{"id":1135,"date":"2011-01-26T00:08:29","date_gmt":"2011-01-26T04:08:29","guid":{"rendered":"http:\/\/beatrice.com\/wordpress\/2011\/01\/26\/caroline-leavitt-interview\/"},"modified":"2016-04-17T22:10:09","modified_gmt":"2016-04-18T02:10:09","slug":"caroline-leavitt-interview","status":"publish","type":"post","link":"http:\/\/beatrice.com\/wordpress\/2011\/01\/26\/caroline-leavitt-interview\/","title":{"rendered":"Caroline Leavitt: Literary Can Be Commercial &#038; Vice Versa"},"content":{"rendered":"<p><img decoding=\"async\" id=\"image1134\" src=\"http:\/\/beatrice.com\/wordpress\/wp-content\/uploads\/2011\/01\/caroline-leavitt.jpg\" alt=\"caroline-leavitt.jpg\" \/><\/p>\n<p>I got an email late last year from Leora Skolkin-Smith reminding me that our mutual friend, <a href=\"http:\/\/www.carolineleavitt.com\/home.htm\">Caroline Leavitt<\/a>, had a new novel coming out at the start of 2011. Since then, <a href=\"http:\/\/www.powells.com\/partner\/29017\/biblio\/1565126319\"><i>Pictures of You<\/i><\/a> has been getting a lot of attention, and a reputation as the year&#8217;s first breakout &#8220;upmarket commercial&#8221; novel. (&#8220;Upmarket commercial&#8221; in this context is marketing language for &#8220;a very compelling story told in very polished prose,&#8221; and at 150 pages in, I can confirm that characterization.) Caroline and Leora have known each other since they began working together on adapting Leora&#8217;s novel, <i>Edges<\/i>, into a screenplay (now in preproduction with Triboro Films). &#8220;We soon began sharing the travails and triumphs of the writing life with our novels,&#8221; Leora says, &#8220;and then began sharing our personal lives, as well, until now we&#8217;re pretty inseparable.&#8221; So with <i>Pictures of You<\/i> arriving in stores, it seemed like a natural fit for Leora to ask Caroline some questions about the novel.<\/p>\n<blockquote>\n<p><b>Your blurbs are a truly unusual mix of writers, running the gamut from Robert Olen Butler to Jodi Picoult. Some are intensely &#8220;literary&#8221;, even &#8220;experimental&#8221;, and others, talented genre writers. You have a democratic notion of literature and story-telling and you don&#8217;t wage an battle against either camp&#8212;the &#8220;literary&#8221; or the &#8220;commercial&#8221;, a battle that seems to be always flaring up in our writing world far too often (for me anyway). Can you talk a little about your understanding of genre, of fiction and story-telling? And how you see this battle as it wreaks havoc on our collective literary universe?<\/b><\/p>\n<p>I hate the notion of genre, because I think it stonewalls the reading experience. Why can&#8217;t a literary novel also be a commercial page-turner? Why can&#8217;t a commercial romance also be literary? Why do we have to pigeonhole books and writers as if readers aren&#8217;t smart enough to discover what a book is offering them just by reading it? I&#8217;m hoping the lines between literary and commercial are going to blur more and more. (Case in point: Look at Justin Cronin who wrote a literary and highly commercial vampire novel!) I deliberately wanted to span the gamut of writers for blurbs for <i>Pictures of You<\/i>&#8212;male, female, literary and commercial&#8212;simply wanted to underscore that hopefully, a wonderful read is a wonderful read and we really don&#8217;t need to always be making value judgments about a book before we&#8217;ve even read past the first chapter.<\/p>\n<\/blockquote>\n<p><!--more--><\/p>\n<blockquote>\n<p><b>Caroline, you also helped me through a thick, very intellectual novel I couldn&#8217;t break through: my latest, <i>Hystera<\/i>. As someone who had studied with Susan Sontag and Donald Barthelme, the whole notion of &#8220;plot&#8221; scared me, it felt so contrary to my more language-oriented writing self. But you helpedme formulate an organic method of plot through character, and language, that wasn&#8217;t an action-laden wish-fulfillment for an audience. Can you talk a little about your understanding of plot?<\/b><\/p>\n<p><p>I learned a lot about plot when I started to write scripts, how one thing could lead to another in a very organic and visual way as long as it came out of character need. <i>Pictures of You<\/i> swirls around the collision of four characters: Isabelle, a photographer fleeing her philandering husband; Charlie, desperately searching for answers to what his wife, his son and a suitcase were doing three hours from home; April, his wife who harbors a terrible secret; and Sam, their frighteningly asthmatic son. Within those characters, I tried to build on what they each desperately wanted and couldn&#8217;t have verses what they ended up realizing they needed. I kept homing in on why they wanted what they wanted and why they couldn&#8217;t get it. The more I kept that idea in mind, the more my characters began talking to me, and the more plot seemed to evolve for me. On a side note, the funny thing about my writing scripts is that although I&#8217;ve won some prizes for them, I&#8217;m usually told my scripts read too much like novels!<\/p>\n<p><b><\/p>\n<p>Okay, let&#8217;s talk about what you have planned for the future. What&#8217;s obsessing you now?<\/b><\/p>\n<p>I&#8217;ve sold another novel to Algonquin, my beloved publisher, tentatively called <i>The Missing One<\/i>, which is set in the 1950s and early &#8217;60s in a suburban neighborhood, so besides obsessively writing I&#8217;ve been doing a lot of research. And, ah hem, I want to adapt your next novel, <i>Hystera<\/i>, for the screen if you&#8217;ll let me!<\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>I got an email late last year from Leora Skolkin-Smith reminding me that our mutual friend, Caroline Leavitt, had a new novel coming out at the start of 2011. Since then, Pictures of You has been getting a lot of attention, and a reputation as the year&#8217;s first breakout &#8220;upmarket commercial&#8221; novel. (&#8220;Upmarket commercial&#8221; in [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"_links":{"self":[{"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/posts\/1135"}],"collection":[{"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/comments?post=1135"}],"version-history":[{"count":1,"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/posts\/1135\/revisions"}],"predecessor-version":[{"id":3860,"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/posts\/1135\/revisions\/3860"}],"wp:attachment":[{"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/media?parent=1135"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/categories?post=1135"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/beatrice.com\/wordpress\/wp-json\/wp\/v2\/tags?post=1135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}