Hereās my life. My husband and I get up each morning at 7Ā oāclock and he showers while I make coffee. By the time heās dressed Iām already sitting at my desk writing. He kisses me goodbye then leaves for the job where he makes good money, draws excellent benefits and gets many perks, such as travel, catered lunches and full reimbursement for the gym where I attend yoga midday. His career has allowed me to work only sporadically, as a consultant, in a field I enjoy.
All that disclosure is crass, I know. Iām sorry. Because in this world where women will sit around discussing the various topiary shapes of their bikini waxes, the conversation about money (or privilege) is the one we never have. Why? I think itās the Marie Antoinette syndrome: Those with privilege and luck donāt want the riffraff knowing the details. After all, if āthose peopleā understood the differences in our lives, they might revolt. Or, God forbid, not see us as somehow more special, talented and/or deserving than them.
Thereās a special version of this masquerade that we writers put on. Two examples:
I attended a packed reading (Iām talking 300+ people) about a year and a half ago. The author was very well-known, a magnificent nonfictionist who has, deservedly, won several big awards. He also happens to be the heir to a mammoth fortune. Mega-millions. In other words heās a man who has never had to work one job, much less two. He has several children; I know, because they were at the reading with him, all lined up. I heard someone say they were all traveling with him, plus two nannies, on his worldwide tour.
None of this takes away from his brilliance. Yet, when an audience member ā young, wide-eyed, clearly not clued in ā rose to ask him how heād managed to spend 10 years writing his current masterpiece ā What had he done to sustain himself and his family during that time? ā he told her in a serious tone that it had been tough but heād written a number of magazine articles to get by. I heard a titter pass through the half of the audience that knew the truth. But the author, impassive, moved on and left this woman thinking heād supported his Manhattan life for a decade with a handful of pieces in the Nation and Salon.
Example two. A reading in a different city, featuring a 30-ish woman whose debut novel had just appeared on the front page of the New York Times Book Review. I didnāt love the book (a coming-of-age story set among wealthy teenagers) but many people I respect thought it was great, so I defer. The author had herself attended one of the big, East Coast prep schools, while her parents were busy growing their careers on the New York literary scene. These were people ā her parents ā who traded Christmas cards with William Maxwell and had the Styrons over for dinner. She, the author, was their only beloved child.
After prep school, sheād earned two creative writing degrees (Iowa plus an Ivy). Her first book was being heralded by editors and reviewers all over the country, many of whom had watched her grow up. It was a phenomenon even before it hit bookshelves. She was an immediate star.
When (again) an audience member, clearly an undergrad, rose to ask this glamorous writer to what she attributed her success, the woman paused, then said that she had worked very, very hard and sheād had some good training, but she thought in looking back it was her decision never to have children that had allowed her to become a true artist. If you have kids, she explained to the group of desperate nubile writers, you have to choose between them and your writing. Keep it pure. Donāt let yourself be distracted by a babyās cry.
I was dumbfounded. I wanted to leap to my feet and shout. āHello? Alice Munro! Doris Lessing! Joan Didion!ā Of course, there are thousands of other extraordinary writers who managed to produce art despite motherhood. But the essential point was that, the quality of her book notwithstanding, this authorās chief advantage had nothing to do with her reproductive decisions. It was about connections. Straight up. Sheād had them since birth.
In my opinion, we do an enormous ālet them eat cakeā disservice to our community when we obfuscate the circumstances that help us write, publish and in some way succeed. I canāt claim the wealth of the first author (not even close); nor do I have the connections of the second. I donāt have their fame either. But I do have a huge advantage over the writer who is living paycheck to paycheck, or lonely and isolated, or dealing with a medical condition, or working a full-time job.
How can I be so sure? Because I used to be poor, overworked and overwhelmed. And I produced zero books during that time. Throughout my 20s, I was married to an addict who tried valiantly (but failed, over and over) to stay straight. We had three children, one with autism, and lived in poverty for a long, wretched time. In my 30s I divorced the man because it was the only way out of constant crisis. For the next 10 years, I worked two jobs and raised my three kids alone, without child support or the involvement of their dad.
I published my first novel at 39, but only after a teaching stint where I met some influential writers and three months living with my parents while I completed the first draft. After turning in that manuscript, I landed a pretty cushy magazine editorās job. A year later, I met my second husband. For the first time I had a true partner, someone I could rely on who was there in every way for me and our kids. Life got easier. I produced a nonfiction book, a second novel and about 30 essays within a relatively short time.
Today, I am essentially āsponsoredā by this very loving man who shows up at the end of the day, asks me how the writing went, pours me a glass of wine, then takes me out to eat. He accompanies me when I travel 500 miles to do a 75-minute reading, manages my finances, and never complains that my dark, heady little books have resulted in low advances and rather modest sales.
I completed my third novel in eight months flat. I started the book while on a lovely vacation. Then I wrote happily and relatively quickly because I had the time and the funding, as well as help from my husband, my agent and a very talented editor friend. Without all those advantages, I might be on page 52. OK, thereās mine. Now show me yours.
Itās so important because I see younger people who can write going āoh yes, I can write, therefore I will be an English major, and write my book and live on that yes?? then I donāt have to do other jobs yes??ā and youāre like āoh, no, honey, at least try to add another string to your bow, please believe that it will not happen quite like thatāĀ
Itās so important because when youāre impressed byĀ Lord of the Rings, remember that Tolkien had servants, a wife, university scouts and various underlings to do his admin, cook his meals, chase after him, and generally set up his life so that the only thing he had to do was wander around being vague and clever. In fact, the man could barely stand to show up at his own day job.
Yep. Ā I tried for 8 years to write while also supporting myself as a teacher, and it was possible but really hard. Ā It was basically write instead of having a social life, and even that was squeezing it in around marking essays, cooking, cleaning etc. Ā Now my partner supports me, and I have the time to actually get *good*. Ā I had my first play produced this year because of an opportunity I wouldnāt even have had time to apply for if it hadnāt been for beingĀ āsponsoredā by him. Ā I still earn a laughable fraction of a liveable wage, by the way, and I can keep at it because he pays the rent. Ā It really is incredible how much better you get if you actually have time to practice.
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