Jayne’s Comments (group member since Sep 02, 2008)

Jayne’s comments from the Q&A with Jayne Pupek group.

Thanks so much, Staci. I'm glad you enjoyed the interview. It was a good experience for me, too, to think back over the process.

Thanks, Lisa. I'm glad to know that the book strikes a balance in terms of place. It's hard to judge objectively when you're the writer.

Thanks, Kate. And yes, that's the Collins poem that I was referring to--one of his most clever, I think.

Many thanks to everyone who offered comments and questions about Tomato Girl and writing. Although this Q&A was set up to end on the 17th, readers are welcome to send me messages if other questions arise or as new readers would like to make comments. You'll also find news, updates, and sometimes a splattering of politics on my blog:

http://jaynepupek.blogspot.com/

All my best,

Jayne
JaynePupek@aol.com

What a funny story, Melissa. That lieutenant definitely doesn't know Southern women. He's lucky to still have his family jewels in the right spot.

I do sometimes wonder how Tomato Girl is received in other regions. I've spent so little time outside of Virginia, and my view of the world is surely skewed by what I know. Small things from other cultures can be jarring. I remember when I first met my husband's family, how taken aback I was by the coarse tone of voice used between family members. They weren't actually mad, but had this edge to their voices that sounded harsh and like bickering to my ears. Even now it sounds like barking to me, because my ears are ussed to a different cadence. You know what I mean, how a Southerner can issue a death threat and make it sound like an invitation to supper.

I'm certain that there must be parts of Tomato Girl that sound absurd to folks who grew up in other parts of the country.

I think my husband experienced a sort of culture shock for the first few months he lived here in the South. He blends in now.

Thank you, Marina. Yes, the South is a world of its own. I wrote an essay about the role of place in my novel. If you're interested, you can find it here:

http://www.algonquin.com/etcetera/alg...

Thank you, Nina. And welcome, Marina. I don't think there are any mediocre questions. In reading fiction, my initial concern is to figure out the main players and their situation. When reading a poem, I'm more concerned with the images and music and the overall experience of the poem. What the poem means is a secondary concern. I concur with Billy Collins when he talks about students who want to "tie the poem to a chair with rope and tortue a confession out of it"--

Thanks so much, Lisa. I loved your review and share your belief about support and resiliency in children.

I'm delighted that you plan to read my poetry book!

Hi Nina,

Yes, writing poetry completely gets my mind off everything--from what I'm making for supper to what the characters in my novel are up to. Poetry is my drug of choice;-)

Once I finished Tomato Girl, I stopped being curious about Ellie. I have the voices of new characters inside my head now, and there's no room for Ellie. It was enough for me to leave her in a safe place.

Thank you, Lolly! I am working on another novel now, and I'm almost always working on poems as time allows.

It isn't very hard to get the life of the book out of my system and start anew because I find it invigorating to meet new characters and hear what they have to say. I was ready to be finished with Tomato Girl when I reached the end of the story. I had the sense that my work on it was done and it was time to do other things.

Clara is more of a mixture of many people. My best friend is a modern shaman, so I don't have to go far to learn about sacred arts and magic. Also, I kept a voodoo doll from New Orleans on my desk when I wrote about Clara.

Crimes against children are always difficult to write about, especially when you care about your characters. I spent many years treating sex offenders, which I think allowed me to see trauma in a different way.

Are you writing short stories or a novel?

#24 How funny that the pages are upside down, Lisa! I hope that was the only copy like that. I'm glad to hear that you're enjoying the story, although folks are probably looking at you funny with the book upside down;-)

Deciding to narrate the book using an eleven year old's voice was pretty straight forward. The poem which jumpstarted the novel was written from a child's POV. Also, I felt that Ellie was the most reliable witness, and I wanted the challenge of seeing through a child's eyes. Ellie's voice adds innocence and hope to a story with a lot of dark elements.

#23 Thank you for ordering my poetry book, Jean. There are so many wonderful poets--Have you read Plath's book, "Ariel"? Sharon Olds is amazing, and I especially love "Gold Cell" and "Satan Says." You can't go wrong with Charles Simic, Louise Gluck, W.S. Merwin, or Galway Kinnell. Claudia Emerson's "The Late Wife" is excellent. I also really like Mary Jo Bang's "Elegy." I've always loved Lisa Russ Spaar and Grgory Orr. Rita Dove is amazing, too.

Thanks for joining the group, R.D. Your book sounds interesting, and one where distinct voices would make a huge difference.

I've never met her, but enjoy her fiction and nonfiction. She impresses me as no-nonsense, too.

I admire Dorothy Allison's work, especially Bastard out of Carolina. I don't know how she is as a teacher. Maybe you'll come back to the creative nonfiction manuscript; it can help to put something away and return to it later with fresh eyes and renewed vigor.

Mayapple is a wonderful press! I really learned a lot working with Judith. I'm so pleased and proud of Forms of Intercession. I'll keep my fingers crossed for you!

I didn't do a book party either. I think you have to trust your intincts and do what makes you feel good. Tomato Girl was released on August 26th, and I spent the day working on a review I'd been asked to write of The Story of Edgar Sawtelle. A cold beer at the end of my day is usually enough of a party for me. Add some chocolate and I'm over the moon.

You're very welcome, Nina. I found that chapter by chapter critiques worked very well for a focused look at the smaller scenes that made up the whole novel. A few things are harder to address by a chapter by chapter critque. Pacing comes to mind as an example. Many people read a novel in a day or two or three, which differs from reading a novel in weekly increments as is typical in a critque group. Ideally, it's great to have both kinds of feedback---from folks who look at the manuscript chapter by chapter as it evolves-- and folks who read the entire manuscript and can comment on the novel as a whole.

Absolutely, Nina. I usually buy books by authors I have read previously, or by authors who were recommended by someone. But a great cover often causes me to buy a book by an author unknown to me.

It sounds like you've worked out the perfect way to schedule retreats to write and think. I enjoy writing poetry outside, but usually work on my novel at my desk.

My lights are flickering and my fingers are crossed! I hope the power stays on.

I wrote Tomato Girl while participating in an online critique group, so for that novel, I submitted one chapter at a time. It was a great learning experience to give and receive critiques. Now, I write a good portion of the manuscript--maybe 100 pages--and show it to my agent and editor for feedback before I continue with the rest of the story.