Three Questions for Random House VP & Executive Editor Kara Cesare on The One That Got Away

Kara Cesare, Vice President & Executive Editor, Random House Group, offers insights into her work with debut novelist Bethany Chase and the newly released The One That Got Away.  Full of both humor and heartbreak, this book tells the story of one woman’s discovery that, sometimes, life is what happens when you leave the blueprints behind. Having been the editor of a broad range of bestselling, award-winning authors, from Janet Evanovich to Lisa See, what was it about Bethany Chase and The One That Got Away that captured your interest and made you want to acquire and edit her novel? I fell into The One That Got Away immediately, and I didn’t stop reading until I turned the last page, which speaks to Bethany’s storytelling talent. I appreciated her gift for creating relatable, winning characters looking for love, but also searching for their place in the world. I missed the characters as soon as I finished the novel—that’s how vivid they were to me, and that’s when I knew I wanted to acquire such an impressive, emotional, and romantic debut. I was also very inspired by Bethany’s strong aesthetics in the novel—she’s an interior designer by trade and her descriptions of architecture and design are so mesmerizing. How would you describe the editor/author process of working with Bethany and what was involved in the evolution of this title from initial manuscript to finished book? Bethany is an incredible partner in publishing. We connected the first time we spoke about the novel, and she was open and receptive to the editorial notes I shared with her. She was very engaged in the editorial dialogue we had and was sincerely invested in making the novel as strong as it could possibly be. Who do you feel will be most attracted to The One That Got Away and what elements of the characters and the story will resonate most powerfully with readers? I think the premise—What would happen if you got a second chance at a love that almost was?—is really intriguing. Her opening is enticing: “Every woman has one. That name you Google at two o’clock in the morning. The intoxicating connection that somehow never solidified into anything real; that particular memory you still visit every now and then, for that guaranteed hit of pure, sugar-packed dopamine.” There’s an irresistible love story at the center of the novel, but there are also wonderful and poignant themes running through it about family, grief, resilience, and of creating a sense of home for yourself that I think will resonate. My hope is that the heart, wisdom, and humor that pervades this novel will appeal to readers looking for a great new voice in fiction, and that their discovery of this new talent will be one they can’t wait to share with their friends! Read more about The One That Got Away here.
Unabrow by Una Lamarche

Writing Tips from Una LaMarche, author of Unabrow

We know readers tend to be writers too, so twice a month, we’ll feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing! What writing techniques have you found most important or memorable? Probably “Outline, Cross Fingers, Stress-Eat Thai Food.” It’s my own invention. Basically you just try to create a loose structure for your story, essay, or book and then hope for the best as you eat—past the point of satiation, this is crucial—directly from plastic delivery containers. How would you recommend creating and getting to know your characters? I think it’s hard to create a great character in a very calculated way, like in “Weird Science” when Anthony Michael Hall and Ilan Mitchell-Smith enter all of their specifications into their ancient computer and then Kelly LeBrock manifests in a turtleneck crop-top. In my experience, characters start out fuzzy and one-dimensional, and then you have to sort of coax them into focus. Often I’ll get the germ of an idea from something I hear on a podcast, or someone I see on the subway (pro tip: the New York City subway, in addition to being a magical underworld of many nefarious smells and diverse crazy people, is basically a free vault of endless characters!). My high school art teacher once asked my class to sketch the shoes of a stranger we saw on the street and then make up a story about where they were going, and that’s a pretty good metaphor for what I do when I’m writing fiction. I’ll start with some detail, like shoes or an expression or a quirky personality trait, and then build from there. In terms of getting to know them, you can do a lot of prep work if you want (for example, one playwriting book I read—and by way of disclaimer I am not a playwright, so clearly I missed the point—suggested interviewing each character, on paper, in their own voice, about his or her life story before beginning), but I think it’s OK to start without it. The detail work—what makes each character interesting and idiosyncratic—often happens for me as I’m writing. However, it bears mentioning that in my nonfiction essay collection Unabrow, I am my own main character, so to get to know her I actually lived inside my body, endlessly picking apart my every waking thought twenty-four hours a day for 34 years. It’s very Daniel Day-Lewis and not for the faint of heart. After developing an idea, what is the first action you take when beginning to write?  If there is anything in my life that I can turn into a list or outline, I will do it. It is a fact that I once TO DO-ed my shower regimen (wash face; shampoo; rinse; body wash; rinse; condition; shave legs; rinse conditioner; stop being such a sociopath; towel dry), so it follows that I like to summarize and outline my work to within an inch of its life. Usually I’ll start by writing a one-page summary of the idea and then developing that into a longer outline. With Unabrow, since it’s comprised of 20 shorter essays, I made a big chart on two pieces of poster board with boxes for each essay and the life event or theme it would tackle. Then I covered it in color-coded Post-Its and impulsive scrawls of illegible handwriting so that the finished product looked like something a serial killer might make after finally reading through her backlog of Real Simple magazines. Is there something you do to get into a writing mood? Somewhere you go or something you do to get thinking?  I have to trick myself into getting inspired, since actively trying to think of what to write about tends to make my brain short-circuit, open up a Netflix window, and stream old episodes of 90s sitcoms until the thinking subsides. Just taking a walk and running some errands usually helps, the more boring the better. The only downside to this practice is that I tend to like to talk out loud to myself when I’m generating ideas, so I look insane. About half the time I realize, much too late, that I can use my cell phone as a cover. Did you always want to write? How did you start your career as an author?  I have this file my parents collected for me of a bunch of stories and poems I did starting around age six and going through high school. They’re almost all either insanely short or unfinished, and largely terrible, but they were clearly labors of love. So I like to believe that I was always a writer in my soul of souls, but was just scared to try to do it in any serious way until my late twenties. I remember not wanting to major in English in college because so many people majored in English—I tried to play it like it was such a cliché, but really I think I was afraid of the competition. So instead, I majored in film studies, because I liked movies. Then, because at the time I was under the incredibly misguided impression that your undergraduate liberal arts major should determine what you do with your entire life, I started working in film—mostly doing archival research for the kinds of documentary television specials that involve slo-mo reenactments of people riding horses and brandishing muskets. While I was doing that I started a blog, which became, almost a decade later, the springboard for Unabrow. But, if I’m being honest, the main reason I’m writing professionally right now is that I got unceremoniously fired from my job in 2006. I was just sort of blindly continuing on a path I didn’t really like—archival research was neither my strength nor my jam—but I never would have quit, so really I’m lucky that I sucked enough to warrant getting the boot. After that, I made a conscious decision to try to become a writer. What that meant to me, at the time, was applying for an office manager job at a magazine, ingratiating myself with the editorial staff, and then pestering them with my writing until they published something (for free, of course). Amazingly, it worked. I moved up from office manager to managing editor and bounced around New York-based magazines and newspapers writing celebrity profiles and pithy headlines about purses until 2011, when I went on maternity leave. After I realized how little I made as an editor and how much full-time childcare would cost, I decided to try to freelance and stay home with my kid. I can’t in good conscience recommend this as a general strategy, but for me, becoming broke and desperate while simultaneously completely sleep-deprived led me to take risks that I would never previously have dared. On the suggestion of a friend who worked in publishing, I decided to try my hand at young adult novels, which resulted in a two-book deal with Razorbill (Five Summers, 2013; Like No Other, 2014). Then, in the frigid winter of 2012, I auditioned for a live reading in New York called Listen to Your Mother. I got in, performed an original comic piece on all of the mistakes I had made that I wanted my future children to avoid, and received an email the next day from Brettne Bloom—now my amazing literary agent—who had been in the audience and who would go on to shepherd Unabrow to a sale at auction in the summer of 2013. Either Seneca the Younger or Oprah Winfrey (you’re no help, Google) said, “luck is when preparedness meets opportunity,” but I think my story proves that luck can also be made from a murky mixture of professional misjudgments, procrastination, hope, fear, and many, many hours of television. What’s the best piece of advice you have received?  Once, during a film class in college, my brilliant professor Jeanine Basinger said that all movies share the same dozen or so plots when you get down to it, and that what makes a story really unique is how the filmmaker tells it. I have applied this to writing and taken it to mean that coming up with a story that no one else has ever thought of before (“Twilight, but with centaurs! And one of them has MS!”) is near-impossible, but that it doesn’t matter. The thing that will make your story one of a kind is your voice. If your dream is to create the next insane dystopian franchise, have at it. But if it’s not, don’t be afraid that your story’s already out there; it can’t be. No one can tell it the way you can. What clichés or bad habits would you tell aspiring writers to avoid? Do you still experience them yourself?  My downfall will be my ability to procrastinate and avoid writing. I do it so much that I had to install software on my computer to block the Internet and shame me when I inevitably attempt to check email or Twitter every nine to eleven seconds. I don’t believe you have to write every day, or at a set time for a set duration, to be a good and successful writer, but I do think you have to muster enough willpower to do it at least a few times a week in a focused way. In terms of clichés and bad habits in the writing itself, it’s hard to give specific examples. Sometimes clichés work, and one person’s bad habit is someone else’s favorite thing. But here are a few things I do that I’m trying to stop doing:
  • Sticking unnecessary adverbs in after lines of dialogue. Like, “I don’t seem to trust my readers to infer tone from what’s being said,” she said worriedly.
  • I like to cram as many words/jokes into a sentence as humanly possible—often including asides within dashes (or parentheses!)—and while my aim is to amp up the humor with verbosity, I realize that it often has the opposite effect. If a line is poignant or funny, it’ll usually have more impact if it’s pared down to its most essential words.
  • Having characters live too much in their own heads. It’s always better to show how someone feels through action and dialogue than to tell it to readers directly through the person’s inner monologue.
  • Dropping too many pop culture references that will date the writing. I live for pop culture. I love it. It’s an essential part of who I am and how I see the world. But as fun as it is to weave current events into fictional scenes, remember that (hopefully) your book will still be kicking around decades from now, and that it will interrupt the narrative flow for our future cyborg relatives to have to pause to do a GoogleBrain™ scan for “Kimye.”
Describe your writing style in 5 words or less. Clever conversation with tipsy friend. Do you ever base characters off people you know? Why or why not? I don’t base an entire character’s personality on anyone specific, but I absolutely borrow traits and quirks. Part of it is just that it makes developing characters easier if you can pick details out of real life experience, but also I love leaving Easter eggs for my family and friends to recognize. I’ll only use something if it’s flattering or if it’s funny enough that it won’t be taken seriously (for example, a good friend of mine is really into Eastern medicine—specifically colonic therapy—and so I had a camper in Five Summers with her same first name reading a book about it. She took it in stride.) Obviously in my nonfiction I write about my husband, my parents, and other assorted real people whom I love and don’t want to hate and/or divorce me, so I tread very carefully with how I depict them. I’m willing to poke fun at some of their personality traits, but again, only if I’m reasonably sure they won’t be offended. Even just describing someone I know in real life can be frightening, because what if they read it and think, “Is that how she sees me?” I keep telling my friends that there’s almost nothing about them in Unabrow but that it’s because I love them too much to risk it. (For the record, I love my husband, my parents, and my sister, too, but since they’re the closest people to me in the world they’ve already accepted that there’s no escape. Sad trombone for them.) Read more about Una LaMarche‘s book, Unabrow, here  

From the Editor’s Desk: Neil Nyren, Associate Publisher & Editor-in-Chief at Putnam Books, on Live Right and Find Happiness by Dave Barry

Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. I first got to know Dave Barry about twenty years ago. By that time, he’d already won the Pulitzer Prize for commentary and had more bestsellers than half the publishing houses I know, but he’d never tried fiction. Then the Miami Herald approached him and several other South Florida writers, including Carl Hiaasen and Elmore Leonard, to write a serial novel; I bought the book rights; and I loved his chapter so much, I asked if he wanted to write a whole novel. He said, sure, great idea! It wasn’t until he signed the contracts that he realized that meant he actually had to write a novel, with characters and plot and, you know, a lot of words. It was a brutal awakening. I’m not sure he’s ever completely forgiven me…. But I digress. Since then, we’ve done many books together, both fiction and nonfiction, but I have to say I think his new one may be my favorite: Live Right and Find Happiness (Although Beer is Much Faster): Life Lessons and Other Ravings from Dave Barry. It’s a collection of all-new essays about what one generation can teach to another – or not. Two of the centerpieces are letters to his brand-new grandson and to his daughter Sophie, who will be getting her Florida learner’s permit this year (“So you’re about to start driving! How exciting! I’m going to kill myself.”). Another explores the hometown of his youth, where the grownups were supposed to be uptight Fifties conformists, but seemed to be having a lot of un-Mad Men-like fun – unlike Dave’s own Baby Boomer generation, which was supposed to be wild and crazy, but somehow turned into neurotic hover-parents. Yet another conjures the loneliness of high school nerds (“You will never hear a high-school girl say about a boy, in a dreamy voice, ‘He’s so sarcastic!’”). live-right-and-find-happiness-although-beer-is-much-faster-by-dave-barry All of them are extremely funny, but they also have the essence of humor: real heart. They make you not only laugh (a lot), but think and feel, and I promise you will be reading a lot of it aloud to people you love, and even to random strangers. Perhaps over a beer. Here’s to you, Dave. Read more about Live Right and Find Happiness here. Listen to a Beaks & Geeks interview with Dave Barry:
everything you ever wanted by jillian lauren

Writing Tips from Jillian Lauren: My 3 Favorite Writing Tips You’re Going to Hate

We know readers tend to be writers too, so twice a month, we’ll feature writing tips from our authors. Who better to offer advice, insight, and inspiration than the authors you admire? They’ll answer several questions about their work, share their go-to techniques and more. Now, get writing!  Write a s***ty first draft. If I could give you only one piece of advice, it would be this. I didn’t make up—I heard it from Anne Lamott— thanks, Anne! Anne Lamott didn’t make it up either. Every writer since the beginning of time has written some god-awful, hideous nonsense at one time or another. I write straight through to the end of a book without once looking back. Not everyone does it this way— some people edit as they go. But for me, this is a great way to get out from under your own self-judgment. Sometimes I barely even punctuate my first drafts. I like to soft focus my eyes and write as if in a trance, going on tangents, allowing the most treacly sentimentality and absurd hyperbole. I breathe and write and try to open my mind to the click, the spark, the flow. I soldier on this way until The End. By that time I usually have some idea of what my book is about. It’s never what I thought when I started. Move around. Take a walk. Stretch. Breathe. Don’t live in your head so much that you forget your body. The body is one of our greatest recording devices– a goldmine of wisdom, memory and emotion. It digests and assimilates our thoughts and experiences, taking on a perspective that is often wiser than our intellect, and more accurate. There is no secret. I know you don’t want to hear “write badly” and “take a walk.” Usually what people ask for is my schedule (here it is: mornings, at least four hours a day, five days a week), a template for the perfect outline, a recommendation to the magic graduate school, a shortcut, an agent introduction, a way to make it not hurt so much. I often talk to people who are “stuck” with their memoirs, and watch their face fall when I ask them, “Have you thought about writing it straight through to the end and not looking back?” They usually have a million reasons why they can’t or shouldn’t do that. And maybe they shouldn’t. I don’t know what they need. But I do know three over-edited chapters won’t magically transform into a book one night while you’re sleeping. Writers are readers. We have grown up treasuring the books we devoured late at night, by the light of a stolen flashlight. We dreamed one day we’d be the name on the cover of just such a precious object. That may or may not happen, but either way it’s a worthy quest. It’s so easy to forget, while caught up in the morass of self-doubt and self-pity that can swamp our fragile writer souls, that this life of struggle is a dream come true. I love it fiercely. I hope I get to keep doing it until the day I die. Read more about Jillian Lauren’s book, Everything You Ever Wanted here.

Under the Tuscan Sun & Extra Virgin

Wine and food pairings are all well and good, but there’s no better pairing than two complementary books. Reading + Eating posts feature two titles that will inspire you to cook, read, eat, and enjoy. The gorgeous cookbook images, and handpicked recipes and quotes make for some delicious reading.  Under the Tuscan Sun has become a well-known and beloved memoir since it was published in 1997. A celebration of Italy, of resilience, and of food, it still evokes the particularity and beauty of Tuscany.
“An intense celebration of what [Mayes] calls ‘the voluptuousness of Italian life’ . . . appealing and very vivid . . . [The] book seems like the kind of thing you’d tuck into a picnic basket on an August day . . . or better yet, keep handy on the bedside table in the depths of January.”
New York Times Book Review extrav  
“Sometimes the valley below is like a bowl filled up with fog. I can see hard green figs on two trees and pears on a tree just below me. A fine crop coming in. May summer last a hundred years.”
― Frances Mayes, Under the Tuscan Sun  From Gabriele Corcos and Debi Mazar, comes Extra Virgin, a lush cookbook filled with rustic, mouth-watering Tuscan recipes. Traditional yet accessible, the cookbook covers appetizers, pastas, meat, vegetables, risotto, drinks, desserts, and everything in between. Try the recipe for Grilled Tuscan Chicken! chicken   Try the recipe for Spaghetti Alla Carbonara! carbonara “Gabriele and I believe that pasta brings a family together at mealtime like no other food. […] Sometimes it feels like that bowl of shells and pesto, or penne and red sauce, is as Italian a way of saying “I love you” as blurting out “Ti amo!”Debi Mazar, Extra Virgin  Planning your own escape to Italy? Fodor’s has you covered: Fodor’s Essential Italy

Get to Know Fodor’s

Ever wonder about the people who work on an imprint or book… or in another department altogether? What exactly do they do? Behind the Scenes posts shed light on Penguin Random House’s inner workings. You’ll meet departments and staff members and learn how they contribute to the books you love.

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