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Disappeared in America: story and fact

Writing fiction takes you places you never expected to go. My stories and novels have transported me to cults and islands, to interrogation rooms and quarry caves, to Caribbean palace guards and gun stores and courtrooms and sacred dingles. But I thought that once imagination has brought the words to publication, the creative part was done. Turns out that’s not entirely true; there’s also room for invention and exploration in bringing books to readers.

We all know that publishing with an independent press – probably with ANY press in today’s market – requires significant author involvement in promotion. My first novel taught me to look beyond bookstore venues for readings and book-signings. HOUSE ARREST took me to libraries and house parties, to book fairs and reader retreats and conferences and book groups. I took advantage of all those additional venues when ON HURRICANE ISLAND was published. But this novel, because of its topical content, presented an unexpected opportunity: to develop a “platform.”

The idea of “platform” is usually reserved for nonfiction books. It refers to the author’s authority in a subject area and her access to a group of readers already interested in that subject. Novelists may have a fan base and literary credentials, but it’s challenging to identify new readers based on what the book is about, since fiction’s subject matter isn’t so easily identified or defined. It’s also tricky because many readers seem to read EITHER fiction or nonfiction, not both.

The plot line of ON HURRICANE ISLAND is frighteningly topical. Actually that makes me laugh, because when I started writing it seven years ago, even my husband said that the premise was possibly too unbelievable. It’s the story of an older woman, a mathematics professor, who is picked up by federal agents at an airport, hooded and cuffed and taken to a secret detention center for interrogation. Snatched right out of the headlines, isn’t it? Which suggested to me that perhaps I could interest people who don’t usually read fiction but do follow the news.

This train of thought led to the “Disappeared in America” events. In each one, I partner with an attorney and/or a justice-oriented organization to explore the literary and the legal issues brought up by the novel, and the intersection of the two. Usually the event consists of a short reading from ON HURRICANE ISLAND, a response from the attorney and conversation with the audience. So far, event venues include libraries and law schools and churches; sponsoring organizations include the Center for Constitutional Rights and chapters of the National Lawyers Guild and Amnesty International. Upcoming events will be held in Amherst, MA, Springfield, MA and Ft. Lauderdale, FL – and wherever else people are interested in these issues.

I can’t claim that these events sell a lot of books, but I’ve been surprised – amazed, really – at how much I’ve learned. And how rich the conversation can be when it includes different perspectives on story and reality, on imagination and social justice.
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