According to recent statistics, novels replete with explicit sex, violence, and vulgarity continue to thrive as the flavor of the month in book sales. However, should authors kowtow to gratuitous content just to increase book numbers?
Good writers engage their audience so well, scenes calling for sex, violence, or vulgarity communicate through the actions and attitudes of the characters. This is the real show-don’t-tell opportunity for authors. Otherwise, allow the story to unfold without all the possible explicit sordid details.
I believe an author’s responsibility is not only to entertain but also engage readers, so they sense they are witnessing the story as it unfolds. Share enough details to activate and invigorate the reader’s imagination as they engage the story.
What images race through your mind that depicts anger and rage? Do you picture contorted faces and threatening gestures, or do you need to be explicitly told?
Excerpt from Sanctuary
Consider this scene from my book Sanctuary: Hank gritted his teeth as the veins on his neck swelled, and his eyes glared through me. “Well, I think you’re putting your nose into places you’ve no business being.” He uncrossed his arms and pointed at my chest. “I’m warning you. Stay away from me and my wife!”
“Hank, I’m sorry if I’ve said or done anything to upset you. Have you spoken to your father?”
“This is between you and me. Stay out of our lives.” Hank’s effort to be more composed fell apart.
… Hank pressed his finger into my sternum. “This is all I’m going to say to you about Jessie or John…” He thumped his finger against my chest adding emphasis to each word. “I’m truly sorry about what happened to Jessie, but John got what he deserved. And you can quote me on that. Now back off! I’m warning you.”
Pete stepped out from the shadows, unceremoniously interrupting Hank’s exchange with me.
“Mister P, is everything okay?” Pete asked as he glared at Hank. “Hank, who’re you warning about what?”
Hank surveyed Pete and the four remaining shadows just out of the light. His finger fell to his side, but his distended veins on his neck swelled even more. “Pete, this has nothing to do with you or any of you guys!”
…Pete extended his finger just shy of Hank’s chest. “How in the blue blazes do you know it don’t involve us? If you think you can flex your muscles and intimidate one of my friends, you just made it my business.” His stern warning and unflinching stare froze Hank.
Granted a few expletives could’ve been heard, but did the scene work anyway?
Don’t Take My Word on This…
John Grisham achieved his decades-long success capitalizing on his uncanny knack of drawing his audience’s attention upon his colorful characters and settings. Doing so, he exited scenes involving sex, violence or vulgarity using innuendo. In fact, Grisham’s Theodore Boone YA mysteries found a broad new audience without much of an adjustment in his storytelling to do so. Neither should we to reach a wider audience to sell more books.
What is your opinion on the matter?
I would love hearing back from you. What is your opinion regarding the portraying of sex, violence, and vulgarity in novels? When is enough, enough and it becomes gratuitous? Who are some of your favorite authors?
Right after a potential reader sets their eyes on your book cover, the next critical test to pique the interest of the reader is page one of the story. Does it beg the reader to read more?
For this reason, I begin and end writing and editing with the first page. Like in real life, “first impressions matter” in establishing relationships. We don’t often get many second chances. Neither do our books should the first impression fail to pique a curious reader’s interest.
As an independent author, my books do not have the advertising and promotional blitz advantage afforded by the top publishers hawking their stable of best-selling authors. T. M. Brown does not have the name recognition of best-selling authors, such as Grisham, Patterson, Baldacci, Karon, Blackstock, etc. Like the myriad of other new books published this year, the majority lacking the deep pockets and name recognition, success boils down to passing the sensory appeal test.
What is the sensory appeal test? Does the book cover stand out when on display amongst the notable NYC published best sellers, or does it shrink almost unnoticed, overshadowed by more noticeable book covers?
Maybe its the competitive nature within me, but I desire my books to compete among the notables, the best-sellers. I prefer my books to be on the eye level front shelves in the bookstore; not relegated to shelves set aside in the back of the store. Why is that important? Okay, T. M. Brown is not a household name in the literary world, but when my book covers are displayed beside notable names that readers seek, Sanctuary, A Legacy of Memories and Testament, An Unexpected Return are exposed to more potential readers. BUT, now the sensory appeal test begins.
When either of my book covers catches the eye of a perusing reader and they pause to slide the book off the shelf for a closer look, the reader’s keen senses in the next few seconds decide the fate of my book. Without the notoriety of the more familiar author Dan Brown, it is the front cover which then earns an extended feel of the book.
My publisher utilizes heavier stock paper to print its books, and it is noticeable to the feel. The reader then flips to the back cover and peruses the carefully edited snippets about the book. If the book cover has passed the initial sensory appeal test the reader invests another critical moment and thumbs through the pages before eyeing the first page. Those first 200 or so words reign supreme over the next few seconds as the reader weighs the quality of the content of this interesting new author’s novel. Should by chance the reader flip the page or closes the book but runs their hand over the cover once again, chances are a decision is underway. In that brief moment, the weight of the first page matters.
Now It’s Your Turn
Now it’s your turn. What do you think? How much time do you give to selecting out a good novel to read? Are you narrowly focused on tried and tested bestsellers? Are you a reader who more often than not feels dissatisfied by the novels being hyped and peddled by the big New York City publishing houses. Sadly, there is more and more pressure for the assembly production of novels by notable authors. They are easy to recognize because the author name takes up the top half of the front cover. They are promoting the author’s reputation, not the story inside.
So how do my books stack up? Do the first pages cause you to consider reading more?
The following link is to an interview I enjoyed providing on WUTC with Dante’s Old South program last Fall. It includes a brief six-minute reading of the opening chapter of Sanctuary, A Legacy of Memories.
Are you ready to accept the Indie Author Challenge to never quit? Though Indie Authors must bear an enormous handicap to publish and then market in the growing sea of books on the market today, are you up to the challenge?
As an Indie-Author there are days when I feel like Brock from the movie, Facing the Giants. In this inspirational scene, Brock is challenged to bear crawl blindfolded toting a huge handicap on his back. Like Brock, I have no idea how far I must push myself to reach the goal line. I also share trying to heed the two voices screaming to determine my fate. There are the encourager’s persistent external urgings that compete to be heard above that inner voice screaming within my head, “I can’t do this! It’s too painful. It costs too much. I can’t possibly succeed.”
Then that encouraging voice pleads even louder, “Don’t quit! Don’t you quit! You can do it!”
Which voice will win the day within you? Do you believe in your heart that the goal line lies just beyond your grasp though you just can’t identify how much further it lies?
Are your ears attuned to those just like you who are being inspired by you and have piped in to cheer you on? Is it your tenacity and stubborn refusal to not give up …to not quit that has spurred them to your feet?
It is an undeniable fact: Indie Authors must carry a handicap to compete in the publishing world, and the amount of sacrifice and effort to reach the goal line is not always visible, BUT you gotta believe there are encouragers all along the way rallying you to not quit.
So for me, I will be like Brock and keep on, keeping on until I can’t go any further. And when I finally succumb and take off the blindfold, I pray the “blood, sweat, and tears” was worth it, and the goal line rested beneath my exhausted body. Because by overcoming the enormous handicap I began the Indie Author challenge carrying, others will be emboldened to accept the same challenge.
Can I count on you to encourage me and other Indie Authors to reach the goal line?
Five years ago, my wife urged me to retire from the nine-to-five daily grind to write a novel that our grandchildren would enjoy reading. The first weeks entailed countless hours of investigating the basics — the what and how — of creative writing. Eventually, my inquiries led me to a God-sent relationship with a writing coach and editor, Kari Scare from Three Rivers, Michigan.
Thankfully, technology bridged the 900 miles that separated us. With Kari’s guidance and ample supply of red ink, I nurtured the original premise of a story. Word after word, page after page, revision after revision, Sanctuary, A Legacy of Memories emerged thirty months later. Though a few painful bumps and bruises left their mark along the way, I now proudly enjoy sharing about my legacy of love to my grandchildren.
Of course, one book is never enough. Thanks to the insistence of my earliest readers and my new author-friends, a year after my first novel launched, Testament, An Unexpected Return, the sequel, continued the saga begun in Sanctuary, A Legacy of Memories, and the third and presumably final installment is being written. Each features Theo Phillips, a recently retired publishing executive, and his wife, Liddy. Their journey began after they vacated their suburban home near Atlanta seeking to return to South Georgia, near their small-town roots. However, Theo and Liddy discovered their inquisitiveness, as they seek to settle into their Shiloh home, thrusts them into the midst of scandal and dark secrets surrounding a tragic death. In the sequel, Theo and Liddy become unlikely victims of a former resident’s mysterious return and reckless scheming.
Now what? Over the holidays as I began writing the third installment, I pursued a vital third question about crafting novels – why. An author must come to grips with the motivation and internal message that each story tells. After some soul-searching, I realized the events surrounding one of my characters had played out a true-to-life, relevant role within the main story.
Without revealing too much of the story, Megan succumbed to being coerced into making a choice only a woman can make, but she learns in the story choices have consequences, and most often unintended and far-reaching too. No matter how hard anyone buries such a dark secret, eventually it surfaces to the light. I tried throughout the story to reveal a truth we should all realize, God knows all our secrets. He knew we would make the decisions we did long before we created them. Megan comes to realize that one can compound a lousy choice with more poor decisions that hurt others, but more often than not, God exposes our secrets to begin the healing process of a broken and contrite heart.
So why did I write the stories I have written and likely will continue to write? To inspire my grandchildren and readers alike to examine their choices in life and how those choices have impacted their relationships with family, friends, and most importantly with God.
To emphasize this message, throughout February, all my royalties for books sold in Coweta County, GA — where the inspiration for Shiloh began — and on Amazon so others can participate, will benefit Coweta Pregnancy Services, Newnan, GA. The campaign is duly entitled, “Megan’s Pledge.” Below is a link to find out more should you wish to take part.
So, why do you write your stories?
I pray you may agree — “The testament of a man lies not in the magnitude of possessions and property left to his heirs, but the reach of his legacy long after his death.” Theo Phillips
T. M. Brown is a Southern boy at heart, although he’s lived and traveled in many states far removed from his beloved boyhood roots in Georgia and Florida. He returned to North Florida several years ago while his two sons were still in school and enjoyed traveling throughout the South for business. After his youngest son went off to college, he ventured to New Orleans to complete post-graduate studies. The last fifteen years, he has preached, taught and coached in Louisiana, Alabama, Georgia, and Florida until his wife and he relocated outside of Atlanta where they have since retired to write, travel, and spoil grandchildren.
Presenting author at 2017 & 2018 Decatur Book Festival, 2017 Milton Literary Festival, 2018 Dahlonega Literary Festival. Suspense Book 2017 finalist, Reviews & Interviews. Member of the Atlanta Writers Club, Georgia Writers Association, Chattahoochee Valley Writers Club, Georgia Writers Museum. and Broadleaf Writers Association (ATL). 2018 Best Book Award Finalist from AmericanBookFest.com for Sanctuary, A Legacy of Memories. Shiloh Mystery Series: Sanctuary, A Legacy of Memories (Jan 2018); Testament, An Unexpected Return (March 2018); Purgatory, A Progeny’s Quest
Robert Penn Warren: A Genuine Southern Voice for the Ages
Robert Penn Warren was born in Guthrie, Kentucky, near the Tennessee-Kentucky border, to Robert Warren and Anna Penn. Warren graduated from Clarksville High School in Clarksville, Tennessee, Vanderbilt University in 1925 and the University of California, Berkeley (M.A.) in 1926. Warren pursued further graduate study at Yale University from 1927 to 1928 and was a Rhodes Scholar earning his literature degree from New College, Oxford, in England in 1930. That same year he began his teaching career at Southwestern College (now Rhodes College) in Memphis, Tennessee.
Warren had two children, Rosanna Phelps Warren (born 1953) and Gabriel Penn Warren (born 1955) with his second wife, Eleanor Clark. While at Louisiana State University, he resided at Twin Oaks (later known as the Robert Penn Warren House) in Prairieville, Louisiana. He resided in his latter years in Fairfield, Connecticut, and Stratton, Vermont where he died. Though buried at Stratton, Vermont, he had requested a memorial marker be placed at the Warren family gravesite in Guthrie, Kentucky.
Warren’s best-known work is All the King’s Men, a novel that won the Pulitzer Prize in 1947. Main character Willie Stark resembles Huey Pierce Long (1893–1935), the radical populist governor of Louisiana whom Warren was able to observe closely while teaching at Louisiana State University in Baton Rouge from 1933 to 1942. All the King’s Men became a highly successful film, winning the Academy Award for Best Picture in 1949. A 2006 film adaptation by writer/director Steven Zaillian featured Sean Penn as Willie Stark and Jude Law as Jack Burden.
Warren served as the Consultant in Poetry to the Library of Congress, 1944–1945 (now, Poet Laureate), and won two Pulitzer Prizes in poetry, in 1958 for Promises: Poems 1954–1956 and in 1979 for Now and Then. Promises also won the annual National Book Award for Poetry. In 1980, Warren was presented with the Presidential Medal of Freedom by President Jimmy Carter.
Warren co-authored with Cleanth Brooks, Understanding Poetry, an influential literature textbook. It was followed by other similarly co-authored textbooks, including Understanding Fiction, which was praised by Southern Gothic and Roman Catholic writer Flannery O’Connor, and Modern Rhetoric, which adopted what can be called a New Critical perspective.
Works (Partial listing)
John Brown: The Making of a Martyr (1929) Old and Blind (1931) Thirty-six Poems (1936) An Approach to Literature (1938), with Cleanth Brooks and John Thibaut Purser Understanding Poetry (1939), with Cleanth Brooks Night Rider (1939). Novel At Heaven’s Gate (1943). Novel Understanding Fiction (1943), with Cleanth Brooks All the King’s Men (1946). Novel Blackberry Winter: A Story Illustrated by Wightman Williams (1946) The Circus in the Attic, and Other Stories (1947) A Wilderness: A Tale of the Civil War (1961). Novel Flood: A Romance of Our Time (1964). Novel Who Speaks for the Negro? (1965) Incarnations: Poems 1966–1968 (1968) Audubon: A Vision (1969). Book-length poem Homage to Theodor Dreiser (1971) Meet Me in the Green Glen (1971). Novel American Literature: The Makers and the Making (1974), with Cleanth Brooks and R.W.B. Lewis Democracy and Poetry (1975) A Place to Come to (1977). Novel Brother to Dragons: A Tale in Verse and Voices- A New Version (1979) Handbook of Modern Rhetoric (1950), with Cleanth Brooks Enough and Time (1950). Novel Band of Angels (1955). Novel Segregation: The Inner Conflict in the South (1956) Remember the Alamo! (1958). For children The Cave (1959). Novel The Gods of Mount Olympus (1959). For children How Texas Won Her Freedom (1959). For children The Legacy of the Civil War (1961)
Alice Malsenior Walker was born on February 9, 1944, in Eatonton, Georgia. She was the eighth and youngest child of Minnie and Willie Lee Walker – struggling sharecroppers, but abundant in spirit and love.
Her father’s great-great-great grandmother Mary Poole was a slave forced to walk from Virginia to Georgia with a baby in each arm. Her mother’s grandmother Talluhah was mostly Cherokee Indian. Alice is deeply proud of her cultural heritage.
After graduating from high school in 1961, Alice attended Spelman College in Atlanta. Alice’s mother gave her three special gifts before she left home: a sewing machine for self-sufficiency, a suitcase for independence and a typewriter for creativity.
While at Spelman, Alice participated in civil rights demonstrations and was invited to Dr. Martin Luther King Jr.’s home in 1962 at the end of her freshman year. She then attended the Youth World Peace Festival in Helsinki, Finland and traveled throughout Europe the following summer. This spawned her love for travel and encountering the many peoples and cultures of the world.
In August 1963 Alice traveled to Washington D.C. She couldn’t see much of the main podium but heard Dr. King’s “I Have A Dream” address.
During her junior year, Alice received a scholarship to Sarah Lawrence College in New York. She became one of a handful of black Americans at the prestigious university.
While at Sarah Lawrence, her additional world traveling opportunities broadened her mind. During her senior year, Alice realized she was pregnant. Frightened and not knowing how to tell her parents, Alice considered committing suicide. She turned to poetry, trying to come to terms with her feelings and worst fears. Alice eventually chose to have an abortion.
During her recovery from the depression and anxiety she had suffered, Alice wrote a short story aptly titled “To Hell With Dying.” Her mentor Muriel Ruykeyser sent the story to publishers as well as to the poet Langston Hughes. To Alice’s delight, the story was published and she received a hand-written note of encouragement from Hughes. Alice was just 21 years old.
After graduating from Sarah Lawrence in 1965, Alice returned to Georgia and participated in the civil rights movement once again, but returned to New York City in the fall of 1965. But the struggle in the South beckoned her back, wherein during the summer of 1966 she again registered voters door-to-door in Mississippi where she fell in love with Mel Leventhal, an equally passionate Jewish law student who handled civil rights cases. She returned to New York city with him where he was attending law school.
While working on her first novel, Alice and Leventhal wed and moved back to Mississippi where he could pursue civil rights litigation. Despite threats of physical violence due to their inter-racial marriage, Alice worked as a black history teacher for the local Head Start program.
Alice continued her writing, accepted a teaching position at Jackson State University and published her first volume of poetry, “Once.” Walker became pregnant and finished her first novel “The Third Life of Grange Copeland” the same week her daughter Rebecca Grant was born.
Alice’s novel received literary praise but also criticism. The story involves the murder of a woman by her husband. Many black critics said she dealt too harshly with the black male characters in her book. Alice rebutted such claims, saying that women are all too often abused by men they love.
In 1972 she accepted a teaching position at Wellesley College where Alice began one of the first women’s studies courses in the nation, a women’s literature course. She also wanted to introduce her students to black women writers. In her search for material, she found Zora Neale Hurston, a much forgotten Harlem Renaissance writer. She would later edit an anthology of Hurston’s work and place a memorial on Zora’s unmarked grave in Florida.
Seemingly inspired by this new heroine, Alice wrote fervently. In 1973 she published her first collection of short stories, “In Love & Trouble: Stories of Black Women” and her second volume of poetry “Revolutionary Petunias & Other Poems.”
After numerous awards, she became an editor for “Ms. Magazine,” and by 1976 published her second novel, “Meridian.” The book chronicled a young woman’s struggle during the civil rights movement. At the same time, her marriage to Leventhal ended.
“Meridian” received much acclaim and Alice accepted a Guggeheim Fellowship to concentrate full-time on her writing. She left “Ms.” and moved to San Francisco where she still maintains a residence today. There Alice published her second book of short stories, “You Can’t Keep a Good Woman Down,” and in 1982 finished “The Color Purple,” which earned her the Pulitzer Prize, American Book Award and escalated Alice to worldwide fame.
When the movie “The Color Purple” premiered in her hometown of Eatonton, Alice received a hero’s welcome and parade in her honor. Her sister Ruth began “The Color Purple Foundation” which does charitable work for education.
In 1984 Alice published her third volume of poetry, “Horses Make a Landscape Look More Beautiful.” She followed this in 1988 with her second book of essays, “Living By the Word.” In 1989 she published her epic novel “The Temple of My Familiar.”
Alice next published another volume of poetry, “Her Blue Body Everything We Know: Earthling Poems.” In 1991 she published a children’s story, “Finding the Green Stone.” This was soon followed by her fifth novel “Possessing the Secret of Joy” which chronicles the psychic trauma of one woman’s life after forced genital mutilation. She also wrote a companion book “Warrior Marks” chronicling her experiences.
In 1996 Alice published “The Same River Twice: Honoring the Difficult” in which she describes through essays and journal entries the loss of her beloved mother and her own battle with Lyme disease and depression. The book also contains Alice’s own version of the screenplay to “The Color Purple” and many of her notes and remembrances from the making of her novel into a film.
The next year Alice published another non-fiction title “Anything We Love Can Be Saved: A Writer’s Activism” with more essays inspired by her ever-expanding political activism. Alice remains an outspoken activist on issues of oppression and power and championing the victims of racism, sexism, and military-industrialism.
In September 1998, Alice published “By the Light of My Father’s Smile”. Her first novel in six years, the book examines the connections between sexuality and spirituality. The multi-narrated story of several generations explores the relationships of fathers and daughters.
Alice’s newest work is a collection of stories called “The Way Forward Is With a Broken Heart.” The stories combine autobiography and fiction as Alice examines the bindings and breakings of relationships with friends and family and lovers.
Alice Walker truly exemplifies the power of the Southern Voice in American literature.
Fiercely loyal to her native South and abiding faith, Flannery O’Connor held little patience for those who saw her depiction of the South as a caricature and who felt she could not possibly share or take seriously the religious preoccupations of her characters. But neither her critics nor the lingering health struggles over the last fifteen years of her life – a time of great suffering – could prevent her from preserving the integrity of a body of work that, however lacking in bulk, places her securely in the first rank of American fiction writers of the twentieth century.
Mary Flannery O’Connor was born in Savannah, Georgia, on March 25, 1925 – the only child of Edward O’Connor, Jr., and Regina (Cline) O’Connor. Both her parents’ families had emigrated from Ireland to Georgia in the nineteenth century. The O’Connors were also Catholics in a Protestant-dominated South, and Flannery’s education came from a series of parochial schools.
In 1938, her father’s real estate business had suffered during the Depression; he began working as a real estate appraiser for the Federal Housing Authority, which required the family to relocate to Atlanta. O’Connor and her mother chose to live in Milledgeville. Her father struggled with lupus, which ultimately consumed his life in 1941.
From 1938 to 1945, O’Connor received her primary education in Milledgeville. While in high school she wrote and drew cartoons for the school newspaper. At Georgia State College for Women, also in Milledgeville, she earned a bachelors of arts in English and Sociology. And more significantly, she dropped her first name and wrote under the name of Flannery O’Connor.
From 1945 to 1948, she did postgraduate work at the famous Iowa Writers’ Workshop, where she undertook a formal course of reading that introduced her to the work of modern writers such as Joyce, Kafka, and her fellow Southerner William Faulkner. After several unsuccessful efforts to get published, her fiction began to be accepted both by popular magazines such as Mademoiselle and journals such as The Sewanee Review. She also won the Rinehart-Iowa Fiction Award for her novel in progress, earning her an award of $750 and a contract with Rinehart and Company to publish the book upon its satisfactory (to them) completion.
During 1948 and 1949, O’Connor worked on her book at an artists’ colony near Saratoga Springs, New York. She boarded at the home of noted poet Robert Fitzgerald and his family in Ridgefield, Connecticut. Friction developed with Rinehart when O’Connor refused to revise her book according to the publisher’s editorial suggestions and they characterized her as uncooperative. She obtained her contractural release and signed a contract with Harcourt, Brace, 1951.
She began to suffer pains in her arms and shoulder joints and developed a high fever on her train trip to Georgia for Christmas. She was hospitalized on her arrival and like her father was diagnosed with lupus. She never again would she be completely healthy, but through therapy and a strict diet recovered sufficiently to complete her novel- titled Wise Blood, published in 1952. In contrast to her experience with Rinehart, she was quite responsive to editorial insight and advice–and would remain so throughout her life.
Though O’Connor remained a devout Catholic, her stories usually focused upon mainstream Southern whites who professed the Protestant faith of fundamentalist and often highly idiosyncratic tendencies.
She continued to write and to publish short stories, including “A Good Man Is Hard to Find,” which first appeared in 1953 in a paperback anthology called The Avon Book of Modern Writing, and two years later became the title piece of A Good Man Is Hard to Find and Other Stories. This collection was praised by reviewers, and it sold unexpectedly well for a book of short fiction.
Despite continuing health problems, O’Connor continued living and working with her mother on their family farm. Her second novel, The Violent Bear It Away, published in 1960 to mixed reviews.
O’Connor saw her reputation consolidated in the early 1960s with several essays on her fiction in the Summer 1962 issue of the Sewanee Review and the publication in 1963 of her three books in a one-volume paperback edition called Three by Flannery O’Connor.
At the end of 1963, she suffered a pre-Christmas fainting spell that led to the diagnosis of a fibroid tumor, which was surgically removed in February 1964. Fearing the worst, she devoted her remaining strength to finish the last two of the nine stories planned for her forthcoming collection, Everything That Rises Must Converge. The book appeared in 1965 but as a posthumous publication. O’Connor died on August 3, 1964, at the age of thirty-nine.
In the carefully crafted prose of the two novels and nineteen short stories that she deemed worthy of book publication, she created a gallery of fantastic-seeming but deeply felt and sympathetic characters, in whose stories the humorous often gives way with sickening swiftness to the horrible, and whose lives, however twisted and tortured they may become, remain steadfast searches for the healing power of grace.
Although many writers in this century have sought to catch the flavor of what critics customarily term “Southern gothic,” O’Connor is unsurpassed in the mingling of violence and beauty, of the glorious and grotesque, that is her particular mood and theme.
Nelle Harper Lee (1926 – 2016), simply Harper Lee to millions across America, a Southern voice for decades based on her first book, To Kill a Mockingbird, published in 1960. Her other book though written in the 1950s, Go Set a Watchman, did not see the light of day until 2015 and was published as a sequel to her Pulitzer Prize classic.
Harper Lee wrote what she knew best, the Deep South of the 1930s from a child’s point of view. Harper Lee’s hometown of Monroeville, Alabama provided her with ample opportunities to portray the irrationality of adult attitudes in the racist culture that permeated the South.
A footnote worth mentioning: the character in her novel named Dill was based upon her real childhood friend, Truman Capote. What were the odds that little old Monroeville, Alabama would rear up both Truman Capote and Harper Lee? Today, Monroeville, Alabama entertains thousands of visitors who flock into town to get a glimpse at the old courthouse and homes that Harper Lee wrote about in To Kill a Mockingbird. Might I suggest you might want to visit the link below to learn more-http://www.southernliterarytrail.org/monroeville.html
After a broken ankle immobilized her in 1926, Margaret Mitchell began developing a manuscript that would become Gone With the Wind, ultimately published in 1936. The success of Gone With the Wind made her an instant celebrity and earned a Pulitzer Prize for Margaret Mitchell, and the famed film adaptation released three years afterward. Over 30 million copies of Mitchell’s Civil War masterpiece have been sold and translated into 27 languages. Tragedy struck in 1949 when Mitchell was struck by a car, leaving Gone With the Wind as her only novel.
Born and raised in Atlanta, Mitchell experienced tragic twists and turns; with the loss of her mother in 1918 and then four years later and four months after her wedding, her first husband abandoned the marriage. She wrote nearly 130 articles for the Atlanta Journal Sunday Magazine during that troubled time. By 1925 with her first marriage officially annulled, Mitchell married John Robert Marsh who encouraged her writing during her recovery from a broken ankle in 1926. By 1929, she nearly finished her thousand page Civil War and Reconstruction era story – A romantic novel, written from a Southern woman’s point of view, steeped in the history of the South and the tragic outcome of war.
Rest of the story lies in what happened next…
However, the grand manuscript remained tucked away until 1935 until she reluctantly out of fear showed it to a traveling book editor, who visited Atlanta in search of new material, and the rest is history.
What motivated the book editor to leave his ivory-tower office in New York City?
Southern authors during the decades since earned a warmer reception from the dominant publishing houses as the appeal for Southern stories grew.
What Southern stories rest on your bookshelves at home as a testimony to their lasting imprint on our lives?