Eggshells-of-everything: fiction author Wendy J. Fox's domain

So pleased for Wendy J Fox, winner of the 2014 Press 53 Award for short fiction -- which resulted in today's publication of "The Seven Stages of Anger"!

Thanks Wendy, for the opportunity to read your collection in advance, and for your lovely note. I am likewise inspired by you!

(I had the pleasure of working with Wendy for the Expat Harem anthology.)

My review: "Wendy Fox's prose is strong and fragile at the same time. As she explores in these stories the hairline fractures in our relationships with life, ourselves and each other, you can't help but hold your breath for the big break you know is coming. The eggshells of everything? Fox owns the category."

Faye Brann Addresses The Gap In The Market For Narrative Expat Literature

Question for the #expatwriters, #expats and #writers out there, do you think expat lit differs from travel writing, if so, how? #research — Ruby Slippers (@rubyslippersdxb) March 27, 2014

@AnastasiaAshman yes, it's what inspired me! What made you specifically speak out about identifying expat lit as a genre in its own right?

— Ruby Slippers (@rubyslippersdxb) March 31, 2014

Thanks to expat author in Dubai Faye Brann for interviewing me about #expat #literature and the #publishing world's opportunities to capture expat lit's readers.  She blogs about it here. Here's the interview as it was conducted on Twitter this week -- which is where Faye and I met!

Faye is working on her first book, There’s No Place Like Home, to "look at the often misunderstood life of the ‘trailing spouse’ abroad". At her blog she explores the gap in the market for narrative expat literature.

Using Pinterest As An Author

Literary agent Amanda Luedeke posted at Jane Friedman's blog about using Pinterest as an author. Here's how I use Pinterest as an author.

I have a board for a memoir WIP which is a way to keep it active as a project (and something others can peek into the themes of) even when I am not writing.

Here's what I pin.

Comparable titles. Images of people who remind me of characters. Expressions and sayings that capture major themes. Images that capture what it feels like to be writing the book.

I have pinned news items and fashion pictures that would be of interest to my subject (my best friend, who's deceased).

I have pins of settings in the story, and figures she liked and things she'd be interested in today.

In this way, the project is alive. The subject is alive. The whole thing can be interacted with, now, before it has been published.

And, the transmedia storytelling is taking place right now.

False Cosmopolitanism

We’re suffering from a false sense of cosmopolitanism. Access to the worldwide Interwebs leads us to imagine ourselves global thinkers. But we’re not -- unless we’re true xenophiles, bridging cultures, immersed and knowledgeable about multiple worlds. Most people hang out in “like-minded microcosms” and when we cross a boundary online the new light shed on everyone’s prejudices and assumptions can take us by surprise.

“Xeno-confusion” is happening more often in the virtual world, like this stumble into unfamiliar territory. Viewed through the lens of American civil politics, an American company's skin whitening product campaign on Facebook targeting Indians raised an anticolonialist uproar -- but not from the Indians. (No similar protests reported for popular self tanners that darken the skin.)

The launch of TEDWomen, a conference examining the effect of women and girls on the world’s future, created its own online culture shockwave. Are we all on the same page, North American feminists blogged here and here and here, wondering if a gathering separate from the main TED event to discuss the impact of womankind is brilliant or belittling. A blog sought a more nuanced perspective and tried the group replacement test, substituting one marginalized group for another. Imagine TEDGay. TEDMinority. TEDPoor.

Recently in a 10,000-person international network for women writers I found myself in an alternate online reality. An author asked the general community of “White people” (sic) to promote her new work, sight unseen besides a short synopsis, because booksellers relegate titles by black authors like her to a separate section and that negatively affects sales.

Her book substance-free promotion was at odds with how and why people share information and recommendations about books, even marginalized, discriminated against writers. Instead she let everyone know she “loves White people” and her “Spanish husband looks white on the street”.

A majority of the responses were “Sure, I’ll do that for you.” I expressed my confusion. Why was she talking to us like we were part of the problem? Why not normalize the work by taking it off the margins and offer to show it to those of us fellow writers who want to review it in our respective media and communities?

What a baffling corner of the Internet: a place where I'm addressed like a person who normally chooses reading material based on the author’s skin color  -- that would be dumbly racist, no? -- someone who today can be convinced to promote a title (to my Great White People Book Club) based on the original poster’s shelving problems at the bookstore and the-more-palatable-to-me skin tone of her husband glimpsed from afar.

Does it matter that there is definitively no such thing as a White people, or a Great White People Book Club, or that the motivation for word of mouth marketing requires a product to be “extremely helpful, interesting, unique, or valuable to a specific niche market”? Not in that particular microcosm, a place running on logic inherently foreign to me.

In this SheWrites universe I don’t even need to do a group replacement test (“Rich people”, “Powerful people”, “Beautiful people”) to know someone imagines it’s that easy to butter me up for their own purpose.

We may believe we’re global thinkers, and not be. But we’ve got other challenges. To be a global thinker demands we navigate and find a way to bridge worlds that might make only a sinister kind of sense.

As a xenophile, where online do you stumble?

Authority Abroad: What It Takes To Become Your Own Expat Icon

I've always admired the rugged ability of certain adventurer-writers to appear masterful in the wider world. True or not, it’s easy to envision legendary expatriate authors like Karen Blixen and Ernest Hemingway crushing it in their overseas exploits. Satisfying wanderlust. Surviving exotic illness. Operating transnational businesses. Donning local garb or exploration gear. Pictured alone on the landscape, or comfortably surrounded by teeming locals. Iconic.

Then they write personally relevant opuses Out of Africa and The Old Man and the Sea.

Larger-than-life expat writer personalities seem in tune with far-flung surroundings, able to produce their best work from foreign atmospheres.

These two predecessors were clearly troubled. Alcoholism. Venereal disease. Financial ruin. Divorce. Suicide. However, aspiring to their ultimate of travel feats -- achieving a personal and professional high point -- remains an urge for writers abroad like me.

I explore my own brush with the weight of expat image expectation at a colleague's blog this week by delving into the photos that correspond with a highlight and a lowlight of my expat experience. Despite previous and future international depths, it only takes one flashbulb moment to remind us we too can outdo ourselves abroad. And that memory can empower us and our expat life for a long time. Take a peek at Unrecognizable vs. Iconic.

Which expat icons do you admire -- and when have you found authority overseas?

Psychic Location Independence: Optimizing Life In Spite Of Where You Are

The website Location Independent Professionals asked why we want to be location independent. "Whatever you're looking for you can find where you are." It's simply not true. We can get what we want and need where we are -- but not with a local solution. Try a psychic one.

Take my short and balmy trip to Manhattan. I acted as a technology mule, bringing iPads to poor, under-served early adopters here in Istanbul, and reconnected with friends doing work I admire on scales and with methods I aspire to. My peers.

• Popped in for dinner at Babbo, one of America's best restaurants, where a pal Colum Sheehan worked his way up to general manager.
• Barbecued (veggie burgers, of course) with Lisa Oz, a television personality looking to demystify America's health through an East-West approach, and a longtime colleague whose fifth appearance on the New York Times bestseller list comes with her solo effort on the importance of strong relationships.
• Cocktailed with a fellow Berkeleyan and writing buddy Lorna Graham who just sold her haunted-by-a-Beat-writer THE GHOST OF GREENWICH VILLAGE.
• Strolled the hipster hoods of Brooklyn with international designers energized by new iPhone and iPad apps.
• Lunched with a former roomie now French radio producer at the United Nations Cristina Silveiro who's branching into multimedia, like her video with my favorite Beninese singer and human rights activist Angelique Kidjo to demand rape be prosecuted as a war crime.

Right up my alley. But I may never live there again.

Most of us cannot (always) go somewhere on the ground where all our people and our perfect lifestyle exist. We must find that psychically -- our "global niche".

The meaning and purpose of location independence and digital nomadism is to live and work autonomously. Although it evokes mobility, it's especially crucial for long term living situations: to find a way to get what you want and need despite the limitations of your location.  Much like the cross-national quandary posed at expat+HAREM -- "are you a global citizen by choice, or necessity?" --  out of necessity to live and work to my abilities I aim to be independent of my specific location.

Are you location independent by choice, or necessity? Where and why?

Publishing And The Digital World Citizen

I once opened a can of ebook whoop-ass on Stephen King. “No interactivity, no extra benefit for readers!” I scolded the usually imaginative novelist back in the go-go days of Y2K. From my desk on New York’s Silicon Alley where I had the publishing beat at an internet industry magazine, King’s self-publishing experiment The Plant – a flow of static installments lacking flexibility, community and collaboration – was a lackluster leap of faith.

I was used to doling out tough-love to content owners peering across the digital divide. After previous stints in media and entertainment, intellectual property rights and audience concerns were also familiar to me but my exuberance came from a new media clean slate of the expat sort.

I'd just parachuted into the dotcom boom from Southeast Asia.

For five years my Malaysian office was minutes from Kuala Lumpur’s Multimedia Super Corridor, a futuristic zone advised by Bill Gates and Intel’s Andy Grove. Like the rest of the Newly Industrialized Nation, I was plagued by weekly power outages and wrote by candle light. While my attention span shrank to the length of a Compaq battery life, expatriate skills included patience to wait one month for a government-issued phone line. Waiting for internet access expanded my endurance to a couple of years.

When I finally got online the possibilities of global and real-time connection revolutionalized my estranged expat life.

A decade later I’m dipping into the professional fray from 6,000 miles to the East. I’ve been a writer and producer of cultural entertainment in Istanbul since 2003, and continue to live here. My first book Expat Harem took a conventional route: lit agent, Turkish and American publishers, road trip book tours, an electronic release for Expat Harem on Kindle (aff) and Sony eReader. My second effort — an edgy nonlinear memoir of friendship — requires a complete rethink. (Three months to set up our 49-day 10-state road tour across America, three years to recover from? Wouldn't do that again!)

Geographic disadvantage demands I compete in my home market virtually. With the economic crisis, collapse of traditional publishing and fresh hope pinned on the social web, my global audience is also now virtual.  I’m shifting to new school thinking in distribution, promotion, and sales.

Like internet access equalized my ‘90s expat reality, now social media closes the professional morass as my Tweetdeck columns resonate thought leadership across publishing, technology, and marketing. (Follow my Twitter lists of  300+ publishing professionals and 200+ interactive media people, transmedia visionaries, digital storytellers and marketers.)

I’ve got Web 2.0 and 3.0 plans for my second book -- see Digital Book World, the publishing community for the 21st century -- not only because as a contemporary author abroad I must connect with readers and offer dynamic interaction with me and my material, but because as a digital citizen I can.

Building community around the healing power of friendship – the memoir’s heart — promises to bring my writing world even closer to who I am and what I care about, making where I am viable. Exactly where I want to be.

Have you been culturally or geographically challenged in your career? How has the playing field shifted today?

A version of this essay first appeared in former editor of Writer's Digest Maria Schneider's Editor Unleashed, 2009.

See more images relating to this story here and here and here.