Then They Came For My Books

… AI trolls. And some of them got ugly.
Photo by Joshua Hoehne on Unsplash

There are two strains of AI/troll activity afflicting the health and welfare of my personal book life these days. There may be others for other people, but so far the incursions into my world are relegated to the two I shall explain in this article.

First, there’s the illegal and very rude co-option of one of my books, which, along with millions of other titles, was purloined by Meta for the express purpose of using it to train their AI robots. I checked the database and there it was, my last novel, The Alchemy of Noise. No one asked, no one paid for it; no one had the decency to acquire it the right way. I have to wonder if the “AI students” for which it was acquired grasped the subtle narrative choices of its socio-political plot line or were moved by the protagonist’s decision to—oh, for fuck’s sake, it’s all so invasive, and if they’re gonna steal your damn stuff they could at least leave reviews at Amazon, right??

The Atlantic: “The Unbelievable Scale of AI’s Pirated-Books Problem

Search the LibGen database HERE.

The above image is a screenshot of the search tool The Atlantic (and other sites) provided for authors to check their own titles. As you can see, The Alchemy of Noise is in the database. And what, exactly, is that database? It’s called LibGen, short for Library Genesis, which is described as follows:

Library Genesis, often abbreviated as LibGen, is a digital library and search engine that provides free access to millions of academic papers, books, and other scholarly materials. It’s considered a “shadow library” because it bypasses paywalls and makes content available that is typically restricted by publishers. LibGen has a vast collection, including scholarly articles, books, comics, and magazines, and is maintained by volunteers who upload files and share torrents.

Is LibGen illegal in the US?

Yes, Library Genesis (LibGen) is generally considered illegal in the US due to its distribution of copyrighted materials without permission. LibGen hosts a vast collection of books and research papers, but these are often uploaded without the consent of authors and publishers, constituting copyright infringement. While downloading from LibGen isn’t considered filesharing, and therefore less likely to be tracked, the site itself is illegal.

There are lots of other unsavory details about these unsavory practices implemented and managed by, of course, Meta, that nefarious conglomerate that includes Facebook, Threads, and Instagram, ironically providing these vibrant platforms for artists to promote and share work while they—the faceless bosses—get busy stealing it. But that’s the world we live in today, isn’t it? Very MAGA. Very anarchistic. A very “tech-trumps-art-trumps-ethics” culture. (And yes, I did mean to use the word “trumps”).

So, what’s an author to do when they discover their work has been lifted by LibGen? The Author’s Guild has a particularly comprehensive article on the various steps that can and should be taken: Meta’s Massive AI Training Book Heist: What Authors Need to Know.” Give it a read, and if you’re one of those affected, follow through on the steps. You never know; you might get a class action check for $12.63 sometime in 2034 for the gross violation of your proprietary rights. 🙄 But hey, it’s worth doing if for no other reason than setting precedent. In the current tsunami of AI onslaught, any controlling moves are a good idea.

Now, what’s the second AI/troll/whatever insult to my literary world? This one is odd.

I’d been getting a higher-than-average number of emails (via my website email address) pitching various book promotional services. Nothing new about that on its face, but what was new was the tone of these emails, the content. They were hyper-conversational, very detailed; breaking down whichever book of mine they were focused on as if they’d actually read it. Some stated they had actually read said book, offering nuances, character names, plot points, etc., that seemed to support the assertion. The language was sharp, intelligent, and savvy.

One email had a particularly nimble, humorous edge to it that actually cracked me up, to the point that I responded, telling her (the name attached was female) that it was one of the better pitch letters I’d read, inviting her to give me her whole speil. Which she did: She supposedly managed a group of very “passionate,” dedicated readers who were hungry for good books, eager to read and write about them in thoughtful reviews. She was focused on The Alchemy of Noise (hmmm… the very one filched by LibGen), asserting that “a book this good deserves more reviews than it has” and “let’s do something about that!”

Now, every author in the indie world can use more reviews of their books; that’s easy bait. Despite our reluctance to ask readers to write them, reviews are considered metrics of popularity; they’re used to support increased marketing and promotional opportunities; they trigger algorithms beneficial to searches, and they raise the profile of a book. That they’re too hard to get is unfortunate, as often even the most loyal and supportive readers either don’t take the time to leave them, or for one reason or another are uncomfortable writing them. So, hells yes, my damn book could use more reviews, sister, lay it out for me!

Of course, it’s frowned upon to pay readers for them, I never have, so I queried this very smart, funny, enthusiastic “woman” about what her company was offering within those ethical parameters. She said she’d assign the book to her select team members, they’d read the book and write thoughtful reviews, and for that service, they’d be “tipped” (not “paid,” she insisted) $20 each … and she’d “start with up to twenty readers.” Twenty readers. $20.000 each. Um, that’s $400 of “tips.” And just to “start.” Now, who is this woman?

I did some research on her name, looking for something solid regarding her services, maybe some references, testimonials, a good track record in the public realm, but found nothing. So I wrote back that not only was the business model monetarily problematic, especially since she implied it would be ongoing (regardless of what she called it), but I found it equally problematic that she had no website, no visible business identity, no social media presence; her name didn’t correspond to the name in her email address, and Googling either name pulled up crickets.

And that’s when things got weird.

Her responding email was immediate and stunningly passive aggressive. She literally snarled in response, negating any logic to my concerns, insulting me for being “one of those people who cares more about money” than advancing my career, rattling off a list of reasons why my hesitation was regressive and, ultimately, stupid as fuck. Her tone had swung so hard from cute to creepy that I thought it wise not to respond. Then she wrote again … now berating me for my silence, sneering about my unwillingness to engage, my clear lack of business savvy. Again, she got no response from me. Her last missive came in several days later, and though she softened her tone somewhat, again pleading her case for business, she remained snarky enough to make me want to reach into the computer to virtually slap her head. Instead I filed and blocked.

But the tsunami of similar emails, Twitter (X) and Instagram private messages, continues, all written with essentially the same style and format: clever, warm, interested “people,” very conversational, breaking down the books as if they’d read them (of course, always claiming they have), very complimentary to me and my “brilliant writing,” using every kind of ego-buffing, business-savvy lingo available. And all with names that don’t jibe with email addresses, few with company names or websites affixed, some with website addresses that don’t work or look generic and … well, fake.

In a world where I’m sincerely and earnestly trying to sort out the best ways to do the things I do, accomplish the goals I’ve set, achieve the successes I’ve worked for, it’s so damn exhausting to have to deal with this kind of manipulative, trolling, dishonest bullshit.

These are essentially human bots. Scammers, trolls, however you want to categorize them, who are now, in today’s era, very well briefed by AI. They’re either working off the AI information that comes up when you put the book title in a search engine, copying data directly from ChatGPT, or tapping into the stolen material from LitGen. And damn, they’re good. That introductory conversation I had with Ms. Snarling Review Trafficker was quite clever, funny, very human, and, yes, professional. Until it wasn’t. Oh wait—I just got another one minutes ago… here’s the opening paragraph:

I just finished Chick Singer, and I’m still thinking about Libby, her voice, her grit, and that raw ache of rediscovery. You’ve managed to capture something rare: a story that doesn’t just entertain, but echoes. The emotional truth you brought to the mother-daughter dynamic, especially with the past and present colliding through music, was beautifully done. This isn’t just a good novel, it’s one that deserves to be talked about.

Aw… isn’t that just so lovely?! It might be if I hadn’t read the same damn exact words from fifteen other AI-informed trolls!

Amazing that AI has managed to cobble together enough reviews, articles, comments, words, phrases, etc., to allow scammers to regurgitate such beautifully articulated and specific babble, but the emptiness of it, the inauthenticity of it, the sheer manipulative fucking bullshit of it makes my teeth grind. Because now I have to vet every single compliment, outreach, pitch sent to me through a finely-tuned filter akin to the old, “is it real or is it Memorex” meme. Now it’s: “is it real or is it AI?” … whether photograph, video, article, pitch letter; music, art, books … person. EVERYTHING.

Which is just sad. And inspires musings like this thought-provoking article by Vicki DeArmon titled, “Wrestling with AI and the Soul of Writing.” That’s a reluctant sport with which we’re all—writers, readers, appreciators of authentic art—going to have to tangle with.

So AI trolls beware: Your letters will go unanswered. Your outreach will be funneled into spam. Your email addresses will be blocked. I’ll let real readers, real reviewers, real promoters, real fans of my work set the tone for any future communication. Which is fine; I will always prefer human thoughts, words, and intentions, however bumpy, flawed, or fallible, to the slick, well-polished articulation of AI-burnished fakery.


linktr.ee/lorrainedevonwilke

A ‘Chick Singer’ Reflects on Dreams, Heartache and Renegotiation

A fascinating online magazine, Habitat To Art, invited me to write about the journey to my latest novel. Titled, “A ‘Chick Singer’ Reflects on Dreams, Heartache & Renegotiation,” I hope you enjoy the read! Thank you, Laura Wagner, for the invitation and the platform. Much appreciated!

A ‘Chick Singer’ Reflects on Dreams, Heartache and Renegotiation

It’s unusual to refer to someone as a friend whom you’ve never met, but I consider Lorraine a friend and a commiserator. We bonded on Twitter (aka X) when one of her posts articulated my exact sentiments. I realized that, aside from shared ‘initials’, we shared many of the same thoughts. It is my pleasure to introduce her to our Habitat2Art famiglia and friends. I hope she will become a frequent contributor. ~ Laura Wagner

It comes as a slow infusion of awareness. A dawning of sorts. A moment when something happens, words are spoken; an epiphany emerges, and suddenly you learn what was heretofore unknown. New elements of who you are, clearer ideas of what you’re meant to be, to do. It’s both exhilarating and terrifying, identifying that dream, because now you’re driven to make it come true.

A girl whose name I don’t remember had turned around. She was in the descending row on the choir stand in front of me, and apparently I was singing directly into her ear. With an expression bearing some harmonic of surprise, she said, “You have a really good voice,” and I was equally surprised to hear those words. I sang loud and often, yes, but never before had any assessment of “really good” been assigned. That portentous comment opened my mind. I felt it, let it wash over me, recognizing the truth that singing not only transported me out of my everyday reality, but felt to be an honest, true talent.

And there it was. My designated dream. I was to be a singer.

It started with folk music, graduated to musicals, veered into singer/songwriter, but it was swiftly determined that I would set the world on fire as a rock & roll star. Not just a singer. Not just a rock & roller. No, I would be a “star.” It was fated. It was my destiny. Everyone in my orbit bolstered that belief, which was powerful, propulsive stuff.

The wild and wooly ‘80s became the launch pad. With the requisite big hair, ripped fishnets, belts and bangles, my band DEVON became an LA success story with incredible gigs, recordings, management, financiers, and fans; interest, excitement, and conviction followed, then came panic, despair, and, ultimately, the cold-water dip of having exhausted the decade of both time and opportunities with no shiny record deal to show for it.

Oh, dastardly, dogged dream …

I was gutted. Empty, lost, and heartbroken. It was not a matter of just moving on; every aspect of my identity was wrapped up in that persona, that expectation, that plan. I had no other plan, no contingency. Despite my father’s admonition to, “have something to fall back on,” I’d been so convinced of my dream’s fruition that “falling back” was a form of blasphemy. It would take hard grief, good therapy, and the love of excellent people to pull me out of the abyss.

But I did pull out. I survived. I recalibrated. I dipped into various other skills sets—acting, screenwriting, political opinionating, more music (though not of the “angling for stardom” kind, just … singing)—and began negotiating with my dream. Could I reinvent myself? Reconfigure, reimagine a path forward that felt authentic, real, and still offered some measure of my previous exhilaration? We haggled, my dream and I, and ultimately decided to keep music on a burner (if in the back), but let my photography and, particularly, my writing muses step forward.

I started a blog in 2010 when blogging was all the rage. Wrote for HuffPost for seven years. Got a fine art photography business going online. Then I started a novel. A novel. Crazy. Something I’d have never imagined doing prior. After the Sucker Punch published in 2014, followed in 2015 by Hysterical Love. In 2019, a small publishing company, She Writes Press, took on what would be my most controversial novel, The Alchemy of Noise, and in April of this year my fourth, Chick Singer, was released by Sibylline Press.

There’s something full circle about Chick Singer coming out at this particular moment. A moment when I’ve acknowledged, as the group I’ve intermittently sang with over the last few years struggles to find time to convene, that I do, indeed, miss being in an active, working band. One that plays enough to feed that part of me that rode my bike down the street belting out rock tunes. Writing Chick Singer (which is not my particular story but one I certainly understand) allowed me to excavate much of what I’d experienced in losing, and letting go of, that musical dream of mine. It dug into the emotional, even spiritual, journey of finding (clawing?) your way back to some version of yourself that’s healthy and resilient.

It was cathartic, in a way, writing that “chick singer’s” story. It reminded me that dreams are not intransigent, immovable. Despite the reality that what one imagines for their life doesn’t always evolve as planned, dreams have a way of adapting, adjusting, molding themselves into the you you ultimately become. Given my many years at it, I’m convinced they will doggedly stick with you until the end, though you may have to renegotiate from time to time.

But that’s not a bad thing. I’ve learned they are very amenable to that, dreams.

Saying Goodbye To a Little Sister…

… cherish is the word.

Photo by Benjamin Wedemeyer on Unsplash

You’re in a family, it has shape, form. It exists in a place, a house, with parameters and parents and things that fill the spaces. If you’re one of the early ones, you witness the shifting, changing, growing of that family as new members arrive, tiny and fragile, engendering your love and attachment, demanding your responsibility. Whether older or younger, you take on roles, nurture relationships, bond, connect, and pull apart. There are comings and goings: jobs, college, marriage; moving out then moving back in. There are personalities, proclivities, problems, and partings.

Family.

As one of a large one in a small town where families of size were not particularly strange or unique given the dominating demographic of the Catholic church, my siblings and I didn’t feel special for a good chunk of our childhoods … that is, until we got to eight kids. Then nine. Ten. Finally, eleven. That number was meritorious and gave our family some “quiverful” bragging rights, though we kids certainly never framed it that way. We were just a lot of siblings living together, finding our feet, our positions, our standing in the large crowd, with, yes, a little buzz to saying, “I’m one of eleven.” People always gasped. They still do.

Except we’re not anymore … eleven. We’ve lost one of us and it feels strange to no longer be able to frame my sibling group with that number. Eleven. It feels even stranger to accept that my little sister, vibrant, beautiful; sassy, with a rowdy laugh and a love of so many people, places, and things, has left this realm. I think of her and somehow she still feels here, on this earth, in her home, expounding on something she feels passionate about, or singing every lyric to every song we performed at my mother’s memorial. Can she really be gone? It appears so.

My sibs and I, in various moments and groupings, have occasionally wondered, “Who will be first of us to die?” A macabre conversation, but as we’ve gotten older—as this one or that has dealt with health challenges, or survived accidents, or come back from difficult diseases—an inevitable one. Both our parents are gone. Some of us are now in decades undeniably considered “old,” and life does come with a warning that at some point we will die. But still … it was one of us. Our eleven. One of the “six girls,” a feature that inspired the name “Sixters,” and was something we celebrated loudly and with pride. “Fivesters” doesn’t have quite the same poetry. So, yes, it feels jarring.

Women’s March LA 2018

My little sister and I were far enough apart in family order that we were not close as children. I was her babysitter, her bossy older sister, her occasional advice-giver (she once told me I was the person who explained deodorant to her … a clearly seminal moment of which I have no memory!). But years after we were both out of the house—I, in Los Angeles, she, San Francisco—we connected for the first time as adults, as peers, and spent the glorious ‘80s as girls who just wanted to have fun. Lots of pictures of us in my cool Hollywood apartment, dressed to the nines in ‘80s gear, posing in front of iconic places, laughing, dancing, hanging, singing.

When the ‘90s hit and I got married and had a child, she became our very favorite “Auntie Babysitter” when we visited the Bay area or she came down to celebrate holidays with us. She was the first person who took amazing pictures of my son with her “good camera,” which inspired me to get one of my own and launched my enduring passion for photography, a memorable gift of her influence.

At some point not long after, she moved into her own life with husband and children, which kept her busy enough that our time together lessened. We’d see each other at larger family gatherings, when my parents were either in her town or mine; sometimes for holiday or birthday events, but yes, we drifted. There were gaps in our political opinions; our views about health and healthcare were divergent, and so we learned to avoid certain topics for the sake of camaraderie and goodwill. Ultimately, the invisible string that connected us as siblings, as children who got to know each other as adults, endured. The last time I saw her healthy she was smiling and happy, wanting to know everything going on in my life; we laughed a lot and enjoyed the event that brought us together. Then she got sick. Again.

She’d recovered from a bout of breast cancer many years earlier, a tough go that, as she once put it to me, kicked her ass, but enough healthy time had elapsed since then that we all figured it was a thing of her past. But that last time I saw her healthy … turns out she wasn’t. It had returned and was brutal. Fifteen months later she was gone.

Strange, that she was the first. Others of us have dealt with cancer and recovered, so it’s daunting to view her last journey in light of our own. One of my brothers with his own health issues once told me he thought he’d be the first to go. We all hoped that somehow we wouldn’t have to face the answer to that unavoidable existential question for many more years, but what I’ve learned about life is that it’s wholly and profoundly unpredictable.

I’ve also learned, and believe, that we’re all on our own path, our own trajectory, determined by influences, decisions, perhaps spiritual edicts that have nothing to do with age or birth order. As the song goes, “Nobody’s promised tomorrow,” and so we all, each of us, must live our lives with verve. We connect, and love, and interact, and create, and explore, and experience, and contribute as deeply and passionately and fully as we can. We eat life, our life; we taste every bite, every flavor, so when it’s our time to go, we’ve left nothing essential undone, no necessary words unspoken; no love unexpressed, apologies ignored, or disappointments unreleased.

My little sister lived her life with verve. With passion. And love. And music and laughter and joy and rage and humor and all the parts and pieces that made her who she was. And this coming weekend, Memorial Day weekend, we will gather in her town to memorialize her life. To share her pictures, tell her stories, sing and play the songs she loved listening to, loved singing. A heartfelt celebration will be had for a precious and heartfelt life. We “eleven” will be together again for one last time, saying a sad, sweet goodbye to the first of us to depart.

See you later, Leenie. Fly high feeling our love … or, as one of your favorite songs put it, cherish is the word.


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Les Misérables Breaks the 4th Wall to Stand Against Trumpism

Oh, Richard Grenell is not happy.

The longtime Fox News contributor, avowed Trumpist, and radical conservative agitator was recently and ridiculously (having zero experience in the creative industries) appointed the interim director of the Kennedy Center for the Performing Arts. Of course, this was after Trump, the most artless human on earth, purged the iconic venue’s leadership and inserted himself as chairman of the board, so why not pick an utterly unqualified partisan to run (down) one of the greatest creative venues in America? That’s the philosophy that drove Trump’s cabinet picks, so his consistency is impressive.

In his new and undeserved post, Grenell has been outraged on an ongoing basis as slews of artists denounce the authoritarian takeover of the Center, some pulling out of scheduled appearances (Hamilton creator, Lin-Manuel Miranda, canceled the musical’s 2026 planned run), citing the obliteration of the Center’s mission of openness, inclusion, and creative freedom. Trump did, in fact (if unwittingly), underscore the veracity of that accusation with his Truth Social post of February after appointing Grenell:

That’s right, dammit, they’re going to make sure nothing “woke” gets up on that stage, so look forward to a roster filled with fluff, pabulum, all-white casts, and musical ditties from the 50s! 🙄

As for Les Misérables and how they fit into this brouhaha: in a stance that asserts their protest of the recent MAGA incursion, a group of the show’s actors are boycotting the June 11th performance Trump is hosting as a fundraiser for the theater. From Playbill:

The Kennedy Center performance was part of a previously scheduled stop on the musical’s tour. The cast was given the option to not perform June 11. Among those who decided not to perform are both principals and ensemble members, though the production has not disclosed exactly which company members. A request for comment had not yet been returned at the time of publication.

In response, theater neophyte Ric Grenell clenched his jaw, ground his teeth, and, in a hissy-fit of epic proportion, publicly bellowed:

“Any performer who isn’t professional enough to perform for patrons of all backgrounds, regardless of political affiliation, won’t be welcomed.’“

“In fact, we think it would be important to out those vapid and intolerant artists to ensure producers know who they shouldn’t hire — and that the public knows which shows have political litmus tests to sit in the audience.” The New York Times.

Oh, Ric, calm the fuck down.

Sputtering at this act of principle by calling for the blacklisting of involved actors is, in fact, a real-life example of applying a “political litmus test” … at a time when every single thing that promotes openness, compassion, innovation, empathy, and acceptance is deemed “woke” and, therefore, to be banished, denounced, banned, and demeaned. And kept out of the Kennedy Center. Grenell’s carping is transparent and ridiculous … but hypocrisy is the MAGA brand.

Given his lack of creative DNA, along with his unbending allegiance to the conservative/MAGA agenda, it’s safe to guess Grenell’s not particularly savvy about the creative persona … the grit and gristle that creatives are made of. Artists, performers, writers, singers, designers, actors, etc., are people who care about things like expressive freedom, inclusion, diversity and equity; who demand spaces where those principles are not only allowed and welcomed, but encouraged, not shut down and denigrated by ignorance and small-mindedness. Frankly, if Don or Ric actually knew what Les Mis was about, what themes, ideas, and principles the performers are portraying, they might’ve expected the boycott:

What is the main point of Les Misérables?

The Les Misérables revolves around the themes of inequality and social class issues. Set in France, the five-volume novel explores the struggles of people in the lower class and how they grapple with unfair treatment. It also highlights ethical dilemmas and redemption.

I mean, could that be more “woke”??

If this really is one of Trump’s “favorite musicals,” I would guess he has absolutely no clue of these “main points”; just pretends to like it (similar to his affection for the Bible, his “favorite book” despite being unable to reference any part of it). Or maybe he likes Les Mis for … what, the costumes … the music … the flags? Who the fuck knows? It’s possible he got it mixed it up with Guys & Dolls, Cats, or Mamma Mia.

It was Nina Simone who said, “An artist’s duty, as far as I’m concerned, is to reflect the times … How can you be an artist and not reflect the times? That, to me, is the definition of an artist.”

It is to me, too (see In Today’s Maddening World, Yes, BE a Creative Loudmouth). Particularly at this moment, taking a stand that reflects one’s beliefs, principles, and convictions, however unpopular, however risky, inconvenient, or even dangerous, is what artists of conscience do. Whether boycotting Trump’s ego-driven events, refusing to perform for people who diminish and demean the true value and currency of art; whether writing books that get pilloried or risk getting banned by MAGA trolls; whether being bold and innovative with one’s music, art, articles, movies or plays — whatever form of expression, whatever medium — artists reflect the times.

And these times demand a higher consciousness. They demand wisdom, vision; outspokenness. They demand courage — no, not just courage; fearlessness. The fearlessness to create art and then put that art out into the world, especially in this era of cowardice, capitulation, and complicity. True artists are born with and nurture that higher consciousness; it’s imbedded in their DNA, their psyches, their skin, bones, and brains. You can’t be an artist if you’re afraid, timid, easily cowed by strongmen with fascist agendas’ or are willing to bend to the oppression and ignorance of ignorant people. Art demands freedom. It demands audacity and guts. It demands risk-taking, standing up to the exact madness we’ve see playing out every day since the man and his cabal took over our government, wreaking authoritarianism havoc disguised as patriotism, nationalism, protectionism.

It’s none of those things, what they’re doing. We know what it is. We name what it is. And we stand up against what it is. If that means boycotting a show we love performing, cancelling a scheduled run of a production we created, risking our livelihoods and reputations, losing jobs or being blacklisted by toxic agents like Ric Grenell, so be it. People, artists, activists, have been standing up to small-minded tyrants for centuries, and those for whom freedom is essential — in life, in countries, in schools, cities, governments; in art — will continue to do so.

Yes, it is ironic that Trump claims to love Les Mis, because it’s as wise and “woke” as a musical gets. If he actually listened to its theme song, his head might explode. I think Grenell should play it for him with the lyrics printed out … or just get him a DVD of Beach Blanket Bingo and let him slide.

DO YOU HEAR THE PEOPLE SING?

Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again

When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes

Will you join in our crusade?
Who will be strong and stand with me?
Beyond the barricade
Is there a world you long to see?
Then join in the fight
That will give you the right to be free

Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again

When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes

Will you give all you can give
So that our banner may advance
Some will fall and some will live
Will you stand up and take your chance?
The blood of the martyrs
Will water the meadows of France

Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again

When the beating of your heart
Echoes the beating of the drums
There is a life about to start
When tomorrow comes

Composed by Claude-Michel Schönberg (music), Alain Boublil & Jean-Marc Natel (original French lyrics), and Herbert Kretzmer (English lyrics)

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Ladies & Gentlemen, Please Welcome to the Stage … CHICK SINGER!

My book launched and, yes, we’re celebrating!

Despite being an “out loud” person in general, it turns out I get twitchy about things like blowing my own horn … which almost compels me to downplay the event, referring to this post as “shameless self-promotion.” But I’m not going to do that because, frankly, what artist/entrepreneur in today’s world doesn’t need to self-promote, and why on earth is there anything shameful in that? Even the guy who tinted my car windows asked me to review him on Google!

Except for Judge Susan Crawford’s recent win, there hasn’t been much in our world to cheer about lately, so it’s incumbent upon us all, for the sake of collective sanity and equilibrium, to make special note of the good times, the happy moments; the accomplishments deemed worthy of celebration. Hence, I’ll joyfully shout about my book’s release!

CHICK SINGER: Available in ebook & paperback

Click links below to access book sites:

AMAZONBARNES & NOBLEAPPLE BOOKS
RAKUTEN koboBOOKSHOPBAM Books-a-Million

It’s been an interesting journey, this book, with a longer gestation period than any of my previous novels. It started out decades ago as a screenplay, with a different title, much younger characters, and—given the 120-page parameters of the average film script—a much shorter, less in-depth narrative. It went through various permutations over the years; optioned a few times, awarded in a couple of screenplay competitions, garnered scads of positive response, but no actual fruition. As years passed, I aged up the cast (which, given the core element of “former ‘80s singer,” was necessary) and contemporized the story as needed, until I hit a point where I couldn’t stretch it any further. Then someone suggested a brilliant update that changed the foundation of the family at the story’s heart and I was off again.

Wanting to deepen the plot, develop characters more thoughtfully, and take the story onto a more dramatic territory, I knew the only way I could achieve that was in novel form. Daunting, as that demanded a completely different creative process from screenwriting, but before long out went the brads and three-hole punch paper.

It took a minute (a long minute), but when I finally cracked the code, the evolving characters and plot pushed the story into salient topics that resonate with, I believe, a wider audience: Letting go of dreams. Facing age. Balancing creativity with practicality. Fractured families. Loneliness. Toxic work situations. Betrayal. Love. Mother/daughter issues. Reclaiming true self. Discovering what’s needed for true happiness. And so on. The end result was Chick Singer.

I unabashedly love this book. I love the main characters, Libby Conlin (whose story, if you were wondering, is not mine), and her cranky daughter, Bridget. I love the people in their orbits, how they all traverse the world in and around each other; its ins and outs, ups and downs, good points and bad. It’s real life … with a rock & roll soundtrack!

I shared a short synopsis and some early reviews earlier; I’m leaving those again below for those who missed that piece.

Oh, and I had a great Substack LIVE chat yesterday with my good friend, Dr. Lauren Streicher, who very generously wanted to talk about the book, intro’ing it with this:

A spontaneous Substack LIVE with Lorraine Devon Wilke, the author of CHICK SINGER, a novel about a middle-aged woman who left behind a career as a rock and roll singer to become a more traditional wife and mom. Lost opportunities, new opportunities, and the challenges of aging yet staying relevant.

While Chick Singer is not autobiographical, Lorraine, as a former rocker herself, gives a behind-the-scenes peek at what it was like to be part of an ‘80s rock band. It’s a great read!

It was a fun and feisty conversation (as it always is with Lauren!), so give it a listen/watch when you have a sec.

I want to thank everyone who asked about the book and expressed interest in reading it; who volunteered to be an advance reader; who did podcasts and newsletters to help promote it, and who are assisting my entrepreneurial efforts with word-of-mouth, social media posts, and well-placed reviews. It does take a damn village, this creative and commercial process of art, so know that all the interest, help, and support is deeply appreciated.

Lastly, and as I always write when I sign a book: “enjoy the read!” That really is the main thing, isn’t it?

An “authentic ‘80s playlist” has been put together in honor of CHICK SINGER, click HERE to enjoy the tracks! 

CHICK SINGER: Available in ebook & paperback

Click links below to access book sites:

AMAZONBARNES & NOBLEAPPLE BOOKS
RAKUTEN koboBOOKSHOPBAM Books-a-Million

Short synopsis:

The hope and glamor of ‘80s rock & roll stardom is ancient history for Libby Conlin, whose focus is now on the unexpected return of her newly divorced daughter Bridget, home again despite their historically fractious relationship and the chaos it inspires. When Bridget’s application to a local art school involves anonymously posting Libby’s old music online, music that garners the attention of industry gatekeepers, Libby’s mysterious past—and all its dark secrets—comes roaring into the present. The resulting reconfiguration of everything and everyone in their orbit is both bittersweet and life changing. Chick Singer explores a complex mother/daughter relationship against the backdrop of music, dreams, and love—and the art of redefining all three.

Reviews from early readers:

“A smart, twisty, wonderful novel with all the messy grit of the real world. Devon Wilke digs into complex relationships and finds heartfelt emotion in a story of suppressed ambition and motherly love that resolves in unexpected and profound ways. Just a wow.” ~ James Parriott, award-winning producer/writer/director, Grey’s Anatomy, Ugly Betty, Patriot

“Chick Singer rocks with dynamic characters whose dialogue pops like a backbeat. Devon Wilke trains a knowing look upon our current frantic and fragmented state, and the music that goes with it. A multi-track saga for these digitized times.” ~ Junior Burke, award-winning dramatist, songwriter, and author of Buddha Was a Cowboy and Cold Last Swim

“Bittersweet and deeply felt, Chick Singer nails the heartbreak of an artist forced to recalibrate when the heady dreams of youth crumble into the stale compromises of middle-age. But Libby Conlin is not about go gently. In a world where music, passion, and even sex are pitched as the exclusive domain of the young, Libby fights to reclaim some part of her stolen youth and promise. It’s a hell of a story, by a hell of a writer, with characters that live and breathe and stick with you long after the music stops.” ~ Tom Amandes, actor/director/playwright, Everwood, The Untouchables, Celestial Events, Brothers & Sisters

“From the first page of Lorraine Devon Wilke’s Chick Singer, we’re immediately involved with the full-throated, living, breathing, complex human beings who truly seem more like people we know than fictional characters. The writing, while gorgeously descriptive, is honest and fully grounded in the real world, so this fast-paced story is truly a page-turner. Like all of Devon Wilke’s novels, once you start, you can’t stop until the last page. Another great read from this terrific contemporary novelist!” ~Susan Morgenstern, award-winning theatre/storytelling director & Producing Director of The Braid Theatre.

“In Chick Singer, Lorraine Devon Wilke masterfully transports the reader into a compelling world of secrets, suppressed dreams, artistic passions, challenging relationships, and personal triumphs. A page-turner not to be missed!” ~ Judith Teitelman, award-winning author of Guesthouse For Ganesha

“With pitch-perfect writing, fully fleshed out characters, and a page-turning storyline, Chick Singer belts out a classic tune of love, not just love-of-your-life soulmates, but between mother and daughter, best girlfriends, and, finally, that undeniable passion that pulses through your blood and defines your true self. Lorraine Devon Wilke’s best book yet.” ~ Debra Thomas, award-winning author of Luz and Josie and Vic

“Lorraine Devon Wilke has masterfully captured the middle-aged angst of a woman who dreamed big, lost, and successfully put her dream in a box never to be opened. It’s a page-turner that will resonate with anyone who has ever dreamed big and lost, only to find out that sometimes dreams can come true, just not in the ways you expect.” ~ Ann Werner, author of Crazy and the After the Apocalypse series.

Can Reading Fiction Really Save Humanity?

These are trying times.

In fact, the times have been trying for so long that many of us are exhausted from trying not to lose our fucking minds, a quest that’s sparked vigorous efforts toward that goal.

Much discussed, online and off, is the need to keep sharp and aware, alert to the detours and imminent dangers of our, well … trying times. Burgeoning cultural chaos has led to taking necessary steps to maintain mental health and a sense of connectedness even during the emotional maelstrom of 24/7 news storms. Creativity is encouraged, nature beckons; we applaud any suggestion for offsetting the toxicity of our current moment, open to new and novel ideas.

Well, speaking of “novel,” have I got good news for you: Reading fiction can can save your brain. It can make you smarter, improve empathy and critical thinking skills, and “positively affect mental health, reducing symptoms of depression, anxiety, and stress.” Who doesn’t need that right now?

It turns out this delightful act/pastime/passion (depending on how it hits you) is not only an enjoyable activity, but one that contributes to the health and welfare of our ever-essential brains.

Despite its longtime assignation as strictly a “source of entertainment,” reading fiction has the capacity to actually enhance human behavior by, yes, nurturing empathy and compassion, but also affecting declines in violence. It might be strange to consider, but it seems immersing oneself in the many different worlds, characters, and narrative experiences that fiction offers can impact and rewire the brain in a variety of positive ways, conclusions gleaned from new research published in the Journal of Experimental Psychology.

Readers of fiction can transcend the here-and-now to experience worlds, people and mental states that differ vastly from their local reality. The consequences of reading, however, extend far beyond the subjective experience of any one individual. Researchers from fields as diverse as evolutionary psychology, literary studies and anthropology have independently credited literacy as a possible explanation for such fundamental societal shifts as the decline in human violence over the past few centuries, the development of desire-based over rule-based social interactions, and the advent of ‘modern subjectivity.’ National Library of Medicine

All of which makes perfect sense to me. As one who’s been an avid reader of fiction since childhood, I can attest to the experience of fully leaping into a novel to not only feel the page-turning excitement of a good story, but the unexpected opening of one’s mind to new ideas, cultures, traditions, and human narratives otherwise unknown. I’ll never forget reading The Little Drummer Girl by John Le Carré and gaining a wider, more expansive view of the situation in the Middle East. To Kill a Mockingbird touched my young heart and soul on issues of racism and courage. There are so many novels that have impacted humanity that articles like this one exist to help us find them: 10 times fiction changed the world.

Reading fiction also impacts our mind by demanding it pay attention, page-to-page, chapter-to-chapter, to following the story and characters from beginning to end, a mental exercise that develops neural pathways that sharpen brain and memory functions, working one’s ability to remember, to hold the through line to the end. Conversely, in non-fiction you can bounce around cherry-picking what interests you without losing the overall impact of a book’s message, likely why non-fiction doesn’t provide quite the same brain benefits as fiction.

Of course, writing fiction, I’m certain, offers similar payoffs in terms of the positive effects of world-building, climbing into the mind, soul, and spirit of characters you love, hate, or may not even fully understand despite the fact that you’ve created them. I’ve often found myself so involved in the lives of people I’ve conjured up that when I’m officially done with writing, rewriting, tweaking, and rewriting some more, I feel bereft at the idea of walking away from them and their world.

The process of writing a story has also brought me greater understanding of issues and events I’ve chosen to include in the narrative. Writing my first novel, After the Sucker Punch, in which I fictionalized a difficult situation I’d had with my father, allowed me as the author, the creator of that story, to pull apart, analyze, and ultimately better understand that situation (a phenomenon my friend, Diana Stevans, cites in her lovely book, Along Came a Gardener). Fiction, it seems, is a powerful tool whether reading or writing.

People who read a lot of fiction have better cognitive skills than people who read little or no fiction.” Neoscope

So while you’re on the high-wire act of Life in America 2025, exploring ways to keep from losing your footing and tumbling into the abyss, read fiction. Grab some of the titles off the list linked above. Intersperse novels between TV-watching and non-fiction reading. Between protest marches and walks in nature. Between calling your congressman and calling on friends. Between raising your family and raising a ruckus. Read a novel and give yourself the benefits cited. You’ll get to enjoy a good story, and your heart, soul, and brain—and humanity!—will thank you for the enhancements.



NOTE:

My latest novel, Chick Singer, is out in a few weeks (April 4th) and people are asking if/when there will be book events or other happenings related to that release … thought I’d post what’s on the roster so far.

All events at this moment are in either LA or SF, so I’m hoping peeps in those areas will put these dates on their calendars and come join us. I’ll be reaching out to set up at other places as we roll out and will keep you informed as I do.

In fact, if you have a book club you think would enjoy the book, or a favorite book store in your area you’d recommend, please let me know. I’m already planning trips to NYC, Chicago, and up the coast here in CA, so I “have book, will travel” … holler at me. Look forward to seeing you along the way!


Chick Singer. The Gig. The Girl. The Story.

“I want it again. I want the dream, the joy, the fucking volume of it all. I want to scream and dance and feel a bunch of sweaty guys behind me making great music together. I want to sing so loud I fly out of my body and don’t come back until I have to. I want to be young again. I want to have a chance. And this time, this moment, this me doesn’t have one.” Libby Conlin, Chick Singer

I was fifteen when I found out I could sing. I’d done it before. It’d been pointed out earlier, eighth grade, I think, when a girl in choir mentioned it. But the full realization of my artistic aptitude didn’t fully register until fifteen. Folk group. Church. Kumbaya and all. The exhilaration of this discovery led to high school musicals, talent shows, college trios; performing at the Kennedy Center, first recording sessions, opening gigs, and by nineteen I hit the road with a full-on rock and roll band and landed in LA. My life plan was solid, sealed, and, I was certain, to be delivered. I was going to set the world on fire as a rock & roll star.

When the 80s blew up, fully embracing their iconic status as the rock era of New Wave, MTV, and crimped, fish-netted, bandanna’d wonderment, I was all in. That wild, vibrant time was spent with my original band, DEVON, building a following, recording our songs, and playing gigs everywhere from Madame Wong’s and The Lingerie, to Club Sasch and The Palace (now the Avalon). It was a heady time of big hair and bigger dreams.

Our goal—well, everyone’s goal—was to land the elusive record deal. We got close, oh, so close, and more than once, but like a brass ring that slips beyond your grasp every time it flies by, we never got there. Eventually the air went out, key people moved on; I moved on too. There were other projects, one so top-notch I was sure destiny would prevail, but it, too, slipped away.

By then we were into the 90s, then the 2000s. Indie films, marriage and child; another band, original CD, cutting edge theatrics (husband’s country musical recorded in Nashville); still songwriting. I doggedly kept the rock & roll dream alive until … BAM. Almost without noticing I was suddenly at an age when opportunities waned and a producer could look at me with something resembling pity and say (I assume in assuagement of my geriatric irrelevance): “But, hey, you must’ve been hot in the 80s!”

Not long after I pivoted to full-time writing.

Now, don’t get me wrong: I’m still singing and writing is not a consolation prize. I was, in fact, doing it throughout, in tandem with my musical pursuits. Screenplays. Articles. Stage plays. Essays. Short stories. The whole nine. But it wasn’t until I faced my inevitable aging-out as a “viable rock & roll star” that I, first, mourned the loss (it was an epic loss), then started my first novel. That was eleven years ago. In a little over a month my fourth will publish. It is, in a way, homage to my beloved music career, appropriately titled, Chick Singer.

It’s not my story—that belongs to a character named “Libby Conlin”—but it’s one informed by my experiences, perceptions, and full-body immersion in the life of a female singer making her way in a creative industry that’s, yes, exhilarating and life-changing, but also fierce, competitive, and occasionally brutal.

The plot was birthed from one of those random “what ifs?”; the kind that sticks, the kind you can’t stop thinking about until you follow the thread to an ultimately satisfying conclusion. In this case, the prompt emerged as I was chatting about my years in music with another writer, and he said something like: “What if someone secretly posted your old ‘80s music online and it went viral? Wouldn’t that be random?”

I remember laughing, thinking that would, indeed, be random, but the idea sparked a bigger idea, one that carried me into Libby Conlin’s world—her band, her dreams, her dark secrets—all of which led to Chick Singer. It’s a story that’s percolated through various iterations over the years, but never strayed from its main theme of following a woman as she traverses life—love, family, marriage, work, heartache, aging, reinvention—after losing her dream. It’s a scenario I understood, in a story that echoes, mirrors, and articulates what so many women, even those outside the creative industries, experience and navigate in order to survive, to find peace and joy, in lives that became something they hadn’t planned. A story the children, friends, husbands and lovers of those women must also navigate.

Rock & roll stardom is something you dream about when you’re young, and for Libby Conlin the ‘80s and all their wild promise are ancient history. What pulls her attention now is the unexpected arrival of Bridget, her newly divorced daughter, who’s home again despite their historically fractious relationship and the chaos it inspires. As if predestined, life quickly turns upside down when Bridget’s application to a local art school involves anonymously posting Libby’s old music online, music that’s good enough to garner the attention of industry gatekeepers. When Libby’s mysterious past—and all its dark secrets—comes roaring into the present, the reconfiguration of everything and everyone in her orbit is both bittersweet and life changing.

When fascination with rock & roll remains a never-ending draw, CHICK SINGER steps onto that stage with its raucous exploration of a complex mother/daughter relationship set against a backdrop of music, dreams, and love—and the art of redefining all three.

That’s the official short synopsis. It publishes on April 4th through Sibylline Press/Digital First. Feedback from early readers is below. The pre-order link for the Kindle version is up at Amazon; print and audiobook links will be up soon, as will links at B&N and other retailers. You’ll be able to ask for it in bookstores and libraries. I’ll update all that as it gets closer to the pub date.

Mostly, thank you for taking the time to read this introduction today. As I’ve mused in earlier Substacks, I believe this very strange moment we’re in as a country demands that we continue to create and continue to share what we create, so I appreciate you reading about what I’ve continued to create. When the time comes, I hope you’ll enjoy reading it. I loved writing it.


Notes from early readers:

“A smart, twisty, wonderful novel with all the messy grit of the real world. Devon Wilke digs into complex relationships and finds heartfelt emotion in a story of suppressed ambition and motherly love that resolves in unexpected and profound ways. Just a wow.” ~ James Parriott, award-winning producer/writer/director, Grey’s Anatomy, Ugly Betty, Patriot

“Chick Singer rocks with dynamic characters whose dialogue pops like a backbeat. Devon Wilke trains a knowing look upon our current frantic and fragmented state, and the music that goes with it. A multi-track saga for these digitized times.” ~ Junior Burke, award-winning dramatist, songwriter, and author of Buddha Was a Cowboy and Cold Last Swim

“Bittersweet and deeply felt, Chick Singer nails the heartbreak of an artist forced to recalibrate when the heady dreams of youth crumble into the stale compromises of middle-age. But Libby Conlin is not about go gently. In a world where music, passion, and even sex are pitched as the exclusive domain of the young, Libby fights to reclaim some part of her stolen youth and promise. It’s a hell of a story, by a hell of a writer, with characters that live and breathe and stick with you long after the music stops.” ~ Tom Amandes, actor/director/playwright, Everwood, The Untouchables, Celestial Events, Brothers & Sisters

“From the first page of Lorraine Devon Wilke’s Chick Singer, we’re immediately involved with the full-throated, living, breathing, complex human beings who truly seem more like people we know than fictional characters. The writing, while gorgeously descriptive, is honest and fully grounded in the real world, so this fast-paced story is truly a page-turner. Like all of Devon Wilke’s novels, once you start, you can’t stop until the last page. Another great read from this terrific contemporary novelist!” ~Susan Morgenstern, award-winning theatre/storytelling director & Producing Director of The Braid Theatre.

“In Chick Singer, Lorraine Devon Wilke masterfully transports the reader into a compelling world of secrets, suppressed dreams, artistic passions, challenging relationships, and personal triumphs. A page-turner not to be missed!” ~ Judith Teitelman, award-winning author of Guesthouse For Ganesha

“With pitch-perfect writing, fully fleshed out characters, and a page-turning storyline, Chick Singer belts out a classic tune of love, not just love-of-your-life soulmates, but between mother and daughter, best girlfriends, and, finally, that undeniable passion that pulses through your blood and defines your true self. Lorraine Devon Wilke’s best book yet.” ~ Debra Thomas, award-winning author of Luz and Josie and Vic

“Lorraine Devon Wilke has masterfully captured the middle-aged angst of a woman who dreamed big, lost, and successfully put her dream in a box never to be opened. It’s a page-turner that will resonate with anyone who has ever dreamed big and lost, only to find out that sometimes dreams can come true, just not in the ways you expect.” ~ Ann Werner, author of Crazy and the After the Apocalypse series.


linktr.ee/lorrainedevonwilke

A Writer’s Life is a Roller Coaster. How Best to Avoid Whiplash

When I was in grade school, my class participated in a special pullout session to watch an interesting documentary about noted anthropologist Louis Leakey. I was mesmerized throughout, so when we were assigned to write an essay immediately afterwards, I jumped in, flush with enthusiasm. 

Photo by hannah grace on Unsplash

Imagine, then, the blow of getting my paper back with a big “D+” circled in red with the sharply worded comment: “Much copied material!” Which was shocking (and inaccurate), given that it was written about a movie I’d just watched, with no reference materials to tap, and not a word of it from anywhere but my own fertile mind. It seems I’d enjoyed the film enough that I retained much of the information and wove that into my analysis and review. “Wasn’t that what I was supposed to do?” I internally caterwauled. Yet when I confronted the teacher to assert my plagiaristic innocence, she refused to believe “a child your age could have written anything as cogent and well thought-out as this,” and my hideous grade held. Talk about a back-handed compliment! 

I kept that essay with its big, circled “D+” as a reminder of just how misguided and off-the-mark much about writing (and writers) can be. As both an art form and an industry, it’s rife with opinions, instructions, rules, mandates, perceptions, and demands that often, and sometimes quite loudly, contradict each other. And while we, the writers, are driven to express our narrative impulses from the purest places of creativity, most of us also want to be humble and open, learn from experts, and build goodwill in hopefully sustaining relationships. So when we get hit with those many contradictions and confusions—often found in “rules of writing” lists, personal critiques, and advice we don’t necessarily agree with but feel we probably should—there’s a struggle to know what to accept, what to reject, when to get a second opinion, and when to just shut up and do that page-one rewrite. 

All of these options and elements comingle in the swooping up-and-down roller coaster life that is a writer’s. You know, that ride we clamor onto in pursuit of fulfilling our dream, building a career, working toward excellence, and finding success. It’s a ride that’s unpredictable and exhilarating, terrifying and whiplashing; one that, when it takes off, leaves us unsure of whether to raise our hands and scream in delight, or demand someone stop the damn thing and let us off. 

Though it’s been over a decade since I finished my first novel, I still find myself shaken at times on that ride. Jostled, as I continue to sharpen my writing skills, query agents; evolve my thinking on options in the publishing industry, even work with other writers to help them polish their own work. I think (I hope) I have come to a place where I have thick enough skin, deep enough wisdom, and much less reliance on magical thinking, but I’m still amazed at how many of the questions I asked—or was asked—years ago that are still being asked today: 

  • Is self-publishing the kiss of death? (No
  • Does it really matter what our book covers look like? (Yes)
  • I can’t afford an editor; can I put my book on Amazon anyway? (You can but definitely shouldn’t without professional editing and formatting.)  
  • Can anyone but romance writers find an agent? (I’m not clear on that … I just got a rejection letter from an agent I queried 2.5 years ago; it took her that long to even acknowledge my submission!)
  • Are we allowed to call ourselves writers if we haven’t published anything yet? (If you’re writing, I say you’re a writer.)
  • I heard that Stephen King said writers shouldn’t watch TV; did he say that and is he correct? (I don’t know if he actually said that. If he did, it might have been taken out of context. If it wasn’t, no, he’s not correct.)
  • How many books do we need to write a year to be considered successful? (The metric of “success” has nothing whatsoever to do with how many books you write a year… or ever.)

The list goes on, but let me leap on that last one, as it’s a question that sparked a recent conversation with a writer friend of mine. It had taken her a good many years to fully develop, write, fine-tune, and ultimately prepare her current book for publication, and yet she kept reading about other writers who were cranking out three, four, even five books in a year, which astounded and confused her. “How can they manage that when it’s taken me so long to do my one? Is it possible some of us only have one story in us?”

She said she’d posited the question in her writing class and got lots of feedback: some commiserated with her query, wondering and feeling similar things. Others admitted that though they did publish more frequently, not all they wrote was particularly memorable (she thought that was bracingly honest, as did I!). And there were a few who took umbrage with her phrase “cranking out,” asserting they could write several books a year without any loss of quality. I weighed in with something like this: 

“I totally understand your dilemma. And you’re not alone. I’ve taken years between my books and long ago decided that’s just the way it is for me. I’m not interested in quantity over quality, and for me to write what I perceive to be a quality book takes time, with lots of rewrites and editing and more rewrites, and with that sort of protocol you literally can’t crank out several books a year.

“I have seen some people crank out two, three, sometimes four books a year, and maybe they’re good enough for some readers, but upon further inspection I’ve found many don’t hit the mark for me. Often they’re quick and formulaic, sometimes lacking thoughtful editing or proper copy-editing. But it’s a choice people make, both as writers and readers.

“You do your thing, feel and tell your stories, however many or few you have, and don’t worry about the rest. You’re good.”

And I stand by that. Though, frankly, I don’t know why that debate persists. It shouldn’t. It’s a personal choice. Unless you signed a deal agreeing to a certain number of books for a publishing company (and then congrats to you!), how many books you write is as personal a matter as how much you weigh, how many children you want (or don’t), or why you suddenly hate musicals. That it’s become a flashpoint amongst writers is strange to me, whether it’s that weird point-of-pride for some who do “crank out” several books a year, or a “shame cudgel” for those who don’t, can’t, don’t want to. Both decisions are valid. Neither is more meritorious than the other. So let’s parse how to avoid the whiplash triggered by that particular roller coaster dive.

It can sometimes be hard for writers to take the long view of their art and the industry that encompasses it. Some put heart and soul into the work, believe in it, love it as they’d love a child. Others see it as less about love and more about commerce, using their skills and creative output to build income and popularity. Some fall somewhere in between. I think you have to, first, figure out where you see yourself on that spectrum, then construct a writing protocol and business plan that aligns with what you decide. Once you candidly and honestly do that, it gets easier to find answers to the issue discussed in your writing  group … or any questions that arise over time.

Things like: What do I prioritize in terms of where I spend my time and money? How much critique do I need and want; how much do I seek out; how much do I implement? Which rules feel organic and productive; which are non-applicable to me? What publishing model suits how I want to do this? How many stories do I have to tell; how many books do I feel compelled to write?

No one can answer those questions for you, and anyone who tells you there’s only one way to achieve or perceive success—whether creative, critical, or commercial—is wrong. There are many ways, just as there are many versions of success. Though I’d certainly love all the perks best-selling authors enjoy as much as the next person, more important to me is telling the stories I want to tell the way I want to tell them: how they flow, how they feel, what they say, how the books look, how they’re presented in the marketplace, and so on. If that comes with perks, yippidy do dah! If it only comes with my sense of artistic pride and personal satisfaction, so be it. I can live with that.   

Odds are you can too. You simply have to define your goal, decide your path, then buckle in for the journey you design to get there. Hopefully, you can enjoy the ride, get to your destination in one piece and succeed without pulling a muscle … you might even ask to be taken around again! 

— ———

Additional read: THE ART & CRAFTINESS OF CRITIQUE:  Women Writers Women’s Books, February 25, 2022

Next Year’s Words Await a New Voice…

I’m experimenting with a few. We’ll see what sticks.

“For last year’s words belong to last year’s language. And next year’s words await another voice.” ~ T. S. Eliot

Eliot’s quote seems apropos at this particular moment, on this particular day, the last day of 2024. I feel like I actually need another voice for this coming year, one that can hopefully start fresh, be optimistic; speak about uplifting things. The one I’ve been using is notably exhausted and a little sad, and I don’t want to leap into 2025 with either of those states weighing on my personal zeitgeist.

It was a tough year, 2024.

For those of us who went all-in on the election—some even in the years leading up to it—it’s been hard reconciling the fact that a great portion of our society doesn’t share a value system that once seemed essential, expected, and non-negotiable. We’re left to await the incoming administration with a mix of dread, fear, anxiety, and anger, poised to push back, stand firm, and hold strong to principles they may not hold dear, but good people still do. It sounds exhausting already, but that’s what we’re in for. And we’ll do it; we have to, but, yeah … that’s tough.

It was also a year in which wars stacked upon wars, each with the deadly cost of lives and hope for peace. Gaza was decimated at the expense of tens of thousands of its citizens. Ukraine was forced to continue the fight with Putin’s Russia. Sudan battles its civil war, with violent unrest in other African countries, as well as in South America. Syria, perhaps, offered one glimmer of hope with the fall of the long-running Assad regime; the world now waits to see what evolves from that surprising development.

All over the globe, social justice and compassionate inclusion (or, as hardcore right wing wags call it, “woke mind virus”) take a beating from a growing trend toward fascism, white supremacy, and rabid nationalism. Identity battles related to gender and sexual orientation, women’s rights, the rights and freedoms of many marginalized groups (including marriage equality and reproductive freedoms) are at risk. As are the freedoms typically afforded public schools and other taxpayer funded organizations as fundamentalists and right wing theocrats attempt to control what we read, learn, and think, and how we pray or don’t pray.

On a personal level, this year has been a mix of tough and tender, heartbreaking and celebratory. I lost a beloved little sister to metastasized breast cancer, even as I observe my own “five-year clear.” I held my breath as one of my dearest friends worked to recover from a stroke, then celebrated news of the imminent arrival of my only child’s first child. It’s been a hearty mix of emotions, but that’s life, isn’t it? It’s all a hearty mix.

But now I want to rethink what I “muse” upon going forward, especially on this Substack platform of mine. What I focus on. What I use my voice for. What I dive into. I realized, as I sat here writing this on December 31st, that since the night of the election when I swore off all televised news and mainstream media, that I really do feel better keeping a healthy distance from the nonstop, relentless, clickbaiting, endlessly hyperbolic coverage of all-things Trump, politics, Biden, congress, Mace, Trump, Musk, politics, Johnson, Bannon, inauguration, Trump, Trumps, more Trumps…. aaaaaggghgh! I really do. So I’m stickin’ with that. My mental health is more important than my full-body immersion in “what’s going on today in politics?”

To be honest, I don’t care. Well, I do care; I care passionately. But there’s only so much I can do about the many things I can do nothing about at this moment in time. And while that sense of impotence feels gutting in so many ways, there’s also freedom to acknowledging that I can step back and put my able attention on other things. And those things I can do nothing about? They’re off my table; shelved, back-burnered. I’ll keep a peripheral eye on things—just so I can stay abreast of when there might actually be something I can do something about—but other than that, it’s all going to have to roll down that long, winding, rocky road of the next four years without my finger on the pulse.

What I am going to pay more attention to? Life. Life beyond politics. Things I’m doing, things people I admire are doing; causes I believe in and organizations I support. I keep thinking about all the good people in this world who surely deserve more word count than the worst amongst us, people like Jane Goodall, Malala Yousafzai, Melinda Gates, and Marley Dias. Young climate change activists, good men standing with women to fight for the preservation of their rights; immigration activists going knee-deep to offset the upcoming (and naziesque) “mass deportation” movement. Let’s talk about those people for a change.

There’s also the day-to-day of my own life, stuff I’ve got going on, things I’m working on. I want to talk about some of that, too. For example, I’ve got a fourth novel coming out on March 28th of ‘25. Chick Singer. I’m excited about that. It’s a book I’ve put a lot of heart and soul into; it taps into my long background in the world of rock & roll (one of the things I love most about my origin story), and I’m going to write some about it as it gets closer to its pub date. I promise I won’t overdo it, but I’ll want you to know enough that you can access and enjoy the book … I’m convinced you will.

I also want to continue to inject humor into things. Actually, as often as possible. Bring my slightly skewed perspective of life to the page from time to time to hopefully engender a laugh or two… that’d be nice, right?

There’s more, but that’s enough for now. Is that a “new voice,” “another voice,” or just my old one refocusing? I’m not sure. All I know is I want to broaden the scope, widen the subject matter; pull myself out of the dark stream of political disconsolation. That new voice will likely be lighter. I hope so. Lightness of being can go a long way toward balancing the dark that persists in this human endeavor we call life. I’m counting on that.

So as we ring out this maddening year, I wish for you whatever “new voice” you might need, and all the lightness of being you can possibly muster for the upcoming year. Let’s make it a really good one … in spite of it all. I’m convinced we can.

Happy, Happy New Year, my friends!


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The Girl I Discovered In My Search For You

There was a sharp knock at the door, odd at that dark, early hour of December 13th, 1999. But a knock in the night is always strange.

I had closed in a Christmas show the evening before and hadn’t been able to fall asleep for hours, so now, disoriented, I bolted awake as my husband answered the door. My brother. He lived up the hill; came down to tell me the news. Our father was dead.

I remember I had a grief reaction—an outcry, a bend forward—that didn’t seem authentic to me at the time. It felt like a rote response that was expected or something a person would do in such a circumstance, but the emotion didn’t make it to my gut until much later. Which was also odd. But I hadn’t lost a parent before so there was no foresight into how it should feel, how I should react, what was the appropriate response. Mostly it felt surreal. He’d been sick, so it wasn’t a soul-rattling shock, but still … it was my dad. And now he was gone.

If you asked me about my relationship with my father, in today’s vernacular I’d have said, “It’s complicated.” It was, in both basic, traditional father/daughter ways and in very individual him/me puzzles. A lifelong mash-up of deep love, incredible admiration; cyclical conflict, longing for closer rapport (me), confusion about what the hell I was doing with my life (him), and ultimately, always, back to deep love. It was hard getting enough one-on-one time with a parent when you have ten siblings, at least it was for me, and back then, as I created my splashy, vivacious persona to, no doubt, attempt to stand out in the crowd, I felt my father was still … elusive. That’s a good word, I think. I wanted his approval, his attention, but I wanted the stuff that was just for me, not “all my kids,” and that was … elusive.

Yeah… I might’ve driven him crazy.

So I left home and got into my own life across the country, and years into that adulthood it seemed we were, finally, getting to a place where we could relate as peers. I’d become a wife and mother by then; we were grown people with common history and a shared passion for writing, reading, and arts in general, engaging in meaningful discussions of books, movies, family, the meaning of it all. It was good.

Then he got sick.

Neuromuscular, incurable; diagnosed as ALS, degenerative, devastating. It was only five months between the time he entered the hospital and that dark December knock on the door. Which is swift for that dreaded disease. But, as research of other cases made clear, that might have been a blessing.

I remember the first frantic day we knew something was undeniably wrong (there’d been denial on his part up to that point). My brother and I flew up to Olympia after he’d gone into respiratory arrest, lodged ourselves in a waiting room waiting for word while simultaneously watching shocked coverage of JFK, Jr.’s plane crash. July 16th, 1999. That confluence of tragedies made the date one I won’t forget. He was ultimately transferred to a Seattle hospital, where my sibs and I rotated vigil in the ICU family room. I was there eleven days without leaving, getting to know the doctors and nurses involved, being the family spokesperson, wrangling my confused and terrified mother; spending time and feeling hope after my father came to consciousness once again.

That hope took a rollercoaster ride over those next five months, up and down, good news; bad news, reassured, uncertain, ultimately concluding in a rehab facility where he lived with my mom until that December 13th. He died the very first night he slept without a breathing machine (something he’d insisted on), and only a few hours after I’d charmed audiences at the Alex Theater in Glendale with my bluesy rendition of “Walking In a Winter Wonderland.”

That’ll change Christmas for you.

That was twenty-five years ago today. Doesn’t seem that long ago, but twenty-five years is a quarter-century and much has changed in me, in my life, since. I think of him almost daily and look back on the road we traveled together, noting how my perceptions and interpretations of that journey have changed along with my own evolution.

His quick nutshell history:

Born to two Greek immigrants who’d fled Turkey in the early 1900s to settle in Chicago where a large Greek community thrived, my father was a serious, handsome boy with one older brother, a love of nature, books, and writing, inspired to major in journalism at Northwestern University. In his early twenties, he fell in love with a funny, effervescent Irish/German Catholic girl who became my mother. His parents weren’t happy about the union—not so much because she wasn’t Greek, but because she was Catholic, a religion for which they held great antipathy, exacerbated when my father converted to make a church wedding possible. My grandparents did not attend that wedding, but later a shaky detente was achieved (the imminence of grandchildren will do that), and my parents moved into the second floor flat of their home, where my two older sisters, a younger brother, and I were born. Then they absconded from the city to raise us (and, subsequently, seven more children) in rural northern Illinois.

My father was one of those converts who became, perhaps, more committed to the religion than even my mother, which is what sparked many of our cyclical conflicts. I was a skeptic, a questioner, a doubter of the dogma and doctrines; he was not only an enthusiastic devotee, but it informed many of his parenting decisions I most chaffed at. Head-butting was frequent. But in between, I adored him for being the creative, funny, adventurous father he was, introducing us to theater, nature; getting us to White Sox and Cubs games. There was lots of music in the house; records played, singing was frequent; there was art, basement plays and backyard carnivals. While working at the local post office, he created a board game for us called, “Country Mailman.” We loved it. When the TV broke, boxes of library books replaced it and after we stopped caterwauling about losing our cartoons, we found the trade-off endlessly absorbing.

He was also a prodigious and frustrated writer. “Frustrated” because he was determined to get what he wrote—articles, short stories, novels—published, but, as many of us in the field know, that can be a hard goal (and there was no Substack back then!). He certainly found it so and that ground at him. Beyond the time and tasks related to that endeavor, he also kept copious journals he invited his children to read. I scanned a few but at the time didn’t find them particularly interesting (lots of dry, statistical data and odd analyses of people in his life). After he died, however, I was alerted to one written when I was twenty-six in which I played a central role, his year-long commentary on choices I’d made in/for my life and why he felt I was a failure at that point, squandering my many talents. Suffice it to say, that was a sucker punch.

Which became the title of my first novel, After the Sucker Punch, a highly fictionalized story that wrestled with those very plot points. Writing the book was both creatively joyful and a form of therapy. How strange, really, that a totally imagined character, the father’s sister, guided “Tessa,” the story’s protagonist, to an understanding of her father that was heretofore missing, helping her reclaim memories of her childhood and her honest love for him. All of which ended up informing my own emotional and psychological evolution. Fiction as self-therapy … what a concept! I had “Tessa” put some of that epiphany in a letter to her deceased father at the book’s end:

Here’s what I know: You were a good man. You had moments of warmth and kindness and you took good care of us. When you laughed it was golden. You loved a good book. You appreciated creativity and personal expression. You understood passion and you somehow made me feel like I could find my path in the world, that I had the courage to step outside of convention to go after bigger things. You encouraged my artistic self even if you didn’t understand it. You had your own dreams and you understood their value. I know because you were the one who gave me the eyes to dream in the ways I still do. You gave that to all of us, and it is a gift so treasured…

What I discovered in my search for you, Dad, is a stronger sense of myself. It’s fragile, occasionally teetering, in need of much support and reinforcement, but it’s there. I even wrote a song about it, the first one I’ve written in over five years. I’m sending it to you with this letter because it’s about you and me. About how, in trying to find you, I finally discovered who I am. The real me. The true girl. The one who survived your sucker punch, survived my own mistakes and evolved into who I am, not the stranger you wrote about. Your words didn’t define me; my life does. That is a monumental accomplishment. I’m holding on to it for dear life. And I hope you like the song!

Mostly? I know you loved me. No matter what you said in that journal, I know you loved me. As I loved you. And in accepting that, I’ve come to accept you as the flawed man you were. I’ve forgiven you for that man, as I’ve forgiven you for hurting me. I’ve also come to accept you as a loving father who relished life and cherished his family. Can those contradictions exist in the same person? Yes. Because I’ve chosen to believe that. And that choice gives me faith. Faith that you loved me. And that’s just going to have to do.

And I did write that song. For my own father. It’s one of my favorites. “My Search For You.” Click the title to listen.

During one of our last conversations, he was at my dining room table reading some one-acts I’d written for a theatrical production. After putting them down, he looked up at me and said, “You’re a better writer than I am.” He said it humbly, authentically, and it left me both elated and sad. Elated that he recognized and acknowledged a skill and talent he’d, in fact, nurtured in me; sad that it seemed to indicate a resignation, a reconciliation, of his own dashed dreams. But still … he kept writing until his beleaguered hands couldn’t write anymore, which was just weeks before he died. I’ve often thought that as a passionate, driven writer, his being forced to accept that limitation was one final, powerful reason to let go… which I understood.

So, on this twenty-fifth anniversary of your death, know that I’m thinking of you, Dad, as I so often do. I hope wherever you are you’re either living another robust, creative life, or hanging with Mom and Eileen, maybe even Grandma, enjoying the lightness and freedom of whatever that vaunted, unknown realm offers. Know you are loved and missed by us all. Certainly by me, your third daughter. The loud one. You’ll always be missed by me.

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