First and most important, to read a classic novel in order to become a better writer, you need to read the plot summary first, several times if necessary. No, it won't make you enjoy the book any less. You'll end up liking it more. #WritingTipspic.twitter.com/3XwFQDlpad
Most people who read a book are only interested in the plot the first time around. If you already know the plot, then you'll notice what the writer is doing as a writer. That's the only way to learn from the classic novels. #WritingTips
Assume there's something of value in a classic novel. There's a reason it's been in print for so long, a reason it has hundreds of thousands of fans, a reason it's been translated into so many languages. Assume there's value: look for it in the writing, not the plot. #WritingTips
The writer may be a genius as dialogue, or s/he may be brilliant at developing characters. There are many reasons a classic novel becomes a classic, but plot is not one of them. Look for reasons the novel has become a classic: learn from its author. #WritingTips
Assume the classic novel's writing is good, even if you're not used to it. People don't read the same book multiple times for plot: they read it for all the other wonderful things in the book. Look for them. Identify them so you can learn writing from the book. #WritingTips
Learning what you do NOT want to do in your own book is just as valuable as learning what you do want to do. If the author "interrupts" the story to explain or talk about other topics (very prevalent in early novels), you can learn from the technique. #WritingTips
If there are passages of "authorial intrusion," as it's called, figure out why the writer did it. Is he discussing his own authority as an author? Is he reassuring readers that things will turn out well? Is he establishing the novel as an art form? Know why to learn. #WritingTips
Early novels have many more instances of authorial intrusion than more established novels did. But in the 20th century, modern authors began to "experiment" with intruding into their stories, sometimes parodying early authors, and it became trendy to do so. #WritingTips
Read outside your genre. (And this is true no matter what kind of books you're writing.) If you only read novels in your preferred genre, classic or contemporary, you will never be able to improve your own writing or do something unique. #WritingTips
You can learn just as much about character development, effective dialogue, foreshadowing, symbolism, etc from novels outside your preferred genre as you can from novels in that genre. You may learn more, in fact, because you're unfamiliar with the other genres. #WritingTips
When you're reading outside your own genre, you may be more aware of what the author does well (or poorly) than you are when reading your preferred genre. Learn from what these authors of classic novels do. There are reasons books become classics. #WritingTips
If you're reading classic novels to become a better writer, then it is very important that you read novels written in Points of View you are not used to writing it — or that you do not usually like to read. #WritingTips
You may not like Unlimited POV, for instance, where the author tells his readers everything they need to know about the characters, including passing moral judgment on them. You may like to judge characters for yourself. Look how author uses his chosen POV. #WritingTips
You may like the intimacy of 1st Person POV, where your perspective is LIMITED to only what the narrator knows, thinks, feels, etc. If the author ever strays from his chosen POV, be aware of when he lapses. Learn from the good and from the mistakes. #WritingTips
You will become more aware of POV if you read classic novels written in POVs with which you are not familiar. You don't have to know what all the critics call different POVs to learn from the classics: just become an aware reader, then an aware writer. #WritingTips
Read classic novels set outside the time period, century, and place where you want to set your own novel. Notice when you are grateful for any information the author provides and when you want more information. Jane Austen doesn't describe clothes, for example. #WritingTips
Austen doesn't describe clothing because she was writing contemporary novels: everyone knew what characters wore. That's why costumes vary in the film dramatizations of Austen's novels: the film is interpreting the costumes based on what they want to say in film. #WritingTips
In the contemporary Russia of Tolstoy's Anna Karenina, persons who divorced could never remarry, would lose their money & homes, would lose custody and visitation of their children, and be ostracized from society, and this determines much of Anna's behavior. #WritingTips
When you read classic novels, you can learn much about portraying your own characters' motivations and behavior by noticing how non-contemporary settings influenced or controlled the decisions of characters in those classic novels. #WritingTips
Granted, many of the authors whose work is now classic were writing what they considered "contemporary" novels, so much of what readers now need to know (e.g., about setting) was widely known, but that's how you learn from the classics. #WritingTips
Tolstoy's War and Peace was historical when he wrote it, so much of his irony comes from what the readers, including his own contemporary audience, understood from already knowing what happened to Napoleon and the Russian Emperor. #WritingTips
Remember that setting is more than where the novel takes place, classic or contemporary novel. Setting is culture, society, laws, customs, clothing, place, hairstyles, shoes, furniture, wealth: anything external that affects characters' behavior. #WritingTips
Anything is a novel which is external to the characters yet influences and affects their behavior is part of setting, from society and family traditions to vehicles/animals used for transportation. Learn to "see" this in the classics. #WritingTips
Urgency is what keeps the reader turning pages. Urgency can be in plot, character development, or Voice (best is all three). Learn plot Urgency first because it forms the skeleton of your book. #WritingTips
Your fiction must have conflict or readers will put it down, complaining that nothing happens. If you write an outline beforehand, the plot is what's in the outline. If you don't use outlines, it's when you say, "What happens next?" #WritingTips
Start with the event that knocks the protagonist's world off its axis. This is the first major conflict, and your protagonist should be forever changed by what happens in this initial conflict. #WritingTips
Conflict needs to increase in the book, leading to some final conflict. If you're writing a series, then the conflicts also need to increase across the entire series as well as in each individual book. #WritingTips
Better to allude to backstory by having protagonist and other characters base their behavior on it during conflict. Readers will interpret the characters' behavior themselves, and your readers will be more attached to your characters. #WritingTips
Once you understand the concept of Urgency, especially plot Urgency, then you can concentrate on how to tell a good story. If you're a good storyteller, you probably know it. People have told you, or they stand entranced, listening to you. #WritingTips
All of us tell stories all the time, but not all of us are good at it. Each time someone asks, "What happened to you today?" and you answer, you're telling a story. Practice until you get good at storytelling. People will want to listen to you.#WritingTips
Tell stories to children and to strangers: they don't care enough about you to be polite and pretend to be interested. Practice telling stories until you get really good at it. That's an essential skill for a writer. Practice every chance you get. #WritingTips
Practice telling jokes, telling stories to strangers in the grocery or bank, telling bedtime stories to children, etc. There are so many opportunities to tell stories to others. Practice until you know from your audience that you're good at it. Then do it in writing.#WritingTips
It's the storyteller's responsibility to maintain his audience's interest, not the obligation of the audience to listen to the story or to read the book. If you don't believe that, just take a glance at some of the customer reviews on Amazon or Barnes & Noble. #WritingTips
If you've never seen a master storyteller at work, then you should look around for videos of some people who do it well. Master storytellers combine character development, dialogue, and plot Urgency into one neat unit. #WritingTips
I'm guessing that you already know some people who are good storytellers. Analyze what they do to keep audience enthralled. That's what you want to do: keep you audience hanging on every word (or turning pages). #WritingTips
Once you understand what conflict and plot Urgency is, and you know how to tell a good story, you need to master the genre you want to write in. That means you have to read your own genre as well as others.#WritingTips
If you read nothing but your own genre, you won't really know what's expected in that genre, nor what's original and unique. You should read everything you can get your hands on, no matter what genre it is. Become an informed reader. #WritingTips
When you read books, read for more than the plot and what happens: look carefully at character development, dialogue, etc. Learn what works in well written books, no matter the genre. (HINT: bestsellers are not always well written.)#WritingTips
You need to be aware of every variation in your proposed genre, whether it be fantasy, romance, literary fiction, action-adventure, etc. You need to bring something unique to your book and the genre to be successful. #WritingTips
You have to tell a story that no one else has already told. That basically means that you have to be unique in telling your version of the story events. (Don't be discouraged by people who claim there are only 3-4 stories in the world…) #WritingTips
The necessity to be unique when telling or writing your fiction is why you have to know your own genre. Know what's out there. Know what your audience expects. Be aware also of your own expectations for the genre. #WritingTips
If you really want to be successful, write your book for someone who doesn't want to read about your topic or in your genre. If you can tell a story well enough to get that person interested, it'll be even more interesting to people who like the genre. #WritingTips
Before you start writing a book, you need to master Urgency, especially plot Urgency (which is what happens) = conflict. You need to become a good storyteller, orally first if necessary, and then in writing. Then you need to master your genre by reading ALL genres. #WritingTips
From the age of five to almost 30, I dreamt I was in a Nazi Concentration Camp, and that I died there. I would wake — screaming aloud, sometimes weeping, shaking and disoriented. The older I got, the more often the nightmares came until, finally, I asked, “What am I supposed to do with these dreams?” The answer came immediately: “Write about the Holocaust.”
Despite its being kept a secret, I had known my family was Jewish since I was 8, when I asked my Great-Grandfather Hirsch. All the Hirsch daughters attended Catholic schools. All their children and grandchildren did the same. We were all baptized, attended Mass every day (that’s how Catholic schools started when I was young: with Mass), learned our Catechism, and never ever talked about being Jewish or about the Holocaust. I didn’t even know what that word meant. When I was older, I learned that my Great-Grandparents had paid for everyone in the family to go to Catholic schools, to protect us from the rampant anti-Semitism that existed in America in the 1950’s & 1960’s.
It didn’t work.
Despite my coloring — every member of the family had strawberry-blonde hair and green eyes, as well as “the famous Hirsch nose,” as everyone referred to it each time a new baby was born into the family — my classmates mercilessly called me “Yid” and “Kike” from the first grade. When I walked home from school every day, I had to pass my Great-Grandfather’s corner grocery, which was on the same block where my mother, divorced with 4 young children, lived in a house owned by her parents. I loved my Great-Grandfather more than anyone else in my family, so every day I stopped by his store.
“What’s a ‘Yid’?” I said once, after a particularly brutal and distressing day in second grade.
Grandpa Hirsch came around from behind the counter, knelt before me, and wiped my face, though I’d long stopped crying.
“Somebody called you a ‘Yid’?”
“What’s it mean?”
“It’s short for ‘Yiddish’.”
“It’s a German dialect. What Grandma and I talk to each other.”
“What’s a ‘Kike’?”
“That,” said Grandpa Hirsch, handing me a piece of my favorite candy, “I do not know.”
“Why do the kids at school keep calling me that?”
“Because sometimes you say Yiddish words.”
“Is that bad?”
“Not in my opinion.”
Did I know then which words I said that were Yiddish? No. Did I know then that Yiddish was a Jewish dialect of German? Of course not. Our family never spoke of such things. Despite the fact that Grandpa Hirsch closed his store every Saturday and opened it on Sundays — in an era of the so-called “Blue Laws,” when no businesses whatsoever were permitted to operate on Sundays. In fact, I always feared that the local policemen who walked the neighborhood and who invariably stopped by his store on Sundays for fresh coffee and my Grandma Hirsch’s pastries would arrest my Grandpa for breaking the Blue Laws. They never did, of course, and they always seemed to be chatting genially and laughing with Grandpa, who had a wicked sense of humor, whenever I went to the store on Sundays to make sure he was safe.
“But why do you stay open on Sundays when it’s against the law?” I said almost weekly.
“Somebody has to be open,” said Grandpa. “Everything else is closed on Sundays.”
“Is that why you take Saturdays off?”
“I’ll take Saturday as my Sabbath,” he would always say, “since everyone else takes Sunday.”
Eventually, somehow, I figured out what the elaborate Friday night suppers meant, what Yiddish really was, and why Grandpa and Grandma Hirsch’s Sabbath was on Saturday instead of on Sunday, when everyone else was off work and went to church. (My Grandparents never attended Mass: they were working in the store. It seemed reasonable to everyone in the family at the time.)
When I was 8, the only thing I wanted for Christmas as a chess-set, having learned the game from my mother’s boyfriend, who eventually became my step-father and then my adopted father (when I was 15). It was no accident that my Grandpa & Grandma Hirsch gave me the chess-set for Christmas. Grandpa treated me as a favorite: he was the only one who cared that I wanted to be a writer and listened to my stories, he always remembered my favorite candies without my having to remind him (though he gave all of us children far more candy than our pennies or nickels could have actually purchased), and, from the time I was small, I believed he was the only person in my entire family who actually loved me. So, when I opened the Christmas present to reveal my first chess-set — still in my possession almost 50 years later — and looked up in excitement at his happy, grinning face, I was naïvely astonished that he knew I liked chess.
“Grandpa, how did you know this was the only thing in the world that I really wanted?”
“A little angel whispered it in my ear,” he said, tapping his shoulder.
“An angel?” I said. “Aren’t we Jewish? Do Jews believe in angels?”
He patted me on the head.
“Such a clever little girl we have.”
“Who’s a clever little girl?” said Grandma Hirsch from behind me, her hands on my shoulders as she kissed me on top of the head. “And why is she so clever?”
“Because she just asked me if we were Jewish.”
Grandma Hirsch dragged me over to the dining room table, looking very frightened. Grandpa followed. She knelt down in front of me and, still holding on to me tightly, glanced around the family gathering in their home before whispering.
“If anyone ever asks you if you’re Jewish,” she said, “you must say, ‘I was baptized and I go to Catholic schools.’ You understand?”
I nodded, not knowing why she seemed so distressed and frightened.
“Are you Jewish?” she said.
“No,” she said. “You were baptized and you go to Catholic schools. Are you Jewish?”
“I was baptized… and go to Catholic schools.”
“Good girl,” said Grandma, kissing me on the forehead before she hugged me.
“You see?” said Grandpa, messing my hair in that nice way he always did. “I told you she was clever.”
The rest of my family didn’t consider me so clever. They said I was “obsessed with being Jewish,” only they said it in the same hateful way my classmates called me “Yid” and “Kike,” often using the same anti-Semitic terms. Though everyone in our family used Yiddish words and phrases, though everyone acknowledged that Grandpa and Grandma Hirsch were German and that all the rest of their family had remained in Germany, and though everyone said we all had “The Hirsch Nose” — whatever that meant — no one ever admitted that we were Jewish. Most, eventually, probably never realized it.
Yet I still kept dreaming that I was in the Nazi Concentration Camps, and every night I died there. As the years passed, I noticed that my Grandma Hirsch often cried to herself, alone, in the kitchen, but if I found her there and asked her what was wrong, she always said, “Nothing. Go play.” I realized that Grandpa Hirsch had an air of grief that no one else seemed to notice. If they did notice it, they never acknowledged it. Once, I asked Grandpa why he was always so sad, despite his jokes and his laughter around other people. He sighed.
“Because so many bad things happen in the world.”
How could I have possibly known that he meant the Holocaust? How could I have known that he and my Grandmother had lost every other single member of their family — all of whom were in Germany — between the years 1940-1945? No one else would even admit that we were Jewish, my Grandma insisted that I must keep it a secret, and eventually, most of my family even forgot that we were Jewish, calling me crazy or obsessed whenever I insisted that we were.
So, about ten years after my Grandpa Hirsch died, when I had long lost contact with my abusive parents and siblings, when the nightmares of dying in the Nazi Concentration Camps increased to the point that they were waking me every single night, when I asked myself and the Universe, “What am I supposed to do with these dreams?” and the Universe answered, “Write,” that is what I decided to do.
I was already a writer — a poet, specifically — with many poems published in prestigious literary and university journals, working on Ph.D.’s in English and Comparative Literatures, and in Creative Writing. So that was what my dreams were telling me, I thought to myself in the dark in the middle of the night: I’m supposed to write about the Holocaust.
It was then that I realized that I knew nothing about it.
Beyond knowing that the Nazis had perpetrated this genocide against the European Jews during World War II, I knew nothing about the Holocaust. We had never studied the Holocaust in the Catholic schools I attended as a child nor in the history classes I took in college. I had never read Holocaust literature or, to the best of my knowledge, seen any films — documentary or otherwise — about the Concentration Camps, the Nazis, or the Holocaust. (My step-father watched World War II movies when he wasn’t watching football, but those John Wayne/Dirty Dozen-movies were always about the soldiers and how they’d beaten or escaped from the terrible Germans, who were Nazis. Those movies were never about the Holocaust and what had happened to the Jews. They were adventure/action movies about the American heroes who ended the war, or about the American POW-heroes who outwitted the mostly dimwitted German-Nazis. [My father was a huge fan of the television series “Hogan’s Heroes.”] The movies and shows he watched were never, ever about the Jews or the Holocaust.)
What I read while researching the Holocaust so that I could write about it did more than depress me: I found myself crying to the point of grieving. I was unable to do anything else but think of the Holocaust, the Jews, my lost heritage, and my poor Great-Grandparents. Yet none of the books or films or memoirs answered some of my most important questions.
That’s when I decided to find survivors and ask them if I could talk to them about the Holocaust and their experiences.
That’s when I met Anna Ornstein, who was in Auschwitz when she was only 16 years old.
I got her name and professional address from one of my dissertation advisers, who had heard her speak on the Holocaust. She and her husband Paul, also a survivor, lived in Cincinnati, where I was working on my Ph.D. I sent them a copy of my first — and at that time, my only — Holocaust poem: Cutthroat: A Player Who Plays For Himself. In the accompanying card, I told them I had questions about the Holocaust and wondered if I could talk to them. Anna called me right after she and Paul read the poem. She asked what camp I’d been in.
Paul Ornstein on his bike, going to see his girlfriend Anna Brunn
The Ornsteins both thought I was a survivor myself. (Part of that might have been due to my adopted father’s last name: his parents came from Hungary during the war, and Anna, Hungarian herself, recognized the name. She and her her husband Paul are the only ones who’ve ever pronounced it correctly without being told how to say it.)
Anna Brunn and Paul Ornstein
Because Anna wanted to know as much from me about myself and creative writing as I wanted to know about the Holocaust from her, we decided to meet. She was fascinated in how I could have made her believe that I had been in a Nazi Concentration Camp, how I could have known some of the things I’d written in my poems if I’d never been there. I wanted to ask her about things I couldn’t find answers to in books. It took more than one meeting. It took more than a few months. It took years. What began as a common interest in examining the Holocaust, on my part, and understanding how artists create, on her part, developed into a life-long friendship. She and her husband Paul, who had escaped Auschwitz and survived the War with the Partisans in the woods surrounding the infamous extermination camp, welcomed me into their home, their hearts, their lives. They told me everything about themselves and their families – before, during, and after the war. They discussed moral issues surrounding the Holocaust. They introduced me to other survivors.
They read everything I ever wrote.
They reminded me of my Grandpa Hirsch, only without having to hide the fact that they were Jewish.
Anna Brunn Ornstein and her friend Lili Gluck
Eventually my poems on the Holocaust became so long that editors at the journals where I submitted the poems began to write me notes on the bottom of the rejection slips: “Are you sure you’re not writing fiction?” and “Is this supposed to be a short story or a part of a novel?” and, after I submitted a 32-page single-spaced poem, “Our journal is only 50 pages long…”
“Maybe I should write a novel about the Holocaust,” I said to myself one day, realizing that I had so many moral issues still to explore about it.
As soon as I thought that, I heard the voice of The Kommandant, from a poem I’d written (originally, a very bad short story) during grad school, about a Nazi Kommandant who forces a Jewish inmate with whom be becomes obsessed to be his “mistress.” I heard the Kommandant, who had no name up to that point, say, “Tell my story.” At the same instant, I heard the voice of the girl saying, “You can’t tell his story without telling mine.” And I saw a vision of the book I would write.
(By the way, I don’t know how that happens. It’s one of the mysteries of my art that I have never attempted to figure out, but this is what it’s like: I’m in a dark, unfamiliar room. For one instant, there is a flash of lightning which illuminates that room. In that moment, I see everything in the room, know most of its history, and understand something about it. Then the room goes dark again. My job then is to re-create, in words, that momentary vision. And that is the most difficult work I have ever done in my life.)
Throughout the writing of the book which would eventually become The Kommandant’s Mistress, I had many questions to which I could not find answers in my sources, primary or secondary, or from other survivors. Whenever that happened, I turned to Anna.
Paul & Ann Ornstein (L) celebrate a wedding with their best friends Lucy & Steve Hornstein
One of the most important questions I had while writing the novel involved the numbers the Nazis had tattooed on the arms of the Auschwitz inmates. These tattooed numbers, visible on the inner left forearms of many survivors, originated in Auschwitz, designed specifically as an Extermination camp rather than as a Concentration Camp.
Auschwitz was not meant to “detain” Jewish inmates for extended periods of time. It was built as part of the Nazi’s “Final Solution to the Jewish Problem” — said “problem” being how to eliminate all Jews from Europe and other Nazi-occupied territories. It was constructed with the sole aim of killing Jews as efficiently and quickly as possible. By gassing them, en masse, mostly upon arrival, with Zyklon B: cyanide-pellets that turned to gas when exposed to air, designed to exterminate rodents, a term by which the Nazis had long referred to the Jews.
Not all the Jews arriving at Auschwitz were immediately killed, however. It seems the Nazis needed the Jewish labor for the war effort. By the time Auschwitz was operating at its highest capacity, Germany was losing the war. As its martial defeats increased, so did the Nazi escalation of eliminating the Jewish population in its occupied territories. Hitler’s rabid obsession with the Jews, and Nazi anti-Semitic attempts to exterminate the entire Jewish population in all of Europe, Russia, Greece, and any other Nazi-occupied territories, directly corresponded in escalation with Germany’s defeats and loss of territory in the War.
Thus, in 1944, when Anna, her family, her future husband Paul, his family, and other Hungarian Jews were deported to Auschwitz, the extermination camp was operating at what was probably its highest capacity: 450,000 Hungarian Jews were killed in about five weeks. The remainder were interned there, to be worked, starved, beaten, and tortured to death. Unless the Kommandant of Auschwitz was in one of his more playful moods. At such times, he would order all the inmates to line up in groups of five – zu fünf – and arbirtrarily shoot every tenth, or fifth, or umteenth one, until he got bored and trotted away on his famously beautiful white horse.
It was in Auschwitz that the practice of tattooing inmates began. These random, meaningless numbers were not a way to identify and keep track of the Jewish inmates, though the Jews believed that they were, but a way to further insult, degrade, and dehumanize them. These tattoos also mocked the Jewish beliefs: the origin of the traditional Jewish prohibition of tattooing seems to be in Leviticus 19:28: “You shall not make gashes in your flesh for the dead, or incise any marks on yourselves; I am the Lord.” Tattooing may have been considered idolatry or part of pagan practices, which the Torah forbids.
Of course, some Jews have always gotten tattoos. Ilse Koch, wife of Karl-Otto Koch, the Kommandant of the Nazi Concentration Camps Buchenwald (1937-1941) and Majdanek (1941-1943), and one of the first prominent Nazis put on trial by the American Military, harvested Jewish tattoos, selecting interesting tattoos, having those Jews killed, and the tattoos cut away from the bodies; she is rumored to have said tattoos made into lampshades and other decorative items. Additionally, there are photographs of Auschwitz inmates’ tattoos, considered attractive or unusual by the notorious “Angel of Death,” Dr. Josef Mengele, who requested that these photographs be taken for him. One such tattoo that Mengele wished to have photographed was of Adam and Eve in the Garden of Eden. (Later in his life, the Nazi photographer claimed he was “forced” to take the picture, and that he “regretted it.”) It is assumed that the Jewish inmate with that tattoo either died as a result of Mengele’s experimentation upon him, or in the gas chambers after the photo was taken.
When I was writing the scene where the female protagonist, Rachel, is getting tattooed in the unidentified Auschwitz-like camp, I had not yet gotten my first tattoo (which I would get at age 47), so I did not know what it felt like. Anna Ornstein has two numbers tattooed on her inner left forearm. I called her to ask about what getting a tattoo felt like.
“I don’t remember,” she said.
“Does it hurt?”
“I don’t know. I felt so happy those days we were tattooed that I simply don’t remember what it felt like.”
“You felt happy?”
“We thought it meant we would survive. We weren’t registered anywhere, so we thought they were identifying us with tattoos to keep track of us. I remember the sun was shining, birds were singing, and I was happy.”
“Why do you have two numbers?”
“They told us they got the numbers wrong the first day,” said Anna, “so they had to do they again the second day. To get the numbers right.”
“But the numbers were meaningless.”
“We didn’t know that, so I was happy. Besides,” she said, “we thought, ‘Even the Germans wouldn’t be stupid enough to go through all this trouble and then kill us all’.”
Anna went all along the line of tattoo artists until she found a girl who was doing very neat, small tattoos on the inmates’ inner left forearms. (Some inmates’ numbers are very large, stretching along the entire length of their forearms. Some numbers start on the inside of the inmates’ forearms before continuing on the back, down to their wrists.) Anna complimented the girl who was doing the small, neat tattoos on her work. The girl was flattered. Anna’s original tattoo — B-71 — if done under any other circumstances, could be called tasteful or even attractive. (Having had it so long, Anna simply considers it “part of [her] body.”) The next day, when they were ordered to get an additional tattoo — Anna returned to the same girl, complimenting her again and requesting that she be the one who did Anna’s next tattoo. The B was crossed out. An A, supposedly for their barracks though Anna was not in Barracks A but in Barracks B, was put before the original B. The number 200 was put above the previous 71. Anna’s number was, supposedly, technically, A-20071, but it ended up looking like this (I’m not sure of the type of line used to cross out the B, so I have not put it in):
In the seven years I’d spent researching the Holocaust, first for my poems, then for my novel, I had never been able to find any information on the tattoos, other than the fact that some Jews had them and some did not, and some photographs of them, like this one:
Partial Photo Mural of Auschwitz Survivors displaying their tattoos (On permanent display at the United State Holocaust Museum)
Anna’s story was so unlike anything I expected to hear that I put her story about the tattoo, exactly as she told it to me, into the novel (when Rachel is getting tattooed).
World War II ended 67 years ago. The Nazi Concentration and Extermination Camps were liberated 67-68 years ago. Soon there will be no Holocaust survivors left to tell their own stories. Only those of us who knew them, and their own family members will be able to tell their stories. Eventually, however, the Holocaust will, inevitably, become part of the “distant past,” existing only in art.
Some children and grandchildren, in an effort to preserve their family members’ stories, have had the numbers of their loved ones tattooed into their own arms. Some oppose this; some approve. I believe that we each must choose our own ways of remembering the Holocaust and reminding others that this kind of hatred and genocide still exist, against Jews as well as against other ethnic or religious minorities.
I have written two books on the Holocaust, telling the stories of the survivors, the victims, the perpetrators, and the observers who stood by and permitted it to happen. In addition to telling the story of Anna’s tattoo in The Kommandant’s Mistress, I wrote the story of her mother’s and her time in Auschwitz — based on all the stories she told me over the years — in the poem “Sofie and Anna,” which appears in Where Lightning Strikes.
This year, I decided to go another step toward Remembering and Reminding others about the Holocaust. Yesterday, with Anna’s blessing and permission, I had her Auschwitz numbers tattooed on my inner left forearm, along with the transliterated Hebrew words Yizkor (Remember) and Zachor (Remind).
My intention is to tell everyone who asks what it means Anna’s story and the story of the Holocaust. Until the day I die. After that, if I am lucky, I will be able to continue to tell the story through my books.
Already, however, I know I made the right decision, getting Anna’s numbers tattooed, along with Yizkor and Zachor, on my inner left forearm.
Because of what happened at the tattoo shop.
Of the three younger people (aged 33, 27, and 26) working at the shop where I got my tattoo, only one knew what the Holocaust was: the oldest. She’d asked what I wanted to get as a tattoo while I was filling out the required paperwork, awaiting the tattoo artist on duty that day. When I showed her and told her what it was, she said, “Oh, my god, that is so incredibly awesome and wonderful of you. Tell me about Anna.”
The young man who did the tattoo did not know what my intended tattoo meant. When I told him Anna had survived the Holocaust and those were her Auschwitz numbers, he said, “What’s the Holocaust?” (Apparently, it is still not taught in many schools, at any level.) He wanted to hear Anna’s entire story before he did the tattoo. Then he spent hours, literally, preparing the tattoo (it’s drawn on transfer paper, pressed onto the skin, and everything “approved” before tattooing begins, since, once done, it can’t be undone). In fact, the actual tattoo took less than fifteen minutes. It took so long to prepare, he told me, because he wanted it to be as “respectful” as possible, and to be as “beautiful” as he could possibly make it, considering what it originally represented.
When he put the transfer on my inner arm, I got emotional.
“Don’t get emotional on me,” he said, “or I’ll get emotional and I won’t be able to see what I’m doing.”
Afterward, with a catch in his voice, he asked if I would please tell Anna how honored he was to have been chosen (even if by fate) to have done “her” tattoo. I told him that I would tell her as soon as I got home. He shook my hand several times, thanking me for telling him Anna’s story. He also told me that he has had many Jewish customers come in for tattoos, usually for a Star of David. He said he will tell every one who comes in about my tattoo as well as about Anna’s story. He said he also intends to read up on the Holocaust.
When I went to pay, I was charged much less than the price I was originally quoted. I asked why. The other young man in the store said he was told to give me the largest discount they offer, for that tattoo and for any other tattoo I ever have done. He then asked to see it. He asked what it was. The young girl told him.
He said, “What’s the Holocaust?”
“You love history,” she said, “but you don’t know about the Holocaust?”
“I know it happened during World War II. I guess I better read up on it.”
Then he asked me to tell him Anna’s story.
Afterward, he, too, shook my hand and thanked me.
I know some Jews fiercely object to having the numbers of Holocaust survivors tattooed on a child’s, grandchild’s, or friend’s inner left forearm. Some famous survivors have spoken publicly against it. The Internet is filled with debate on the “trend,” as it is sometimes derogatorily called, and the debate seems equally divided for and against people having the numbers of their loved ones tattooed on their own arms in order to tell the story of the Holocaust. There are others, too — non-Jews — who oppose this practice: some state their reasons, some do not.
But already, by having my friend Anna’s Auschwitz numbers tattooed on my inner left forearm, along with Yizkor and Zachor, I have accomplished what I wished. One young girl who knew about the Holocaust learned Anna’s story. Two young men who knew about World War II but nothing else, learned about Anna and about the Holocaust itself. All three are determined to share that story with others.
My tattoo, with Anna’s blessing & permission, of Anna’s Auschwitz numbers, followed by the transliterated Hebrew words YIZKOR (Remember) and ZACHOR (Remind)
This is how we will help keep the Holocaust from becoming the “distant past” that can “never happen again” — by telling the story, over and over and over. By making it personal. By emotionally involving others so that they, too, feel compelled to tell it. Perhaps, by continuing to tell the stories, in every way we can, we can make a difference.
At least, that is my hope: Hatikvah, with the lyrics in Hebrew, in transliteration, and in English.
On the extension, my friend started laughing. She said she was going to leave the remainder of the conversation to us and hung up.
Her son was not laughing.
He was sincerely distressed.
“I can’t write, ‘there’d be no play’,” he said. “I’ll get an F.”
“You can write whatever you want,” I said, “because it’s such a stupid question that even people who’ve never read the play can answer it any way they want to and still get an A. Because there will be no wrong answers.”
There was silence on the other end of the phone.
“Hamlet is interesting because we want to know why Hamlet doesn’t kill his Uncle after the ghost of his father tells him that his Uncle Claudius murdered him and married Hamlet’s mother to become King himself,” I told my friend’s son. “We want to know why Hamlet doesn’t kill Claudius after he acts guilty seeing a re-enactment of the actual murder in a play written by Hamlet to ‘catch the conscience of the King’. Why Hamlet doesn’t kill Claudius after he catches his Uncle alone at his prayers. Why Hamlet doesn’t kill Claudius after he finds a letter on Rosencrantz and Guildenstern instructing the King of England to kill Hamlet for Claudius so that Hamlet, who is the heir-apparent, cannot ever become King of Denmark. Why, in fact, Hamlet doesn’t kill Claudius until the very last act of the play and then only after Claudius accidentally kills Hamlet’s mother when she drinks the poison intended for Hamlet, and Laertes, who’s challenged Hamlet to a sword-fight, tells Hamlet that he’s been poisoned with the tip of Laertes’ sword by Claudius’ order.”
“So, I was right,” said Andrew, “it is a stupid question.”
It’s more than a stupid question for a literature class.
It’s the typical inane “What-If School of Life” question.
What if the dog hadn’t stopped to take a nap while he was racing the hare? What if Julius Caesar hadn’t been killed by the Senators? What if Cleopatra hadn’t deserted Marc Antony and he’d won the last of the Roman Civil Wars? What if the British had won the Revolutionary War? What if the South had won our own Civil War? What if Kennedy had not been assassinated? What if Helen Keller had not caught the disease that made her deaf, dumb, and blind?
All of these questions are totally pointless. Because, as we know, these things did happen, and it is more important to understand why they did happen than to discuss some alternative history or fantasy story that did not occur.
Still, it amazes me the number of people who constantly do this. Not just literature teachers who don’t know anything about analyzing literature, or students who haven’t read the assigned literature but want to talk a lot so they’ll get a good grade. Not just historians or supposed history buffs, either.
Reporters and talk-show hosts do it: What if country singer Dolly Parton hadn’t grown up poor? What if serial killer Ted Bundy hadn’t escaped twice and had been caught sooner? What if FEMA had sent money and trailers to the victims of Hurricane Katrina sooner? What if SuperStorm Sandy had missed New Jersey completely?
Sports announcers do it: What if the receiver had caught the quarterback’s pass? What if the quarterback’s pass hadn’t been intercepted? What if the basketball player had made that last-minute 3-point-basket and won the game? What if the game hadn’t gone into overtime? What if professional cyclist Lance Armstrong’s teammates had never revealed that he illegally doped while winning all those Tour de France races?
In fact, virtually everyone who has nothing important to say about what did, indeed, happen, does it. Sometimes, I think they do it just to hear themselves talk. The problem is, they’re not saying anything interesting.
Mainly because, whether in literature or history or another event in life, those things did happen. So why do they want to discuss fantasy topics when the actual events are so much more pertinent?
I honestly do not know.
My friend Rebecca and I were once teaching Literature for a Saturday Classics Program at a well known and respected University where adult students who had dropped out of college when they were younger did intensive coursework all day long every Saturday for two-three years to finish their college degrees. The literature component was designed so that professors from different fields taught the same work each week from their own perspectives and backgrounds. An anthropology professor discussed the work during the first class of the day, a sociology professor during the next class, a psychology professor during the third class, Rebecca and I during the fourth and fifth classes – as the literature professors.
We thought it was an intriguing approach, though Rebecca and I combined our 2 two-hour sessions into 1 four-hour afternoon session since we were both literature professors and wanted the students to lead the discussions themselves. It’s the only way we had ever thought of to ensure that students would actually read the work: make the students themselves lead the discussion for the entire period at least once during the quarter, and grade the rest of the class on their participation in the discussion every single time.
No essays. Just discussion. On the assigned topic. We did it with our college students at our respective universities, who were only 18-22-years-old. We could certainly do the same thing with adult students who, being more mature and having more life experience, would, theoretically, bring even more insight into the literature.
We thought the entire approach to the Classics Program was unique, and it worked well.
The first question the student Discussion Leaders asked when they got to our literary analysis component of the program that week was this one: “What if King Lear hadn’t divided his kingdom in Act 1 Scene 1 and told his three daughters that he’d give the largest part of the kingdom to the daughter who said she loved him the most?”
Rebecca, with wide eyes, glanced over at me just a moment before I interrupted the Leaders.
“And what if Shakespeare had a sister who’d actually written the plays?” I said.
The students stared at me, obviously confused.
“That’s an example of how irrelevant your question is because King Lear does divide his kingdom,” I said. “Go on to your next question.”
The Leaders huddled together, whispering, shuffling their papers, flipping through the pages of the play. The rest of the class moved restlessly.
“Go on to your next question,” I said. “Any question. From any part of the play. You don’t have to start with the beginning.”
After several more minutes of whispering and hesitation, one of the Discussion Leaders finally spoke up.
“What if King Lear’s daughter Cordelia hadn’t died?”
“She does die,” I said. “Go on to a legitimate question.”
“What if Cordelia had said she loved her father the way he wanted her to?” said the other leader.
“She doesn’t,” I said. “What are you guys doing? You’ve already been discussing King Lear all day. Talk about anything that hasn’t been answered to your satisfaction so far.”
Everyone in the class suddenly became obsessed with their copies of the play, turning pages, apparently taking notes, silent. Silent. Silent. Rebecca and I looked at each other. We both instantly and intuitively knew what was wrong.
“How many of you have not read King Lear ?” I said, and, to our dismay and horror, every hand in the class eventually went up.
“What have you been discussing for the last six hours today?” said Rebecca.
“In Don’s [the anthropologist’s] class, we spent the first hour going around the room telling how our week went…”
“No, we do that every week.”
“And the second hour of Don’s class?”
“We talk about how our classes are going.”
“What about in Lowell’s [the sociology professor’s] class?” said Rebecca.
“We talk about current events.”
“But this is the Classics Program,” I said. “You’re supposed to be discussing the assigned literature from different perspectives.”
“What do you discuss in Allen’s [the psychology professor’s] class?” said Rebecca.
“How we feel about school,” said one of the students. “As adults.”
“And how we felt about college when we were younger and why we never completed our degrees…”
I told them to start reading King Lear. I didn’t raise my voice, but my displeasure was clear. While they read, Rebecca and I redid the syllabus for our part of the Classics Program, for the remainder of the quarter. They would be discussing King Lear next week. The week following that, we would divide the class period in half, with two hours about one work, and two hours about the other, so that they would remain on schedule with the other teachers and the assigned literature in the program. When we passed out the revised syllabus, the students looked glum.
As soon as we dismissed class that day, all the students went straight to Don, Lowell, and Allen: To complain that we were “forcing” them to read King Lear.
Don, who had originally designed the program, called me and Rebecca in, protesting our approach. We politely but firmly protested his “What-If” approach as unprofessional, un-academic, and unacceptable. Don insisted that we let the students discuss whatever they wanted to discuss.
We offered our immediate resignations.
Don, Lowell, and Allen were all horrified. They wanted us to let the students discuss anything they wanted — except the literature, apparently, but they didn’t want us to resign. Rebecca and I insisted that they could teach the literature themselves since they were going to permit the students to discuss everything but the literature in question. That was when we learned that none of the other three professors had read the literature. Any of it. All quarter long.
And that, plain and simple, was the reason they constantly asked the students “What-If” questions that didn’t have anything to do with what had occurred in the literature, or asked them about things that had to do with their personal lives or with world events every week.
Though the students had protested when Rebecca and I changed the syllabus, they discovered that they liked King Lear after they read it. They wanted to discuss the play itself and the characters’ motivations. Same thing happened when we got to Chaucer’s The Canterbury Tales. The rest of the quarter, the students began insisting that Don, Lowell, and Allen discuss the literature from the anthropological, sociological, and psychological perspectives — as the Classics Program had been designed. Don, Lowell, and Allen were very unhappy.
The students, however, thrived. They became excited about the works they were reading. They understood why the Classics had interested people for so many centuries. They liked literature, many of them for the first time in their lives. Quite a few of them even switched their majors. To Literature.
And what happened to Rebecca’s son Andrew with his essay-exam question about Hamlet ?
He wrote an essay on his interpretation of why Hamlet did not kill his Uncle Claudius after the Ghost of Hamlet’s father informed Hamlet of Claudius’ murder in order to become King.
Andrew’s teacher was so impressed that she read his essay aloud to the rest of the class, gave him an A+/100%, and re-assigned it to the rest of the class, asking them to come up with their own interpretations — supported by the play, of course — about why Hamlet did not kill his Uncle upon learning the truth of his father’s murder.
Andrew was happy and proud. The teacher never gave that kind of assignment again. The students were annoyed at first: they had to write a second essay, and some of them, no doubt, had not read the play – only watched the film. But Andrew reported that the same thing happened in his class that had occurred in the Classics Program: the students began to like the literature, to discuss it heatedly and in an informed manner, and to continue their discussions during lunch and after school.
Now that’s the kind of intellectual discussions that I find fascinating.
No matter the topic.
Not the What-If-This-Had-Never-Happened kind of discussion.
Why talk about those things when the “why did this, in fact, happen, and what were the consequences of its happening?” talks are more intriguing?
As the narrator says in the film version of Jane Austen’s classic Mansfield Park, “It could have all turned out differently, I suppose, but it didn’t.”
You know this game, but you may never have played it this way: Tag! You’re the author who’s “It” so you have to play the game by sharing your Work in Progress (WIP) or it’s straight to bed without supper for you. Anastasia Vitsky tagged me, and these are the rules:
Give credit (including the URL/link) to the person or blog that caught you when you were frantically trying to run away, slugged you on the arm, and thus made you “It”
Play by the rules – no pinching, kicking, crying, spitting, or throwing tantrums – which includes posting the rules
Answer ten questions about your current WIP, no matter the genre, because maybe we’d like to get to know you better (actually it’s only 9 questions as far as I can tell, since the 10th “question” is the next step)
List five other authors or bloggers, with their hiding places (URL/links), so we can chase them down and make them “It” so the rest of us who are done playing can go in, eat our supper, and check out their other books.
1. What is the title (or working title) of your WIP book?
No Feet in Heaven
2. What genre(s) does your book fall under (or brush up against)?
Thriller, suspense, shite-scary-enough-to-keep-you-up-all-night-with-the-lights-on-jumping-at-every-sound-you-hear (or so I’ve been told by my readers).
3. Which actors would you choose to play the characters in the film version of your book? (should you ever get it optioned and actually get lucky enough to have principal photography started, the film made and distributed… well, you get the idea…)
For the principals, I’d choose the very hottest, most popular, talented celebrity stars at the moment, so everyone would flock to see the film, then rush home to grab their Kindles to buy the e-book version, or log into their computers to get the paper version.
For the minor characters, anyone else who’s a good actor.
For the extras, anyone who can scream, hide, or play dead really well.
4. What is the one-sentence synopsisPitch for your book? (The synopsis gives the plot & ending, so no one should be answering that question; the Pitch gets the readers interested without giving away the ending. Synopsis = Spoilers = Bad)
Two brothers and their female cousin decide to track down a notorious serial killer for the reward money, unaware that, as they are looking for him, he may, in fact, be hunting them.
5. Will your book be Indie published, self-published, or represented by an agency and sold to a traditional publisher?
An earlier version of the novel, with a different title, was being negotiated for by a traditional publisher, whose company was purchased by one of the humongous NY publishers that’s buying up all the little guys, and the editor/publisher was told she couldn’t buy any more new books since the little company already had too many books in the queue. Then she got laid off.
My agent told me to wait until the editor/publisher established her political base in the next company (several years, at least) so she could “buy it again.” I released my agent for not even trying to earn her 20% and got another (who retired after giving birth to her third child, without managing to sell the book, although several publishers were “in discussion”).
Meanwhile, Hollywood stole the book (from a mole – read: underpaid editorial assistant – in the NY House that was negotiating for it), made at least five different film versions of it (different genres) all within the same 2 year period, so I’ve spent the last few years completely revising it so Hollywood can’t claim I stole it from them.
It will be Indie published in 2013.
(Lemme tellya, being traditionally published by NY ain’t all it’s cracked up to be.)
6. How long did it take you to write the first draft of your manuscript?
Two-three years, I think. Then one year for my agent to sell attempt to sell it. Two years for Hollywood to release its pirated versions of it. Five years while I wrote another novel and one year to get that next book published. Three years to completely re-envision the original “serial killer” novel and rewrite until it was nothing like the first version, which was copied by a mole in the publishing house and sold to someone-whose-name-I-will-not-mention in Hollywood…)
All together, several years to do the “first draft,” twice, of the same of the novel.
(Oy, vey, no wonder I’m so tired…)
7. What other books in this genre would you compare yoursto?
Stephen Dobyns’ The Church of Dead Girls, Patrick McCabe’s The Butcher Boy, Patrick McGrath’s Spider, The Grotesque, and Asylum, Joyce Carol Oates’ Zombie, and Anne Frasier’s Sleep Tight, Play Dead, and Hush.
8. Who or what inspired you to write this book?
My own violent and extremely abusive childhood. Unfortunately.
9. What else about your book might pique the reader’s interest?
It’s told from several perspectives and multiple points of view. As usual with my novels, none of the narrators could be called “reliable.”
10. Thank god, I’ve finally run fast enough to catch five other authors (and any who don’t have a blog of their own to answer these questions are welcome to do a guest post on mine):
Author. Prizes and awards include New York Times Book Review "Notable Book" & Top 100 Books of the Year, University of Rochester's Kafka Award, University of Cincinnati Elliston Poetry Prize, Centennial Review Poetry Prize, UKA Press Grand Prize, Santa Fe Writer's Project Literary Awards finalist, Writer's Digest Non-Rhyming Poetry Honorable Mention. SexAbuse and CSA survivor. Writer @ The Mighty and @ Migraine Mantras.
Rachel in the OC
by CSA survivor and advocate Rachel Thompson, on surviving, preventing, and spreading the word about Childhood Sexual Abuse
articles on migraine, chronic pain, chronic illness, holistic health, alternative medicine, exercise, mindfulness, and meditation, all written by people who live with invisible illness and who advocate for themselves and others
one of the best blogs with an amazing variety of topics, from the Zen of medical tests to her weekly Suggestion Saturdays and Saturday Seven, which feature fascinating blogs and websites
by bestselling author Jenny Lawson, on depression, marriage, lawn-gerbils, and other random absurdities of life
one of the most diligently researched blogs I've ever found, written by Maria Popova, it covers writers, artists, books, and all things wonderfully intellectual and artistic
Historical, People & Fiction
a marvelous blog on all things Victorian, from clothes and pets to personalities and other authors who write books and blogs on the same time period
A Writer's Perspective by April Munday, with well-researched posts on all things Medieval, from the weight of armor and the mobility of the knights wearing it to what peasants really ate and how they got betrothed and married
a quirky historical blog on all things folklore (like witches, flowers, and vampire rabbits) and sometimes on ancient Egypt
Mindfulness, Meditation, Living
Barking Up The Wrong Tree by Eric Barker, with researched posts on living your life better with the principles of meditation, Stoicism, and mindfulness, and more
Raptitude by David Cain, with an emphasis on meditation, mindfulness, and living life more fully
with a tagline "Grief is a Sacred Journey," this blog poignantly discusses grieving, mindfulness, Buddhism, and beginning life again after tragedy makes you think it's ended
Writing, Publishing, Marketing
Bad Redhead Media
also run by Rachel Thompson, with an emphasis on helping writers and other small business owners master social media
Red Pen of Doom
by speechwriter and author Guy Bergstrom, who posts on everything writing, to help screenwriters, novelists, and journalists, along with great Red-Pen-skewering of books and videos, as well as frequent instructions on how to survive an apocalypse
Anne R Allen
by authors Anne R. Allen and Ruth Harris, with an emphasis on posts to help writers with everything from writing the first draft to revising, from self-publishing and marketing to social media and handling reviews
Writing and Wellness
by Colleen M. Story, and frequently featuring guest posts by authors, this blog covers everything concerning writers and their health, psychological and physical, from easing back pain to increasing creativity
by a respected author and blogger, includes posts about writing, blogging, publishing, publishers, book reviews, travel, beards (which need names, apparently), and Edith Wharton
A Writer's Ramblings
by Victoria Griffin, this blog covers everything writing, from first drafts and revisions to editing
by an author for other authors and writers, with an emphasis on posts to help writers with everything from writing, revising, and social media
by a traditionally and Indie published author who is also a book coach, with posts on everything for writers, from agents to addiction
My Most Fave Podcast
Sleep With Me Podcast
written by Drew Ackerman, and performed by Drew as "Dearest Scooter," this brilliant and popular podcast knocks out insomnia by lulling you to sleep with meandering introductions and ingeniously "boring" stories. Drew and Scooter also do the Game of Drones and Sleep to Strange podcasts
Copyright 2012-2018 by Alexandria Constantinova Szeman. All rights reserved. No content may be copied, excerpted, or distributed without express written consent of the author and publisher, and full copyright credit to the author. Please, don’t support the piracy of Intellectual Property.
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