patricia-morrisroeHow do you choose what to write about?

I’ve written a biography of the controversial biography Robert Mapplethorpe, a book on sleep, and now a memoir about shoes.  On the surface, they would seem to have nothing in common, but each subject was very topical.  Mapplethorpe would soon become notorious as the man whose work resulted in the famous censorship trial in Cincinnati – the first time a gallery in the United States faced prosecution for the art it displayed.  From that standpoint alone, it was an important story, but Mapplethorpe’s life, from his early beginnings as a Catholic schoolboy in Floral Park, Queens, to reaching the top of the art world as he was dying of AIDS, was a powerful narrative.

I decided to write about sleep because I’ve long suffered from insomnia, and after spending a crazy night in a sleep clinic, I thought, “This is too good to waste.” At the time, there was a lot about sleep in the news, focusing on the bizarre side-effects of sleeping pills, such as “sleep eating, sleep driving,” etc.  So again, it was a topical subject that in this case touched me personally.

9 ½ Narrow: My Life In Shoes came out of a conversation I had with an editor who wanted to see if I was interested in doing a book on Alexander McQueen.  When you write about someone’s life, you really have to be willing to walk in his or her shoes, and among the last shoes McQueen designed were his 12-inch crustacean-clawed Armadillo booties.  They were terrifying, but it started me thinking about women and shoes, and how they provided a marker for the important events in our lives.


What does a typical writing day look for you?

 I’m a very regimented person, so after drinking a cup of tea, eating Greek yogurt with fruit, and reading the New York Times on my iPad, I usually start to work around 9:30 am.  I take a break around 1pm to pick up something for dinner and my all-important latte, and then I’m back writing around 2:15 or so.  I usually work until about 5:30.  I’m someone who can’t write after dinner because if I did my head would be spinning all night long, which it often does anyway, but then I’d never fall asleep, and since I’ve already written that book, it wouldn’t be productive.


You’ve also written for New York magazine and Vogue.  How does writing a book differ from journalism?

The obvious answer is that writing a book takes much longer and represents a huge emotional investment.  There isn’t the immediate gratification of seeing your name in print and getting quick feedback from editors and readers.  With a book, you have to be sure that you’re fascinated enough in the subject that it will keep you going for at least several years.  With magazines, even if you’re not completely in love with the topic, you know it’s not forever, and with some books, it can seem like forever.  But of course in the end, you have a book.  They may not be forever, but they’re usually around longer than a magazine piece.


What surprised you most about writing 9 ½ Narrow?

My mother died two months before I signed the book contract, and my father died two months before my publication date.  They acted as bookends, as it were.  I’d started out writing a humorous memoir about shoes.  I knew it wouldn’t be without its poignant parts.  Friends died along the way, but I wasn’t fully prepared for the death of a parent.  Throughout the book, my mother acts as my sparring partner and foil.  She’s both hilarious and frustrating, but her voice helped move the book along.  Shoes, as everyone who’s ever read a fairy tale knows, provide the perfect metaphor for life’s journey.  I didn’t know where 9 ½ Narrow would take me, or how I’d end it, but my mother got me there, and in doing so, provided the book with an added depth, for which I am grateful.


What do you hope readers will gain from the book?

I hope they will laugh and cry and recognize a little bit of themselves in my story.  For me, writing this book was enormously fun and at times very sad.  Some weeks I’d find myself smiling, other weeks, I’d be writing with tears rolling down my cheeks.  In a way, this book saved me during a difficult time in my life.  So I’d love for readers to enjoy the full scope of my story, and then, with my blessing, go out and celebrate their own lives with a new pair of shoes.


What advice do you have for aspiring writers?

Don’t do it unless you really love it, because it’s a difficult profession, and getting more difficult.  I could say don’t get discouraged by rejections, but everyone gets discouraged.  Moving on after the rejections is the important thing.  Set up a schedule and stick to it.  I once interviewed Raymond Carver and I remember him telling me that he used to get up early in the morning to write in his car.  Don’t try to mimic another writer’s voice.  Find your own.  It will take time, but once you do, you’ll realize it was there all along.   Pay attention to the way you talk and bring that distinct rhythm into your writing.  And, as clichéd as it sounds, it’s really all about the pleasure of the process.



A funny, poignant coming-of-age memoir told through the shoes that she wore.

Morrisroe’s “coming-of-age” is, at its heart, the story of a generation of women who’ve enjoyed a world of freedom and opportunity that was unthinkable to their mothers. Spanning five decades and countless footwear trends, 9 ½ Narrow is, like Love, Loss and What I Wore, about how we remember important events through a coat, or a dress, or in this case, a Beatle boot or Confirmation “wedgie.” 


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It's-What-I-Do-Lynsey-Addario 2


Ann Godoff, President and Editor-in-Chief of Penguin Press, offers insights into It’s What I Do: A Photographer’s Life of Love and War by Lynsey Addario. This book is the story of how the relentless pursuit of truth, in virtually every major theater of war in the twenty-first century, has shaped Addario’s life. What she does, with clarity, beauty, and candor, is to document, often in their most extreme moments, the complex lives of others. It’s her work, but it’s much more than that: it’s her singular calling.




What was the genesis of this project and how would you describe the editor/author process involved in honing the narrative voice and selecting the photographs with Lynsey?

Lynsey wanted to write a book that inspired young people, particularly young women, to follow a path that might make sense only to them. She thought her story could serve as a good example of how dealing with fear head on is a creative act. That’s where we started. Naturally her storytelling is visual first so we worked from there. It’s a memoir and the time line of her life provided the structure, but what was most important to me was that her voice be captured on the page. It’s such a positive voice, such a positive spirit, that I knew when the reader understood that Lynsey was happy in the middle of a war zone because she was able to do the work she was destined to do then everything about her would fall into place.  My job was to encourage her not to hold back or place the written word on too high a pedestal, and hold her storytelling on the page to the same standards she would if it were a photograph.


There are a number of harrowing events described in It’s What I Do that graphically portray the horrors of war, how Lynsey chronicled all, and the toll this took on her and those around her. There are also intensely personal revelations about her life, career, loves and fears. In what ways did you help her identify the most compelling ways to weave everything together?

It’s What I Do is intensely personal but then Lynsey is by nature totally candid about everything in her life. If she’s writing about a love affair that takes second, or third place, to an assignment half way around the world you understand that decision from her point of view. It’s not something men feel the need to apologize for, leaving a lover behind in the hope of a good story, and she doesn’t apologize. So when she falls in love with a man who understands her passion for her work and she is changed by the depth of their relationship we’re prepared for that shift. War zones create a special intensity for the creative artist and I asked her to conjure with that too. Making the decision to put yourself in harm’s way when it is your choice to do so and then dealing honestly with the consequences is at the heart of Lynsey’s book.


What aspects of this book do you hope will resonate most powerfully with readers?

Courage comes in small packages and in unexpected places. I think what will resonate most with readers is Lynsey’s determination that fear isn’t going to be the thing that gets her to no; in fact, It’s What I Do is all about Lynsey’s embrace of life, it’s all about yes.

Credit: Gabriel Lehner

Lyndsay Faye

At BEA I sat down with Lyndsay Faye, author Seven for a Secret, newly released in paperback. Voted one of The Wall Street Journal’s Ten Best Mysteries of the Year!


How do you get in the writing mood? Do you have a certain place that you go, do you have music that you like to listen to?

That’s a cool question, never been asked that question before. How do I get into the writing mood? I get into the writing mood by reading authors I admire. You know maybe I’m going to be reading it for ten minutes, maybe I’m going to be reading it for twenty minutes, and I am going to be sort of just absorbing awesome styles and brilliant techniques and ridiculously cool characterizations as I read them. And then if I’m lucky I’ll manage to make myself stop and actually sit down and write something. So you know, I’ll pick up – it’s easiest to make yourself stop and do it a little bit more piecemeal with poetry. So you know I’ll read Richard Siken poetry, I’ll read T.S. Elliot for a minute, because I like to use very strong metaphors and I like to use vivid language, and so often reading a couple poems for a few minutes before I start writing is nice, because I can read a phrase that I think has great imagery and I can just sort of get into the feeling that way. So that’s what I often do to get in the writing mood.


Would you say poetry is your genre of choice then?

I think any artist who uses poetic language and I mean any medium literally. So for instance like one day I might be listening to The National, uh you know, some song off High Violet, like I’ll listen to Lemon World three times and that is beautiful poetry. You know if you write the lyric ‘lay me on a table, put flowers in my mouth, and we can say that we invented a summer love and torture party’ that is poetry at the same time that I would also like to sit down and read ‘let us go then, you and I, when the evening is spread out against the sky like a patient etherized upon a table’ from T.S. Elliot. Or I might you know pick up Raymond Chandler and read a few passages from The Big Sleep or something along those lines. So yeah, any medium, any genre, just as long as the language is really rich. I like a big slab of chocolate cake in language form right before I start writing.


That is a great image! (laughs) Oh I’m going to steal that one. Don’t worry I’ll always credit you.

No you can take it, you can take it. I always do eat that slice of chocolate cake and you know it could be lyrics it could be poetry it could be prose but, you know just as long as it’s really rich language I always read that first. And sometimes I have it open in tabs on the internet, like I’ll have a poem open in a tab and if I get to a place where I just want to bang my face against the keyboard until my nose goes flat (laughs) then I’ll read the poem for a second and it feels better.


What is your most unexpected or strangest hobby or talent?

Wow, um, I am the only person I know who can put vibrato in a kazoo. I am a really amazing kazoo player. I have a pretty strong vibrato anyway and I was trained in musical theater, but I can take a kazoo and I can, you know, actually put that vocal spin in it. And um, if you’d ever like to hear me play Amazing Grace on the kazoo, I can do that for you. I’d be willing to do that but I don’t have my kazoo with me. It’s in my other pants right now. The other thing I could do for you, that’s a strange talent of mine I can demonstrate right now. (Puts tongue all the way in her nose) So if you can get your tongue all the way into your nose that is like, not something everyone can do. I can pick my nose with my tongue and I can put vibrato in a kazoo. Two things, two things that I can do that are not perhaps expected.


That was excellent! Thank you for sharing that one. So going back to writing… How did you get started as a writer?

I got started as a writer because I had been an actor for a really long time, and I’d been obsessed with the Sherlock Holmes Mysteries since I was ten. And I was working in a restaurant, as you do when you’re a writer. And I picked up a book that was one of many, many, many incarnations of Sherlock Holmes trying to solve the Jack the Ripper murders, there’s countless versions of this. But I picked it up at the Barnes and Noble across the street from the restaurant I was working at, just you know on my lunch break. And I was reading it and I am so obsessed with Sherlock Holmes that every little thing that was wrong with it stood out to me. And you know, it’s actually really well written and I’m not faulting the author at all, the author had clearly done a lot of research etcetera but I’m reading it and I’m like ‘this is just not how I would do it’. There’s a tendency when writing fiction involving Sherlock Holmes particularly, that you’re going to throw in – well and also Jack the Ripper – There’s this tendency to throw in, they’re like ‘And then were going to do also vampires and Satanists, and they live in an interconnected series of underground caves in Transylvania and uh space aliens actually are the ones who infected their minds’ so like they throw everything but the kitchen sink at it. So my problem with that was that what I wanted to be reading was Sherlock Holmes solving the Jack the Ripper murders written by Caleb Carr, essentially. With forensic evidence that was true to the actual events with, you know, a certain amount of historical verisimilitude when it comes to the absolute abject poverty these women were living in in Whitechapel. And I thought it was a little bit of a disservice to the Sherlock Holmes character and to the women who actually were subjected to these horrific crimes that everything but the kitchen sink was being thrown at the narrative. I thought ‘why shouldn’t it be frightening enough that a serial killer is stalking the streets of London and no one knows who this is and at any moment you could be brutally murder and then eviscerated’? I figured that was scary enough, and so I wanted to do one without all the bells and whistles and supernatural etcetera. In an act of enormous hubris I sat down and I actually started writing it which was crazy, I’ve never taken a creative writing class before, I was an English major but it was all analytical type stuff. And then after getting a little ways into it I kind of put it down for a minute because you know you don’t realize that you can actually write a book until you finish writing an entire book, it’s an enormous enterprise. And then the restaurant I was working at was knocked down with bulldozers because they sold it to create an apple store. So then I was on six months of unemployment, and I said ‘you know what you’re probably going to get one shot at finishing this, so just tell yourself six months of unemployment is enough time to write a novel’. And since I’d already done all the research, I’d finished my research into the ripper killings, it was enough time. And I finished it, while I was, you know, out of work. And after that everything got crazy because I didn’t ever think it was ever going anywhere, I thought maybe a Sherlockian small press would maybe, I don’t know, do an e-book of it or something along those lines. I was blown away when I got an agent, and I was even more blown away when I sold it to Simon and Schuster. So that was how I got into and it was all very gratuitous but it was crazy. And I often think to myself ‘why are people letting me do this for a living’ like ‘this is not a regular job’ but that’s how it works.


So that was for your first book, and how did you then make the transition to your second?

Yeah that was a can of worms. I have a few lost novels between Dust and Shadow and The Gods of Gotham. And I still work on them and I still love the concepts, but I didn’t know what I was doing, is the problem. Because if you’re writing a Sherlock Holmes pastiche you have a lot of template laid out for you. You already have the characters and they’re already beloved characters so there’s a certain shorthand you can enter into. You’re not introducing a new character and trying to involve the reader in their lives and make the reader feel affection for this person, they already feel affections for Sherlock Holmes or they wouldn’t have the damn book in the first place. So additionally with the Ripper murders, what you have is a series of extremely specific crimes that I wanted to represent as accurately as possible. So I essentially had a historical outline written for me. And that was great too, but that doesn’t actually teach you how to write a book. So I wrote a few more books, wrong. And then I decided to become a long-haul truck driver, and my husband said ‘no, you should probably not be a long-haul truck driver’. And I was like ‘what about ice fishing?’ And he was like ‘no, that’s probably not a good idea either’. I just didn’t want to go back – acting had burned me out a little bit and I didn’t want to go back to the restaurant work. And then I sat down and I said OK here’s one more try, one more try, I want to write – and here’s the difference between those books that didn’t work and the one that did – I was trying to write – this is going to sound ridiculous – I was trying to write a literary book. I was trying to write a book that had literary value and artistic merit and had all these sorts of exciting moments and historical significance etcetera. And I wanted to do all of those things, but what I wasn’t sitting down and writing – I wasn’t putting my guts on the page. I was trying to be artistic about it, I was trying to say like you know ‘this is an artful sentence, there you go’. Writing artful sentences is bullshit. What I needed to do was take all of my feelings of you know, like, social injustice and failure, what I myself was doing, and dissatisfaction with the world of politics in general, and all of the things I was actually feeling. And I needed to put my own guts on the page and thats was what I was not doing. Because I was being timid and I thought that professionalism was, you know, being intellectually rigorous, but I was in fact just being cowardly about taking my own feelings and just, you know, like finger painting with them in words. So in The Gods of Gotham I said ‘fuck it’, Timothy Wild has just lost everything. He is a dude who walks around with his heart absolutely on his sleeve. And I know all sorts of men who are very sensitive kittens so that was not a problem to write. And he’s in love with a girl who doesn’t love him back, and he has a terrible relationship with his only sibling. And I just piled things on and on and on because I was very frustrated at the time. And Tim is a ridiculous little angst kitten, but he is way more a reflection of my actual, you know, like, style and self etcetera, and I figured at a certain point I am just going to actually be risky and put myself out there, and see if anybody wants to read that. And bizarrely it turns out they do (laughs). So um, me being artistic is not as effective as me being honest, and I didn’t know that, because no one had ever taught me how to write a book before. So I had to practice.

If you were to, in one sentence, describe why you think reading is important, what would you say?

I think that you should read so – If we don’t read how can we possibly understand each other. And, you know, if that’s the one sentence, great, if we don’t read how could we possibly understand each other. But I would add to that how could we possibly understand ourselves if we’re not reading, because reading is such a touchstone for people. It enlightens us not only in the sense of ‘Oh that’s how that life felt’ that someone else has written. But the perfect metaphor that captures exactly how you were feeling and you didn’t really know, and it was this sort of just amorphous miasma of ‘ughh, I feel like this this, but I don’t know how to say it’. Naming things is very powerful, and I think that putting concrete words onto emotions, onto experiences, onto settings onto times of day, you know, like, nailing those down and saying that – there’s this beautiful sentence at the beginning of The Big Sleep by Raymond Chandler right, that still boggles my mind. The phrase he inserts into the sentence is ‘with the sun not shining’ and this is in Los Angeles, ‘with the sun not shining’ doesn’t mean the same thing as that it was cloudy, it’s like this haze right, and so you know from reading that, OK it was this sort of day, and I can picture it. And I think you can do the same thing with people’s feelings, people’s, you know, struggles and their inner turmoil if you put the words together in a row the right way and I think that everyone should read because otherwise we’re just going to keep blindly bumping into walls.

And then just to finish up with one fun question, what is your guilty pleasure at the moment? Whether it be movies or books or food.

I don’t have guilty pleasures. I mean I don’t think people should have guilty pleasures, like – that is a fun question – But I think that people should have pleasures, you know, we’re such puritans (laughs) like we’re such puritans, screw that I mean go eat a pickle straight out of the pickle jar, like go read some fan fiction, go, you know, watch Godzilla. Do what you do man (laughs). Go for it, die your hair blue, whatever. I mean the older I get the more I feel like guilty pleasures are standing in the way of forward progress (laughs). If I were to come up with one, I guess, I am obsessed with Star Trek the Next Generation. But it’s not guilty. I just got into that. I watch star trek when I’m sad, and when I’m happy, and when I’m bored, and all the time in between. I don’t know whenever I try to think of something that’s a guilty pleasure, it’s like ‘well yeah I mean yes I really love cheesy 80’s pop music’ but I think everybody does, you know, it’s like guilty pleasures are the same as pleasure pleasures they just mean that you aren’t owning it.


From Edgar-nominated author Lyndsay Faye comes the next book in what Gillian Flynn calls “a brilliant new mystery series.”


Start Reading an Excerpt of Seven for a Secret by Lyndsay Faye!


At BEA I sat down with Liane Moriarty, author of the newly released Big Little Lies. Liane is also the author of the #1 New York Times bestsellers, The Husband’s Secret and What Alice Forgot. She lives in Sydney, Australia, with her husband and two small, noisy children.



How did you get started as an author?
About ten years ago, I got a phone call that would change my life. It was my sister calling to tell me that her YA novel, Feeling Sorry For Celia, had been accepted for publication. My sister and I had always wanted to be authors. When we were children, our Dad would commission us to write novels for him. At the time of my sister’s phone call, I was working as a freelance advertising copywriter, writing everything from websites to TV commercials. Although I occasionally wrote short stories and first chapters of novels that didn’t go any further, I’d let my childhood dream slide. My sister’s news was the inspiration I needed to get me back to the keyboard.  In a fever of sibling rivalry I wrote a children’s book which was enthusiastically rejected by every publisher in Australia. I calmed down, and two years later, my first novel, Three Wishes was published around the world.

Do you have a sibling rivalry continuing on, now that you’re successful as well?
No, now we’re both published writers (as is my younger sister) we’re all just happy for each other. Although we do become quite competitive about material. For example, when one sister uses an old family story.

All writing materials aside, what material items in life could you not live without?
Well I couldn’t live without one cup of coffee a day, and without books – does that go without saying (laughs). And chocolate and champagne. Is that enough? And if I had all those things together then I wouldn’t need anything else.

How do you get into the writing mood? Do you have a particular place you like to write, do you listen to special music?
I have two small children so I only have a very limited time to write, so I don’t really have the luxury anymore of ‘getting into the writing mood.’ I just have to sit down and write.

Would you say that would be your top writing advice for aspiring writers, just sit down and write?
Yes, you can spend too much time asking questions about writing and wondering about writing and thinking about writing. In the end you just have to write.

If you were going to pick any country in the world or any city to live in which one would it be? (If you couldn’t live in Sydney.)
I’d live in a mountaintop castle near my family and the beach, where I could ski from my castle door and have a swim before breakfast at the beach. It’s a fantasy question so I’m allowed a fantasy answer!

What skills or talents do you admire most in other people?
I admire all those skills and talents I lack – the  ability to sing, to act, to sew, to speak other languages fluently, to cook gourmet meal without making a mess etcetera, etcetera!

Your books focus a lot around personal relationships and family dynamics. Do you find a lot of your personal life transitioning and spilling over into your writing, or do you like to keep the two separate?
Little bits and pieces of my personal life certainly seep into my writing. And that’s why I find that my characters are getting older as I get older, they’re aging along with me. So I’m sure one day I’ll be writing a book set in a retirement village.

If you were to describe why you think reading is important in one sentence, what would you say?
Reading is important because its one of life’s greatest pleasures. However, I also think that if its not a pleasure for you, that’s OK. For some people life’s greatest pleasure is music or art or scuba diving. I just think its important to find time for what makes you happy.

What are your other hobbies or pleasures?
I love snow skiing and bushwalking, and spending time with my children.

What is your favorite place in the U.S. that you’ve visited? Have you done much travel in the US?
I had a skiing holiday in Aspen once, many years ago, and loved it.



Sometimes it’s the little lies that turn out to be the most lethal.

A murder…a tragic accident…or just parents behaving badly

What’s indisputable is that someone is dead.

But who did what?

Big Little Lies follows three women, each at a crossroads. This is a brilliant take on ex-husbands and second wives, mothers and daughters, schoolyard scandal, and the dangerous little lies we tell ourselves just to survive.