Sue Miller, author of The Good Mother, Inventing the Abbots, and more terrific novels, talks with the Liars Club about how much she knows and doesn’t know as she writes, and a dozen other intricacies of the craft, on this week’s Liars Club Oddcast.
Premiering January 5th, 2017 (that’s today): The Liars Club Oddcast, on the Project Entertainment Network.
Just a bunch of people who make stuff up for a living, interviewing other people who make stuff up for a living, and all while drinking beer and wine in the middle of the day. What could possibly go wrong?
Join us for a lively round of lies and exaggerations featuring everyone from NY Times Bestselling authors to National Book Award finalists to debut novelists, screenwriters, actors and more. Hosted by The Philadelphia Liars Club. Note: We are not responsible for the truthiness of any content, because, well, Liars. You get the picture.
First up will be Jonathan Maberry, who cofounded the Philadelphia Liars Club with me back in the 1870s… Trust me, I’m a Liar.
Not all that long ago I posted about Circa notebooks on Facebook, and restrained myself from posting about related obsessions, notably pens and inks. Author Michael Swanwick responded with a demand for something about those other elements of the addiction. And so here is a little bit more on the subject.
This then is a little bit of the insanity of ink and pen obsession I attempted to stay away from the first time. Blame Michael Swanwick.
I write with a fountain pen. Hemingway and Robert Ludlum wrote with pencils. A lot of pencils. My longtime friend Joe Haldeman writes, likewise, with a pen and ink. In fact, at one time Joe and I were addicted to the Koh-i-noor Inkograph, a “fountain pen” version of a technical pen, the Rapidograph. (If that doesn’t date us, nothing will.) Once upon a time, on an IBM Selectric typewriter, I could type about 90 words a minute. Generally, this is more words than I can think in a minute (go ahead, try). So I tried a fountain pen because it forced me to slow way down and pay attention to the words. There is also an added tactility to this way of writing, and with fountain pens in particular, a ritual approach to it that is surely the equivalent of a Japanese tea ceremony. And writers, I have to tell you, can be very obsessive, and possessive, about their process.
It was delightful then to find out some years later that Joe and I had both gravitated to Noodler’s Legal Lapis ink. Noodler’s ink is a favorite of mine. At one point they were manufacturing inks for the Russian market, and you could get your hands on “Dostoevski” or “Pasternak” as color choices. (I never did score a “Bulgakov.”)
The photo shows a couple of notebooks, a huge bottle of ink, and a lovely Conklin pen filled with that ink, which is a rich black called (wait for it) “Heart of Darkness.” If you write with this ink, you might find yourself muttering, “The horror, the horror.”