Norma Watkins on Bad Sex

Young women coming up in the middle of the last century were not supposed to think about sex, much less have any. Sex was what happened after you got married and before you were blessed with a child, preferably male. In middle school, we were shown a film about menstruation, an experience so embarrassing, girls and boys were not allowed to view it together. That was the end of sex education. The lesson appeared to be: after a girl got “the curse,” she could get pregnant, and it was a proper young lady’s responsibility to keep uncontrollable males from going too far. No explanation or excuse for the feelings of lust roiling inside our own bodies. 

Boys set up residence in my head at fourteen, cleaning out what little sense I had. I was obsessed with sex. I thought about it, dreamed about it, and tried to find books that might give me some idea how it was done. Most novels were sadly deceptive, ending love scenes with “and then he took her,” or “the storm echoed their passion.” Even those paltry descriptions filled me with scalded longing. Out there somewhere was perfect lovemaking, and when you found it, when a boy put his thing inside you, bells rang; you fainted into ecstasy; you were fulfilled. Reading about it, I felt pretty sure if a boy got anywhere near me with his thing, it would probably work. 

My first experience, in the back seat of a Buick, turned out to be nasty, painful, and short. At least I didn’t get pregnant. Never mind, I would wait for marriage and real fulfillment. On our wedding night, my new husband nibbled on a breast, pushed inside me, and came. It hurt like hell. After several repeats, I asked when things might get better for me. “Takes time,” he said, “maybe three years.” Three years! None of the magazines I read gave any helpful advice beyond “satisfying your husband.” My friends did not discuss sex, and I was too embarrassed to admit I’d never had an orgasm. 

After giving birth to four children, I finally got up the nerve to ask a doctor for help. I explained the situation while he studied his desk blotter. When I finished, he said, “When my wife and I first moved South, I didn’t like turnip greens, but I ate them a couple times a week and now I like them.” I told him I’d been eating the turnip greens for ten years. 

We were ignorant and I wonder now if ignorance wasn’t built into the system. Men appeared to have no problem with satisfaction, and women who complained too much could be labeled hysterical. If you got overly hysterical, a friendly judge would be happy to place you in an institution. Sex was for procreation and a real lady was not expected to enjoy it. 

Good sex was for bad women, and I finally learned how to be one.  

Norma Watkins has a Ph.D. in English and an M.F.A. in Creative Writing. Her memoir, The Last Resort: Taking the Mississippi Cure, won a gold medal as best non-fiction published in the southeast by an independent publisher. The sequel, That Woman from Mississippi, relates the consequences of impulsivity and exile. She publishes short pieces in newspapers and anthologies (See Stories). Watkins lives with her woodworker husband Les and two cats on the Mendocino Coast of California.

Kristen Loesch on Ideas, Inspiration, and "The Last Russian Doll"

Inspiration is a funny thing. It can come to us like a lightning bolt, through the lyrics of a song, or in the fog of a dream. Ask any writer where their stories come from and you’ll get a myriad of answers, and in that vein I created the WHAT (What the Hell Are you Thinking?) interview. 

Today’s guest for the WHAT is Kristen Loesch, author of The Last Russian Doll, a haunting, epic novel about betrayal, revenge, and redemption that follows three generations of Russian women, from the 1917 revolution to the last days of the Soviet Union, and the enduring love story at the center. The Last Russian Doll releases March 14.

Ideas for our books can come from just about anywhere, and sometimes even we can’t pinpoint exactly how or why. Did you have a specific origin point for your book?

I wouldn’t say there was one specific origin point, but when I started to burn out during my PhD in Slavonic Studies, I enrolled on a two-week creative writing course to get my mind onto something else. During that course, I wrote the first few scenes of a novel set in Russia. I think it was at that point that I realized that it wasn’t my love of research, reading, writing, or Russian history and culture that had diminished, not in the slightest; it just wasn’t going to the right place. I withdrew from my PhD eventually and it would be several years before I attempted a novel, but that was a wake-up call.

Once the original concept existed, how did you build a plot around it?

In the most painful way possible. I took the initial idea and I ran with it and abruptly discovered, in the middle of that first draft, that I had no idea what was supposed to happen next; I had no idea where the story was going. It’s like that moment when you’re swimming off a beach and the ocean floor drops out from under your feet. It’s swift and brutal and weird, because you’re still swimming, nothing has really changed, but you know it. You’ve above the abyss. That’s what that discovery felt like. I scraped my way to the end, but I’ll never forget that feeling. 

Have you ever had the plot firmly in place, only to find it changing as the story moved from your mind to paper?

Over several drafts, the story exploded out of the initial vision for it that I had and took on a life of its own (if you know that famous ‘chestburster’ scene from the film Alien? It was kind of like that…!). Nowadays I tend to think it helps to have a plot outline, even if you don’t necessarily stick to it, and even if you already expect the story to change along the way. I like to have something to fall back on!

Do story ideas come to you often, or is fresh material hard to come by?

Great question. The story ideas come fast and furious. Especially while I’m driving, taking a shower, or trying to fall asleep. In a way this is great, because it keeps me excited and motivated. At the same time it can be frustrating, because there’s not enough time to turn every idea, or even most ideas, into something concrete. I have to choose between them, which leads neatly to your next question…

How do you choose which story to write next, if you’ve got more than one percolating?

I usually go by gut instinct. Novel writing is such a marathon that it really helps to start out with peak enthusiasm, energy, and passion, and often there will be one particular idea, however unformed, that makes me think ‘ooh, that’s the one’. Otherwise, I’ll start out by writing a pitch or a few paragraphs expanding on the initial story idea; some ideas sound good in your head but once they’re on paper you’re like, OK, nobody ever needs to know this crossed my mind, ever.  

I have 6 cats and a Dalmatian (seriously, check my Instagram feed) and I usually have at least one or two snuggling with me when I write. Do you have a writing buddy, or do you find it distracting?

I checked your feed and I’m jealous! I grew up with dogs; my parents still have one, and while I do often claim him as my own, in my household we don’t have any. My children have been clamoring for a pet, though, and they’re finally reaching an age where they could handle some caretaking responsibilities, so all that remains is to convince my husband…stay tuned!

Kristen Loesch grew up in San Francisco. She holds a BA in History, as well as a Master’s degree in Slavonic Studies from the University of Cambridge. Her debut historical novel, The Last Russian Doll, was shortlisted for the Caledonia Novel Award and longlisted for the Bath Novel Award under a different title. After a decade living in Europe, she now resides in the Pacific Northwest with her husband and children.

Lynn Cullen on the Inspiration for "The Woman With The Cure"

Inspiration is a funny thing. It can come to us like a lightning bolt, through the lyrics of a song, or in the fog of a dream. Ask any writer where their stories come from and you’ll get a myriad of answers, and in that vein I created the WHAT (What the Hell Are you Thinking?) interview. 

Today’s guest for the WHAT is Lynn Cullen, author of The Woman With The Cure, a riveting novel based on the true story of the woman who stopped a pandemic. The Woman With The Cure releases February 21.

Ideas for our books can come from just about anywhere, and sometimes even we can’t pinpoint exactly how or why. Did you have a specific origin point for your book?

Oh, yes, I have a specific origin point for The Woman With The Cure…that lasted for five years. Every Friday since our now-grown kids were little, I’ve gone on long walks with my friend Karen Torghele. While we always had great conversations, they hit new highs during the years she was an oral historian for the Centers for Disease Control, when she would tell me stories about public health pioneers. But it was when she talked about the race for the polio vaccine between Jonas Salk and Albert Sabin that my That’s-a-Book alarm went off, raising the hair on my arms (my sure-fire sign that I have to get writing.) 

Yet, I couldn’t get started. Week after week, month after month, Karen dropped choice tidbits about these two friends-turned-archenemies, told from the viewpoint of their former colleagues. I felt the urgency of the two battling time and each other to end the disease which was paralyzing or killing thousands of children and young adults every summer. But the whole time I wondered, what about the women in the race for the vaccine? I had to do some digging—women in science in mid-century America are truly hidden figures—but in time leading women emerged in every aspect of the race. Once I found Dr. Dorothy Horstmann, the story burst into bloom.

Once the original concept existed, how did you build a plot around it?

The real-life race to beat polio, which was permanently disabling or killing more children every summer, provided a harrowing plotline. The stories of the women who battled polio had to be told, in addition to that of Dorothy Horstmann, whose difficult personal life had to be reckoned with as she fought to reveal how polio worked so that a vaccine could be made. History—or in this case “herstory”—provided a handy framework. 

Have you ever had the plot firmly in place, only to find it changing as the story moved from your mind to paper?

Always. I lost count of how many revisions The Woman With The Cure took. Only two chapters survived somewhat intact from my original first draft. But I love revising. For me, one of the great pleasures of writing is when something that should have been obvious suddenly comes to light, shining the way to a new understanding of the story. I live for those eureka moments. 

Do story ideas come to you often, or is fresh material hard to come by?

Oh, ideas come often. It’s whether they still stand after exposing them to the light of reason that’s the hard part.

How do you choose which story to write next, if you’ve got more than one percolating?

The story that needs to be told makes itself pretty clear. It’s the one I can’t stop thinking about, day and night, and that seems to want to write itself.

I have 6 cats and a Dalmatian (seriously, check my Instagram feed) and I usually have at least one or two snuggling with me when I write. Do you have a writing buddy, or do you find it distracting?

Nice crew you have there! Personally, I don’t know how to write—or live—without the company of my buddies. My German shepherd, Rosie, and my cat, Baby, are snoozing nearby as I write this. We send greetings to you and yours this rainy morning, and a big thank you for this interview!

Lynn Cullen is the bestselling author of historical novels The Sisters of Summit Avenue, Twain’s End, Mrs. Poe, Reign of Madness, and I Am Rembrandt’s Daughter. Her novel, Mrs. Poe, was named a Book of the Week by People Magazine, a Target Book Club Pick, an NPR 2013 Great Read, an Indie Next List selection. It was also a book of the month at Costco, an Oprah Book of the Week, and Atlanta magazine named it one of the Best Books of 2013.