like, "October 6th." I was like, okay, my book is coming out the same day as literally one of the most celebrated children's book authors of this generation. Not that it's a competition. Little Roxy has spirit. She has glitter coming out of her unicorn horn. She has a tutu. She has a lot of things going for her.

 

Zibby: I actually think it's a good thing because people, if they're going to go get his book somewhere, your book will be out on the table if people go to a bookstore right there. It will bring them to shopping for children's books at that moment maybe more than on a random day.

 

Eva: Listen, your mouth to [indiscernible/crosstalk].

 

Zibby: We'll see what happens.

 

Eva: We'll see what happens. It would be amazing. I'm excited about this book. She's very sassy. I think that little kids will really like her.

 

Zibby: Absolutely. I actually have a two-book deal with Penguin Random House for children's books also. I have two coming out.

 

Eva: Wow. So exciting. When?

 

Zibby: Not forever. Probably sometime 2021/'22. I've already written it. It's a series about a girl named Princess Charming.

 

Eva: I love that. Children's books, I did not realize when I was going into the process that it is long and slow. People are like, it's a thirty-two-page book, why does it take so long? You have no idea. Literally, I'm talking with my editor about 2022. It also depends if it's a picture book. Yours sounds like a chapter book, maybe.

 

Zibby: No, it's a picture book.

 

Eva: Picture book, okay. It takes longer than you expect. Then all the details -- do you have the illustrator already?

 

Zibby: Yes, but she's working on something else. It's a whole thing.

 

Eva: It can take a while. Right now, because I'm sure by the time your book publishes, but the COVID delays have been significant. I know for, not this book -- the predecessor to 3 2 1 Awesome! is A is for Awesome. A is for Awesome was, and this is everyone's dream problem, but it was sold out nationally, literally. Even Amazon was like, out of stock. I was like, how does this happen? It took a long time even to get more because of the delays and because of COVID and the factories and what not.

 

Zibby: Sometimes being sold out makes it just on the top of everyone's list.

 

Eva: It's like a hot handbag that you just want because you can't get it.

 

Zibby: Exactly. Black market for A is for Awesome is starting. [laughs] I know we're almost out of time, but two more things. One, I wanted to know if you had advice for aspiring authors. I also have to just hear a little bit about what it's like being head of fashion at Instagram and what that even means. That is such a cool job.

 

Eva: Advice for aspiring authors, number one, as I was saying earlier, it's longer and more complex than you think. For children's book authors, I would try from two point of views. The six-year-old or seven-year-old that's hearing it or reading it themselves, is the language complex enough that's it's not boring but also easy enough that they can read themselves? I remember with my first Juno book I had the word cornucopia in it. It was a cornucopia of shoes. My editor and I tussled over it. I was like, "I love the word cornucopia." I want Ren, my daughter, to be like, "What's a cornucopia?" It's just a funny word. We ended up keeping it in. I love doing the reading. Reading it from the parents' perspective too, what pages are they going to open and it's going to be a huge surprise? What moments will have the best emotions? As one should, one should read a book in voices. This spread in Roxy, it's like, can I tell you a secret? Get a little closer. Closer. Too close. I don't know if it's because I have two young kids, but I literally read the books out loud as I'm designing them.

 

I also approach the children's book space probably in a little bit of an unconventional way. I work very closely with the art director to design it because I came from a magazine background where I would say, move the caption three millimeters over. I'm not into this type that we have on this cover story. Can we do something that's a serif? I think that it was an unconventional experience for the good people at Macmillan Kids, at Feiwel & Friends, my publisher, because most authors are a little bit more hands-off. I just couldn't be. Even down to the color of the sparkle, I looked at glitter swatches because I wanted something that would reflect it a certain way. The number of little glitter stars, sparkles, coming out of Roxy's horn, I was kind of obsessed with. Aspiring authors, honestly, this is stolen advice. Stephen King has an amazing book called On Writing. I put a Post-it note on one of the pages where he said that the first draft you write for yourself and the second draft you write for the reader. I think that's true as well. Just get that first draft out. Then you go back and look at it from a different perspective of the editor or the reader.

 

Then the second question was, what's it like working at Instagram? It's great except right now we don't have an office. I've been work-from-home since February because I was in Milan at Fashion Week in closed spaces with people who, now confirmed, are to be COVID super-spreaders. Got to love that. I came back from Milan. I used to go to the shows twice a year to build on the relationships that I have with, whether it's an editor, whether it's a model, whether it's a stylist, a designer, or a creative director. My role is basically to help these people storytell on Instagram and figure out their strategy on Instagram. It's been five years there. Now a lot of my job is based around a strategy of, what is next for fashion on Instagram? I very much think it's shopping on Instagram. Actually, there are some authors who are doing, the way people drop the new pair of off-white sneakers or the hot new hoodie from the brand -- well, Supreme isn't doing this yet. The way people drop clothing and do these limited edition launches, people are doing that with books now on Instagram. I remember a few months ago when we rolled out Instagram Live shopping so that you could be live on Instagram and buying a book.

 

There's these authors called the Compton Cowboys. It's literally these guys in Compton who created this horseback riding movement. They just ride around on horseback in Compton. Check it out. They have an amazing Instagram. It's meant to build community. It builds self-confidence for the young people who are learning how to ride horses. It's awesome. They did this Instagram Live ride-along where they were horseback riding through Compton talking about their book. I was watching this. I was like, this is brilliant. As an author, imagine doing an Instagram Live and talking through the details of every book where I can say, for this spread, it's a reference to Mean Girls. In this book, there's a secret clue that's related to Juno Valentine. There's a picture of a shoe that we put in. That is a shoe that we have in Juno Valentine. Imagine being able to do that while someone can just tap a button on Instagram and buy the book at the same time. It will probably be fully rolled out by the time your book comes out.

 

Zibby: I was like, did I miss that that's a feature? I want to do that right away.

 

Eva: You're with Random House or HarperCollins?

 

Zibby: For the children's book, Penguin Random House. I do tons of Instagram Lives with authors. I had a whole Instagram Live series during the pandemic. I would love to have them on and then be able to have them sell their book or I'd link to where you can buy the book.

 

Eva: It's a work in progress. That's the team that I spend a lot of time on right now just dreaming up, how we will -- I don't know about you, but I am often on Instagram; I'm like, oh, my god, I love the tote bag that Zibby's carrying. Where's that tote bag from? The current experience is, you tap the tote bag. You're like, okay, she tagged the brand. It's the brand, let's say, there's a brand called Kule, K-U-L-E. I'm like, ooh, it's so cute. Then I'll tap it and then I'll go to their -- it's just very [indiscernible]. I think that what people really want is to see it, tap it, and just buy it. If I see the pillow that you posted on your Instagram in your library, to be like, I love it, and just pick it up and buy it. That's what we're working on.

 

Zibby: That's so cool.

 

Eva: That's a full-time job, obviously. Right now, I'm working from home. If I have a fifteen-minute break between video conferences, I run the two blocks to Books of Wonder. I grab a stack of books. I personalize there literally three times a week. Then I'll run home with a stack of books. I'm signing these books. Then I run back or I'll give them to my husband and be like, "Go! Go!" I spend nights doing the book stuff. As a mom, you learn to divide your time very carefully. I think that's how I've been able to write six books, working on a seventh, by now while having an extremely full-time job.

 

Zibby: Wow. It's like what you said before. Didn't you say this before? Give a busy person something to do? No? Somebody else said that. Whatever, it's an expression, but it's true. [laughs]

 

Eva: You know what? I actually would take that expression to another level and say if you need something done, give it to a mom. It's not even a busy person. Give it to a mom. Literally, the mom's going to be like, I don't have patience for this. Boom, get it done. Or the mom will be like, that's not important. We're not going to do that.

 

Zibby: I love that. It's so true.

 

Eva: Do I need to label every folder for my child's Zoom school? No.

 

Zibby: Are you kidding? No. [laughs]

 

Eva: Someone asked me on my Instagram. Someone was like, "What are your top tips for organization of the child's work-from-home space?" I'm like, dude, literally, box of crayons, some paper, and the laptop. They were like, "How do you color-code the folders for her different assignments?" I'm like, I'm not doing that. Sorry. As long as we can do the assignments, that's all we need.

 

Zibby: Yeah. Maybe one giant binder for everything if we're lucky and I can find a whole binder.

 

Eva: My kids are younger. We went to The Container Store. They had these big bins in neon colors. I was like, "You get to choose a bin." It was like two dollars. I was like, "You can choose some stickers." She was like, "[gasp]." I was like, yes, school's so exciting on the computer. It's so great on the computer. You got to drum up that excitement and hype them up. Stickers and a big pink tub will do that.

 

Zibby: It'll do it. It'll do the trick. Amazing. Thank you, Eva. This was so fun. I really hope to meet you. I know we're both in the city here. Maybe when things get back to normal or something.

 

Eva: One day we shall meet in person. Maybe we'll even be four feet apart not six feet apart. So shocking.

 

Zibby: Dare to dream.

 

Eva: Dare to dream, exactly. It was so nice to meet you again.

 

Zibby: You too. Congratulations again on Roxy. Best of luck with the launch. I hope this helps you.

 

Eva: Anything book-wise as you embark on your own book journey, let me know, I'm happy to help.

 

Zibby: Thank you. I really appreciate it. Have a great day.

 

Eva: Bye.

 

Zibby: Bye.

 

Eva: See you later.

Eva Chen.jpg

Heather Cabot on health vs. jean size

Zibby Owens: Hi, Heather. Thanks for coming on "Moms Don't Have Time to Lose Weight."


Heather Cabot: Hi, Zibby. Thanks for having me.


Zibby: Thanks for coming on both my podcasts, I should say. This is great.


Heather: I'm very honored. It's so cool that I'm getting a chance to talk to you and interact with you, especially during this time. The fact that we even got to meet in person, that's actually really cool too.


Zibby: You are the only person I think I've met who I've interviewed because you were just in the neighborhood. I was like, come over. It worked out perfectly. I'm so glad for it. That was such a nice day.


Heather: Thank you. I thought so too. It was great.


Zibby: Heather, take me back and tell me about your journey in this world in your body and the biggest struggles and where you are today.


Heather: It's definitely been a lifelong struggle, for sure. I grew up in a very fitness-focused family. My dad was a college football player. My mom has always been very slim, some might say too slim at times. Honestly, it's defined my entire childhood, was really built around -- I don't want to completely blame my parents. I think they were socialized this way as well. They, through the years -- I'm fifty now. I think they’ve evolved a lot too. Although, they are still incredibly focused on health and fitness. They're in their seventies and still running. They actually just got a Peloton. Very much from a young age, being thin, being skinny was a real badge of honor in my family. I remember going to family gatherings and being tortured emotionally inside if someone didn't tell me that I looked thin. I remember having those feelings even at five or six. If grandma didn't say, oh, you look so thin, or you're getting so slim -- as you grow up, your body changes. I went through chubby stages. I went through other stages where maybe I was slimmer at times, like most kids. That's what happens as you grow. Your cheeks get chubby. Then you get slim. Then you grow a little bit. I was hypersensitive to a lot of that. As I said, I think a lot of my self-worth in many ways internally was really defined by that. 


I started going to Weight Watchers when I was in high school. My younger sister and I, we were sort of pushed to go. All of those kinds of things defined my early years and into adulthood as well. The way I talk about it with my own daughter is, I feel like an incredible amount of my mental energy and emotional energy has gone towards being thin and trying to be thin and trying to fit a certain mode. I cannot even imagine what it's like now in this world of social media. I'm just thinking about growing up in the eighties and the nineties and being inundated with fashion magazines. Imagine today. You really can't get away from it. I struggle with that. I worry about that for my daughter and her friends. I feel like there's so many other things that we could all be spending time on besides worrying about what size we are. That bothers me. At the same time, just talking about the present -- I read the stories in The New York Times about -- I saw the one this weekend about people who are slightly overweight being at risk for COVID. It really freaked me out to the point that I actually looked up my BMI. I was like, oh, my gosh, I need to revise my goal. My newest number that I want to get down to is really different than what I had originally thought. Now I'm thinking maybe the overall purpose really isn't fitting into a smaller size pair of jeans. Maybe I should really be focusing on the overall health, which I know intellectually we should be focusing on, but it's hard. Anyway, I don't know if that's too much information about how I grew up. 


It's something as a parent that I've really tried to be careful about. I remember taking my twins to one of their very, very first pediatrician appointments. I remember my pediatrician saying, "Do not ever talk about dieting in front of your kids. Do not talk about fat. Do not talk about weight loss. Talk about being healthy. Talk about being strong." I've really tried that. I have tried that. I really don't talk about -- probably only until recently when I've been trying to have more open conversations with my teens about healthy eating and those kinds of things, trying to open up to them about what I just said, about the amount of wasted mental energy I've spent on these superficial things that I think I've really taken away. I wish I could get that time back, to be honest with you. I'm glad you're doing this podcast. In terms of balance, I think it's important for people to also think about a bigger issue than just the vanity aspect of it. Believe me, I am vain, especially having worked in television. I want to look good too, but I think sometimes we need to step back from -- why are we really doing this? What's the real purpose? For me, I'm really trying to focus a lot on just being healthy, particularly in this environment today.


Zibby: I'm glad you brought up the New York Times article because I read that and I debated, should I post this to my group? Or will that scare them and make them feel desperate? Sometimes I feel like when you're under the gun it's harder. You might want to rebel. They might have the adverse reaction, but I think I might. It is a health issue. Being overweight, whatever that's defined as, is not that many pounds. [laughs] It's pretty easy to be overweight.


Heather: That’s the thing. This piece was talking about forty percent of Americans are overweight. If you go and look at your BMI -- I just did this. I work out. I work out a lot. I have always had a very healthy lifestyle. I haven't always been as thin as I would like to be, but I definitely have focused a lot on being healthy and eating healthy and, like I said, trying to model that for my kids. Even I, I was like, oh, my god, I'm at the top of the healthy. That’s not where I want to be because if I gain five pounds, I'm not going to be in the healthy BMI anymore. I want to be more towards the middle. I want to have the wiggle room. I don't want to be at the very top. Like I said, I kind of feel like, at least for me, what's motivating is the overall -- it maybe has to do with the fact that I just turned fifty and I'm thinking about the second half of my life and how I want my life to be. How I want my life to be is I want to be healthy. I want to be able to do things. I want to be able to be like my parents and still be out running and hiking and going to spin class and traveling the world. My parents just went to Antarctica last year and hiked. I want to be able to do all those things. I recognize that I have to make that investment now. If fixating on a BMI number is better than fixating on that pair of jeans or whatever, the dress I want to get into that I haven't been able to wear for five years, I'm just making that up, but I think maybe, for me, that might help me stay a little bit more disciplined, I hope. It's up and down in terms of my commitment. I know we've posted about that on Instagram.


Zibby: There's no easy answer to it. Whatever motivates you today may not be the thing that motivates you tomorrow. It's just how you get there and what frame of reference you need. We all need something a little bit different at different times. Then the worst part is feeling motivated or scared and not feeling like you necessarily have the tools or control to fix it. I think that's one thing in this whole eating struggle -- I hate all these words like battle and struggle, but it's true.


Heather: It's true.


Zibby: It can feel so out of control. I've had times where I'm like, I feel I'm in control of all of these different things. Why is this the one thing that I can't get under control and that is so visible to everybody else? I mean, not really, nobody cares but me. It's like you're a walking poster. I don't have this particular thing under control. It's embarrassing, I feel.


Heather: It's so funny that you say that because I remember when I -- I am also a mother of twins, like you. I remember right after I had the babies. I gained a lot of weight. We moved right after. We moved to Los Angeles. I was meeting all these new people. I remember saying to my husband that I felt like I had this sign on my -- I wanted to be able to explain to people why I looked the way I did because they didn't know that I just had twins. I'm meeting new people. It was the worst feeling. Let's be honest, I was also pregnant with twins when I was still on network television. How embarrassing is that? I did not think I looked beautiful at all. By the end of my pregnancy, the extra-larges didn't even fit me anymore. I literally had nothing to wear. [laughs] 


Zibby: Extra-large, I couldn't even fit into -- I was wearing, basically, a sheet. I was so giant.


Heather: I mean extra-large maternity. I don't mean regular. I mean extra-large maternity. How amazing, all the amazing things your body can do? You just had twins. I just remember that same feeling. I wish I could tell people, I just had twins. Give me a little time. I'll get back to what I used to look like. I hated that feeling. That's how I feel now too a little bit.


Zibby: Then you realize that nobody really cares but you. They met you. They probably thought you were absolutely beautiful, which you are, and accomplished, which you are. They probably didn't think twice about it. To you, you want to telegraph that. At times, I know I've wanted to be like, it's possible I could be thinner, but is that what's really important? People don't care about that.


Heather: That's a thing I'm struggling with with a teenage daughter. I know exactly what she's going through, and not just my daughter, my son. Teens in general, it's just the phase they're going through. They're hyper-focused on what they look like. I wish I could listen to my own advice I'm trying to give them sometimes. There are so many more important things. It really is about being healthy. Sometimes we just get wrapped up in -- I also have a problem with perfectionism. Back to being out of control, I would say for myself, I have really struggled with, I hit my blue dots, or whatever it is. I've done it for five years, and then the one day I eat the cupcake or whatever it is, I'm like, the whole day's gone to shit. I might as well just eat whatever. It's really bad. That's when I lose control because I'm like, I fell off the wagon. I'm really struggling with, if that happens, what do I do now? I'm trying to track it. I'm trying to, the next day, get up and say, every day's a new day. It's a fresh start. 


I'm trying to be the friend to myself that I wish that my kids were to themselves or their friends were to themselves when they mess up at different things, or just my own friends. I try to be that good friend to myself. I'm really working on that. I agree with you. It's hard. The other thing I was going to say as far as feeling out on control, I think we all have to recognize that, particularly with emotional eating, it really is something that is so deep-seated in our -- it's the way we dealt with emotions in our early years. It is self-soothing behavior. Different people have different vices. I think that it's hard to break. It's easy for people to say, have a cup of tea. When you're in that moment and you feel sad or guilty or angry, it's hard to mitigate those emotions at that exact moment. Then we all end up feeling guilty after, which is the part that I really hate. That's why I was saying try to be kind to yourself.


Zibby: I think that one of the things I've been realizing lately is that if you're already in that moment, it's almost too late. It's like you're on the edge of a cliff. Don't make yourself feel bad that you're now going to fall off. I think the point is not to get to the edge of the cliff. That's the only way to fix it because then you just beat yourself up for the fall, which is inevitable. You end up in the kitchen. You're exhausted. You've had a fight with somebody. Something's gone wrong. You're disappointed or you're angry or you're tired. You're all those things. Then there's something in front of you. You're going to just eat it. The only thing is to backtrack. How can I avoid being all those things, A, and how can I avoid having that thing on the counter?


Heather: For myself, I think the planning is really key to recognize that you are going to have those times. For me, it used to be, when we weren’t in this whole weird pandemic, but it used to be four or five o'clock after I'd gotten the kids home from school. We were sitting in the kitchen doing homework. I was supposed to be making dinner, but I was hungry because I probably didn't eat lunch. That was always a hard time for me, particularly if I was tired, if I didn't sleep well the night before. That's typically when, so planning ahead for those kinds of times when you know that your discipline is not going to be what you would hope it would be at those times, and also not making it worse. That falling off the cliff thing, a lot of times then we self-sabotage and make it even worse because we're like, I already messed up. That's hard. I think the planning is really good. I was never somebody that did the meal prep on Sundays. I have a lot of friends that are so good at that and shop for the week. I'm just not good at that. I'm trying to be better. We're also trying to be more plant based. I have been planning a little bit more and cooking different kinds of things and making sure I have some of those ingredients in the house, but I'm not really great at, Sunday, I'm going to make all these batches of things that we're going to eat all week. Plus, my family doesn't really like to eat like that either.


Zibby: That's okay. That doesn't work for me either. 


Heather: I admire people who have the discipline to do that.


Zibby: Some things I think are easy, like making a big thing of oatmeal and having it last all week. I still haven't motivated to make my oatmeal for the week. Now every morning, I'm like, eh. Now it's almost noon, and I haven't eaten anything because I can't decide what to eat that's healthy. At this point, I'll just wait until lunch. 


Heather: I did that today too, actually. It's funny. I made oatmeal for my husband. Then I left myself a little bit on the counter. Then I was like, why didn't I just make the whole thing for the rest of the week? We could've eaten it every day. Why did I just make enough for the two of us right now? It was kind of silly. I was also going to say, the other thing that I find really challenging -- I'm wondering if the community feels this way. I think we emailed about this a teeny bit. Because I've been focused on all of these things since I was a kid, I am so inundated and I am so often encouraged to try every fad. I've done Whole30. I've done Eat to Live. I'm back to doing Weight Watchers now because I do think that is the one thing that has really only ever truly worked for me. I think it's the accountability part of it. I like the app. I think it works well. I just was wondering if other people -- when we hit that four thirty or five o'clock in the afternoon time when I'm like, I'm starving or I'm tired or whatever, that's when all of these other diet trends start to really make me crazy. Well, I can't eat this because if I eat that, it's too many carbs, or it's this. I'm not supposed to be eating that. I don't know why, I almost feel like I get paralyzed.


Zibby: It's confusing. It's totally confusing. I feel like there should be one of those speed movie things of me throughout my life starting when I was ten looking at the label because every year or two, I'm looking at a different part of the label. A different part is really important. First it was calories. Then it was the fat. Then I'm doing Atkins. It's the alcohol sugar. Then it's the fiber for Weight Watchers. Then it's this. Now it's like, what are the ingredients? Now I'm not looking at it. I'm like, are they whole ingredients? Are they processed? It's just one thing after another. Our minds are just jutting from place to place to place. Where should I look? What is okay? What is not okay?


Heather: What's good? What's bad?


Zibby: What's good and what's bad? That implies there is a good and a bad and that everything is binary, black and white, which is of course not true. To have a well-rounded diet of things, we have to have a little of everything. The thing with Weight Watchers that I like -- this is by no means -- I'm doing my own whatever version of it based on my 2003 thing that was the last time anything worked for a long period of time, so my own points. When I have a list of foods that I'm like, these are the foods I want to eat, I mostly want to eat this anti-inflammatory food from the Mediterranean style because I like those foods. They're healthy. They're filling. I enjoy them. It's not like when I tried to do keto or some of these other things. I don't enjoy eating meat. Atkins isn't going to work. Then to have the points is only, for me at least, to take some of the emotion out. It's not bad. It's just like, okay, whoops, I spent six points on a big cookie. It's over. Moving on.


Heather: Then you can adjust later for what else you're eating later in the day. I think that's the tracking part of it that's -- whether you're writing it in a food journal or you're doing it on some type of app, whether it's Lose It! or Weight Watchers or any of these things. I do think the accountability piece, particularly for somebody like me who recognizes that I am a victim to stress-eating sometimes, that making myself accountable without driving myself crazy but just being mindful of what I'm eating -- even with my kids, it's funny, we talk about portion sizes. We do talk about that now. My kids will now look at the bag of popcorn or whatever, and we'll talk about what a serving size is as opposed to eating out of the bag, which I'm not saying I never do. I really try to pour myself a portion. Hopefully, they do that too so that you just have in the back of your mind what you're actually eating. It's so easy to just inhale whatever’s there when you're hungry, and even if it's the healthiest thing. I think that's problem. You can eat all the whole grains. You eat all the avocado, nuts. 


I think that oftentimes when we think of -- this goes into the binary good or bad. When we think about healthy foods, not all of them are low calorie. It is easy to overeat them and not even realize that you're doing it. For myself too, instead of having one handful of nuts, have three handfuls of nuts and not even be realizing that's what you're eating, that is something that definitely contributes to weight gain. I also think that there's an aging component here. I'm not sure the demographics of the community. I will say for myself, it has become much more difficult to -- as I said, I've always been very active, but I feel like I have to try so much harder now to keep my weight in check. It's so frustrating. We're talking about solutions. My OBGYN last year said to me, I really have to add strength training not only for my metabolism, but also for healthy bones. I really am trying to do that. It's really not my favorite thing. I really like cardio. That's how I manage my stress. I will say that when I have focused on that, and I am really trying hard -- the last three or four weeks, I've been strength training three or four times a week in my garage.


Zibby: Wow, that's a lot.


Heather: My little Peloton, I have the bike, but I also have -- I'm doing all the classes on the app.


Zibby: Wait, so how often are you working out, then?


Heather: I work out pretty much every day. I do. Remember, I was telling you how I grew up. Just to give you a sense, my parents are marathon runners. They would go out on a fifteen-mile run on Saturday mornings. That was their time together. I'm not a good athlete, but I grew up in a very athletic family with a lot of focus on exercise. Frankly, I'm really blessed. The fact that it was part of my lifestyle, as much as as a kid I felt pressure, now I'm very thankful because that's the one thing I don't have to struggle with personally. I don't sleep as well when I don't exercise. I definitely need it. I'm actually an overexerciser. I get injured a lot because I don't know how to modify. I have been using the strength training classes on the Peloton app because I'm not going to the gym right now. It's been great. There are lots of different fitness apps, by the way. It doesn't have to be Peloton. This morning, I did a twenty-minute upper body and a twenty-minute lower body and a five-minute core right before I came on to talk to you. I feel good. I bought a few more dumbbells so I have some heavier weights. Again, that's a focus on health. I worry about falling. I worry about all these things as you get older. I want to make sure that I'm really strong. I'm trying to use that as a focus more than, as I said, the smaller pair of jeans, not that I don't want to wear the smaller of jeans, not that I won't be excited for a shopping trip in a few months. I am trying to focus on things that make me feel good too.


Zibby: You are not alone in the slow down and things getting harder. I hear this over and over and over again. I experience this myself. I'm forty-four. I'm already like, wait, it used to be that if I worked out, it just used to all be much easier. It's almost like a cruel joke. Here we are at a stage in our lives where we're dealing with our kids who are growing up and maybe our parents. There's just so much stress coming at us and caretaking needed on all sides, caretaking 360. We're trying to take care of ourselves. Then all of a sudden, somebody out there made it so that our bodies make it harder at this particular moment. It's like, seriously? [laughs] 


Heather: It is really not fun. It is not. I'm a few years ahead of you. It is not fun.


Zibby: It's not hopeless.


Heather: No, it's not hopeless. I also was going to say, I think the other thing, too, is that I wish I had known earlier that this was going to happen. I never really knew because my mom is very tiny. Honestly, she's a size zero and has always been my entire life. I don't ever remember her being any other size. I could never share clothes with her. I should also say, I have two younger sisters who are also both size zeros. I'm the oldest of four. That was always really hard for me. I always had this impression of myself that I was a lot bigger than I am. I still do sometimes. Sometimes I have to remind myself that I'm not. I always felt like I was towering over everybody all the time, which is not a bad thing, but I just had that feeling. My point is that I never had this conversation with my mom about her suddenly needing to worry about her weight because she was always the opposite. I didn't really know. I wish I started thinking about strength training and some of these other things a little bit earlier. 


The other thing I was going to say about overexercising, which maybe some of your community deal with, is I've gotten injured a lot. One of the things I've been trying to do is listen to my body and try to recognize when I'm getting to that point. What happens is when I get injured, then I can't exercise. I can't do the things I want to do. I tore a rotator cuff a few years ago. I have horrible Achilles tendinitis. I ran through pain. I ran a number of marathons. I did a couple of triathlons a few years ago. I ran through pain in the training, which you're not supposed to do. Now I really can't run anymore. When I was younger, I wish someone had said, hey, take it easy. Focus a little bit more on the healthy eating and portion control and all of that and not putting so much focus on so much intense exercise. That's one of the things I'm trying to deal with right now. How do I still get my exercise fix in in a way that is not creating inflammation or setting myself up for injury? As we age, that's really important. The strength training is, I don't want to get injured again. I really don't. I want to be really mindful of what I'm doing to keep myself healthy.


Zibby: There were so many good takeaways from this conversation, at least for me.


Heather: I hope so. I got to make sure it sinks in for me.


Zibby: I'm going to highlight a few that I noticed. One is to stop being punitive and that sometimes falling off the cliff and that late-night binge or whatever it is you do that you regret, you were set up for failure to begin with. The key is in figuring it out sooner than later. When you're in a full rational, levelheaded, non-emotional state, making a plan, making a plan for four thirty when you don't know what to eat and what label to look at. You know because earlier that day when you've been at your desk and feeling confident and calm, you made a plan for yourself, and so not waiting until the emotional mood strikes to try to figure it out. It's impossible. You're already on the tightrope, so figuring it out ahead of time as best you can, making at least one or two things that can last you all week even if it's something as simple as oatmeal. It will help. It will remind you of what you're doing. Being kind to your body and not overdoing it, and that overexercising at any age won't lead to anything good. 


I think also being aware that you're born a certain way. You were born with a different body type than your sisters. I was born with a different body type even than my mother who's, by the way, also much tinier than I am. I can feel bad about that. I can try to get to a place that I want to be, but my body's not made that way. You know what? Maybe my body has other strengths. I'm really strong. Strength and muscle and all of that is important. People are built different ways, so not to beat yourself up and compare yourself to other people who are born with different body types. Trying to take the advice we give our kids. Trying to be kinder to ourselves. Trying to have more of a sense of peace. Also then to keep health above vanity to the extent that that's possible. Fueling our body. Eating to avoid pain. Eating for the long term. Fueling ourselves, not just feeding our feelings, essentially. Those are some of the things that I feel like I got out of it.


Heather: Good.


Zibby: Did you? Did you get those out of it? [laughs] I don't know.


Heather: Those are all the things that I'm really working on myself. Articulating them and actually saying them out loud versus just it being in my head, I think that's really helpful. Actually, recently -- I don't really do a lot of journaling even though I'm a writer. I don't do a lot of my own personal journaling, but I just bought a notebook yesterday. I do find that in my professional life, writing things down, making lists longhand really helps me. I was thinking yesterday, also because I'm thinking about some creative projects for the future too, but I thought it'd be really great to start writing things down for myself. I feel like that they would stick. Speaking them to other people, talking about them, in a way, I think it makes it real to actually put it out into the world, or you sit down and write it down. The last takeaway I would add to all of that that I know you've discussed in the community is that this is really a journey. It's so important to see it that way and recognize that there will ups and downs. It is very much like a marathon. There will be days when you feel invincible. There will be days when you feel like you can't take another step. You have to remind yourself that that's normal. That's how you do the work. I have to remind myself of that. I know that intellectually. I know that, but I feel that writing it down, talking about it, reminds me that I need to be honest with myself about that. This isn't going to be a quick fix. The extra weight that I want to take off, I put on over several years. It's going to take time to deal with that on many levels.


Zibby: Sometimes I'm like, what else do we have to do the next six months? We might as well have a long-term weight loss goal or fitness goal or whatever. Why not? Or we could not achieve anything.


Heather: I think you're right. Look, I think the mental anguish that so many people are feeling about just having to persevere, this situation that we're in and how we endure it and how we go on, separate from the pain and grief that people like you have felt who've had actual losses which in itself is, it's traumatizing. I think you have to be kind to yourself too with all of this. I was going to say, I feel like having a constructive goal, something to focus on, it at least helps me know that there will be an end to this.


Zibby: Agree.


Heather: It's the light at the end of the tunnel. Having some structure to my day and something positive that I feel like I can do in addition to everything else that I want to do, whether it's contributing to charity or voting, all the different things we can do to make us feel like we have some power in this time where we feel very powerless, I do think focusing on self-improvement, both internal and external, I think it's a good thing. It's a good way to spend this time. I totally agree with you. Hopefully, there'll be some healing that comes out of it.


Zibby: Totally. Let's do it. We got this.


Heather: We got this. What is the plan, that you're going to check in with the people like me over the next few months?


Zibby: Yes, we're just going to keep posting. You can use the community to help you. I was actually thinking of starting, one day a week we can all post a day of food. I could pair people up with accountability partners. I don't know. Just use it. Post in the comments. Hashtag in the stories. We'll share tips. We'll check in every Wednesday for the progress you're making. We're all going to do it together. We'll know we're doing it. The community's going to grow. We're all going to comment and contribute and encourage each other. Why not?


Heather: I think it's great. It's great on so many levels. Congratulations to you. If there's anything that I can help contribute to, let me know. I was thinking you should have at some point -- because I'm sure many people have teenage children or children in general. Something that I struggle with is when I'm trying to be very focused on my own weight loss goals or my own health goals, I don't want to influence my kids in a negative way like I was inadvertently. That's something that I would guess your community probably would want to talk about or know about. I'm sure there are people that specialize in child psychology and weight and all of that stuff, but I'd love some tips for, how do you do that so that you're making space for yourself to do what you need to do without making anybody feel under pressure, but at the same time modeling for them? Anyway, that's something I struggle with.


Zibby: That's a good idea. Maybe I'll do some interviews.


Heather: Later. You probably have enough people in the community that have interesting stories anyway.


Zibby: Yeah, but I can intersperse -- I think this should be for stories. Now I'm just rambling. Maybe in the posts, I can do quick tips from -- like a magazine article, almost.


Heather: Yeah. I don't know how you have time to do all this, but I'm excited for you to do it.


Zibby: I don't either. I don't know.


Heather: It's great. It's something for you to focus on that's positive. I'm so glad that you are doing it. I think it's great. It'll be really helpful to a lot of people. Thank you.


Zibby: Thank you. Thanks for coming on. Thanks for coming on the show. We'll keep in touch. Heather, we'll all be rooting for you in the community. Everybody, look for your comments in Instagram and everything. Know that you have a whole team of people rooting for you. You're not doing it alone.


Heather: Thank you. I'll be rooting for everybody else as well. Go team.


Zibby: Go team. [laughs] Bye.


Heather: Take care. Bye.

Heather Cabot_MDHTTLW.png

Terri Cheney, MODERN MADNESS

Zibby Owens: Welcome, Terri. Thank you so much for coming on "Moms Don't Have Time to Read Books" to talk about Modern Madness, which was so, so good.

 

Terri Cheney: Thank you. Thank you, Zibby, for having me.

 

Zibby: I have to say, I had seen the Modern Love episode on which this book was based, or on which the article -- I'm not even saying this right. You wrote a Modern Love article. It became a TV show. You've written a book. I started by seeing the TV episode, which was great.

 

Terri: With Anne Hathaway playing me. That was incredible.

 

Zibby: What was that like for you?

 

Terri: Every woman's dream to have -- I looked so good. I never knew. [laughs]

 

Zibby: Oh, my gosh. How involved were you with that piece of this?

 

Terri: They were great. The producers realized -- I contacted them when I found out the article was going to be turned into an episode. I said, "This is about mental health and mental illness. It really needs to be accurate." They actually let me in on the process. I got to talk with Anne and with the director, John Carney. I think they did a really good job as far as portraying manic depression/bipolar disorder is concerned.

 

Zibby: It was a really gripping episode from the highs to the lows. You could just see how embarrassed, almost, that she was and having to cancel things. That was the TV. That was great.

 

Terri: That was wonderful.

 

Zibby: On to the book. In terms of timing, did you write the Modern Love piece and then you wrote the book? What happened?

 

Terri: I wrote the Modern Love piece back in 2008. Then a month later, my first book, Manic, came out and became a New York Times best seller, I think largely riding on that Modern Love piece because that reaches so many people.

 

Zibby: Now you're coming out with this having nothing to do, almost, with that. This is so much later.

 

Terri: Right, this is my third book now.

 

Zibby: I'm sorry. I feel woefully unprepared, but having read this book at least, so that's good. It starts with you talking about Michael Jackson's feet, which is not the way most books begin. The reader is immediately gripped and wondering, what is going on here? Talk to me about your high-profile lawyerly life and then having to deal with mental illness at the same time, bipolar, how you were able to fuse the two, and now where you are.

 

Terri: I started as an entertainment lawyer. I live in Beverly Hills. I represented people like Michael Jackson, Quincy Jones, and major motion picture studios. That was for about sixteen years. That entire time, I was hiding a very severe case of bipolar disorder. I didn't tell anyone except my doctors. I didn't tell my friends, my coworkers, nobody, because I was just terrified that somebody would find out and I'd be fired, first of all, and then ostracized and I'd never find work or love again. Somehow, I did manage to keep it secret. I think it's because Hollywood is inherently bipolar when you think of it. It's a crazy business. It's very cyclical. Things are always happening. You want them faster, better, more, now. My manic episodes certainly fit in with that. When I was depressed, I would make up excuses or lies, frankly. I had all sorts of physical ailments that I pretended to have. Fortunately with bipolar disorder, you can make up a lot of the work that you miss because you go into this really productive mode where you can just churn stuff out. You're very charismatic and engaging and just at the top of your game. That lasted until I finally had a depression I could not hide anymore. I was hospitalized for that episode. I started writing then about my illness. First, I just wrote about the clinical stuff that I was learning. Then I thought, anybody can write about that. I want to write about what's really going on inside me, inside my body, and make it visceral so that other people understand what it's like. I found I started to get better with the writing. I just kept writing and writing and seven years later emerged with the book called Manic. To my amazement, a month later, it's a best seller. I've kept on writing ever since then.

 

Zibby: Why stop?

 

Terri: Why stop? I love it. I miss the money from practicing law, but I don't miss the lifestyle. I don't miss hiding out. That was the hardest part of my life.

 

Zibby: I think the corrosive power of secrets is one of the worst things. No matter what it is you're hiding, having to shoulder that burden I think [indiscernible/crosstalk] away at people quite a bit.

 

Terri: What I've learned is hiding a secret is often worse than the secret itself.

 

Zibby: I feel like a lot of books are an attempt to air those secrets and get them off of people's shoulders. That's just one way. It's like repentance of some sort.

 

Terri: It really does help. It's so cathartic to write about even the dark times. People often ask me, how do you go back to those suicide attempts and write about such horrible memories? For me, writing about it lets me own it. That's another subtitle to my book, An Owner's Manual. I think we all need to own our illnesses and learn about them, understand them, and acknowledge them in order to get better.

 

Zibby: You mention in the book later that you developed hypothyroidism and that in that instance it was diagnosed, and you got a pill and you went about your business, and how easy was that versus mental illness which comes with stigma and shame and varying medication and so much else, so much baggage versus a simply physiological issue.

 

Terri: I actually went around and told people, "I have hypothyroidism." I was proud of having something I could talk about as opposed to bipolar disorder. People were sympathetic.

 

Zibby: I always kind of am hoping -- I shouldn't say this. I'm always hoping that there's something wrong with my thyroid to explain weight gain. [laughs]

 

Terri: I know. A quick fix.

 

Zibby: I'll take one of those thyroid medicines, and I'll be fine. I'm kidding. It's true, the contrast of why we don't medicate in such a black and white way for something that is just as pronounced and specific [indiscernible/crosstalk] as all these other things is ridiculous.

 

Terri: I'm so glad you bring that up. If you look at mental illness, the brain is an organ. It's not in your mind. The mental illness is not really in your mind. It's in your brain. The brain is just a three-and-a-half-pound organ. Robin Williams said that. It is like any other organ in the body like your liver. You wouldn't tell somebody with liver disease to make lemonade out of lemons. You wouldn't tell Stephen Hawking to just snap out of it and get up out of his chair. It's really a physical illness. It needs to be regarded that way.

 

Zibby: Then you have the double isolation of, A, feeling it, and then B, being made to not feel validated in it.

 

Terri: Right. It is a double whammy, yes.

 

Zibby: You write about that so beautifully even in the very beginning when you were describing mania. Then later when you described depression, you were saying like this, "I thought faster. I wrote better. I could argue the devil out of his soul when I was manic. I was glorious, bionic, at the top of my game, and I knew it and used it against anyone who came too close. Sex was mine for the asking, money and influence too, and I owed it all to mania, including my proximity to Michael Jackson and his like. But no matter how lofty and impervious I appeared, depression could swoop in and lay me low without a word, without warning, the devil demanding a rematch. Then it was back to hiding all over again." Wow, so awesome. I mean, not awesome that it happened. Awesome that you wrote about it that way. These are so funny when you have all these things, the ten sacred rules you have to abide by when you're bipolar.

 

Terri: My manic cheat sheet.

 

Zibby: Change into something sexier. Wear granny panties and flats. Party do's and don'ts. It's so funny have such a great sense of humor about all this.

 

Terri: I'm so glad you say that. Of all the compliments I ever get about my writing, I love when people apologize for saying, "I'm really sorry, but I laughed throughout your book." That makes me feel so good because I know I touched them the way I wanted to. So much of mental illness can become extreme. In extremity, there's absurdity. You have to sometimes stand back and just say, this is ridiculous, what I'm going through. It can be funny, in a very dark way, but nonetheless.

 

Zibby: In a very dark way. It's similar in a way to grief. It knocks you off your feet. Yet there are moments where you can't help but find the absurdity and humor. You just have to laugh.

 

Terri: You feel a little guilty about that. I don't know quite why one would feel guilty about relieving yourself of the doom for a few seconds, but sometimes they do.

 

Zibby: We can find ways to feel guilty about everything. If you can't, just call me. I'll find another way to [indiscernible/crosstalk] it. You talked about depression saying that you always knew you were depressed when you couldn't manage to get into the shower.

 

Terri: The shower is my nemesis. I just have the worst time. I suffer from something called psychomotor retardation when I'm depressed. That means my body and my will are paralyzed. I'm looking at pen right now on my desk that's about a foot away. If I wanted to pick up that pen, I would have to stare at it for fifteen or twenty minutes just to get my arm to move over to the pen and pick it up. I'm noticing, COVID-19, a lot of people are complaining about lack of productivity. That's what it feels like. You just cannot do what you need to do. Showering, for me, is the number-one worst thing I have to do. I hate it. I hate getting wet. I like being clean, but I hate everything else about it.

 

Zibby: It's so funny. My mother-in-law had these two dogs who are now staying with us. One of them hates to get wet. You're just like, okay, the dog doesn't need to get -- you just won't shower them. If you're a human being, you can't be like, I don't like getting wet. [laughs] Doesn't fly so easily.

 

Terri: I really do like being clean. That's what's so ironic about it.

 

Zibby: They have dry shampoo now.

 

Terri: Believe me, I have stock in it. [laughs] I know.

 

Zibby: You wrote in the book too, sadly, as you referenced earlier, about times where you really wanted to die and how depression is just like fighting death. It's the death march in a way. You were in the snow, and then your body actually is the one that made you snap out of it. Tell me about that moment a little bit.

 

Terri: I was in New Mexico, in Santa Fe. My father had died. After that, I had attempted a very, very serious suicide attempt which I shockingly survived. I wrote about it in the first story of Manic. I'm walking out after I got out of the hospital in the snow at night. I come to this park. I just realize I can't go any further. I don't want to go on. I thought, maybe I'll just freeze to death in the snow. That's got to be an easy way to go. It probably doesn't hurt very much because you're frozen. I lay down in the snow. Sure enough, it started to really hurt. Unconsciously or subconsciously, I just started flapping my arms up and down, and my legs, to get the circulation going. I stood up. I looked around. I realized I'd made angel wings in the snow. That was such a beautiful moment. I thought, you know, there is a reason I survived that suicide attempt. It's got to be that I'm supposed to give witness to the pain of what other people are suffering with this disease. It's hard to remember that now, but it was a moment. It was an epiphany.

 

Zibby: I'm sorry that you have anointed yourself the storyteller for this, but you write about it really poignantly and beautifully. If it had to be anyone, life picked a good storyteller.

 

Terri: I think the reasons were given. The gifts were given. That had to be mine.

 

Zibby: When you're doing the actual writing -- first of all, do you still go through the highs and lows in the same way? Have you found some medications that have stabilized things completely or more? Then what happens when you're writing? Can you still write through one of the hypo-paralyzed states? Tell me about that.

 

Terri: I'm pretty stable now, relatively, compared to what I used to be. I don't have the extreme highs that I used to or, fingers crossed here, the extreme lows. I do sometimes get depressed, mostly in response to external triggers like relationship problems. Who doesn't get depressed? It can trigger a chemical depression. My medication is working. I'm really lucky. I work closely with a psychopharmacologist who manages the medications especially. As for writing, I can't write when I'm depressed because that involves the moving the pen thing, and I can't move. I try to write when I'm manic, but I write in this really tiny, tiny, tiny, illegible script that you can't hardly see or else my fingers fly so fast over the keyboard. It's just rubbish. There's a sweet spot. Fortunately, I've been in the sweet spot for a while where I can write and make sense and have some perspective about my illness.

 

Zibby: Wow. What do you do to get through the pandemic? What do you do now? Are you working on another book? How do you make sure you don't slip? Do you carry that fear with you all the time? I feel like I would be very nervous.

 

Terri: That's a really good question. I'm always afraid of depression. You said earlier it's like battling death. I don't think I ever thought of it in those terms before. I may just have to steal that from you. That's really powerful. It is like that. Yes, I'm afraid, but for some weird reason -- I'm not the only person with a mental illness who feels this way. I've had a lot of readers write in and tell me that, I feel like I've been in training for COVID because I'm used to isolating. I'm used to binge-watching Netflix. I'm used to eating everything in my refrigerator and not talking to people on the phone. I have my coping skills that I developed during depressions. I'm using them to good stead now. I think I'm doing pretty well. Surprised me.

 

Zibby: See? Silver linings here.

 

Terri: Definitely a silver lining.

 

Zibby: Did the writing and the style and all of it just come naturally to you? Did you get any sort of training or writing classes or anything like that?

 

Terri: I wanted to be a writer since I was a little girl and my father read to me every night before, I think, I could even speak. I've always wanted to write. I've always written. I went to Vassar College and was an English major, had a creative thesis there. Somehow, I just got derailed with the entertainment litigation. That was the wrong direction for my life to go in. Even while I was practicing law, I was taking classes. I belong to a wonderful writing group that I've been in for about fifteen or twenty years now. Writing has always been a huge part of my life. It's how I stay sane.

 

Zibby: You're the accidental litigator.

 

Terri: [laughs] Yes. That may be the title of my next book. Thank you.

 

Zibby: Great. Just take the transcript of this and use it for whatever you want. Be my guest. That's funny.

 

Terri: I'm writing it down.

 

Zibby: What about reading? Do you love to read? Were you always a reader from a young ago too?

 

Terri: I'm a book hound. I'm looking at your living room or wherever you're sitting right now and absolutely devouring the books behind you. You have such a wonderful library there.

 

Zibby: This is my whole -- all the way around.

 

Terri: Oh, my god, that's my dream. That is my dream. I have books everywhere in my house, but you can't see them from my Zoom feed. I do read, yes.

 

Zibby: I believe you. [laughs]

 

Terri: They're all under my bed, too, gathering moss.

 

Zibby: Do you gravitate toward memoir? Do you have a genre you like?

 

Terri: I tend to read nineteenth century and before. I'm very much the Jane Austen girl. I love Fitzgerald too. I love people who love words. I love an author, Nabokov, anyone who can just make me look at phrase and say, oh, that's what language is supposed to do. That gives me a thrill. I think that's almost as good as sex. It's great.

 

Zibby: [laughs] Sentences versus sex. Who will win? Do you have any advice for, twofold, one for aspiring authors, but also for anybody out there who might have a mental illness and maybe hasn’t been as forthcoming as you have and is still more in the hiding phase?

 

Terri: First of all, I think everybody who has a mental illness should at least be keeping some kind of mood journal where you track your episodes because that's the only way you can really get a handle on something as tricky as bipolar disorder, is to see the pattern of it as it plays out. I can only go by my own experience which has been, before Manic was published, the night before, literally, I wanted to call my editor and just call the whole off. I thought, what am I doing? This is crazy. Nobody's going to understand what I'm writing about. The response to coming out of the closet, which was a very deep closet for me and lasted for many, many years, has been incredible. The support, the compassion that people have shown me, I never would've guessed in a million years that people could be so understanding. I'm always hearing about my courage. I just felt backed up against a wall. It was either stop hiding or die. Those were my choices. I don't know how much courage was involved in that.

 

Zibby: Maybe you're selling yourself a little short.

 

Terri: Maybe.

 

Zibby: I think maybe courage isn't the right word, but it still takes such a strong sense of self to be able to articulate it all and share it.

 

Terri: I think that's where writing comes in too. The writing group that I referenced, we write our personal stories. We learn to find our own voice. That's been really influential for me to just keep digging and digging and digging. I am surrounded by journals. You can't see them right now. I still journal every day.

 

Zibby: I have all mine hidden under here from when I was a kid. My mom cleaned out my room years ago and was like, "Take everything."

 

Terri: Don't ever get rid of them. They come in so handy when you decide to write your memoirs. Believe me.

 

Zibby: They're all pre-twenty-two or something. Now I'm debating if I should share them with my kids. I better read them. [laughs]

 

Terri: Oh, yes. Read them first.

 

Zibby: There's some stuff I'm not so sure I'd want them to read. For people like you and me and so many other people who do write to sort things out, not having that, I don't know how anybody else does it.

 

Terri: I know. How do they have a conversation, even? I would have the words floating around in my head just like a jigsaw puzzle if I didn't write. I don't know how people function.

 

Zibby: Even for my podcast, I used to write out every question first. Now I don't do that because it's more a conversation. I wanted to have it all clear. Everything had to be clear and out of the chaos. [laughs]

 

Terri: When I was a litigator, I wrote every single thing I was going to say to the court down, including "and" and "the." I was very, very much that way.

 

Zibby: I get it. Thank you. Thanks for chatting with me today and coming on "Moms Don't Have Time to Read Books."

 

Terri: It was so fun.

 

Zibby: I have to go back now and read Manic. That’ll be my next Amazon purchase. I shouldn't say Amazon. Whatever independent bookstore purchase that's open.

 

Terri: There you go.

 

Zibby: Anyway, thank you. I really enjoyed chatting with you. Again, your book was absolutely beautiful and so important.

 

Terri: I'm so glad you liked it. Thank you. It was really great chatting with you.

 

Zibby: You too. Have a great day.

 

Terri: Bye.

 

Zibby: Buh-bye.

Terri Cheney.jpg

Jamie Lee Curtis, LETTERS FROM CAMP

Zibby Owens: Welcome, Jamie. Thank you so much for coming on "Moms Don't Have Time to Read Books." This is such a treat.

 

Jamie Lee Curtis: Apparently, you do because there are a lot of books behind you. There are a lot of rainbow-organized books behind you.

 

Zibby: Yes. I try to make time and share what I can read with other people who might not have as much.

 

Jamie: I understand. This is how we do it. We share with other people.

 

Zibby: You have contributed so much in so many different areas in the artistic world. Your latest endeavor is Letters from Camp, an Audible Original which came out this summer. I wanted to talk a little bit first about that. Tell me how the idea for an Audible Original came about and particularly this show.

 

Jamie: It's funny. It's such a wonderful story that the show was born from such a beautiful moment. I am the proud godmother of three New York-raised children. My friend Lisa Birnbach lives in New York. Her three children obviously live there with her and were educated in New York. I'm the godmother of all of them. My middle godchild, Boco, wrote me a letter from camp when she was twelve years old which she never sent. She wrote it and then put it in her shoebox of cards and then obviously didn't send it, had my name written on the outside of the envelope. In November of last year, I got a letter in the mail from Lisa. Inside that letter was the letter from Boco, unopened. I opened it up. It was a letter from a twelve-year-old saying, "Dear Godmother Jamie, I made a mistake. I got into trouble. I wish you were here because you would know what to do." I immediately called Boco who's twenty-six years old and a comedy writer here in Los Angeles. I said, "Boco, I got your letter from when you were twelve. It's fantastic. There's a TV show here." Originally, we were going to do it as a TV show. As we started talking about it, we found out that the Audible idea, doing a scripted podcast with characters and sound effects just like old radio plays -- they call it TV for your ears. It feels like a TV show, but it's Audible. They bought it and loved it. We made it this summer during COVID. Everybody was remote. It was written in about a month. Then we performed it. Then it was out August 4th. Crazy.

 

Zibby: Wow, that's the way to do it.

 

Jamie: It's a new world for me, the Audible world. Audible as a company has been fantastic as a partner to really understand that there are people who want content, who want things. This was just a wonderful -- it's super funny. It's charming. They have been fantastic partners, Audible, in the creation of it. The whole world of Audible, I didn't know about it. It's just been so fun. We had such a great cast. It's got songs in it that are like earworms that get in your head and then you can't get it out of your head. It's just been an absolute joy, crazy experience, and super fun.

 

Zibby: Amazing. When I was listening to the introductory theme song -- I spent many years at sleepaway camp. It just took me back to all that time on the bus and singing the camp songs and all the rest. Were you a sleepaway camp girl yourself?

 

Jamie: I was. As you can maybe tell, I like to compartmentalize. I like things to all work well. For me, trunks at camp were like your own fiefdom. I know some kids hated the idea of a trunk. They had to keep it clean. Everything was all messy. I loved it. I loved that you could roll your T-shirts and line them up. I loved the little soapbox. Remember there was a plastic soapbox?

 

Zibby: Yes. [laughs]

 

Jamie: I loved every aspect of camp. I loved lanyards. I loved the group activities. This show just spoke to my heart and made me remember how wonderful that experience is for people. Honestly, if people have the opportunity to go to camp, I think anybody who had that opportunity -- obviously, not everyone had that opportunity. The privileged people that were able to go to camp have that nostalgic feeling of creating a new version of yourself and learning who you are. I think that's the great benefit of camp.

 

Zibby: It's so true. Actually, my son is very into how his room looks. Now he's growing up. He's five. He's like, "I don't want to have a stepstool as my side table." [laughs] Literally yesterday, I was like, "You know what? I think I'm going to get you an old-fashioned camp trunk. I could put it here. You could store all your little treasures." Anyway, trunks have been on my mind.

 

Jamie: I'm sorry. You just said something about, your son is very specific about the way his room looks. I might ask you turn over your left shoulder and look at your bookcase.

 

Zibby: [laughs] I know. I see where it comes from. He's my only one of four who actually cares. There you go. Who knew? The fourth time. Letters from Camp is absolutely fantastic and a total throwback and fabulous to listen to. I also wanted to talk about your over a dozen children's books because I've been reading them with my kids. The oldest are thirteen. I've been reading them for years. I'm so impressed with the output and the content and the cleverness and the way you make different concepts from self-esteem to the alphabet to everything and being brave and all of it accessible and fun. Tell me about how you started writing children's books.

 

Jamie: Thank you, by the way. They are my best thing. They will be the best contribution I make to the universe besides raising my kids, for sure. I never thought I'd write a book. I barely got out of school. I am a well-educated uneducated woman. I spell so poorly. I count on my fingers. I did not receive schooling at all. It's a miracle that I survived my youth. I never thought I'd write a book. My four-year-old daughter walked into my office one day, apropos of nothing. I was sitting at a desk. She was down the hall. She came marching into my room. I remember she stood there and was delicious in her four-year-old-ness. She went, "When I was little, I wore diapers, but now I use a potty." Then she marched out of the room. I thought, oh, my goodness, that's amazing. I wrote down on a piece of paper in front of me, "When I Was Little: A Four-Year-Old's Memoir of Her Youth," which just made me laugh because she was talking about when she was little the way I talk about when I had long hair and wore it in a shag or when I wore bell bottoms. The good old days that I remember fondly, she was reminiscing about because she had a past even though I only looked at her having a future. She was so little. I never thought that she would look back. I only thought she would look forward.

 

When you have small children, you're only looking forward. School, shoes, clothes, food, school, clothes, shoes, food. You're only looking forward. Where are they going to go to grade school, high school, college? In the writing of that, I wrote down a list of things that she couldn't do and now she can do. I found that at the end of the list -- I wrote three things, and I started to cry. I realized it was a book. It was the last thing I thought I would do. All of a sudden, I was moved by it. I realized it was a book about self-discovery, about self-ownership. I realized it was a book for children. I sold it that day. I sent it via fax. Faxes were new then. That's how old I am. I remember sending it in curly-q paper to an agent in New York who was my mother-in-law's best friend. She sent it to HarperCollins, which was actually Harper Row back then. They bought it. Joanna Cotler, who was the head of children's books, bought the book. That began my career as an author. I had had a book that my daughter Annie loved, we loved, the way parents and children love books, called Annie Bananie. It was written by Leah Komaiko. It was illustrated by Laura Cornell. I said to Harper Row who had published Annie Bananie, "I would like Laura Cornell to draw the pictures." She and I have been partners since then for thirteen, fourteen books.

 

Zibby: Oh, my gosh. That's amazing.

 

Jamie: Last thing in the world I thought I'd do. Last thing in the world. I don't write them. They come to me. I wait for them. Then they pop into my head almost fully formed. I can barely get them down on the paper. That's how fast they come.

 

Zibby: Wow. Your most recent one, Me, Myselfie, & I, that was hilarious, the mom outside taking the selfies in the snow and all that.

 

Jamie: Obviously as I get older and the children get older, I'm no longer seeing the world from a young child's perspective. I'm seeing it from our perspective of how we relate to young people and the poison of social media and our self-obsession and our self-altering nature. Even here, I'm sitting here, I have a light over here. I have a light over here. If I didn't have those lights, it wouldn't be at all good. I will tell the truth on myself. I do it too. I don't alter photographs. I don't throw up a hundred filters and all of a sudden try to look like I'm not sixty-one years old. I think it's a poison. It was my way of talking about it. I knew if I had made it about kids doing it, nobody would've liked it because they would've felt that I was making a social statement about them. I think they would've been like, well, F off, just go away. Whereas by turning it on the mom, making the mom the one who's obsessed by it, who can't stop looking at herself -- the faces we make, it's crazy. It really was my think piece about self-obsession and the opposite of that, which is selflessness, which is what the world needs way more of. It was a little bit of a think piece.

 

Zibby: Love it. Speaking of the selflessness, tell me more about My Hands in Yours, which is your latest endeavor which, as you know, I just got very excited about myself.

 

Jamie: It's very sweet of you to support it. I am sixty-one years old. I am at that point in my life where my motto now is, if not now, when? If not me, who? What am I not doing to create love in the universe? How selfish is my life? I have always supported Children’s Hospital Los Angeles. For years, if you went through a bad thing or if a friend of mine went through a bad thing, I would either buy a little gift and I would send it. I'm a gift-giver. I like gifting. I would write on a card, "I'm so sorry to hear about your mother. I hope she recovers. Remember through it all, my hand in yours," is what I would say. It was a phrase that I put those four words together to say, I'm not with you, but imagine what it would feel like if you felt my hand in yours. That's what I want you to feel when I'm not there with you. I've been saying that for a long time. I've been collecting small sculptures by this artist named Anne Ricketts who makes little tiny beautiful feet that I love to send people and say, remember to be where your feet are. Meaning, get out of your head. Be right where you are in the moment. I've been buying and supporting Anne Ricketts for a long time.

 

I had this thought. What if we made a sculpture of two hands holding -- I don't know if you can see it. Here, let me get some light on it. Oh, my, look at me with my lighting skills. [laughter] It could fit in your palm. You could hold it like this. It would be two hands holding. I went to Anne and asked her if I could commission her to make them. I explained to her that I was going to donate a hundred percent of the sales to Children’s Hospital Los Angeles, which is an organization I've worked with. I was going to call it My Hand in Yours. I was going to create a marketplace for comfort items for people during times of crisis. This was last year when I thought I would start this project. I thought maybe it would be like an Instagram store or something. I didn't really know. Then the universe changed. COVID hit. All of a sudden, the need for contact with other people, the need to be able to send someone a gift and say, I am with you during this incredibly hard time, presented itself, and so I started a company. I never thought I'd start a company. I underwrote the company so that a hundred percent of the profits -- that means that Anne Ricketts donates all of her time, all of her artistry, all of her sculpting time, all of the preparation. Then they get sent to a foundry where they're produced. Then she makes sure that each one is perfect, polishes each one, bags each one.

 

All of that is done for free so that I can sell them and a hundred percent of that sale goes to Children’s Hospital Los Angeles. Everybody that has participated, Anne Ricketts -- my friend Cathy Waterman has created this fantastic hand charm. I don't know if you can see it. I will tell you, from product testing, I have reached up and grabbed that hand. There's something so tactile about holding this pendant as I go through my day. Cathy created that. That's on the website. I have now expanded the website. There are now medallions that you can buy. I wanted to make sure that there were things with different price points. The medallion is twelve dollars. For twelve dollars, you can have it sent to a loved one with a note from you. The money goes to Children’s Hospital. Then the sculptures, obviously, are more money, the pendant, blankets. Soon we're going to have candles. We're going to have beautiful objects. It's objects of comfort in times of crisis. A hundred percent goes to Children’s Hospital. All of a sudden, I have a store. I ship. I'm doing shipping every day. It's hilarious because I'm not that person, but yet I've become that person.

 

Zibby: I'll look for you at UPS.

 

Jamie: You will be receiving it at UPS or USPS. It depends what method you choose, or FedEx. You can choose all of the methodology to getting it to you.

 

Zibby: You might want to add some pictures of the scale of it, I was on the website earlier, like show it on a person.

 

Jamie: You mean of the pendant?

 

Zibby: Just to show how big or small they are. Maybe I did it in too much of a hurry. I didn't notice somebody wearing it. Anyway, I can check.

 

Jamie: I will do so. That's such a good idea. I will get on it. Let me get my people on it.

 

Zibby: You go. You do that. [laughs] Why did you pick Children's Hospital Los Angeles? Do you have a personal connection? Did something happen? Did you use it? Do you just think it's a great thing?

 

Jamie: I have been a supporter of Children's Hospitals throughout the country for a long time. It started when I was making a movie in Pontiac, Illinois. There was a charity put on by the town of Pontiac for a young woman named Lori Tull who was the very first successful heart transplant recipient as a child. She was thirteen years old. It was experimental surgery. The insurance company was not going to pay for it. The town of Pontiac put on a benefit. The movie I was making, we joined the benefit. She and I became friends. When she passed away at nineteen, I made a big donation to Children's Hospital of Pittsburgh, which was a fantastic institution at the front of that type of surgery, Dr. Starzl. Thomas Starzl is/was really a pioneer in transplant surgery. I worked with them for years. Then when I came back home every time, it felt weird that I would go to Pittsburgh and work on behalf of people in Illinois when in fact I live in California and I have one of the greatest institutions in Los Angeles. I literally just cold-called them one day and said, "Look, I'm doing this work for other places. I would like to start to support Children's Hospital Los Angeles." Then it ended up that they were doing bond initiatives to raise money, hospital bonds. I became the spokesperson and started doing the commercials for them. Then I've been involved with them since. They're just a fantastic organization. It's my hometown, born and raised here in the City of Angels. It was important to me that I give back to them. They get all of my support.

 

Zibby: I can just imagine the person who picked up the phone that day who was like, "Um, yeah, that’ll work that. We'll take that donation. Sure, get involved. Why not?" [laughs]

 

Jamie: For anybody watching this, you don't have to do big gestures. One the proudest things that ever happened in my life is that one of my best girlfriends, because of my involvement at Children's Hospital, decided to volunteer as a cuddler. A cuddler is for all of the premature babies who are in the NICU who do not have their parents or mother or father or grandparents with them. Volunteers are trained and then vetted. Then you go in and literally sit in a chair and they bring you these babies. You rock them and hold them and sing to them. One of my best girlfriends made that her commitment to Children's Hospital, no fanfare, no big TV ads, but hours and hours and hours of her day where she would hold these little babies. That's what I'm saying. To people watching and listening, we have to do something. We have to. As human beings, we are not here to look at ourselves on our phones. That is not the reason we're here. We're here to manifest our destiny as human beings and create a loving connection in the universe. That's why we're here. That's just why we're here. Whatever it is, you can do something.

 

This is a time in our nation, in the world, where we all have to be doing something. I don't care what it is. Look at what Bette Midler has done in New York City. Look at what Bette Midler has done with her parks projects, reclaiming these old disheveled pieces of property and turned them into local urban gardens and meeting places and transformed the city. That's just one person going, you know what, I'm going to do that, and all the volunteers and all the people that joined her. That's what we can do. I hope that's what we teach our children to do because if we're not teaching them that, it's over. Then it's just anarchy. Then the world will blow up. I do believe that you can make a huge, huge difference in the lives of other people by suiting and showing up and trying to help people. If anybody takes away anything from this besides I do a lot of hand motions, then that would be a good thing. [laughter]

 

Zibby: This could actually be part of your My Hand In Yours.

 

Jamie: I'm going to tell you a quick little story. I've been texting with a person about the picture on the chain. Let me just finish that. This is what we call multitasking.

 

Zibby: I love it. I make a suggestion, it gets implemented during the podcast.

 

Jamie: Immediately. It should be up on the website before we're done. Here's a funny thing. When I was doing Activia yogurt commercials for a very long time, there were hand gestures that we had to use to demonstrate what the product was helping to achieve. I literally had training to learn how to go like this, where you go like this. It's truth in advertising. Again, it's not a laxative. It's a probiotic, but it's supposed to help you poop better. I had the training where I did this, but then there was all sorts of kerfuffling about what does this really mean? If you go back and look at those commercials -- which I loved doing, by the way. The fun part of it was actually meeting people. The second wave of the hand gesture was, we couldn't do this anymore, so we had to talk about how it made you feel better. The new gesture was this. [laughter] It was like, when you take this product, you feel lighter and better. I had training in that too. There is a commercial where I'm walking along talking, talking, talking, and then I go like this. Anyway, hand gestures.

 

Zibby: Behind the scenes of the yogurt. Who knew? My daughter would not forgive me if I didn't ask you at least one question about Freaky Friday, which is her favorite movie. I just have to ask something. I don't even have a question. How was it filming that movie? Are you going to be doing any more movies, or are you now firmly in the children's book, might come again, we might do another Audible Original? What's coming next? That was a lot of questions.

 

Jamie: That was like twenty-five questions in one.

 

Zibby: Sorry about that. Pick one.

 

Jamie: It's all right. Watch this weave of answers.

 

Zibby: I'm ready. [laughs]

 

Jamie: I'd still make movies. I just had a Halloween movie. I was in that movie Knives Out last year. We have another Halloween movie to shot. I may go off and make another movie. Yes, I'm in the movie business. I'm in the TV business as I have, now, a company that is trying to produce our own work, part of which is the Letters from Camp podcast, which I believe, fingers crossed, that we will make more of. It was always conceived as a three-summer show. We wanted to avoid teenagers because mean girls are --

 

Zibby: -- Don't we all?

 

Jamie: Yes, we want to avoid teenagers, so we wanted to set a show in the summer of Mookie Hooper's twelfth, thirteen, and fourteenth year. We're hoping that that happens. Lastly, I loved Freaky Friday. It was a surprise for me. I was in the middle of a book tour. I had a fifteen-year-old daughter of my own and a five-year-old son. An actress pulled out of the movie. I stepped on a moving train, honestly. In three days, I was now pretending to be fifteen and fifty all at the same time. It was fantastic. I think the reason why it's so good and why it was such a pleasure for me is that I had zero time to prepare for it, zero. On a scale of zero to a hundred, zero, honestly. Three days later, I was shooting. Because of that, I had to just go, okay, whatever, how old am I? Just immediately release my ego and be fifteen. I was living with a fifteen-year-old. I knew many fifteen-year-olds, and so it was very easy for me to do. I think if I'd had a lot of time, I might have gotten very self-conscious about it. In that sense, it was the freest I've ever been in my life. Just was like, okay, what am I doing today? Okay. Because of that, I think it was so successful. I was having the time of my life.

 

Zibby: Amazing. I love that. You can tell. It's so fun. It was amazing.

 

Jamie: Because of that movie, I will actually have put into the world of parenting, a phrase that I ad-libbed, which is not my skill. I am not an improvisor. I did improvise because I was living with a fifteen-year-old of my own, shooting at the Palisades High School. My first day of work was at Pali High very near from where I live. When the mom drops her daughter off and the daughter gets out of the car and the mom leans out the window and says "Make good choices" out loud while all of the kids are around her, it may be my proudest moment. It certainly is going to be my legacy from that movie. "Make good choices" will outlive me, I think.

 

Zibby: If I were going to make a title for this podcast, that would be it. That's all of what you've talked about, in life, in literature, in Audibles, and everything, giving back. It's all about that.

 

Jamie: It's also about, life is for living. We are here such a short time. The older you get, the time gets shorter. It's time to really focus on making your moment count, whatever it is, be it planting a seed in one of those gardens, be it holding one of those babies at Children's Hospital where nobody is going to be -- it's not a glitzy gig. You're not going to get a bunch of kudos. You're going to feel it inside you. The more I'm a public figure, the more I understand that all of the outside attention, and I get a lot of attention, means honestly nothing. Self-esteem comes doing esteem-able things. That's why it happens. You don't get self-esteem because you get a million followers on Instagram. You get self-esteem because you buy groceries for your elderly neighbor and you don't even tell them it's you. You leave them a beautiful planted dahlia on your neighbor's porch without a note. That's how you get self-esteem. You get it from doing things for other human beings. I hope that we can all live that way until we're not here anymore. That's actually my raison d'être, my reason for doing it all. It's all boiled down to that. I'm really happy to meet you. I hope next time you're in California, you'll let me know. We'll social distance walk or something.

 

Zibby: I would love that. That sounds great.

 

Jamie: Cool. Thank you for having me.

 

Zibby: Of course. Thanks for joining me.

 

Jamie: Of course. Thank you.

 

Zibby: I won't tell your neighbor about the dahlias. I'll keep it our little secret.  

 

Jamie: Perfect. Thanks, everybody. Be well. stay safe. Bye.

 

Zibby: Bye.

Jamie Lee Curtis.jpg

Bill Clegg, THE END OF THE DAY

Zibby Owens: Welcome, Bill. Thanks so much for coming on "Moms Don't Have Time to Read Books."

 

Bill Clegg: Thanks for having me on.

 

Zibby: It's my pleasure. I was just telling you, but just to showcase my Bill Clegg fandom over the years, Portrait of an Addict as a Young Man, which was so amazing. Now I know everything about this period of your life, as we were discussing.

 

Bill: I'm so sorry. [laughs]

 

Zibby: Did You Ever Have a Family, everybody is like, "This is the best book ever. Oh, my gosh," everybody I talk to. Then The End of the Day which of course has just come out and which is absolutely beautiful and I was so privileged to have read. I'm so happy to be here talking to you.

 

Bill: I'm happy to be here too. Thank you.

 

Zibby: Let's just talk for sec first about The End of the Day even though it's not the end of this day. What inspired you to write this book? What's it about? Why this book? Why now in your life?

 

Bill: Oh, the easy questions.

 

Zibby: Just all that. Then we're good to go.

 

Bill: The End of the Day, when I'm writing, there's usually some other secondary writing that's going on to the main thing. It's usually when I hit wall. I'll just go to that other thing that doesn't have any booby traps or problems associated with it. I am of the "go where it's warm" philosophy in writing. If it gets too tortured or uncomfortable or just isn't coming, I'll move off and go write something that feels easy, and that will be fun. Then I'll hit a wall there and go back to the problem that I couldn't solve before and it will seem, usually, much less difficult to solve. With The End of the Day, one of the central characters is a woman named Jackie. She actually appears for a moment in Did You Ever Have a Family. She's the mother of the caterer who is a minor character at the beginning of that book who tells a story to lay the groundwork of the scenario of that novel. She appears in the driveway in a housecoat. Her porchlight is on in the middle of the day. Then she's gone and you never see her again. When I was writing that book, she interested me. I just kept on coming back to her. I didn't know it at the time, but I kept on writing her backstory of her childhood, this important friendship she had when she was a kid.

 

Then it became clear that she and her entourage were not going to be central to Did You Ever Have A Family, but I just kept on writing her because she was interesting to me. Then when I finished Did You Ever Have A Family, there were all these pages without really an organizing center to them. Then I overheard a story about somebody who was in [indiscernible], Connecticut, which is near where I grew up. This is many, many years ago. He was telling the story of how he was at a picnic. It was holiday picnic of some kind. I don't know if it was the Fourth of July. He had gotten up to run an errand and went to the store to get something. There was some group of New Yorkers who were hanging out. They invited him basically to come party with them. They went up this mountain, and he didn't come back for two months. He had left his family at this picnic and he just disappeared into this. I was interested in that for a lot of reasons. Namely, I identified with it because at a certain point in my life that might have been something I would've done. The fact that he had a family and that he had just left them and then he came back down the mountain and faced this family -- the marriage survived, apparently. That was a very captivating scenario. I was imagining into that quite a lot. Then it somehow merged with this whole story of this woman in this small town named Jackie who had been born of this other novel. Suddenly, the book became clear to me, what it was going to be. That's how it started.

 

Zibby: Wow. This is proof that if you don't use the pages in your novel, you can save them and maybe them another time.

 

Bill: Exactly. Nothing should be ever wasted.

 

Zibby: Don't waste it. Start a new Word document. Who knows? It could end up as this.

 

Bill: Maybe it's because I have so little free time that anything that would exist that could be used, I think of as potential. It was inert. It was this pile of -- it just didn't quite -- then this other random element came in and activated it and made it a story that I could lay my mind around.

 

Zibby: I'm glad you didn't toss it because it was beautiful. Your writing, first of all, is just, as you know, as you must know, it's just so beautiful, the way you write, the way you tell stories, the way you even paint a picture of the room. You can feel yourself in it. It's such a gift. It's really awesome. Obviously, it goes from such extremes. In your memoir, you're shaking and waiting for your crack dealer to call you and losing forty pounds. Your life is crazy. Then you go to this elderly woman and waking up in her bed with the light streaming in. It runs the gamut. It's amazing the way you can take the reader to all these places. I guess that's writing in and of itself.

 

Bill: It somehow makes sense to me, maybe not from a distance. Crack dens of New York, the country bedrooms and women waking up and pondering the morning, they don't obviously connect. Somehow to me, they seem like there's a direct link.

 

Zibby: How did this whole writing side of your life get started? When did you know you were a writer? Is this something you've always done? Was Portrait of an Addict as a Young Man your first book, or do you have novels stashed away somewhere?

 

Bill: No, that's the first thing I had written since college. I kept notebooks in college and then in my early years in New York. It was always like, I just wrote impressions of things. I've looked at some of that stuff. A lot of it is me coming home a little bit tipsy and wanting to record something that felt very urgent or important to transcribe. Usually, it was just the Brooklyn Bridge and the lights of the city. It's so cliché and so bad. I did write. I worked with writers. I came to New York. I started working at a literary agency. Honestly, me writing didn't even enter a real consciousness. Underneath everything, of course that's what I hoped would happen, but I'd never named it to myself. It seemed beyond me. Then after I got sober, in early, early recovery, I was writing stuff down because I thought that I would forget it. There was a lot that hovered in this gauzy space of, did it happen? Did I imagine it? I wrote it all down. Some of those details were incredibly vivid. I thought that if I just wrote it down then, that later I'd be able to make sense of it and it would all became clear. It didn't, not really.

 

Zibby: This is back to your saved pages writing theory again.

 

Bill: Exactly. Nothing is wasted.

 

Zibby: Or nothing is new. [laughs]

 

Bill: It just gets repurposed. Then I put those pages down. I went back to work after getting sober for a year. I had a lot of damage to clean up and a lot of relationships to mend. I had to learn how to live my life sober. That took me time. Then at one point I went back to those pages and just looked at them. It unlocked something. Now I look at that time period, I just started writing what had happened. It came somewhat easily at the time. It really came out like a gusher. I felt like I was catching up with it as I was typing. Then the book came into being. After I'd finished it, it was like, oh, I can write a book. I loved the experience of being alone with pages and the sentences and just the project of making a story that's here, putting it here. Now since then, it's just become a regular part of my life. My main job is as a literary agent. When I can, I write. There's always something. Even if it's several months between writing sessions, I'm still puzzling through stuff a little bit in the downtime.

 

Zibby: How does your experience as a writer then affect the books that you gravitate towards, or does it not at all? Do you pick books to publish similar to your style of writing? I saw your list. I've had some of your authors on my show and everything. How does it relate?

 

Bill: In the main, I'm more attracted to writing that I can't imagine myself doing. There's recovery. There's things that involved themes that I've explored. In the main, these are writers who I'm in awe of. I'm trying to, at first, figure out what it is they're trying to do and then ultimately when I get to the edge of that, trying to help them get that writing in the world. Usually, the things that don't occur to me are the things that excite me the most. There isn't that kind of overlap. It's changed over the years too. People will ask, what are you looking for? My answer, which sounds so trite in some ways, is it's sort of the thing that I didn't expect is the thing I'm looking for. If you've seen it or if you've read it a lot of times before, it's not necessarily the thing that you're going to be the most excited to engage in. When I come up to this house that we now live in all the time because of the coronavirus -- we used to only come up maybe two or three weekends out of the month. I would come up for a week and pull up the drawbridge and write. On the other end of that week, I'd be so desperate to get back to other people's writing and out of the head of my own. Setting up those kind of reunions with the job and the writing, it's just been a nice balance for me. I am always looking forward to the thing that I'm heading toward. Nothing ever feels too oppressive or too much. Even though the agenting takes primacy in the days and the weeks, I'm thinking about what I'm writing, usually. It's on the horizon somewhere even if it's months away.

 

Zibby: Then in addition to reading for your work as an agent, do you read for fun on top of that? You must not have time for that. Do you?

 

Bill: It's hard. You know what's really helped me with that? Audiobooks. I'm kind of late to the table, I think, but I've discovered them. When I work out, I listen to audiobooks. If I'm lifting weights or if I'm doing something, I listen to audiobooks. I have now become kind of an addict. I am addicted. Along with pizza and donuts, there's audiobooks. It's great. I love them. Some of them are so well-done. I just listened to The Dutch House, which Tom Hanks narrates. When I first approached it, I was kind of skeptical because that felt a little too Hollywood. He's amazing. He reads it and really delivers a major performance in the reading. It's great. If you haven't listened to that, I recommend it.

 

Zibby: That's a great suggestion because I've been meaning to read that book. I've had it right here for so long. That will be a great way. I also have recently gotten into audiobooks. Being out of the city, there felt like there were more opportunities like taking long walks and long drives. I wasn't going to listen to an audiobook in a taxi or something. Although, I guess I could now, not that I'm in a taxi that often.

 

Bill: I also recommend City of Girls, Elizabeth Gilbert's. That, it's Blair Brown. Do you know who she is? She was in a television show in the eighties called The Days and Nights of Molly Dodd.

 

Zibby: I remember that.

 

Bill: Then she's doing a lot of theater and stuff like that. Based on this performance alone, I think she's one of the best actresses on the planet. It's the story of this woman's life. It's really the whole sweep of a life from teenage years into her seventies, eighties maybe. It's epic and brilliant. It's one of the best novels ever. The performance that she gives in the reading is memorizing.

 

Zibby: I like also reading memoirs when the author narrates themselves because then I feel like you know them even more intimately. Jodie Patterson's The Bold World, she did such a good job reading that. I just read Jill Biden's. I just had her on. She read her memoir. I just felt like by the time I talk to them, I've already talked to them for eight hours or whatever it is.

 

Bill: I listened to Michelle Obama's. That was actually the first one that I listened to in March in quarantine. I thought it was great. I looked forward to it every morning when I would go down to the basement and work out in the cobwebs. Michelle Obama made it possible. It's such a good book.

 

Zibby: Who narrated your audiobooks? Do you have audiobooks?

 

Bill: I agree with you. I think having the authors read makes it better. In my case, I've read them, and I can't say that I've made them better. I'm not that good at it. In fact, on The End of the Day, I was supposed to read the audio of The End of the Day in New York at a studio. Then COVID happened. We were up here. Somehow, they figured out a -- it's like this converted barn that's a recording studio, but mainly for musicians. In fact -- oh, gosh, I'm going to forget his name. There's a popstar, Shawn something, who's dating Camilla Cabello.

 

Zibby: Now you're going to embarrass me, [indiscernible].

 

Bill: I should know this. Anyway, he had just left after recording his new album. Then I turned up. It was literally five minutes down the road. I would go for an hour and a half a day and just read a little bit. I did it over the course of two months. I shouldn't probably say this, but I don't think it's the best. I did my best.

 

Zibby: I'm sure it's fine. At least you knew what you meant. At least the intonations are what you had in mind when you wrote it versus somebody coming into it who might misinterpret or something.

 

Bill: Yeah, but then when you listen to somebody like Tom Hanks read The Dutch House, it's so shaming because there is a way to really embody the dialogue. I just don't have the skill set.

 

Zibby: That's his whole job. He's been doing that forever.

 

Bill: I know. I know.

 

Zibby: If he tried to be a literary agent for the day, he might not do a good job. That's his job. This is your job.

 

Bill: True.

 

Zibby: These glimmers of ideas that you still have, are you always writing a book? Are you in the middle of one now, or are you just going to look for more scraps? I feel like you should go through your junk mail and find whatever you can.

 

Bill: Oh, yeah, this loan offer is a novel. Possibly. I'm definitely working on something right now. It's going to be the third of what is unofficially a kind of trilogy of these books that take place in the fictional town of Wells, Connecticut, which is where Did You Ever Have A Family and The End of The Day take place. This is one that I've been sort of circling since the first one. There's a character that I've had in mind. I had the title a long time ago but didn't have the book. I had the character and the title, but I had no idea, really, what the story was going to be. Now I'm coming into it a little bit and just typing toward it.

 

Zibby: Do you discuss your work with some of the writers you represent or just friends? Do you keep it all under wraps?

 

Bill: In the beginning of this, I was like, church and state, oh, no. The thing about working in book publishing and working in literature and probably any creative field where the medium is something that matters to you a lot, I represent these writers who are also big readers. We talk about books. We talk about their books. There's an intimacy that develops, and especially with some of them, over time. With a few, my writing's come into it kind of against my urging and certainly better judgement. A couple of them have been really good, have read stuff, and even early. We talk about it. Some, but not that many.

 

Zibby: Can you give a little glimpse of more of what Portrait of an Addict as a Young Man was about? I know this is from a while back. It's about your life. I thought it was just so good. I've remembered it all this time, not that it was that long. Was it ten years ago or something? How long ago was it?

 

Bill: 2010, it got published.

 

Zibby: That was good. I didn't research that. [laughs] Anyway, share a little bit of your life story from that time and how you made it through. That's the most inspiring type of story there is, going through the worst and coming out better for it on the other side.

 

Bill: That memoir chronicles a period of time. The foreground is a couple of months that I spent really in a freefall of crack cocaine addiction. I had, for over ten years, had an active crack addiction that I had kept secret. I was a heavy drinker. I'm sure that there was some people in my life who thought that I was an alcoholic. Nobody had confronted me about it, but I'm sure I didn't give them a lot of room to. In terms of the crack cocaine addiction, my boyfriend at the time knew, who I lived with, but that was the only other person. If you know anything about addiction, particularly with crack cocaine, it becomes less and less manageable. At the point that it became completely unmanageable, I just walked out the door of my life on a bender that I had intended to end in death. On the other side of that, I ended up in treatment. Because so much of those two months were -- a lot happened in that time. When I was getting sober, I was trying to make sense of what had happened. It's a very close look at those last two months of my active addiction. Then it panels back to when I was a kid to lead up to the period of time that that two months commenced. It's sort of like, how did you get here? I think I'm still puzzling through that. I'm still engaged in that.

 

That book is a kind of representation of what my engagement with that puzzle looked like at the time in 2008, is when I finished writing it. I was lucky. I went to treatment. I found other alcoholics and addicts in recovery. I realized after relapsing a fair bit in my first year of sobriety that I couldn't stay sober without other alcoholics and addicts in recovery. I needed them very closely and actively in my life. Some of the people from that period of time in 2005 and '06 when I was first getting sober, those people are still active in my life. I let go of everything I thought I knew about how to live my life. I'm sober today. If there's a reason, it connects to that. I had a lot of ideas about how I should live my life and how I could navigate the problems in my life. I had to throw all that out to get sober. People in recovery taught me how to live, how to be honest, how to be accountable, how to be responsible, and how to be useful. Growing up before that, the North Star was, am I going to be happy? How can I be happy? I let go of that in recovery.

 

What became clear is that if happiness was ever going to come into it, it was because you were living a useful life where the focus of self isn't the primary objective of the day, but really focusing on others, which parenting is very helpful with. [laughs] The crisis of taking care of somebody immediately takes your mind off yourself. That's also been helpful. There's no finish line in recovery. It's been a lot of years since then, but I'm not standing on the other side of a finish line. It's something that I have to engage with, always. Happily for me, I love the rooms of recovery. I love the people in them. I love sober alcoholics and addicts, their stories, their sense of humor about the worst thing. I identify with them. That’s kind of it. There are people I know who have leaned into it and followed a very similar path to mine who haven't gotten sober. On some level, it's a mystery. It really gets a little woo-woo for me. When I look at the videotape, I'm kind of shocked that I am sober and that I was able to navigate that period of time, especially in early recovery. It's somewhat of a mystery still.

 

Zibby: Do you feel like part of the being useful was contributing your own story through your memoir and the novels that came after?

 

Bill: Writing the books kind of felt like not a choice. It really became this puzzle that I needed to see through. Having it be published was the choice. The only way in which it made sense was if it could be useful. You've talked to a lot of memoir writers, so you know this. You're bringing in other people's stories by telling your own, and so there's a cost. There's a complication. It really had to be something that -- there's a discomfort too of just taking those parts of your life that are, for a long time, the most shameful, the ones you would do a lot to keep hidden, and then you're actively putting them forward. The reason to do it was to have it be useful. Probably anybody who's written a memoir of their experience, even of experiences that aren't as dark as my own, when people identify with your story -- I still get emails and DMs and all sorts of communication about people reading those books who have identified, who say it's useful. That's been helpful to make peace with whatever the discomforts have been for me, and especially with the people in my life who those books have involved.

 

Zibby: I know we were joking before we started recording about how your neighbors, they find out about your book and maybe they don't want to send their kids for a playdate right away. [laughs] I'm kidding.

 

Bill: Bring the kids over. [laughs] To my face, I don't get much of it. I can't imagine the conversations. One of the things that I have found, which was not my experience when I was younger, is that stories like mine aren't that unique. It seems ultra-unique as you live it. It feels terribly singular and not knowable. Addiction and alcoholism seem to cut through even the most serene-looking lives. I find more that, as I navigate the world, people who I meet confess to me more easily about what's going on in their life. It's overwhelming how much it affects people.

 

Zibby: That just hits on the whole point of books, really. When you're going through life, these experiences all make you feel that way. Then as soon as you read someone else's or you put your own there, you realize that you're just one. This is just part of the collective experience. That's what's so great about it.

 

Bill: I think that's true. In the literature of recovery, there's one phrase that really caught my attention early on. There's a description of getting sober as an end of isolation. That was a hundred percent my experience, which is going from this secret, shameful, tortured existence into a community of people who had had very similar experiences. Many of the feelings they would even describe in the same language that I would use, which shocked me to my bones. Also with books, I remember reading books when I was young, identifying with experiences, and just connecting to the world. I grew up in a small town, at the end of a long driveway, before social media. Books were also just a way of seeing what was going on in the world, but also recognizing certain feelings and circumstances. It had this connecting effect. It ended isolation, or it tempered it in some ways, made it more bearable. Certainly, recovery was the extreme version of that for me.

 

Zibby: I feel like a lot of moms use Facebook groups as their recovery vehicle. I'm not even kidding. What you're talking about with community and all that, I've never been a big message group user type person, but so many people, that's what they need. That's what they're hooked on. It provides them some sort of solace for when they go back in the middle of the night and the kid won't sleep and blah, blah, blah. There's all these groups.

 

Bill: Life is hard. Anytime that you can connect in any way, even if it's not explicitly to connect about what's hard about life, just not to feel alone in it is buoying. It helps you survive it. It helps you navigate it.

 

Zibby: Very true. Do you have any advice to aspiring authors? as our last question. I've kept you for too long here.

 

Bill: Just write, and write more. Read a lot. Reading is one of the most important things that a writer can do. Do both. Write without an expectation. A lot of the time, some of the best work that I've read, when I find out later from the author how it came to be, a lot of it, it happens first without a shape in mind. It comes from this amorphous feeling. All the writers I work with know that I quote this line from the poet WS Merwin. He wrote a poem about writing a poem. He says, "Any day now, I'll make a knife out of this cloud." I think of that cloud as the idea or the inspiration, feeling like something should be written down. The writing is making that more specific, more purposeful, more deliberate. Sometimes it just needs to be a cloud for a while, and just to luxuriate in that and to explore that. Usually, along the way, a shape or a pattern or a purpose emerges. Then you write toward that. I think there's so much tension that arrives at the blank screen and thinking that you need to know what it is exactly before you begin. Just write. Just start. It's like analysis. I don't think people are in analysis anymore. Once upon a time, people would sit for hours just rattling off stuff. Little patterns would emerge from what they would say. Then meaning would be gleaned from that. Then a story gets shaped. Then something really meaningful happens and shapes, but over time. It takes a time.

 

Zibby: Sort of writer as sculptor whittling it down. Amazing. Thank you. Thank you so much for chatting today and for coming on my show and sharing all your experiences and writing all your fantastic books that have really made a big difference. Thank you.

 

Bill: Thank you. I appreciate it. Take care.

 

Zibby: Bye-bye.

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Lan Cao and Harlan Margaret Van Cao, FAMILY IN SIX TONES

Zibby Owens: This was one of the funniest podcasts I've ever done. I did it with a mother and daughter and watched them as they were fighting and rolling eyes at each other and all the rest about their beautiful memoir. It really spoke a lot to their communication. I found it pretty hilarious. I hope you will too. You can also watch this on YouTube, as you can all my episodes now. Anyway, it's called Family in Six Tones: A Refugee Mother, an American Daughter. It's by Lan Cao and her daughter, Harlan Margaret Van Cao. Lan is the author of Monkey Bridge and The Lotus and the Storm and most recently of the scholarly work, Culture in Law and Development: Nurturing Positive Change. She's a professor of law at the Chapman University Fowler School of Law and an internationally recognized expert specializing in international business and trade, international law and development. She has taught at Brooklyn Law School, Duke University School of Law, University of Michigan Law School, and William & Mary Law School. Her daughter, Harlan Margaret Van Cao, graduated from high school in June 2020 and is now attending UCLA, although as she tells us, remotely. She's not happy about that. She was born in Williamsburg, Virginia and moved to Southern California when she was ten.

 

It's so nice to be with both of you.

 

Harlan Margaret Van Cao: You're so pretty.

 

Zibby: I am? That's nice of you to say. Thank you. This is called Family in Six Tones, as you know, I'm telling this to viewers, not just you, A Refugee Mother, an American Daughter. This was so beautifully written. Your words, both of you are amazing writers. Do I pronounce it Lan or Lahn?

 

Lan Cao: Lahn.

 

Zibby: Lan, your writing is just -- I mean, both. Now I feel like I'm being rude to you, Harlan. Your writing is so gorgeous. I was searching in my bedside table for a pen so I could underline some of the things that you said. Anyway, why don't you guys tell listeners what this book is about. Also, what inspired you to even sit down and do this memoir and to do it together?

 

Harlan: The publishing house actually approached us for it because they had heard an NPR interview that was released on the Tet Offensive that had actually been recorded years before where I would ask her questions about her time in Vietnam. By the time it came out, I was about fifteen, sixteen. She had a lot of connections there from her first two books. They contacted us. They said, "I think Harlan's of age now. Maybe we could make this a coming-of-age book that also links to themes of immigration." Obviously, my mother, her first two books are greatly based on the war. To have two people, it's important to have both of us because I think it created something most people can relate to on some level. It's not just something totally separate. It's also about growing up under completely different circumstances, also how the immigration experience affects the family and how the family affects the next generation's life.

 

Zibby: What was it like collaborating on this project together?

 

Lan: It was unstable. [laughter] I wish I could say it was cathartic, but I think during the time when we were going through it, it was very turbulent for us because it's hard to collaborate with another person even if you're writing non-personal stuff. I do a lot of legal writing. I have many, many legal articles. Only one was a collaboration. It's hard because you have to take the other person's point of view into consideration. When it's something so personal, and especially between a mother and daughter, when the wires are there that connect us but they can also fray very easily and electricity is conducted through the wire, sometimes it feels like the insulation part of the wire somehow dissipated and we're just now frying each other. It was hard because we had to decide what to include, what not to include. Also, Harlan wanted to include things I didn't want to include. We had to come up with a compromise. The reason why we came up with a compromise was because I felt like it's her first experience writing, so I didn't want to silence her even though she wanted to write about things that were hard for me to write about. In the end, everything that's on the page was a product of a back and forth. We also didn't even write together. It was very hard -- right, Harlan? -- to write in the same space. We were totally separate. We only came together towards the end to read it. At first, we read each other's, and it was explosive.

 

Harlan: We only read each other's stuff at the end when we had to. It was a requirement. She came to me and she would tell me, "It's time to read each other's stuff." She seemed scared to tell me. It was already difficult for me. At the time when I got the book deal, they wanted it to be greatly centered around my mom's previous two books, meaning the brand is about talking about the war. I don't have a lot of say about it except for what it's done to my life. I can't speak for everybody. I don't want to sound entitled or anything. I also had that mindset of a teenager. I have so much more I want to say, so why can't I say that? Then when I agreed to direct it all toward a theme and then on top of it, she was nervous to write about certain stuff, it made me upset because I felt like I was in a box. There's only one thing I could write about, and that's so hard to expand in an interesting way. I never imagined I'd be writing for adults, even though kids don't really read anymore, which is really sad. It's hard because I'm thinking probably women -- I'm not going to guess your age. That's so rude.

 

Zibby: I'm forty-four. It's okay. I'm not ashamed to admit it. I am fine. I am at peace with my age. It's okay.

 

Harlan: Adults, everybody's read it. It's not any age that I expected I would ever write for when I was little thinking I was a writer. That definitely brought out a lot of confusing things for me. It wasn't just the writing process that made it hard to collaborate. We were just totally in different parts of our lives. I'm going through high school. Everything about us is different. I would write at two in the morning. She would write throughout the day little by little.

 

Zibby: Wow, are you even speaking to each other? [laughter] I feel like I've intruded on a family squabble like there was a huge fight before the camera went on and now you're pretending like everything's fine. You don't have to pretend for me.

 

Lan: We're in quarantine, so we're stuck. She's doing her college online. You can imagine. It's all pretty eerie.

 

Zibby: Aren't you at UCLA, or did I make that up?

 

Harlan: Yes.

 

Zibby: So they're not letting anybody go?

 

Harlan: No. It's actually very depressing for me. I picked UCLA because of -- you pick the school because of what it looks like. If you have two options that are kind of the same in what it will do for you, the campus was important to me. I chose UCLA over Berkeley, but now Berkeley moved people in.

 

Zibby: UCLA is in a beautiful part of LA. I love LA. You will have the best time. This time will pass. It's a blip. You will get there. It was the right decision. Don't second-guess. I took a writing class at UCLA right after I graduated from college. My husband always makes fun of me when we drive by it. We spend a lot of time in LA now where he works or he used to work. Every time we drive by, he's like, "Look, your alma mater." I'm like, "I did not go there. I took one class." I wrote some essay about my first bra-buying experience with my mother. That does not make me an alum of there, but thank you. Anyway, I know it's a really tricky time for everybody. That was so sad to hear you say that nobody reads anymore. Do you really feel like none of your friends read?

 

Harlan: Not really. We like to get information very fast. A lot of kids nowadays, it's insane, have ADHD and stuff from the technology. I think it all bleeds into one. It's been shown phones might cause ADHD or something. A lot of kids, they don't have the attention span. They prefer movies and short articles. A lot of the news that we get now is on social media. The social media page will give it to you as quickly as possible, like five words and then that's it.

 

Zibby: That's a little disheartening.

 

Harlan: The only time that we really do read a lot -- I'm talking about the people that I know.

 

Zibby: I get it.

 

Harlan: We will read if there's -- do you remember The Fault in Our Stars, for example?

 

Zibby: Yeah.

 

Harlan: The movie came out. Then everyone's like, okay, I'll read it now because it's trendy. That's when someone would read.

 

Lan: That's very disheartening and depressing for me. When I first arrived in this country, my only solace was books. That's why I wanted Harlan, let's say, to love music. I feel like music and books are things that you can always turn to when other things that are not within your control are upside down. There will always be something you can't control that hurt you. It could be a person. It could be a wider event. You could always go to that part that is the music part, the book part. You can immerse yourself in a different world. If you don't have that, it just seems -- maybe they're different and they don't need that. It just seems very different for me. That was my solace. I was just hooked on things like 1001 Arabian Nights because it exposed me to distant shores. It's also a form of traveling too.

 

Zibby: I completely agree, especially now. Especially in the very beginning of the pandemic when we literally could not leave our house at all for week after week after week, I feel like, oh, look at this, now I'm having coffee and a glass of wine on a terrace in Tuscany. Here I am in China in this little apartment. I feel like books could take me everywhere. I totally agree with you. No matter what you're going through, you can just open up a book and you're immediately somewhere. It's this empathy and escape. That makes me sad. I bet there's a way, now this will be my new mission, of how to get -- I also love social media. [laughs] I have to get myself off Instagram with a hook. There has to be a way to keep that writerly escapist --

 

Lan: -- [Indiscernible] books, I hope that will work for the youngsters.

 

Zibby: Yes. Hopefully, this podcast will change everything. I try really hard. I hadn’t been targeting young people, necessarily, not that I'm so old, but that hadn’t been my mission. It was more just to keep people reading who are already reading or who miss reading because life is so crazy. Books are, I just think they're the coolest. I think everybody should be doing it. All right, I'll tackle that tomorrow. [laughs] Back to your book, some of the stories in here -- Lan, I just wanted to talk to you about being thirteen and having to leave your country and coming over here just with a family friend and finally realizing that you weren’t going back and watching Saigon fall in 1975 and the whole thing and how you picked yourself back up. How do you recover from something like that? How do you deal with that separation from family and home and homeland and just go about your business? How does that work? Maybe this is your way, still writing about it and everything, but tell me a little more about that.

 

Lan: I think that my parents had two different approaches. My father was always telling me -- it seemed paradoxical what he said because the one statement has a paradox within in. Remember what's important and forget it immediately. So just don't focus on the past. Yet I find that that is a very hard thing for me to do because my mother was always dwelling on the past. As I read more, I hear things by Faulkner like the past is, it's not dead, it's not even past. There's always the past. I don't think that one really recovers. Just like if you have a death in the family of somebody very close, yes, you will move on, but it's not like that part is not forever inside of you. The notion of losing something, of having the rug yanked out from under you because you never expected certain things to happen, they were very spectacular. They took a very spectacular form for me because suddenly leaving the country and starting a new high school was spectacularly different. It helps me to compartmentalize, to just do this and this and this, but never recovering because I know that I can be easily brought back. I feel sometimes like when I'm walking my dog and I had a retractable leash, I feel like I am the dog. Anybody, actually, can just press that button on that leash and it will bring me back to '75 or '68 even though it looks like I'm farther away now. There's this leash that takes me farther away from that part but can be brought back very easily. It'll be startling for me. I have been thinking of myself, I'm farther away from that now. How did I get back so easily to that vulnerable spot again?

 

Harlan: How did you recover?

 

Lan: Never recover. Just sort of move on to the next thing or doing the next thing, but it's not really a recovery. I know, let's say, even when I'm dealing with Harlan, I know that the way I parent her is very much based on that experience that I have not recovered from. I'll push her to always do well in school. Maybe all parents do that, but I think mine is more urgent. I feel very much like if she were to lose everything, one thing that nobody can take away from you because it's inside you is your education. A fire can come and burn down your house. You can lose all of your possessions. You can lose everybody you love. If you have your education, it is the foundation that is portable. It's not geographically anchored towards any place. While education maybe for other parents can be, this is a way for you to move forward in life, mine is, yes, of course, but it also has this no one can take it from you feeling, which I felt happened when our life was taken from us and we had to start a new one. In that sense, I can see how the fact that I've never really recovered even affects something like the emphasis I place on certain things for her, which can be very frustrating for her because she does not have that experience.

 

Zibby: How do you feel about that, Harlan?

 

Harlan: I've always been very conscious of -- I think it's just because I'm really interested in psychology and people. When I was really little, from a really young age, I figured out that my mom parented because of her experience. Also, it's very easy to call her overbearing or controlling, which she is sometimes, but it's hard to be angry about it because it comes from a very innocent place. She doesn't mean to do that. I'm not saying any mom means to come off as controlling, but she literally can't help herself. I can tell. We'll have a conversation or an argument, and we keep talking over each other. I'm like, can you give me two minutes? I'm just going to say something. Just be quiet. She's like sitting on her hands. She can't even stay still. It's true.

 

Lan: Somebody is stating something, if they're going to have two minutes of conversation and the piece that follows the first statement --

 

Harlan: -- She said what I say isn't true, but it's true to me. It's not true to her because she's so defensive. What I'm trying to get at is that in the past, most of the time, kids can tell their parents, this upset me when you did this to me or this hurt my feelings. With my mom, she doesn't want to hear that it hurt my feelings because she's defensive. People who are defensive don't admit that they're defensive because that's the first trait. It's a thing that goes back and forth. I know she's not defensive because she sucks as a person. She's defensive because her whole life has been about being on defense. Even when I talk about her being defensive, she doesn't want to hear it either. It's totally true when you hear the conversation. A lot of the time, an argument, even about the book, will start at something where -- I don't really try to start the argument. I'm good just being quiet the whole day. As the parent, she wants to correct and make sure that I'm good when I leave the house officially and start my own life. She'll start a conversation a lot of the time and even in that conversation I see her psychology. That's not to say I'm so much better. I'm a kid, but I know so much. No, that's not what I mean at all. I mean because we know each other pretty well, I can tell where each thing comes from. I really want to help her. I started in therapy, actually, when I was fifteen from stuff that was going on in school. When I was in therapy, the therapist's job, you kind of love and you hate your therapist because they open you up. They pry you open. It bothered me sometimes. She would tell me things like, I'm seeing a pattern and this and that. I'm like, you're obviously scorekeeping in a hostile way. I took it as an attack. She was actually just pointing out that I'm just like my mom. I didn't want to hear that because that's the worst thing possible even though she's great.

 

Zibby: No matter how great your mom might be, nobody ever wants to hear that.

 

Harlan: Nobody wants to hear that.

 

Zibby: In part, it almost feels like you're fighting -- you have all these natural feelings about your relationship. Yet there's this invisible thing you're fighting with also. You understand it logically, but I feel like emotionally it's hard to really digest. You know your mom had this experience, but still, you're annoyed, right? [laughs]

 

Harlan: Right. I always thought, why can't she have the experience and leave me alone? [laughs] We talk about it. We suffer through it together. Then she can trust me to live my own life. I was always resentful of, she'll expose me to everything that can possibly go wrong. Then she'll show me the saddest parts of the world when we travel. Not the saddest parts. We go to nice places. She'll tell me a story. She'll read me a book. She'll make sure I'm really educated. She'll make me into someone who had an adult mindset, but when it comes to my own life, I'm four years old suddenly. It's very interesting how moms, they always say, just go explore. But when it comes to the kid exploring, they're really scared to do that.

 

Zibby: I don't think I've ever felt like I could relate to both sides of an argument more than I feel right this moment. On the one hand, I'm like you. Then I'm the mom too. I have four of my own kids, and so I totally get where you're coming from. As much as you love and want your kids to go off, it's like a part of you. It's like your right hand is out there walking around. It's a part of you. You don't mean to, necessarily. It's like if you're about to touch the fire, you want to grab your hand back. It's just, you do it. It's instinctive. Coming from a past like yours, Lan, where you've had all of this trauma before you were even a teenager, essentially, it's a lot. It's a lot to bring into, what should we have for dinner? I'm actually amazed that the two of you got this book done now that I've talked to you. [laughs]

 

Harlan: So are all my friends that had to hear about it for two years.

 

Zibby: Oh, my gosh. Does this now make you still want to be a writer, Harlan, or are you over it now?

 

Harlan: I do want to write movies more. If I'm being honest, I think movies are more my thing, if I could get up the nerve. Also, I really just want to make a lot of money and then give it to a lot of animals. That's important to me too. I would write one by myself. Maybe one day when I'm older, it'd be really cool to end a career -- starting it with a memoir and then ending it with a memoir. Maybe when I'm sixty I'll write about what it was like to write with my mom. That would be cool.

 

Lan: She's very good with conversation. I think a movie script would be good for her because it's back and forth.

 

Harlan: I hate writing description. I like dialogue. I don't like descriptions.

 

Zibby: Lan, did you just write like this from when you first started writing, or did you learn to do it? The way you even describe things is so beautiful. You can tell even the way you speak with all of your analogies, how you think about thing in terms of just the beauty and how you can talk about it. I'm trying to find a quote that I had. Of course, now I cannot find it. Maybe we could talk about your detachment, that your mother -- that was actually a Harlan passage. Never mind. [laughs] I had [indiscernible] passages picked out, and that's because I didn't have the thing. Here, I'll just read this one. "It might seem strange that being a refugee and being a mother feel so similar to me, but both involve a torturous and lifelong drive in search of home and security: in one case, for one's self; and the other, even more furiously, for one's child. The journey of a refugee away from war and loss toward peace and a new life and the journey of a mother raising a child to be secure and happy are both steep paths filled with detours and stumbling blocks. For me, both hold mystery." That's beautiful. I had never heard being a refugee compared to being a mother in quite the same way before, which you do throughout. Tell me a little more about your actual writing. Maybe your novel writing was the practice you needed.

 

Lan: I think I wrote basically because I read. I love to write. I'm not talking about legal scholarship. I like to write, the kind of writing I do for writing, because it's very unruly. To me, it's like a dreamscape. Even in this book, which is very much based on our lives, it's the stuff that is underneath the surface that I'm interested in. A lot of times when you write even a memoir where you know things that happened already, I feel very much like I enter into a world that I normally don't enter in my awake life. It's like going to sleep and you dream. You can never tell yourself what dream you're going to dream. The act of writing is very similar to me. It unravels. It unspools. It taps into a part of the self that is a little bit more of the unconscious digestion of what happens in the surface of daily life. I think that from having read so much, it helped me to write. I didn't take a writing course, per se. If you read, you just know what works for you. In many ways, writing is very similar to other forms of creativity. For example, Harlan likes to watch movies. Also when I watch movies, I see -- this helps me with writing. I see the angle of the camera. I see how the director places an object which maybe recur in the next scene. These are devices that are very helpful when you're trying to construct a story. In the movie, it's visual. In writing, it's less visual. We all use the same device, which is a premonition, a foreshadowing, recurring images. I combine that with more of the dreamscape.

 

Zibby: If both of you would give advice to aspiring authors, what would you say?

 

Lan: I would say that it helped me when I first started that I knew nothing about the business. Having that beginner's -- I remember there's a book I love called Zen Mind, Beginner's Mind. A lot of times we think of knowledge as something we accumulate, and the more, the better. Sometimes removing excess is also really good, things that are just baggage. I think knowing too much, actually, about something can be a hinderance because it makes you feel overwhelmed. Then you don't get to the core. If the core is, I want to write, then you should just write and not worry about the next step. Shedding knowledge, actually, for me, was good for writing. If I had known how complicated the business is, I don't think I would've had the innocence.

 

Harlan: When someone writes, it's important to understand that -- I can only speak for the memoir, fiction, or something, not research. You're writing just about life. When you write about your own life or you write about an ordinary life, it's not superhero or something like that, it's something that is possible for everybody to go through. Every book is really just about different human relationships. Everybody's going to experience that at one point or another. Your job is just to say it in a way that's aesthetically pleasing, that people like to read about. I guess to just keep as much reliability as much as possible and remember that even though your writing is different and you're talking about something different, you are very similar to everybody else.

 

Lan: You have to have something universal. I think all human yearnings are universal. When you write about your yearning and how it relates to the world, I think that it will create that connection with the reader, which is what you want to do because writing is so solitary. You're just writing by yourself. It feels very, very disconnected sometimes. If you know that there is this connection you're going to make, then it's very helpful.

 

Zibby: I can tell you I felt super connected to both of you having read this and hearing your innermost thoughts and how literary they were and your anger. It's great. It's really good stuff. Then to be able to chat with you is [indiscernible/crosstalk].

 

Lan: Thank you so much, Zibby.

 

Zibby: Thank you. Family in Six Tones. Thank you so much for all of your time.

 

Harlan: We have such a busy schedule. We have time.

 

Lan: We'll follow you on your Instagram too. We'll do that.

 

Zibby: All right, great. Have a great day. Buh-bye.

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Catherine Cho, INFERNO

Zibby Owens: Welcome, Catherine. Thank you so much for coming on "Moms Don't Have Time to Read Books."

 

Catherine Cho: Thanks, Zibby. I'm so glad to be here.

 

Zibby: I really cannot wait to discuss this book with you. Ever since the publicist sent me the title of this book, I was like, ooh, I'm going to love that. I really did. I couldn't put it down. It kept me up at night. It was just great. Can you just tell listeners a little bit about Inferno: A Memoir of Motherhood and Madness and how this came to even be a book?

 

Catherine: Inferno is about my postpartum psychosis when my son was three months old. The title comes from my psychosis, actually, when I thought I was Beatrice in Dante's Inferno and that my husband was Dante. I started writing the book very soon after my experience when I was in the process of recovery. I'd never heard of postpartum psychosis until my experience. I was initially thinking of writing an article, maybe. Then I realized that in order to know the full context of a mental breakdown, perhaps then you need to know what was there to be broken. I thought, actually, you need a full book to get that kind of picture. I started writing it in the summer after my experience. It all came together very quickly, actually. I was just very focused. I really wanted to share the story.

 

Zibby: Wow. You had a notebook that you reference many times throughout the book where you were actually writing in it while you were in the inpatient unit. Did that actually get into the book, some of those notes? Or were they more just notes?

 

Catherine: Yeah, some of it. My husband had left me a notebook in the ward which I was really grateful for. It really helped me figure out who I was and ground me and give me something to do while I was there. Some of the bits that are in the book from the notebook like the passages about who I was, what was real, what was not real, that was from my notebook. I tried to take as many notes as possible. It gave me something to do, to observe. They were mostly notes, so obviously are kind of fragmented. I had to work from them to put them into the book.

 

Zibby: You said in the beginning of the book that when you were first pregnant, because this all happened obviously postpartum, you were so focused on all the things that were happening to your body. It never occurred to you that anything could happen to your mind. Tell me a little bit about that and all the preparation that went into the pregnancy and how this threw you for a loop.

 

Catherine: That's something that I did want to talk about in the book. It's such a physical change, what happens during pregnancy. For me, I know my preoccupation was with how I would recover after birth, what could potentially go wrong like preeclampsia or prolapse. I had an emergency c-section, so just recovering from that. I was so focused on the physical aspect that I didn't consider that kind of mental or psychological shift of actually becoming a mother and how it would change you and your identity.

 

Zibby: I was glad when you said in the book when your son Cato was born that you didn't feel this instant connection and instead it felt like someone was handing you a stranger because I have to admit that kind of happened to me as well. I was like, who are these kids? Why is everyone calling them by the names that I've picked out for these fictious kids who are in my head who don't look like these kids who are now in my arms? [laughs] I was like, am I supposed to feel this way? It was nice to hear that I was not the only one who had a moment to get used to the whole thing.

 

Catherine: I think because in your head you expect when the child is placed in your arms, you'll feel this rush of connection. I'm guessing it does happen to some women, but it definitely didn't happen to me.

 

Zibby: It wasn't so much the lack of connection as the surprise at meeting a total stranger. I didn't expect my babies to feel like I was meeting somebody because they felt such a part of me when they were brewing. I had twins to start. It was more like, where did these guys come from? By the way, I feel like in this book you have had every complication of everything from getting sepsis during your pregnancy to mastitis and thrush when you were nursing. I just feel like every bad thing that could happen as a byproduct, you had. It was terrible. I felt terrible for you as things kept unfolding physically, oh, my gosh.

 

Catherine: I think because I had such an uneventful pregnancy, everything just started happening once I was in labor. Then it just kept going from there.

 

Zibby: You also wrote so hauntingly and beautifully about your horrific abusive relationship with Drew. One of the things you said in the book that I found so interesting is at the beginning how everybody kept telling you how he was such a good guy. He's such a good guy. He's such a good guy. He's so popular. He's so this. You said, I wish that I had paid attention to that and heard it as a warning. Why were people saying that so much? Do you think people were really covering up for what they kind of knew about him? Do you think everybody knew that he was abusive in his relationships?

 

Catherine: I think they did. It's something I thought about a lot in retrospect. After I left the relationship, I did talk to some of his friends. They would all say he's not a good boyfriend, but he's a good friend. They would make that distinction which I always found a bit surprising. I do think they were trying to warn me without -- I guess they wanted to give their friend the benefit of the doubt that actually maybe he could be a good person. Actually, he wasn't. He was violent. He couldn't help that. It's such an interesting thing to me in that I was so puzzled at how someone could be so popular and have so many friends but just be such a violent, abusive person to his partners.

 

Zibby: The way you talked about even his mother's response to his abuse was also interesting. I feel like nobody ever writes about that. That you had even the compassion after all the stuff he put you through and being knocked unconscious, essentially, oh, my gosh. I was reading this book and I was like, [gasp]. My husband's like, "What? What?" I was like, "The girl in my book, she's being beaten up. It's awful." After all that you went through to then put yourself in his mom's shoes and say, what would it be like to know you've raised a child like this and what do you do in that scenario? Tell me a little more that and the empathy you're able to have for his mother.

 

Catherine: That's the thing. Often when we think about abusers or people who are violent, you tend to think of them one-dimensionally. Actually, Drew is a son. He's a brother. He has a family that really loves him. They know about his very serious [indiscernible]. I thought that was really fascinating. His mother, I could tell how torn she was because it really upset her that he was this way towards women. She also loved him unconditionally. At the end of the day, he was always going to be her son. She just wanted him to be happy. That was a very strange thing for her to come to terms with. As I say in the book, I kind of used her as a scapegoat often. When I probably should've been blaming him, I was blaming her. As I was pregnant with my own son and thinking more about that and how I would deal with it if, god forbid, he was that type of person, it just made me consider her more and think more about how she was trying to process it. Of course, she couldn't abandon her son or turn her back on him. I'm sure the way that she dealt with it, at least I hope I wouldn't deal with it like that.

 

Zibby: Wow. You rebound from this abusive relationship and probably did not get a lot of therapy, I'm guessing, because you spent your weekends going to the arrivals terminal just to see the connections other people have and that emotion and then got a job at an Alzheimer's facility. You said something so beautiful about why, and maybe you didn't realize at the time but when you reflected on it now. Hold on, let me just get to this page which of course I can't find at the exact time I want it. You said, "I was drawn to their stories. But mostly, I was drawn to this place where time didn't exist. It was a place of memory, of loss, but each memory lasted only for the moment." It's so interesting that when you're trying to forget a traumatic event you end up surrounding yourself with people with no memories at all. Tell me a little about that.

 

Catherine: I do think as I was reflecting on it, it is part of the reason why I included that, those experiences in the book. It was such a strange place. It was, as you say, a home of people who didn't have any memories, who didn't have any stories but were in this place and [indiscernible]. They were definitely trying to remember things, but they couldn't. I definitely didn't get any therapy after the relationship. I tried to put it behind me. I just thought, this is a chapter in my life that's closed. I don't really need to talk about it with people. At the time, I felt it didn't affect me that much, which in retrospect was very naïve. I do think I was really drawn to this retirement home. It was specifically for people with dementia and Alzheimer's. I could really sense that they were untethered from the past.

 

Zibby: Then you meet the love of your life. I feel like now I'm giving away the book. Maybe this is too much. You and James meet, fall in love, have Cato. Then next thing you know, your baby has demon eyes and the walls are closing in and spinning around. You're seeing refractions of everything. Everything just breaks in your brain. I know you wrote about it so vividly, and that's amazing. To go through this experience, just tell me a little more about that moment, especially when you could feel your brain slipping but you didn't know what was going on.

 

Catherine: It was completely terrifying. I can't lie. I had a sense that something was wrong. I describe it in the book as the trigger is when I look at my son and his face wasn't his face. It was a devil's face. It was so strange because I kept trying to right myself. I knew something was wrong. I didn't know what was wrong. I didn't know what was real. I didn't know if I was imagining something. I didn't know if I was dreaming. This all happened within a period of a little over a day. Throughout that day I just kept trying to reposition myself and be like, this is fine, it's not fine, until so much of what I was seeing and experiencing convinced me that actually I was in hell and in a simulation. That thought or belief where eventually I did lose all sense of time and reliving things again and again and again where I thought I was stuck in this hotel room, it was completely terrifying. At some point, you just kind of have to surrender to it. For me, I just felt like this is my reality. I'm actually dead. I'm in a simulation. There's nothing I can do.

 

Zibby: Then you spent a bunch of time in a facility where gradually we see you coming into your own mind again and righting yourself enough eventually with the help of medication or whatever that you could leave and pick up your life again. Here's my question. I want to know what happens after the book. What happened when you went back? What's happened since? What has happened with your relationship with your son? You obviously became a beautiful memoirist. What else has gone on? Give me the unwritten epilogue.

 

Catherine: It was a really long recovery. I think part of the reason I didn't write that much about it is it's so hard to write about because it was so gradual. I came back to London. I'd gone through this psychosis. Then I had fell into a really deep depression where I was essentially bed-bound for several months and went on medication. During that time, I really couldn't interact with my son at all or touch him. That's something I really sometimes grieve over because it's just so sad that I didn't have that bond. I would say it took a good year before I started feeling that relationship and connection with him again. I ended up going back to New York pretty soon after the experience.

 

Zibby: Wait, I'm so sorry. My phone is ringing. This never happens. I'm so sorry.

 

Catherine: That's okay. [laughs]

 

Zibby: I'm sorry. Of course, it's just my daughter who's calling me from upstairs. Anyway, I'm so sorry. Say that little part again if you don't mind. I apologize.

 

Catherine: It took a good year for me to have that bond with my son again and to connect with him. I went back to work pretty soon after and classically didn't tell anybody I'd gone through it, what I'd gone through. I just showed up and did my job. In the meantime, I'd already been working on my book. I'd found an agent for it. My son is almost three now. We have a really good bond, a really good relationship. I'm expecting another baby.

 

Zibby: Yay!

 

Catherine: Yes, thank you. That's been a whole process as well, talking with my husband about whether or not we should have another child. I'm expecting a baby in November. That has made me think again about what we went through, what I went through, and how to prevent it from happening again. It's been incredibly positive. The whole process of publishing the book has really shown me how much the things that I went through are actually very universal and very commonly experienced by so many women and mothers, obviously not to that extent. Just the fear and changing your identity I think is very universal.

 

Zibby: Not to be totally overstepping my bounds here, but I hope you have a really good therapist on your case this time before you go --

 

Catherine: -- I do.

 

Zibby: Okay, good. Phew. If not, I was going to introduce you to some people and maybe make sure the psychosis doesn't happen. Are you worried about that? I would be so worried.

 

Catherine: I remember they told us that the statistics are fifty percent if you experienced psychosis the first time. When my husband heard that, he was like, "We're not having another baby." I have a very great psychiatrist who the NHS -- once you've gone through this kind of thing, they assign you to a team. It's just incredible what they do. She was talking me through it. Actually, the fact that my psychosis happened three months in makes it more situational and more stress-induced versus for many women, it happens a few days after birth. I feel much more prepared and aware that I could at least control some of the factors in the surroundings to prevent it from happening again.

 

Zibby: I'm taking it you're not taking a big United States trip this time?

 

Catherine: No, I'm not jumping around.

 

Zibby: Although, I felt terrible that you kept blaming yourself that this trip was the cause of it. I feel like you have so much guilt and self-flagellation going on in your brain about your decision. It could have had nothing to do it, really, right?

 

Catherine: Yeah, I think the guilt is kind of inevitable. I really felt the trip would be such a great thing. Then once we were on the trip, we were like, five cities with a two-month-old, that's a great idea. I still feel a bit like, that was just really silly.

 

Zibby: Who knows? Who knows what would've happened if you had stayed? You just don't know. Now that you've written this up, is writing something that you fell in love with doing, that you'd want to keep doing? Was it more like you had to get this story out?

 

Catherine: I've always written. I do work in publishing, so I work with writers a lot in my day job. I have really enjoyed the process of writing. I've been thinking I would love to write something else. To be honest, my mind is just blank. [laughs] I don't know what else I would write about. For the moment, I haven't been writing anything. I do think for the book, it was very purpose driven. It was about sharing that story. It came much easier.

 

Zibby: Especially given your position in the industry and as an author and both sides of the fence essentially, do you have any advice for aspiring authors?

 

Catherine: I'm an agent during the day. That is my day job. Still, very much my primary role is to help authors and writers showcase their stories. It's very much a privilege to do so. One thing this whole process has taught me, and it's been a very humbling one, is that it's so vulnerable to put yourself out there and to share your writing. I definitely have a greater sense of empathy for any writer who submits something to someone. I guess just to keep going. For me with finding an agent, obviously I knew how the process worked. That definitely gave me very much a head start. I ended up revising the book half a dozen times, maybe even more than that, even once I had my agent. It was just about pushing it and making it as best as it could be. That really showed me how collaborative the writing process can be. The whole rewriting and editing process is just as important as the initial phase of putting it down on paper.

 

Zibby: Do you have a type of book that you gravitate towards as an agent?

 

Catherine: Most of my books that I work with are fiction. It's funny because I was thinking about this recently. I think almost all of them deal with some question of identify, often. The genre doesn't matter as much as it's very character driven, voice driven. Usually, at the heart, at the center of it is a question of identity.

 

Zibby: Maybe I'll send you my novel. No, I'm kidding. I have an agent. I'm kidding. Maybe people will listen to this and you'll be getting floods of submissions. Watch out. [laughs] Thank you so much. Thank you for this book, which I really could not put down and was so immersive and emotional and just awesome, and for telling me more about it and coming on the show.

 

Catherine: Thank you so much. Thanks for having me.

 

Zibby: My pleasure. Take care. Bye.

 

Catherine: Bye.

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Heather Cabot, THE NEW CHARDONNAY

Zibby Owens: Heather Cabot is an author, award-winning journalist, keynote speaker, and former ABC News correspondent and anchor. She specializes in narrative nonfiction story highlighting inspiring tales of innovation, enterprise, grit, and resilience. Her new book is called The New Chardonnay: The Unlikely Story of How Marijuana Went Mainstream. By the way, she says she is the last person on the face on the earth who she ever would've thought would've written this book. Anyway, The New Chardonnay tells the unbelievable story of pot's astonishing rebranding, pulling back the curtain to show how a drug that was once the subject of "just say no" warnings managed to shed its unsavory image and land at the center of a booming and surprising upstanding industry. She's also the author of Geek Girl Rising: Inside the Sisterhood Shaking Up Tech.

 

Hi, Heather. How are you?

 

Heather Cabot: Hi. It's so good to see you.

 

Zibby: It's so good to see you too. Thanks for doing this with me, inviting me to celebrate the launch with you. I'm so excited to be a part of it.

 

Heather: Thank you. This is really an honor for me because I love your podcast. I'm a huge fan. This is very exciting for me.

 

Zibby: I put on some of my special The New Chardonnay CBD lip balm. I have to say, I've been a no, no, no CBD anything for me. This one, I'm all in. I'm all in on the lip balm.

 

Heather: It's got some good moisturizer in there.

 

Zibby: Heather, I'm just going to ask you a bunch of questions so you can let everybody know more about your book, if that’s okay. What inspired you to write The New Chardonnay? What made you want to research the whole entrepreneurial life behind the cannabis industry?

 

Heather: There are a couple of inspirations. I know there are a lot of people watching tonight who've known me since I was a kid. I grew up in the "just say no" generation. I grew up in the eighties. I was never part or really had anything to do with the marijuana subculture at all. Growing up during that time, it just really wasn't part of my life. Now I'm a suburban mom of teens. I'm looking around and I'm seeing celebrities who are talking about marijuana as if it's just normal and Oprah Magazine featuring a THC-infused tea party with women wearing white gloves and hats. Martha Stewart is on TV with Snoop Dog in this pot-humor cooking show. I'm looking around and I was really surprised by it. The other aha moment is that my first book, Geek Girl Rising, a part of that book was focused on women investing in women-led tech startups, and so I was involved in that world. Right around the time that that book came out in 2017 I noticed that some of the female angel investors and venture capitalists that I had met during the course of reporting that book, that some of those women were investing in cannabis startups. I thought, my goodness, these are people with Wall Street credentials. They seem so straitlaced. I thought, why would they invest in anything that's federally illegal?

 

I couldn't believe it, so I started making phone calls. I started to learn about how this industry was just exploding. That was the beginning of it. Really, what sealed it for me was somebody who I'd interviewed who was an investor had said to me, "Look, I can't explain this to you in just a phone call. If you really want to understand what's happening, you have to go to the Marijuana Business Convention in Las Vegas this fall." You can imagine what my family thought when I said I'm going to go to the Marijuana Business Convention. They were like, what are you doing? Honestly, going there and seeing that it was just like the Consumer Electronics Trade Show, it was like any other trade show that I had ever covered as a journalist. I just couldn't believe that it was at the scale that it was and how professional it was. The people that I met were so serious about it. I just realized that there was a whole story there that many people didn't really know about. That just made me feel like, I've got to pursue this.

 

Zibby: It's so true. This is really an amazing business book. This is up there with James Stewart's DisneyWar. It's true. It's an examination of an industry and what happens and what makes an entrepreneur and how unpredictable characters become stars. This could've been about any industry. It could've been about the internet if this was twenty years ago. Instead, you found this new industry which of course has so much more associated with it than just a product. It was fantastic reporting, probably all your years as a reporter.

 

Heather: Some of it was having the time. I came out of local news. I had several years in network news. It was rare to actually have the time to work on a story in depth. To be able to chip away at something over years, that is an incredible luxury. I'm so happy that you say that you could really tell the depth there because not many people get to do that. It really is a privilege.

 

Zibby: And the way you were able to write it in such a narrative way. Beth Stavola is laying on her table. Now here is she at the pool in Arizona thinking, what did I get myself into? We're drawn into the narrative of it. You almost forget that somebody had to go report it. It's like when you see a war photograph and you're like, that's just a boy on the street. Then you're like, well, somebody must have been on that street to capture that reaction. I feel like that's the immediacy of this one. Tell me more about how you got all your research done aside from the one convention. How many trips did you take? How many interviews did you do? What was the process like?

 

Heather: Hundred of interviews. Part of that is because, first of all, just getting my arms around this industry, the learning curve was, I can't even tell you how steep it was. This is a topic, not only is it, it's complicated, it's controversial, but it touches on everything from business to politics, to science, to medicine, social justice. It's so rich. There's so many different facets of it that are really nuanced. In the beginning, it was really just working the phones and talking with people and figuring out what were the various threads of the story I might want to follow. It was a lot of talking to people and then traveling to meet them in person. I cannot thank my family enough, my husband. The book is dedicated to my husband because he did so much heavy lifting when I was traveling. Since adult use is not legal in New York, a lot of the folks that I needed to follow were out in California and Colorado and Canada and all these other places. I would have to go away for -- I usually tried to keep it to two or three days. If I was going to the West Coast, I'd try to just cram in a ton of interviews. My family on the West Coast, my two sisters, and my parents when I was in Arizona, everybody let me crash with them. That was always nice because I was able to fit in some family time too.

 

It was really a team effort because to cover this kind of a story where it's happening in so many different parts of the country -- it's such a fragmented industry. Every state is different. To really understand that, you have to go these places and meet those people and talk to people there on the ground. It was a total adventure. It was a lot of fun. I'm so thankful that I had the chance, again, the time to just learn and talk to people so I could absorb it all. I'm still learning. By the way, I'll just say, the industry changes so quickly. That was the other challenge with this story. It was like covering a news story. Certain characters in the book, I thought something was going to go a certain way for them. I thought I was going to go with one character to do something. Then that deal fell through. So many things were happening in real time that when I finally sat down to write the book, I really had to calm myself down because I kept worrying that I was missing something. It's a book, and you do have to stop writing at some point. I think that was the hardest thing.

 

Zibby: What was the actual writing process like after you did all the interviews?

 

Heather: Oh, my gosh. I was thinking about it today because I knew you were going to ask that. I think I started in May.

 

Zibby: I don't want to be predictable. This is depressing. I'm sorry. [laughs]

 

Heather: I want to say it probably took me, in total, about nine months to fully write it. What happened was it was due in September. I wasn't done yet. We had moved. I kept getting extensions. Then I turned it in in January. The whole process altogether was over three years. It took me a year to do enough reporting to actually put together a book proposal that I thought was solid enough that could really explain that there was a story here. There had been other books written about the cannabis industry. I wanted to tell this new story with these great characters. I really wanted to do a narrative. I needed time to find those people and find those stories.

 

Zibby: I have to say, I went and googled all the people because I was like, what do they look like? You created really great [indiscernible]. I was like, Chef Jeff, what does he have on the menu? He has [indiscernible]. I was like, ooh, my next party. I don't know. If we ever have [indiscernible]. Did you go to Kate Hudson's birthday party when you reported that, or did you just hear about that?

 

Heather: No. Actually, what was funny was I hadn’t actually met Jeff yet. The way I met Jeff is kind of the way -- this is going to give you a window into how I did the reporting. I met Jeff because I was reporting on Snoop and Ted's venture capital firm, Casa Verde Capital. For those of you when you read the book, you're going to find out about how Snoop and his business partner Ted Chung decided that they were going to create this venture capital firm, not to invest in growing or even selling marijuana. They actually were investing in the software and all of it, the tech behind the industry. They had incredible foresight. I had been interviewing the partners that actually managed those investments. I was telling one of them, this really nice guy named Yoni Meyer, I was saying to him, "I'm really interested in these cannabis restaurants." It was at the time that West Hollywood, I think they had just awarded the very first licenses for these weed cafes, essentially. They were going to be, really, the first ones in the country where you could actually dine in public and have some type of, whether it was a vape or whatever, paired with your food. I just thought that was really fascinating. I said, "Do you know anybody who's in this space? Do you know anyone?" He said, "Actually, I just invested in one of these startup restaurants. I want to introduce you to the partners."

 

We met the partners. I started talking a little bit more. Then they started telling me about Jeff. Then I found out he had a cookbook. I got his cookbook. There's so many recipes in the cookbook that were Jewish recipes for Jewish holidays. I was like, that is so funny. I just really wanted to meet him. The Kate Hudson thing actually happened, I think her party was probably two weeks before this time that I actually flew out to California to go to a private party that he was catering. I wanted to be with him in the kitchen because I wanted to understand all of his methods. Again, I'm a complete voyeur. I don't know anything about any of this. I wanted to learn from him and see his methods. That had just happened. Actually, it was top secret. No one really knew about it. Then I guess her people gave the story to E! It was out there, so he could talk about it. No, I didn't go to the party. She posted all over Instagram about it and it was written about, so I was able to glean some of the details. Then obviously, I interviewed Jeff too. It was fun to see him right after that happened too. He's cooked for a lot of people that he can't say who they are. He's been cooking for celebrities for a while.

 

Zibby: Wow. I love his pot-zaball, all these corny, funny pot-Jewish combos. Who knew?

 

Heather: I loved his mom. His mom Sylvia was so lovely and gave me so many great stories about him as a kid. That was my favorite part, was learning the backstory of all these people. What I really was trying to do was I wanted to write a book that would appeal to anyone just as a really great story. The fact that cannabis is the backdrop is just kind of the way it is. I was trying to find people that, their story, anybody could relate to. In a very human, universal way, they were characters, whether it's as an entrepreneur, whether it's as a parent or a mom who is going back to work after leaving her profession for a few years. They all had different reasons for why they wanted to get into the business. That really resonated with me. I tried to really bring that out. Interviewing Jeff's mom, for example, spending time with Beth's mom and her family, that was such a great experience. I'm so thankful that they allowed me into their world because it helped a lot.

 

Zibby: Ted Chung became one of the main characters in your book. You track him throughout his teenage years to being an Asian American. The way you describe him is sort of too laid back to fit into the stereotypes there and how he eventually went to this very WASP-y school and had to fit in with the blue bloods that he wasn't familiar with and then becomes this complete maven in this industry and ends up hanging out with Snoop Dog. How can you not tell a story about a trajectory like that in someone's life?

 

Heather: The thing about Ted that I always found so fascinating about him is he really is kind of a soft-spoken, stoic guy. Then once you get him talking, he really reveals a lot about himself. I just loved hearing about his family, his dad, what sparked this entrepreneurial zeal in him. What I also was struck by was how that experience of going to college and really feeling like he was on the outside, how that completely shaped the rest of his life and the marketing agency that he founded, Cashmere, which is all about marketing to multicultural markets. The reason why he did that is because he could see that himself. He felt marginalized. It was just so smart. I feel like he brought all of that to cannabis as well. He's one of those people that people will say he's a visionary. To talk with him about the insights that he had about where cannabis was going to go and then to see that he was actually really right on, that was really fascinating for me to see that and to be able to tell that story. In a lot of ways, this book is about marketing. It's about rebranding. It is a business book. I'm not necessarily saying that cannabis is the new chardonnay. I'm saying it might be. These are some of the people that are trying to make it so.

 

Zibby: So maybe it should be called The New Chardonnay, question mark? [laughs]

 

Heather: Could be.

 

Zibby: Maybe for the paperback. Tell me about what it was like also talking to couples like Mel and Cindy McDonald who had to deal with really traumatic stuff like their son Ben who was in a horrible car accident and having all these seizures and wouldn't eat and the power of marijuana to change his health and to save his life, essentially. Did that sway you in one way or another in your own personal views of the use of marijuana or the legalization or any of it? How did it make you feel?

 

Heather: For me, this was never an advocacy book. I always approached it as a voyeur, as a journalist. My feeling going in and as I finished it was that I wanted to shed some light on this industry and how it had matured so quickly so that people could make their own decisions about it. I thought it was really important to pull the curtain back on the amount of money that's involved it in and the injustice of it in terms of the communities of color that had been cut out of this industry and being able to profit from it and also, when you talk about Mel McDonald, the strange bedfellows, the people who you would never expect to be not only involved in it, but evangelizing. I stumbled into Mel's story because of Beth. I don't want to give too much away about the book, but their stories converge in Arizona in the early days of Arizona's medical market. I really felt when I had the chance to actually get to know Mel and Cindy that their story in so many ways crystalizes why we've seen cannabis go mainstream.

 

It's just this idea that for so many people, it really is medicine. I never knew anybody who used it as medicine. It was nothing I ever was exposed to. To meet them, these devout Mormons -- he's a former federal prosecutor, as you'll find out in the book, a Reagan-appointed federal prosecutor who ends up having this aha moment at a time that he never expected it. I just felt along the way as I was meeting people and reporting the book, there was so many people like Mel, people you would never expect would get behind this. When I was working on the book, actually right before I finished the proposal, that was when former speaker of the house John Boehner who was an incredibly vocal foe of marijuana -- he had once said he was unalterably opposed to marijuana legalization. He joined the board of one of the largest multi-state operators in the US. That was head turning. I couldn't believe it. There were all these things that were happening like that. I was so happy that I had a chance to meet Mel and Cindy because I think they put a face on this idea of change and people changing attitudes and why they're changing attitudes.

 

Zibby: What about this whole other group of people who aren't using it that way, but the chardonnay moms who you talk about who are happy that they don't have to spend the time even drinking it. It doesn't go to their waistline. This the new-new thing. They're all sort of tittering about it. What about them? You think this is going to be adopted by moms' night out?

 

Heather: I think we're already seeing that, certainly in the marketing to moms. If you go to California, you go to any place where it's legal for adult use, you'll see these products that are labeled as microdose. It's this idea of it's like having a glass of wine. It's not going to leave you hungover. That's how it's marketed. I think that there's an appetite for that among a certain group of people. They don't want a headache. They don't want to gain weight. I think these businesses are very savvy focusing on that. What I also write about in the book is that alcohol consumption has gone down in recent years. There was an opportunity there for these companies. As this spreads across the country, as you see more states approving recreational use, I think you're going to see more product innovation around that. Then the other part of it is the growth of CBD. CBD, it comes from the cannabis plant, but because of the farm bill, when it comes from hemp which is a very low-THC variety of cannabis, that's legal. That opened a whole door for all of these companies that had been doing more THC products to consider doing CBD lines.

 

That's why you're seeing it now in Sephora and Bed Bath & Beyond and your local drugstore. You can buy it anywhere now. It's only really been since the end of 2018. There's not a tremendous amount of regulation around it, which I think is problematic. I think you're going to see guidelines coming out of Washington. My point is that because CBD is not intoxicating, it is more appealing to people. There are potential therapeutic benefits that people talk about. It certainly needs more research. Women are using it in large numbers right now for insomnia, stress, anxiety. There was just a big report that came out of a company called BDSA in Denver that tracks sales. Women are driving this. Women are going and they're shopping for CBD for all of these kinds of things that, I don't know about you, but all my friends, we're all dealing with sleeplessness and stress and anxiety. You can kind of understand why there's an appetite for it, but also why these companies are seizing on that. They know there's an opportunity there. I think we're just in the beginning.

 

Zibby: We're like sitting ducks, we stressed-out moms here who are at the tail end of the months of this COVID stuff. They're like, see our market opportunity. Wow, that's amazing. Now that you've finished writing and now that this book is coming out into the world, is this a case-closed situation for you? Is it the kind of thing where you have Google Alerts and you're just fascinated and want to find out everything more that's coming? Did this whet your appetite or shut it down?

 

Heather: I'm kind of ready for something new. It was great. I've enjoyed it. I probably will continue to speak and write about it through the election and obviously through -- it is a fascinating topic. I really care a lot about the social justice piece. I will follow that closely. I will probably continue to do some freelance writing about that piece of it, the gender equality, gender equity, and racial and social equity pieces of all of this. Those issues are really complicated. I think that as you see more states looking at legalization, that’s something to pay attention to. It's something I care about. It's definitely from that perspective. Am I going to be a cannabis beat reporter? No. It was an intellectual challenge. It was a really meaty, really amazing topic that I knew nothing about that I had three years to learn about. I met some amazing people and incredible entrepreneurs who risked it all. The book, it's about that. It's about, what drives somebody to go for it when they could lose everything? I'm fascinated by those stories. I think whatever I do next is going to be around entrepreneurship again. I don't think it's necessarily going to be in cannabis. I'm sorry.

 

Zibby: That’s okay.

 

Heather: I'm announcing it now. [laughs]

 

Zibby: Do you have an industry you have your mind set on?

 

Heather: I have so many. Right now, I'm just focused on this because I want to get through the election too. I was saying earlier about how the story's always changing, even to do any of these interviews, I have to constantly prepare and stay on top of what's happening. For the political scene and the business aspect, it really is changing every day. I still read my diet of all the newsletters. My inbox is full of these marijuana business updates for now. That's because I really feel like I need to stay on top of it. I need to be able to speak intelligently about it. I don't know. It's funny. If you would’ve asked me, would I ever write about this? my family and friends couldn't believe it when I told them that this is what I was going to write about it. Now they’ve seen the book and they know why I found it so interesting. I don't know yet. I figure I'll have time. We're going to be in lockdown for a few months, a lot of time to think about it.

 

Zibby: I know you have teen twins. I have teen twins, newly teen. What's the takeaway for them? As a parent, now that you've learned so much more about marijuana and CBD and all of it -- I know it was a byproduct of the business side or the passion for the people and the players in the industry. Along the way, I know you've learned so much included a lot in it. What advice as a mom are you going to give your kids knowing what you know?

 

Heather: What I tell them is what I tell them about alcohol, which is that this is not for you. We've had some really great conversations about substance use in general, substance abuse. Many people, there's sort of a folklore that you can't become a habitual user of marijuana. That is not true. People who have a predisposition to substance abuse or they have it in their families, they can be at risk. Also, it's a new industry. The illicit market is still thriving. Even if you live in a place where it is legal, you need to talk to your kids about the dangers of getting it. You don't know what's in it. That's for adults too, frankly. It really is. We had some really great conversations about that. We talked about brain development and why substance use before your brain is finished developing, particularly THC and alcohol, not a good idea, just not a good idea. Even more than that, my most important conversations with them related to this book were really around the racial injustices of the drug war and really being able to, especially this summer as our country is going through this incredible reckoning on race, to have a conversation with them about my work and the relationship to systemic racism and what I found out about how drug enforcement in this country has led to really devastating consequences for communities of color.

 

That was really meaningful for me to be able to have that conversation with them as well. I said to people, my kids were actually really embarrassed that I was working on this book originally. They were like, "Don't tell anyone what you're working on." They really were not happy about it initially. Once we started having some conversations about what I was finding out and the people that I met along the way whose lives were touched by the war on drugs and had relatives that were incarcerated or who had experienced stop and frisk and that kind of stuff, it was just really meaningful to be able to give them practical examples of how we need to stand up for injustice. We need to be aware of what's going on outside our little bubble. That, to me, was probably one of the most important conversations that I had with them beyond the "just say no" conversation, which thank goodness we've been having for a number of years anyway. It's not just one conversation. It's also modeling good behavior. It's an ongoing conversation. You hope that that dialogue continues. I hope it does.

 

Zibby: It's probably the best thing you could've done. If your mom is into something, then it can't be off limits. When I grew up, my mom smoked. Then when my friends started smoking, I was like, that's not cool. My mom does that. Maybe this is the most strategic way to handle it, really.

 

Heather: It's like I knew too much about it. They're so young right now anyway. They're only going to be freshman in high school. The only other thing I'll say for the parents listening, one thing that I didn't understand and if there's one thing as a parent that you will take away from my book other than just the fun stories, I didn't know anything about concentrates. I didn't know anything about cannabis oil. I didn't know anything about these other products. That is something as a parent you definitely want to familiarize yourself with. I go into more depth in the book about it. Basically, there are derivatives of the cannabis plant that can be made into oils. That's the stuff that's used in vape cartridges. It can be turned into kind of a wax that kids can -- there's a thing called dabbing where, not kids, but people inhale it. That's used for edibles as well. It can be highly, highly potent. There was a report that came out of Colorado last week, which for the most part since legalization has not seen an uptick in overall teens using cannabis, but this report last week actually found an increase in dabbing and also in vaping, even after the vaping crisis. What that says to me as a parent, you just need to familiarize yourself with what's going on and the different ways, the different forms that this can be used. Those forms can be incredibly potent. Certainly, smoking it as well, but these are highly concentrated forms of THC. I just think as a parent, if you don't know about that, it is something to research and be aware of because those forms can also be much more subtle. You don't necessarily know that your child has that. I think that's really important, just to be aware that the products evolve. They're all evolving quickly.

 

Zibby: By the way, Jeff, on his website, teaches you how to make your own cannabis oil. If you ever want to start experimenting, you could start there. [laughs]

 

Heather: If you're an adult.

 

Zibby: If you're an adult.

 

Heather: And you live in a state where it's allowed.

 

Zibby: I am not advocating. It's just putting the information out there. I'm not putting out a point of view. Heather, thank you. Thank you to The Strand. Congratulations on your book, The New Chardonnay, amazing. Thank you for including me in the launch. Thank you for everybody who listened and asked questions and everything else. Please go buy the book for anybody who hasn’t yet. There's a little link at the bottom right there, purchase The New Chardonnay.

 

Heather: Zibby, thank you so much. This is a dream come true. I've been listening to you for months. To be able to be interviewed by you, it was the icing on the cake. Thank you so, so much for your time and for all you to do support authors and to encourage people to read. It's so important. Thank you. Thank you to The Strand also for this opportunity. It made the launch week for me, honestly.

 

Zibby: Yay! Thank you.

 

Heather: Thanks, everybody, for joining us too.

 

Zibby: Thank you. Bye.

Heather Cabot.jpg

Betsy Carter, LOST SOULS AT THE NEPTUNE INN

Betsy Carter, LOST SOULS AT THE NEPTUNE INN

Betsy: It’s about what lengths people will go to to find a home. In this book, there's several characters who've sort of been tossed out by their families or for some reason or another left home. There's several lost souls who come together, find each other, and even in extreme situations and even though it doesn't seem a perfect fit, they get together because they cling to each other for a home. It takes place, it ranges from the twenties to the eighties. My two main characters, one of them has a child out of wedlock and is really almost disowned by her parents. Another one, she lives in New Rochelle, New York. The other one is a Southern lovely man who has had a very difficult childhood. He has been different from everybody else. He makes his way to the North after a horrible situation. Something traumatic and horrible happens to him. They find each other. He falls in love with our main character's daughter. Her name is Alice. He falls in love with her and decides that this could be his home. Even though it's not a perfect fit, they get together and they get married. It's really the story of the evolution of that kind of relationship, making a family where there really is none, and what happens even when it threatens to fall apart. Does the family stick together, or does the family go to pieces?

Libby Copeland, THE LOST FAMILY

Zibby Owens: Libby Copeland is an award-winning journalist who writes about culture, science, and human behavior. Her book, The Lost Family, published in March, looks at the impact of home DNA testing on the American family. Although, I would say it's more of a nail-biting mystery, amazing book. Anyway, a staff reporter and editor for The Washington Post for over a decade, she now writes from New York for publications including The Atlantic, Slate, New York Magazine, Smithsonian Magazine, The New York Times, The New Republic, Esquire, and many more. She currently lives in Westchester, New York, with her husband and two children.

 

Welcome, Libby. Thanks so much for coming on "Moms Don't Have Time to Read Books."

 

Libby Copeland: Thank you. I'm so thrilled to be here. I appreciate it.

 

Zibby: This is our second take. At the beginning, we had a little chit-chat about Zibby and Libby, so I'll spare redoing that. [laughs] All to say, mine is a nickname and yours is not. It's thrilling to be here with another -ibby. Anyway, can you please tell listeners what The Lost Family is about and what inspired you to write it?

 

Libby: I've been a feature writer for a long time. I'm particularly interested in culture and human behavior and the intersection with technology. How does technology push and pull us in certain directions? Why do we do the things we do? How do we define ourselves? Why do we define ourselves that way? I got interested in DNA testing a few years ago. A lot of people DNA test out of a sense that it's going to deeper their understanding of their roots. Oftentimes, they're thinking maybe many generations back. That's the typical scenario, but there's a significant minority of people who discover something more immediate and surprising, something that sort of upends their understandings of their own origins of how they came to be. Maybe one of their parents isn't genetically related to them. Maybe they have a sibling they didn't know about. Maybe they're donor conceived. Maybe they're adopted and they weren’t told if they're from an older generation. These are all scenarios that have been happening for the last five to ten years in this space. I thought it was such a broad social phenomenon. I wanted to pull it together. I wanted to shape it around this really compelling genetic detective story of this one woman named Alice who had this astonishing discovery many years back, eight years ago, which is a very long time in the context of this technology, and methodically went through all the theories of what it could be. It wasn't any of the expected explanations. Her story is really meant to be the thing that propels you through the book because it's so compelling and she's so intelligent and dogged in her research.

 

Zibby: It was. It was a page-turning thriller, almost. Every dead end she would get to, I'm like, no!

 

Libby: It's kind of an extensional thriller. It's not the whodunit. It's not like, who killed who? It's a true-to-life, nonfiction mystery of how she came to be. How did she get her family history so wrong? How was it that she thought that she was entirely or almost entirely Irish American and she finds she's half Ashkenazi Jewish? How do you explain that? Then what do you make of it? What's interesting is Alice's family is, they're seven Irish Catholic siblings, and they each make something different of it. You see through their different experiences and the different experiences of other people that I follow in the book, we're very selective and thoughtful and intentional. We each take something different from this question, how much does genetics get to tell me about who I am?

 

Zibby: It's true. All the clues that she would find, even when you were saying some things that are -- you had some analogy like the gorilla walking across the basketball court. Did I just totally ruin that? It was some things that just hit her in the face that were so obvious, but she missed then, and then others that were so tiny and so hard, and the fate and the elements that had to align for her to figure out her story. Then you think about all the people who didn't figure it out. So many more people didn't have the answers and never will. What do we make of that? I don't know. It's all a little woo-woo. [laughs]

 

Libby: The people who were born and lived and died and never knew that, for instance, maybe the man who raised them that they called dad wasn't genetically related to them. There's all these what-if questions that you hear people talking about in the book. What if they had known? Would they have been better off? Is it better that they didn't know? The struggle with that is that everyone who's telling you their story is telling you from the perspective of already knowing, already being invested in knowing the truth, not be able to un-know it, and so being, in most cases, very glad to know. At the same time, you have to wonder -- for generations, people didn't know. They didn't have the capacity to know if, for instance, they had a half-sibling living fifty miles away and they would have wanted to connect with that person if only they'd known, or it might have totally upset their family dynamic. We don't know.

 

Zibby: Now I feel like I have to go back into my 23andMe results and just check every single cousin. I know you talked about your results in the book too. At first, to be honest, I was like, she must be writing this because she had some huge surprise show up in your DNA. It turns out not too big a surprise. You're one percent Korean or something that you didn't expect.

 

Libby: It disappeared, the one percent Korean. I'm not Korean at all.

 

Zibby: It disappeared, okay. Scratch that. Forget it. Mine were completely predictable as well in a very, very boring way. But I keep thinking, almost hoping, maybe there's some way there'll be somebody else. Then people like Alice who have learned the whole science behind it, I don't know, is better to know or not to know? What do you think? Do you want to know? Would you want to know?

 

Libby: It's hard to say. One of the things that I found over and over again was that when somebody discovered something key about their genetic origins, they were glad to know even when the truth was very upsetting. For instance, I interviewed a woman who understood her origins to be the result of a rape. This was something she came to after doing the DNA testing, after unraveling the identify of her biological father, after talking to her mom about it. Her mom had gone through this profound trauma and was like, "Listen, here's why I didn't tell you. These were the circumstances." Even for her, she was like, "I'm grateful to know the truth. This explains so much. I grew up in a house where there was a lot of trauma and abuse. There was a lot of not talking about things that were very important. This gives me context. This answers questions. I can go back and look to the age of zero, and I can reinterpret it. Now it makes sense." I was struck by that. I heard that over and over again. I heard that from people who had a sense of agency in the process of looking. You’re autonomous. You spit into the vile. You make meaning. You decide the narrative. You decide the timeline. You decide if you're going to contact your relatives. That's a profound thing. Very interesting, the value that we place on the truth of knowing something key about ourselves.

 

Then there's people on the other side of the story. Sometimes their narratives are being disrupted in a way that they're not comfortable with. It might be the person who's the secret keeper. I've been keeping a genetic secret. I don't see it as a secret. It was a matter of self-protection. It was a very reasonable decision given the cultural stigmas at the time sixty years ago. We can't judge the past by present standards. Perhaps you're someone who it never was a secret to you. You knew about it, but you weren’t going to tell anyone. Now someone's coming into your life and saying, "I want to talk about this." Maybe you're not ready to talk about it. You're not ready for your family to know. Maybe you're the child of that person. Now there's this half-sibling coming into your life. Maybe this half-sibling was born before you. They're saying something about something your mom or dad did that is very painful to accept. I tell the story in the book of a woman who -- she's a foundling, which wasn't a term I knew before I started writing the book. You probably already knew the term. Certainly, you know it from reading the book. It's somebody who is left and found as a baby. She was left on a pastor's doorstep at four days old. She was conceived before the other children that her mom then went on to have.

 

When she connects with them and she says, "Hey, listen, I'm your biological half-sister. This is the story of how I came to be. I would love to have you in my life," their response is, "Our mother wouldn't do that." Their mother is dead. It is incredibly difficult for them to reconcile this idea that their mother could do something that maybe causes them to think twice about her, about her character, about the difficult position that she was in. It's one thing for the people on the one side. Then it's the other thing for the people on the other side. There are situations where those things can be reconciled. Those are beautiful reunions. There are situations where, I may be really genetically closely related to you, but our interests are directly divergent at this precise moment when we could be getting to know each other and in a really intimate relationship, but we can't be because my existence threatens your identity. Those are the really interesting and painful stories that I wanted to explore along with the gorgeous reunions and the stories of people expanding their families. It's not all happy endings. It's not all sad endings. It's complicated. It's very complicated.

 

Zibby: You even talked about how in some families the context of how one person had been looking for so long and she had time to process that, and then the person that she found had to deal with it right away with an influx of all that information. It's a lot. It would be a lot to have that show up in an email.

 

Libby: Exactly. It's interesting. When Alice tests, it's 2012. The databases are really small, so it takes her two and a half years to unravel the truth. There's a lot of twists and turns. If she tested now, it would be maybe a matter of a few days or weeks. You see the difference. People who tested back in the day, which maybe is only eight years ago but it's a really long time in the context of this technology, those people had time to digest it and maybe in some cases do better than -- nowadays, you test, and you might just look at your results and for the very first time you look at them you're seeing a half-sibling or you're seeing six half-siblings. Maybe you weren’t told you were donor conceived and they're all showing up as half-siblings to you. That is really hard to process in a short amount of time.

 

Zibby: I saw in the back of your book you referenced Dani Shapiro's Inheritance. Dani has been on this podcast. I've done events with her. I also inhaled that book, similar to your book in just the thrill-seeking of the discovery process when your whole identity is sort of shifting. Hers was an example of a modern-day experience. She figured the whole thing out really quickly. It was still interesting to read. It was fast from the time she got her results. Whereas Alice, as you said, is very slow. Maybe it does make it easier to process the longer it takes. Either way, when you find something out that's a big piece of news like that or you find you have a child, all these weird things, it's a whole new world.

 

Libby: I think the era of family secrets is basically over.

 

Zibby: I have a friend who had a baby with a donor. She's like, "No, we're not going to talk about that." I'm like, "You know, your kids are going to figure it out." She's like, "We don't even think of that person as a person." I'm like, "Right, but that person actually is a person. He could be passing you on the street every day. Your kids are going to want to find that out." It's just so hard. You can convince yourself of so many things. Yet is the information really yours?

 

Libby: Right. That's a profound question. Do the kids they're donor conceived?

 

Zibby: They must. Yes, they have to.

 

Libby: This question of what is our obligation to talk about and to admit to is a really interesting one. You see this a lot in the arena of donor-conceived individuals who are like, I was not party to any agreements made about anonymity of my donor or the notion that I should be severed from the person who donated half of my genetic material. You all made that agreement before I was around. Now you want me to be bound by it. It's complicated. On the one hand, donor sperm has made possible many families that would not have been possible otherwise. That's a really amazing thing. It's a really wonderful thing. At the same time, donor anonymity is moot because of DNA testing. It literally doesn't exist anymore. A lot of people feel strongly that they want to know their genetic origins. That matters too. It's not the whole picture. It's not like suddenly you're no longer in love with and in a wonderful place with your family that raised you. People still have this desire to know the rest of the story. I think of it as you're writing your own life narrative. If you don't know the beginning, how do you tell the rest? You see there is this nascent movement to talk about genetic identity and genetic origins. There's an organization that started up. It's becoming kind of a movement. I think it's DNA testing that's basically started it. Before, the technology to create people in this way was there, but the technology to allow those people when they grew up to understand themselves was never there. Now it is.

 

Zibby: It's crazy. Tell me a little more about you. How did you become a feature writer to begin with? I know you've written for every publication under the sun at this point. How did you get that training? How do you develop all that and get to this point?

 

Libby: I started as an intern at The Washington Post after college. I was writing for their daily feature section which is called Style. Style is not about fashion. Sometimes people who don't read The Post think that. It's really a daily feature section. We cover everything, politics, art, celebrities, interesting subcultures in Washington. I got to write all those kinds of stories. Then I left The Post after about ten years, eleven years. I was an editor there before I left. I started freelancing because I wanted to start a family back in New York, which is where I'm from. I just got more and more interested in science writing and this idea that we can better understand ourselves through science. That's how I landed in writing about DNA testing. It was after many stints writing about sports. I went to the Winter Olympics in Italy in 2006. I covered the Michael Jackson molestation trial in California, all these various experiences that led me to really wanting to write about people's intimate lives. That's where I've gone over time, is away from famous people and towards ordinary people with extraordinary stories.

 

Zibby: I thought it was so interesting before how you said you're so drawn to understanding human behavior and even consumer behavior, really, as an offshoot. I find that totally fascinating also. I remember in college being like, I'm really interested in understanding consumer behavior. What should I do? [laughs] What's the next thing?

 

Libby: I always wanted to be one of those people who sat there and listened to a focus group and wrote things down and asked them questions. I always wanted to do that. I once did a two or three-part series just on jeans and why people buy the jeans that they buy and why certain brands take off and are considered luxurious and others aren't. I totally get that.

 

Zibby: I interned one summer at an ad agency in the brand planning group. That's what we did. I did. I watched all those focus groups and took notes. I wasn't in the room, but I could watch the videos or whatever and come up with reports. I'm like, so interesting. [laughs] Pepperidge Farm cookies. Who knew? Fisher-Price toys.

 

Libby: All these brands are controlling us without us even knowing it.

 

Zibby: Exactly. I just think there's something when you're used to being more of an observer in a way. I feel like you are too. You notice everything. You notice all the ins and outs. That's why you can delve so deep.

 

Libby: I feel like my favorite thing to do is just, when I find someone that interests me, they have a really interesting story, travel to them and sit with them for days, eat with them and talk to them and watch them while they're working. That kind of fly-on-the-wall stuff, I love that stuff. I just think people are so interesting, and the choices that they make and the different ways that they can be. To circle back to some of the people, I actually first wrote the story of Alice for The Washington Post. It was shorter. It was a newspaper story. It was 2017. Literally, the way that the book came to be was the email that I got in response. There were over four hundred in the first few weeks. They were like, "Let me tell you about my DNA surprise. Let me tell you how DNA changed my life. Let me tell you this story, oh, my gosh." Getting on the phone and talking to people and hearing how they processed and responded to it -- and they're very different. Some people are responding with this openness. Some people are very closed down. Some people are incredibly anxious, understandably. There's this sense when your identity is threatened, you feel completely displaced. You don't even know, does anything make sense? You don't know where you're standing on this earth. To me, having all those conversations was such an enormous privilege. It was as I was talking to those people and hearing all the different ways it can play out that I thought, this is more than one woman's story or a hundred people's story. This is a cultural phenomenon. This deserves to be a book.

 

Zibby: It was a really great book.

 

Libby: Thank you.

 

Zibby: It really was. I know I said it before, but just so page-turning. I feel like I'm so desperate these days for something to take my mind off the real world. This was perfect because it totally kept my attention. That's always what I'm looking for. Are you working on anything new now?

 

Libby: I'm working on trying to figure out what to do with my kids all day. [laughs]

 

Zibby: Let me know what you come up with on that front.

 

Libby: I'm editing a magazine story that I wrote in January before all this happened. I am thinking about next steps in terms of maybe another book, but I haven't gotten far enough that I have anything to report.

 

Zibby: That's okay. Having gone through this process, do you have any advice to aspiring authors?

 

Libby: That's a really good question. I would say on a practical level, I really liked Scrivener, which is a software that you write in. It's so much better for writing a book than Word. On a slightly less practical and existential level, I really like outlines. Outline is a bit of an existential thing because it's really a roadmap for where you're going to go. It sounds like a small thing, but it's actually an incredibly important thing in terms of understanding the scope of what your reporting and your writing's going to be and the bigger message and the thematics. Then the last thing I'd say is that I think writing a book is a leap of faith. I think it's unlike anything else. I've been running for a while. I wound up training for a half-marathon. It was like training for a marathon and then an ultra-marathon and then maybe more. It just kept going. It never ended. It was years of this hunkering down, not seeing my family and working weekends and all this stuff. Yet in exchange for that devotion and investment, you get something that's unlike anything you can achieve by just writing an essay or a reported magazine piece or anything like that. I'm talking about it from the perspective of being a reporter and writing nonfiction. You go deeper. You achieve more. You know more. It's transformative. I loved it. I loved the process of writing a book. I just thought it was amazing.

 

Zibby: Wait, tell me what you got back. You said it's bigger than anything else. Give me an example. Tell me what you felt. How great was it?

 

Libby: I spent most of my career doing things that were more bite-sized. I might spend a couple of days on a story or a few weeks or sometimes a few months, even. Even those pieces that I wrote that were more immersive -- I reported a story on a school shooting. I spent months writing it. I went to this town a few times. I spent a lot of time with the people. Even that, now looking back I see, oh, I was barely scratching the surface. When you spend that much time with a topic, you get to know it in a different way. I really liked getting up each morning and knowing what I was doing and feeling like I was invested in a project that was so much bigger than me. I like that sense of direction. I like the idea that you could take a single topic and you could look at it from all these different perspectives. DNA testing, you have the science of it. You have the business. You have the effect on interpersonal and intimate relationships. You also have the philosophy of it. You have the questions of, how much are we tending towards a kind of genetic essentialism? How much do we have to be careful about that? You have all sorts of questions about, how do we understand biological difference? You have the bioethical angle. You take a single topic, and you can turn it. As you turn it, you see more and more angles that you can consider. It's as if the more you know, the bigger it gets. The bigger the project gets. Just being so involved in something so big and something so meaningful, essential questions about what makes us who we are -- we think about these as human beings, these questions. Who I am? I found that to be immersive and absorbing and just a wonderful process.

 

Zibby: Was there anything in the payoff of actually having it out in the world and reader response?

 

Libby: Oh, yes. I get emails all the time from people, LinkedIn and through my website and through Facebook. They're like, "Thank you for writing this book. I need to tell you what happened to me," and sometimes, "What should I do?" I say, "Thank you for sharing. Here's what other people have told me. I'm not an expert, so I'm not going to give you advice, but here's what other people tell me who've been through your similar situation." They're often right at the beginning, so they're emotionally in a really difficult spot. They're often in a really difficult spot because they’ve just tested. They have multiple siblings through the same donor father. Then suddenly, they’ve uncovered their donor father's identity. Now they're trying to figure out, how do I approach this person? It's this weird thing. No one's figured out the right infrastructure to support people. There's no mental health infrastructure. There's no official guidance. How do you write a letter to your genetic father? Can somebody please write a book about that? You could literally write an entire book just about that. That's my next book.

 

Zibby: There you go. You got your next project.

 

Libby: There's Facebook groups. There's support groups. There's starting to be psychologists. There's a wonderful genetic counselor who offers advice. There's blogs. But there's not a lot in the way of formal organizations, although they're starting to exist, who are formal guidance. You just see everyone's their own bioethicist trying to navigate this new territory on their own with advice from other people. It's a tricky place to be.

 

Zibby: Very true. At least we have people like you diving deep into it and helping the rest of us understand it, which is great. Thank you, Libby. Thanks for coming on "Moms Don't Have Time to Read Books." Thanks for entertaining me so much with your book and making me think about all the big questions in life. Thanks for sharing your experience.

 

Libby: Thank you so much for having me. It's just been such a treat to talk to you and such great questions, such thoughtful feel questions. Thank you.

 

Zibby: Thanks. Hopefully, we'll meet in real life one of these days. Good luck entertaining your kids.

 

Libby: All right. Thank you so much.

 

Zibby: Take care. Bye.

 

Libby: Buh-bye.

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Christina Clancy, THE SECOND HOME

Zibby Owens: Christina Clancy is the author of The Second Home. She's actually a debut author, so she fits into my Debut Tuesday or my Beach Read Wednesday. Double trouble this week. Anyway, she loves Cape Cod. She enjoys living in the Midwest and grew up in Milwaukee. She now lives in Madison, Wisconsin, with her husband and her two grown kids. She's a certified spin instructor and serves on the board of the Wisconsin Conservation Voters. She received her PhD in creative writing from the University of Wisconsin-Milwaukee and previously taught creative writing at Beloit College. She recently completed her second novel. That will be out in 2021. Enjoy our episode.

 

Christina Clancy: I'm truly so excited to be on your show. I heard about your show from Karen Dukess when she was on last year. I started becoming the most avid listener. Then when my book was coming out, my bucket list for my book is to be this podcast. I was so excited when I heard that I was going to be on it. You've made my day.

 

Zibby: Aw, that is so sweet. That's so sweet. Your book was so good. It was really, really good. It kept me up two nights in a row past my husband which almost never happens. I was like, I can't stop reading.

 

Christina: I'm so glad to hear that. I don't know how you read as much as you do. I'd like to turn the tables and just turn this whole interview where I interview you. It's amazing to me what you do with this podcast and all of your time.

 

Zibby: Thanks. I can't finish every single book. I just can't. I'm usually up front with the authors and say, you know what -- on the Instagram Lives, I blatantly am like, I didn't even open your book. I do my best. I love to read. I do it all time. I don't know. Every day is different. Anyway, that's really nice of you to say. Let's talk about your book, yay, The Second Home. For listeners who don't know what it's about, can you tell everybody what The Second Home is about? Then also, what inspired you to write it?

 

Christina: The book is about a family from Milwaukee. They're a very middle-class family. The parents are teachers. They own a house in Cape Cod, oddly enough, which sounds very fancy except it's been in their family for generations. The reason that the parents are teachers is so that they can spend their summers in Cape Cod. The house is kind of run down. It's from the late 1800s. Actually, it's older than that. It's from the 1700s. The house I've been talking about a lot is my grandparent's house which is next door which is from those late 1890s. The house is in disrepair. They go to the Cape each summer, and one summer with their two daughters, Poppy and Ann. They also bring along an adopted child named Michael who is new to the family and new to Cape Cod. He also has feelings for Ann. Ann has feelings for him, which as you can imagine creates some trouble. They get involved with another family. When they do, things go very badly. The family does not stay in touch. The siblings become estranged. About fifteen years later, the parents die. They have to come back to figure out what to do with the house. Everybody wants it. Michael, the boy that they'd adopted, has a legitimate claim to a third of the estate. He also wants to set the record straight. That's the book in a nutshell.

 

I was inspired to write it because I -- a lot of times when people ask me this question, I think I know how to answer it. Usually, I'll say that Poppy, the character who's the surfer, was the inspiration because I did meet a surfer when I was in Panama with my mom about a decade ago. She told me that she never went home. It bothered me so much. I wanted to bring Poppy home and figure out what could get her there. Then I think, really, the book is about when my own grandparents passed away. I think a lot of people with second homes feel this way, the house that everyone has so many memories of and cares so much about becomes very fragile because for a while we didn't know if we'd be able to keep it in the family. It made no sense for us. My mom and her sisters are spread all across the country like Jacks. They couldn't really agree on -- not that they couldn't agree. My mom had the first right of refusal, but who was going to take it? My mom was a single parent. We couldn't have a house on the Cape. Then my aunt lived in Michigan. She wasn't sure what to do at the Cape. Then my other aunt already lived on the Cape.

 

My mom was driving around one day with me and she said, "You know, it's just really hard when your parents pass away and you become the next generation. You have to figure out how to keep your family together or whether you will or what that family's going to look like." I was so struck by that comment and thinking about how that house kept our family together and the fear of losing it. It wasn't just the house that we cared about. It was about keeping the history of the family in one place. I think these houses can really become touchpoints for every person in the family. I think that's actually what the inspiration was, was that feeling, that fear that the house could somehow pass out of our family and we might lose our way. We might not have a reason to have reunions or stay together or look through the old photo albums in the den.

 

Zibby: What you did so well in the book was create such a sense of place and character, both. I could see this house. I could see Poppy and Ann and the parents and their house, but I could also see Anthony and Maureen's house. I could just see it, all of it, and feel it, and all the sensory things you put in. All of it just made it so real. Then with the parents and what ended up happening to them, I felt such a sense of loss myself. How do you think you did it? I know you teach creative writing and all that. What do you think it was that made these things just come alive so much?

 

Christina: First of all, the place, I know very well. It was nice to write about two places I know well, which is Milwaukee and then also Cape Cod. It was funny. It took me a while to realize that I could write about a place I know, to give myself permission to do that. I don't know why it felt like there was permission needed to write about Milwaukee. Originally actually, the story, it started out where the characters were in Evanston, Illinois, which seemed kind of like the near-east side of Milwaukee to me. Then I kept thinking I should go spend more time there so I can figure it out. A friend of mine who's a writing instructor said, "Why don't you just set it in Milwaukee?" It was such a revelation. I was like, oh, I can write about a place I know. Then even writing about businesses that I know or places that I know well felt a little bit like I was doing something wrong. I'm just going to name Shahrazad, this restaurant I like. I'm going to name the Urban Ecology Center because I was on their board. It was fun to do that. Then in Cape Cod, I gave myself the same liberty to write about all the places that I know and love there.

 

The only risk of doing that with place is that if you get one thing wrong, people will go crazy. They won't be able to get it out of their mind the whole rest of the book. A bookseller friend of mine was saying that somebody wrote about a car and they used the wrong horsepower for it within the first ten pages of the book. The whole rest of the book he couldn't even focus. I was very careful to try to get everything right. The copy editors were amazing too. It was fun to see how they would -- if I named a restaurant, they would actually pull up the sign for the restaurant and the menu for the restaurant to see if they put periods after each initial, like for PJs. It was fantastic to have them go through that level of detail also. The place really spoke to me. I think I live in my skin anyway. You can probably tell that from the writing. I just feel like I'm always almost more there than there, so that helped.

 

Then the characters, once I had them in my head and I went through my first draft and started redrafting, they became so alive to me. One of the most fun things I did with the book where -- after I sold it, my editor said, "Why don't you go through the last third and just add a few more surprises? Just sprinkle them in so that it doesn't read like where you're going to expect what's going to happen." That was so much fun. Then I thought, oh, I know what Maureen would say here. Ed could do this. Connie could -- I just started thinking about how the characters would surprise me. I think those are the magic moments in writing, when you get so immersed. You let the story wash over you. I just had that happen again with my second book. For a long time, I was just building it, building it, building it, struggling with it. All of a sudden, my head was so deep in it that I would wake up with these characters talking in my head. I just couldn't wait to write about it. As hard as it is to get to that point, it's amazing when it happens.

 

Zibby: Wait, what's your next book about?

 

Christina: It sounds different than the book that I just wrote, but my editor assures me it sounds like a Christina Clancy novel. In 1981, and actually in the '70s mostly, in a town called Lake Geneva, Wisconsin, which is near Chicago, oddly enough there used to be a Playboy resort there. The women who worked there were the daughters of dairy farmers and slaughterhouse workers and factory workers. They had no experience being anything like a bunny. Suddenly, they were bunnies. I follow a woman who's from a neighboring town who gets a job. She's a very unlikely bunny. It follows her coming of age and her experiences with recognizing what it's like to inhabit a woman's body and be looked at and be the object and sometimes limbed by a male gaze. I had the best time writing it. It was so much fun. I think it'll come out next year.

 

Zibby: That's really exciting. I read your essay about your son leaving, The Washington Post essay about your son going away to school, and is it okay that maybe you're not going to miss him that much? I know that's not exactly what you said. [laughs] How there were all these support groups for the parents, you're like, well, he's ready to go. I'm ready for him to go. It's okay. That was great.

 

Christina: I wrote that. Then afterwards, I started feeling really sad. I was like, am I just a hypocrite? Now he's back home. He's at USC. Because of the COVID situation, he was in Greece studying and he had to come back home. Now we don't know if he'll be there in the fall. The emotions are totally different. I want him to go back. I want him to be able to resume his fun life as a student.

 

Zibby: It's tough. I also read your essay in The Sun, I think it was. That was your life, right? It was a personal essay?

 

Christina: Yeah.

 

Zibby: I was reading and reading. I was like, this is a book. This is another book. You should write that. Not that your fiction isn't fantastic. It's amazing. Your life story reads like fiction, really. It was hard to believe. The relationship with your dad, oh, my gosh, I couldn't believe how it ended.

 

Christina: That was a hard essay to write.

 

Zibby: I bet.

 

Christina: It was funny because when I worked on that essay, it was originally about the preppy movement and The Preppy Handbook. I don't know if you remember the preppy movement that much, The Preppy Handbook particularly.

 

Zibby: I do.

 

Christina: I never knew it was a joke. I always thought it was totally serious, like, you must be a prep. I lived in kind of a preppy community, as I write about. I reread The Preppy Handbook from beginning to end. Actually, if you haven't read it for a while, it's so interesting to go back and look at. The whole essay was about my experience being a prep. Then I just had a little bit of my dad in there. I sent it to the editors of The Sun. Most writers would give their eyeteeth to be in The Sun. They have such a devoted readership. When I got feedback from them, they said, "We love your essay, but we think your dad's really the story." I was kind of offended. I was like, no, I want to write about The Preppy Handbook. I thought they'd rejected it. Then later on, they were like, "Didn't you get our email? Do you want to write it?" I was like, oh, my gosh, you guys still like it? I worked on it. It was very cathartic to publish it, to have people from my high school read it and get back to me. So many said, "I had a bad high school year too. Nobody knew. People didn't know about my dad. I was really struggling. I didn't know how to say anything." They felt so grateful for that essay.

 

Zibby: Do you think that part of what you do in fiction to put together the family the way that you wanted it to be growing up that you never had? Maybe that's too simplistic or armchair therapist. What do you think the role of fiction is in helping you with your own issues?

 

Christina: One of my friends said that I waste my best nonfiction on -- or I waste my fiction -- I'm sorry. I need to rephrase this. He said that everything I put in nonfiction I should put in fiction. He's like, "All your best material, you're wasting on nonfiction." I thought that was really interesting. It's almost like a way to write a diary. The things you're anxious about tend to be what you write about. Even though you're turning it into a story about other people, maybe I was working on this book -- I never thought about this until now. The Second Home, my kids were getting older. Our family was about to change. Maybe that was just a way for me to hold onto us and what our life was like before everyone would go.

 

Zibby: Of course, it's actually not a home that makes a family. The home is just -- not that it doesn't have a lot of soul, but a family can transcend a physical place. It can't be destroyed by one demo truck or whatever else.

 

Christina: It's more just the memories, I think.

 

Zibby: It feels painful. Losing a place that’s important to you like in The Second Home, it's a loss. It's something that you can grieve in and of itself. It seems silly to say in the context of the craziness of the world right now, sitting around being sad about your family home, but I think it's a physical loss that you feel when a touchstone of your life disappears. It's a rootlessness, almost.

 

Christina: Yeah, and a place you go back to again and again and again. There's a certain cadence to your life, a certain rhythm. We have a summer cottage. It's very simple. In fact, I think it has the first toilet ever invented. We have to close it every winter. My life seems to make some sense when I go back every year and I go through all the routines of opening it up and having the well pump turned back on. I'm thinking about who's going to be there, all the people that populate it over the course of the summer and the memories that we have of playing Parcheesi and so on. I think it just makes your life make sense sometimes to have one place you go back to again and again instead of always going somewhere different.

 

Zibby: I agree. My mom and stepdad sold the house that we had gone to my whole life. All the books that I had even as a kid, now I have here with me in my house. It was almost as if I had finally grown up more because of that house going out of our family than I had getting married, getting divorced, getting remarried, having kids. The cleaning out of that particular room of mine that was, here at age -- it happened a couple years ago, but still in my forties. It's emotional, passing of a torch.

 

Christina: It can definitely make you feel [indiscernible]. It's kind of a new era when you let go of those places. You realize you're jumping into something new, which I think right now, given all the turbulence in our lives, maybe those second homes are going to be even more meaningful to people, just having one constant in a world that's in complete flux right now. I keep wondering how the second-home market is going to work this summer. I think most people are renting places for longer period of time, which actually I like. When I was a kid, we'd go to Cape Cod. We would get to know all the kids. We were there long enough. We'd go to the ponds. We'd want to be there at the same time the next day because maybe that cute guy from Connecticut was going to be there or whatever. I like that kind of repetitive visit and longer visit.

 

Zibby: So how did you end up writing a debut novel now at this time in your life? How did this happen now? Tell me about it.

 

Christina: I was writing a lot before. I have a PhD in creative writing. I've written essays in The New York Times or Washington Post or The Sun. I have published a fair amount of short fiction. I love short fiction. I'm a complete short story addict. I read them all the time. I kind of want to be buried with my short start collection. [laughs] I think that the craft of a short story, I just appreciate it so much. That's all I worked on, was short stories. Then people would say you're not really an author until you have a book. I'd kind of bristle at that a little bit thinking that, no, I'm still a productive writer. I have to say there is something super satisfying about writing something as big as a novel and tracking the characters and putting it all together in a way that there's an arch from beginning to middle to end that I don't know now that I'll be able to go back to short stories. It just took me a really long time to learn how to do that.

 

One thing I tell people is I've gone through multiple drafts on this book and then also another book that I worked on for my PhD thesis that just never really quite had a plot. It takes a long time because the first time you write a novel, you have to recognize one thing that you're doing, which is you're telling the story to yourself the first time. You're just creating this landscape. You're inhabiting it with characters. You're just kind of populating things. Then when you go back and you revise, that's when you start telling a story for your reader. I think a lot of people who try to write novels and think that they’ve failed or who give up, it's because they get frustrated at one of those points along the way when they're writing. It's just a sticking with it and getting back into it and trying to make that transition from telling the story to yourself to your reader, which I think makes a book -- that's where the magic takes place.

 

Zibby: Wow. That's really, really interesting advice. I've never heard anything like that before.

 

Christina: That PhD did something, huh?

 

Zibby: [laughs] I also loved, by the way, your Modern Love essay about your friend's ex-husband and his new girlfriend being in your spin class. That was priceless. You need to send these around again. You wrote in that 2014 or something, a long time ago. It needs to breathe new life because that's such a good essay. I'll put it in the show notes when I do this. At least I can do that. Wow, go you.

 

Christina: The Modern Love essay, one thing that I love about that essay is -- I'm sure a lot of writers can recognize this. Sometimes you just know a story. The minute they walked into my classroom, I was talking about, okay, we're going to climb a four-minute hill. It's going to be really hard, and whatever. That's what I was saying. In my head, I was like, I've got a story here. I cannot believe he's in my class. The funny thing about that essay is that the couple, they're really good friends now. I think that is really, maybe, in a way wasn't my place to enter that situation. At the same time, it kind of made it funny in a way. It was meant to be funny. I think a lot of us can relate to that feeling of when your friends get divorced you take it really personally. You can tell this from my book. I'm super nostalgic about things. I just want things to stay the same. Even though they both ended up in a really good place and they're totally at peace with what happened, I wasn't. The editor, Dan Jones of Modern Love, the day before it was published, he called me. We were talking about it. He said, "You know what I love about this essay?" This is right after he said about three million people read it. I was like, "What?" He said, "You just make such an ass out of yourself." [laughs] I was like, yep, I guess I do.

 

Zibby: It was really fantastic. Do you still teach spinning?

 

Christina: I do. Because of COVID, I haven't had my classes. I love teaching spinning. It's the best money I ever spent, was getting certified. You meet the nicest people. I never dread a class, never, ever. I never wake up and think, ugh, I have to teach a spin class. There's just this wonderful energy when you walk into a spin room. I don't know what the future of spinning is right now.

 

Zibby: I know, the future of anything. Christina, thank you so much. Your book, as I said at the beginning, I could not put it down. It kept me up. That doesn't happen that often. I just really, really enjoyed it. It's really a pleasure talking to you. I share that same appreciation of all nostalgic elements and not wanting things to change, so I get it. It was just really great. Congratulations on your pub day and everything.

 

Christina: Thank you for having me on the show. I truly listen all the time. It's just a total thrill to be on it. Thanks for all you do for writers, especially a debut writer like to me. To get my name out there through you means so much.

 

Zibby: Aw, it's my pleasure. Hopefully, I'll meet you in person one of these days.

 

Christina: Great. Thanks a lot, Zibby. Buh-bye.

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Julie Clark, THE LAST FLIGHT

Julie Clark, THE LAST FLIGHT

Julie: In 2015, I was diagnosed with breast cancer. It was caught early, thankfully. It was something that I'd always been afraid of. My best friend had died in 2012 of breast cancer. I was always like, oh, my god, what if it happens to me? I'm a single mom. I have two boys. It was always something I was so scared of, and then it happened. It's like, oh, my god, now what? You really do get right with the universe or god or whatever you believe in. You make yourself right with that very quickly. You learn that there are things you cannot control and that you can sit on the ground and scream and cry and say, why me? This isn't fair. But why not me? Why should things be fair? It was really a powerful time in my life. I learned a lot about what it means to be afraid and still move forward. It was transformational for me personally. I'm very privileged in that I have a good job. I have good health insurance. I was able to take time off work and go on disability. It was such a privilege to be able to step out of my life in that way and just focus on myself and my kids and keeping everything as normal for them as I possibly could. I know not everybody has that privilege. I was very appreciative of being able to do that. I really focused on my mental health and my physical health and just slowed everything down. Literally, if you imagine life as rapids where everything's happening so quickly and you can't miss this and you can't miss that, you're just stepping out of the water and sitting down on the shore and just watching it all go by. There's a definite power to being able to do that. I'm not always successful at that.

Jeanine Cummins, AMERICAN DIRT

Zibby Owens: I was thrilled to do a book club with Jeanine Cummins. I host a virtual book club every Tuesday at two where the group talks about the book. Then the author comes and joins us for a Q&A for a half an hour at the end. It's called Zibby's Virtual Book Club. It's on Bookclubz. That ends in a Z. You can join on my Instagram bio, on my website, Zibby Owens, or just to go bookclubz, with a Z, .com, and it's right there at the top. I got to interview Jeanine Cummins on May 26th, which was amazing because I first thought I was interviewing her in October when I originally wrote some podcast questions for her. Then there was a huge media firestorm, which you may or may not be aware of. Her book, American Dirt, when it came, out raised a whole slew of controversy around who is able to tell the stories of people who are in the books. This was a Latina-based story about migrant workers. Because Jeanine is not herself a migrant from Mexico, there was a lot of pushback on whether or not she was the one to have written this book. It escalated into death threats and just a huge, huge big deal in the literary world and farther. American Dirt was chosen as Oprah's book pick. Thank goodness Oprah did not back down and stood by her word. It's been a best seller for weeks and weeks, which it should be because I think American Dirt is one of the best books I've ever read. I believe that in fiction, part of fiction is being able to take on whatever voice you want. It's an act of imagination and empathy.

 

I wrote an article for medium.com in which I came out publicly supporting Jeanine Cummins months ago when this whole thing was blowing up. Even though ten thousand people on Twitter sort of turned against me, I stand by my defense that I wrote for writers to write whatever they want in fiction as long as they do so with sensitivity and research and all the rest, which Jeanine absolutely did. Anyway, I was delighted to have her on my book club. Listen to the thirty minutes of Q&A we did. I literally finished this book club and sat at my desk and smiled for a minute, which is the longest I usually sit still, because I was just so excited to have connected with her on this level and have been able to share her story after so much. Enjoy it. I hope you do. I really did. Listen. It's worth listening to. Thanks. Oh, and by way of bio, Jeanine is the author of three other books, novels The Outside Boy and The Crooked Branch and the best-selling memoir A Rip in Heaven and now, of course, the best-selling novel American Dirt. She lives in New York with her husband and two children. Now enjoy it.

 

Thanks for joining.

 

Jeanine Cummins: You're welcome. Thank you for having me. I'm sorry that I accidentally eavesdropped on the last couple of comments.

 

Zibby: Uh-oh, you're in trouble now. [laughs]

 

Jeanine: I didn't know how to announce myself. I was clearing my throat over here.

 

Zibby: Sorry. I'm sorry. Usually, I can see when somebody new pops up. I couldn't this time. Thank you for joining our group. For one second, I just want to unmute everybody because I feel like you deserve a huge round of applause for this amazing book. Wait, hold on, I'm muting. Not to be hokey. Hold on. Unmute all.

 

[applause]

 

Jeanine: Thank you.

 

Zibby: Sorry to be hokey, but I feel like you deserve a lot more than that. This book is one of the best books I've ever read. I'm just delighted to be able to talk to you about it.

 

Jeanine: Thank you. Can I say something before we start related to the last comment that I accidentally eavesdropped on? I think it's Jill Whitty. Hi, Jill. I haven't done a lot of these book clubs yet. I'm so excited to just be dipping my toe back in the water. It's really great to hear how people are actually responding to the book itself. I have found it interesting that a couple of different people have responded in a very similar way, Jill. They felt that the ending was a little bit too, it was a bit of happy ending, which really surprises me every time I hear that because in my mind, it's not a happy ending at all. Lydia has been reduced into this funnel of a human. All of the promise and the richness of the life that she had in Acapulco is no longer available to her. Yes, they are in relative safety now. There is much to be said for that.

 

I never meant to give the impression -- I think I probably wasn't careful enough about this because several people have responded in this way, that they thought the ending was like, oh, happy ending, when in fact what I hoped to provoke with that epilogue was the notion that there are Lydias all around us. The people that we don't think of asking, where did you come from, how did you get here, why did you leave your home place, those people may have been scientists or doctors or accountants or bookstore owners before they came to this country. Quite often now, they're doing something very different. I hoped to sort of draw that connection with the epilogue. It's interesting to hear how readers respond to that. It's helpful to me as well, as a writer, to think, I guess I should be more careful about that next time. [laughs]

 

Zibby: You didn't eavesdrop over the five thousand other positive comments before where we were talking about different things that we really enjoyed about the book. One thing that people had a question about together was the use of the Spanish language interspersed throughout the text. What made you decide to do that? What was the goal of including that when obviously not everybody speaks Spanish? Tell us a little more about that.

 

Jeanine: It was very difficult for me to figure out a pattern, how I would include the Spanish. I wanted to include Spanish. Spanish was my first language. I was born in Spain. My father is Puerto Rican. I'm no longer fluent in Spanish, I should also say. My Spanish is quite [Spanish]. It's quite fail. It's not good, but I try. I enjoy using Spanish. I felt like the use of Spanish in the book, it just felt right to me. It took me a while to hit on a pattern that I felt comfortable with. Ultimately, I think what we ended up doing was every time there is the beginning of a new conversation or any time they meet someone new, the first line of dialogue is in Spanish. Then it shifts into English, hopefully giving the impression that, in fact, the whole book is taking place in Spanish. Obviously, I couldn't write the whole book in Spanish. That was that. A lot of the swear words and colloquialisms are also in Spanish, things that weren’t easily translatable.

 

Zibby: One other quick question people had that I didn't want to forget is, do you think it was accidental that Javier wandered into the bookstore and befriended Lydia? Was it because her knew about her husband and his job already?

 

Jeanine: Oh, gosh, you guys should all be writers. What a great question that is. No, it was purely accidental in my mind. There was no nefarious reason behind that initially. He just was genuinely a book lover and fell in love with her shop. That was it.

 

Zibby: How amazing to actually have an answer. We all sit around and debate that for five minutes, and here we go. [laughs] Talk to me about the numbness that Lydia was feeling throughout this book in the aftermath of all of this. At one point you wrote, "Like a government furlough, god has deferred her nonessential agencies," and that's sort of how she got through. Talk to me a little about how you created that sense of numbness for Lydia and how it can ever end.

 

Jeanine: There were things that happened quite organically in the writing of this book that I had no control over and that I really could not recreate if I had to do it again. The main one being that three and a half years into the writing of the novel, my father died very unexpectedly. He was young. He was in the prime of his life. He died at the dinner table. That grief just sent me reeling. I've had trauma in my life before. I've had very significant trauma in my life. Something about that loss, losing my dad in that way was just incapacitating for me. I put the book away. It was my second draft at that stage. I had probably seventy-five thousand words. I put it away. I didn't write. I couldn't even read for a few months because I was on the couch in my robe. By the way, this happened the week before the 2016 president election, so it was a very difficult time. I felt in a lot of ways that all the decency has been extinguished from the world at once. Anyway, when I began to emerge eventually a few months later, I dragged my laptop into bed with me one day, and I wrote the opening scene of American Dirt. The seventy-five thousand words that I had written went in the garbage. I never returned to that draft. I started from there. A few weeks later, I rented a casita in the middle of the desert in the borderlands outside of Tucson. I stayed there for eight days, and I wrote almost half the book in eight days. Then for there, I went home back to my family, and I finished the book in about eight months.

 

I had been steeping in this research for three and a half or four years by that point. I had gone to Mexico. I had visited the casas de inmigrante. I had visited orphanages. I volunteered at a desayunador, which like is a soup kitchen for migrants. I had done so much fieldwork and research. Then I had the characters in my head. Then when I had the grief, it all just came thundering out of me very quickly. The result of that experience is that much of what exists on the page is my own grief in real time. One of the things I didn't recognize about the characters until the book was finished was that every one of them is grieving for their father. It's so obvious now. At the time, it just came out that way. I've had several experiences in my own life where I have had a trauma that sort of supersedes a grief. The experience of writing that numbness for Lydia, her basic fundamental need to get through the day and keep Luca safe trumps her sorrow, at least temporarily. That was an experience that felt very familiar to me because of my own life.

 

Zibby: I'm sorry to hear about the passing of your dad in that way and the effect on you. That's awful. I know many people in this club have had similar losses. Our hearts go out to you. How amazing you can channel it into this book. Sorry, go ahead, please.

 

Jeanine: Thank you. It means a lot. One of the things about grief is that I believe it can act like a springboard. In this case, I think it did. It pushed me past a lot of my reservations about writing this book because I found myself in a place where I just so wanted to write the book I thought my dad would be proud of. That really liberated me from a lot of my worry that had been holding me back for three and a half years. Then just an aside, a dad-related aside, last night this book was a question on Jeopardy. My dad watched Jeopardy every single night of his life. My sister and my brother and mom, everyone had exactly the same reaction, which was, oh, my god, Dad would have fallen out his chair. This is the most exciting thing ever. It was a crazy, surreal moment. It brought me back to that sense that despite everything that's happened with this book and how difficult it has been at times, I do think it's a book my dad would be proud of. I feel good about that.

 

Zibby: You should feel good. I think anyone's dad would be proud of this book. I'm about to rip your name off and put mine on it and see if I can make my dad proud. [laughs] Not to make light of any of this stuff, but you had already written a memoir about your own trauma and what happened on the bridge and all of that. That alone would be enough to fuel enough intensity for a novel with everything that you've been very open about. I'm curious about the period of time when you felt like you were held back before the grief when you had already been so open. Does writing each book require kind of a reset button? What do you think that was about?

 

Jeanine: I think so. There were other things about this book. I'm sorry, I'm outside on my deck, so I hope it's not too loud with the motorcycles driving by. It's louder inside where my children are, so I chose the better option. I had a lot of concerns about my limitations as a writer. I always do going into a new project. In this case, lots of other people shared those same concern, as it turns out. I felt like this was a story that we should all really be more engaged in in this country. It was the story, really, that was moving in my heart, but I was fearful. I was worried about writing it. That fear sat on me for a long time. Those first two drafts that I wrote, those terrible drafts really were very different from the book that became American Dirt. They were round-robin point of view, various perspectives. I resisted going into the migrant's point of view for a long time. I was fearful.

 

All the time that I spent in the borderlands, the people who I met who have really absconded from their former lives and devoted themselves entirely to being at the border and working to support migrants and protect migrants, people who drive out in the desert on the weekends and leave water, people who are doing pro bono legal work to represent unaccompanied children, people who are documenting human rights abuses along both sides of the border, people who are running the shelters and the orphanages, every time I met a person like that and every time I met a migrant in various stages of their journeys, I felt confronted with my own cowardice in a way. I felt like it's ridiculous to be afraid to write a book when you see what real courage looks like, ultimately. I was still held back by that until my father's passing. There was a lot more going on in this book psychologically for me as the writer than just the difficulties presented in writing a novel and being vulnerable in that way. There were so many layers to my resistance. Ultimately, there were a lot of reasons why they all came crumbling down. After the book came out, even before the book came out, when the book went to auction when there was this big splash in the publishing industry before the book came out, when things started happening in a way that felt very exciting for the book, my immediate thought always was it sucks that my dad is not here to see this because he was my biggest fan. Then I recognized, always, that this book would not exist if my dad was still here because it really is an ode to grief. It is because of him and because of losing him the way that I did that this book is so -- I feel like I'm yammering on.

 

Zibby: Yammering is good. It's so interesting to hear about your personal experience and how this book took the form that it did. I want to talk mostly about the book. I want to ask just one question on, when the book did come into the world and you were hit by this negativity, which I know many joined in me thinking was completely outrageous and I don't want to get into the politics of the whole thing, but just as a work of beautiful, amazing fiction, how did you feel then? Were you thinking about your dad then? What might he have said to you? What got you through that hard time? I'm assuming it was hard. What got you through the backlash that came from this book?

 

Jeanine: I had a lot of support, thank god. I have a great husband. I have a great family. I think it would've killed my dad anyway. It really was very personal. A lot of the criticism was not that much about the book. It was really about me as a person and my integrity, or at least that's the way it felt in the beginning. There are certain parts of that that I'm glad he didn't have to witness. I do think that I was tremendously lucky in so many ways, to have the support of Oprah. She has the courage of her convictions. She didn't back down. She stood by me. She stood by the book. Many of the writers who supported me continued to support me publicly. I also had a deluge of private support of people who didn't want to wade into the controversy for various reasons but were texting me and emailing me to say, don't let it get you down.

 

I will just say, as we are talking about it, that I think it's important -- I feel like it's really, really simple for people to choose sides and to either go all in on the controversy or be very dismissive of it. With a bit of distance, I think I'm able to see, and I want to be a voice to articulate this thing, that the conditions were exactly right for this controversy to happen. That is because there are tremendous inequities in the publishing industry. This had been a very long-simmering, long-ignored, overdue conversation that really needed to happen, a reckoning that needed to happen in the publishing industry so that we will begin to elevate Latino voices, so that we will begin to pay attention to these stories in a way that feels more equitable and significant. I really feel like, in large part, the criticism was more about that than it was specifically about my book.

 

Zibby: At least the fact that it continues to be a best seller should serve as some sort of consolation. Although, I'm sure nothing can make up for what's ended up happening in the interim. Just had to address that in some way. I'm so glad that you had the support that you needed. That's great. I think there's so many authors who struggle to encapsulate other points of view. Your being a leader in how to do that and what happens when maybe that doesn't go so well is really a powerful position to be in. People are trying to, by writing, do all these amazing things and share stories and perspectives. As you said in the beginning of your book, the most important thing you said you want readers to take away is that "Migrants are human beings. They don't need our pity or contempt. They deserve fundamental human empathy. They are like us." If that was your goal, then you can check that off.

 

Jeanine: Thank you. I also think that this conversation about who gets to tell what stories is a really important one. It's one that I hope that book clubs all over the country are beginning to grapple with because if we don't figure that out, if we can't all come to agreement on that, we're going to have a problem with fiction. I fundamentally believe that fiction writers have to have absolute liberty to write whatever stories move in their hearts. I also feel like fiction writers have a responsibility to themselves and to their readers, if they're going to cross cultural boundaries, to do so with sensitivity and care. Ultimately, I think it should be for the reader to decide whether or not that endeavor is successful.

 

Zibby: Interesting. One aspect of the book that we all discussed before you joined was how you had Lydia be someone who hadn’t been a migrant herself and then fell into that position. You wrote about that so beautiful, how all her life she's pitied those poor people. She's donated money. She's wondered with the sort of detached fascination of the comfortable elite, how dire the condition of their lives must be. You said, also, while she was chopping onions and cilantro in her kitchen while she listened to the stories on the radio, she felt a pang of emotion for them and the injustice, but when she realized she was out of garlic, the pang was subsumed by domestic irritation. Then next thing you know, she's in it. Tell us about how you decided to make it this not -- you could've approached this in so many different ways, her migrant experience. Why from here to there? How did you structure that?

 

Jeanine: It's easy to look back and say I did all these things on purpose and here's why. In fact, when you're writing the novel, things emerge that you don't intend on emerging. Lydia came to be in very much that way. She didn't exist in either of the two previous drafts that I had written. Luca was there, but Lydia was not. When she showed up in that shower stall the very first day that I tried to write after my father died, she was fully formed. She came to me as herself. Now I look back at that, the creation of her, and I feel like I like her as a lens for the reader because I don't think I could've written the entire story from Rebeca and Soledad's point of view. I think that would've been a bridge too far for me. I think that Lydia, because she's so familiar to me, because her life looks very much like my life, she's able to serve almost as a translator or an interpreter for the reader. She notices everything that's going on around her in a way that I felt as the writer made the whole journey feel more accessible. I feel like I didn't do that on purpose, but I think that that is her function, actually. I hope that it works in that way for the reader.

 

Zibby: I think it worked. [laughs] I'm not trying to make light of it. We talked in the group, and when I was reading it also, this whole notion of the need to protect your child, and it's so interesting that now it was motivated by the loss of your own parent. I know you do have children yourself. Many of us on here have children. We discussed the need even during this coronavirus time, this mama-bear instinct that has affected us all to just protect, protect, protect, and that's shared with Lydia and her need for protection of Luca. Although, obviously it's in a whole different category and was warranted at that time, completely. Tell us about that aspect of this book, from the minute it started that she was going to protect, that it was about the mother-son relationship there, and maybe how you feel in the context of your own family writing that, if it came from your feelings having lost a parent, to protect a child.

 

Jeanine: I think that very much what's going on in the book throughout the book is an exploration of parental love. It's digging into that relationship that exists between parents and children. When I started writing the book in 2013, my older daughter was close to Luca's age. By the time I finished it, my younger daughter was a little bit older than Luca, close to Luca's age. I was lucky in that I had a little guinea pig living right in my own home for most of those years I was working on the book. They're precocious. They're articulate. They're interesting people, these two children who live in my house. I think that whenever I find a character in a book who is a child who is very interesting, I think more often than not when children are written in adult literature, they're seem a little flat. It was my hope that Luca would read as a fully formed human because that is something that I find lacking often in child characters. I wanted his personality and his personness to be as evident as the other characters in the book. My children certainly were very helpful with that.

 

I do think that the fact that I'm a mother and I have that maternal bond, the fact that I'm a daughter and I have parents who I love, those things helped me to write that relationship. I also feel like it was equally important for me to show the ways that Luca saves her as well, not just that she would move heaven and earth and do whatever she can to make sure that he's safe, but also time and again, the fact that he exists is the thing that saves Lydia. I really feel like that is the universal nugget that exists in any country, in any culture in the world where you have parents and children who love each other. That kind of dynamic, that give and take, that saving of each other, and then also sometimes screaming at each other when you're in quarantine, that it works both ways, the love and they way they buoy each other up and the way they help each other and the way they survive for one another, it's Luca saving her as well.

 

Zibby: Wow. Do you have any advice for aspiring authors?

 

Jeanine: Don't. [laughter] I'm just kidding. I always say if you have any other marketable skills, you can't go wrong by doing anything else. I'm joking, mostly. I think the number-one thing is just to be careful. Take as long as it takes. Don't rush. Take enormous care over what you write because someday you will let go of it. It will go out in the world and people will say things about it. If you're really, really, really lucky, a lot of people will say things about it. Some people will say rapturous, beautiful things. Other people will say very hateful things. At the end of the day, you have to look at that document and feel good about what you wrote. That's the most important thing, is to make sure you write it well enough that whatever happens you can feel in your heart like you did justice to the story that you wanted to tell.

 

Zibby: Do you have any regrets?

 

Jeanine: About this in particular or in general? [laughs]

 

Zibby: I could go into your whole life story, but I think I have to let you go soon. You can spare us the time in college where you went to that party. No. [laughs]

 

Jeanine: Look, yes, I have regrets. I have plenty of regrets. One thing I think I probably do not regret is the story that I wrote. I feel good about the novel. There were things that happened around the publication. There were mistakes that I made. There were mistakes that my publisher made. I wish I hadn’t written the author's note. I will say, the original author's note was one line. The one line was, in 2017, a migrant died every twenty-one hours along the US-Mexico border. That author's note really should have stood to answer every person who said to me, why did you write this book? That is why I wrote the book. Everything else I wrote in that author's note just sort of opened the door, I think, to what happened in certain ways that the book was received. I feel like in a way it was me trying to justify why I wrote the book when really, that one line said it all.

 

Zibby: I am so glad personally that you wrote the book. I know everybody here is really glad you wrote the book. Again, I'm sorry for what happened in the aftermath, but it was amazing. It will remain one of my favorite books of all time, and truly, truly remarkable. I had a million other questions that I and everybody else wanted to ask you. I want to be mindful of your time and just say thank you. Thank you for coming on here and sharing your emotions and your personal loss and your struggles that I know we can relate to. We are all feeling the pain that you feel from that loss. Just thank you. Thank you for writing and being brave and doing it and sticking up for fiction writers and doing what novelists have done since the dawn of time and doing it so beautifully.

 

Jeanine: Thank you, Zibby. Thank you, everyone, for reading the book. Thank you for listening to me. I want to say one more thing before I go which is that I think Zibby shared with you guys, or will share, the link, a fundraiser I am running for the International Rescue Committee. That fundraiser is going to benefit migrants and programs that serve and protect migrants, mostly women and girls, in the borderlands in Northern Mexico. I am matching all donations up to $100,000 until July 31st. I know it's a really difficult time right now to ask people to donate, but if you have the capacity to donate and you can do it, I would be just tremendously grateful. That money will save lives.

 

Zibby: Alicia in the comments already said, I already donated, tweeted, and put it on my Facebook. I did send out the link. You can go back to my email that I sent to all of you before this began, but if you go to Jeanine's website, jeaninecummins.com, it's right there. Click on it. Go to her GoFundMe account. I donated myself. I think this is a super worthy, beyond worthy, this is an essential thing to do.

 

Jeanine: Thank you.

 

Zibby: Thanks, Jeanine. Thanks, everybody, for coming. Thank you. Bye.

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Susan Choi, TRUST EXERCISE

Susan Choi, TRUST EXERCISE

Susan: I hope to god … that I don't have a student out there who feels like I crossed the line or abused my relationship with them in some way. I think about it all the time. I think constantly about the fact that it's not just by not doing evil that you're a good teacher. You have to really actively do good. You have to constantly be thinking about the fact that you have more power than your student. Even though these students are, like we just said, so smart, it doesn't mean that they're my equal. I always have more power than they do, and I have to be careful. Anyone who has more power than somebody else has to be careful all the time. You can't just assume, I have good intentions, I'm not going to do anything that's going to hurt anyone.

Valerie & Lynne Constantine, THE WIFE STALKER

Valerie & Lynne Constantine, THE WIFE STALKER

Lynne: The Wife Stalker takes place in Westport, Connecticut. It is about a woman whose husband is just coming out of a deep depression that has affected their marriage. She thinks that it is because he is getting healthy. What she doesn't realize until it's too late is that it's the woman running the retreat and health center that's making his spirits perk. They have two small children. When he leaves her for Piper, she begins to look into Piper's background and is horrified to discover a wake of dead husbands in Piper's past. She has to try to save her family before it's too late.

Roz Chast & Patty Marx, YOU CAN ONLY YELL AT ME FOR ONE THING AT A TIME

Roz Chast & Patty Marx, YOU CAN ONLY YELL AT ME FOR ONE THING AT A TIME

Patty: Most books about how to have a good marriage or a good relationship are so romantic. Living with someone isn't all that romantic. When you're loading the dishwasher, you're not starry-eyed.

Roz: They're romantic. Sometimes they're very, very serious. It's not like these fights aren't serious. They are, but they're just much more -- the things that my husband and I will have fights about, they're not really about -- recently, my husband got quite angry at me because I put the raspberries on the lower shelf as opposed to the top shelf where, evidently, raspberries belong in some sort of ideal universe. I was just amazed that he took that so personally.

Teru Clavel, WORLD CLASS

Teru Clavel, WORLD CLASS

Teru: I educated my three kids in the local public schools of Hong Kong, Shanghai, Tokyo, and then Palo Alto. I'm originally from New York City. It chronicles how we left New York in 2006 and then were in those cities, Hong Kong for four years, Shanghai for two, Tokyo for four, and then Palo Alto for two. Unlike the typical expatriate, we enrolled our children in the local public schools. They had a fully immersive cultural and linguistic experience. I was an education journalist overseas. I have a master’s in comparative international education. It’s half anecdotal and half research based. It’s basically to empower parents and educators and hopefully legislators too, to understand what's going on overseas and what we can be doing differently or what we are doing really well here in the US.