{"id":1182,"date":"2015-07-02T20:16:46","date_gmt":"2015-07-02T20:16:46","guid":{"rendered":"http:\/\/www.thepowerofstorytelling.org\/edition-2018\/?p=1182"},"modified":"2017-07-01T13:12:04","modified_gmt":"2017-07-01T13:12:04","slug":"john-freeman-on-interviewing-the-most-famous-authors-in-the-world","status":"publish","type":"post","link":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/john-freeman-on-interviewing-the-most-famous-authors-in-the-world\/","title":{"rendered":"John Freeman on interviewing the most famous authors in the world"},"content":{"rendered":"<p>The universal BFF to the contemporary writer &#8211; as he was penned by <a href=\"http:\/\/lareviewofbooks.org\/review\/the-inner-sanctum-john-freemans-how-to-read-a-novelist\" target=\"_blank\" rel=\"noopener noreferrer\">LA Review of Books<\/a> following his bestseller <em>How to Read a Novelist<\/em> -, John Freeman came late to reading. His summers growing up in Ohio were spent on the basketball court, not with his nose in books. The literary bug caught him years later, after graduating Swarthmore College and moving to New York. He walked into a bookstore one day and <a href=\"http:\/\/www.bookforum.com\/inprint\/014_04\/1404\" target=\"_blank\" rel=\"noopener noreferrer\">found a first edition<\/a> of William S. Borrough\u2019s Naked Lunch with the original jacket. John had written his thesis at university about Jack Kerouac and he was a fan of the Beats, so this made a big impression on him. He couldn\u2019t buy the book because it was too expensive, but he\u2019s definitely made up for it since. \u201cThat was like a whole other education &#8211; going to bookshops,\u201d Freeman believes.<\/p>\n<p>After working in publishing for a while, he became a book critic. Years later, as president of the National Book Critics Circle, he led a campaign to keep book coverage as a vital part of the American print media. \u201cI\u2019m sentimental about paperbacks. My favourite bookstore in the world is <em>City Lights in San Francisco<\/em>, the first all-paperback bookstore in the United States,\u201d the author wrote in <a href=\"http:\/\/granta.com\/The-Speed-of-Reading\/\" target=\"_blank\" rel=\"noopener noreferrer\">Granta magazine<\/a>, after assuming the role of editor. Since then, he\u2019s moved on to publishing his own literary biannual, <em>Freeman\u2019s<\/em>, which launches this October.<\/p>\n<div>\n<p style=\"text-align: center;\"><a href=\"https:\/\/instagram.com\/p\/3KQ765ibfR\/\" target=\"_top\">A photo posted by John Freeman (@freemanreads)<\/a> on <time datetime=\"2015-05-26T21:34:06+00:00\">May 26, 2015 at 2:34pm PDT<\/time><\/p>\n<\/div>\n<p><script src=\"\/\/platform.instagram.com\/en_US\/embeds.js\" async=\"\" defer=\"defer\"><\/script><\/p>\n<p>John started research on <em>How to Read a Novelist<\/em>, a collection of profiles on the world\u2019s literary superstars &#8211; people like Doris Lessing, Haruki Murakami, Salman Rushdie, David Foster Wallace and about 50 more &#8211; in the early 2000s. He <a href=\"http:\/\/www.theparisreview.org\/blog\/2013\/11\/05\/in-conversation\/\" target=\"_blank\" rel=\"noopener noreferrer\">got the idea<\/a> while working on another novel and encountering writer\u2019s block. He tried reading about other authors and finding out how they dealt with the writing process, but that didn\u2019t help. \u201cReading about Graham Greene\u2019s pickled misanthropy, or John Updike\u2019s imaginary reader east of Kansas, I didn\u2019t want to be them. I wanted to be person who got to sit down and talk to them,\u201d he explains. His effort took about 10 years and it paid off. \u201cHe\u2019s exactly the kind of intermediary that contemporary writers need to get the news out to potential readers. There ought to be a hundred more like him,\u201d the LA Review of Books wrote. <em>How to Read a Novelist<\/em> will be translated into Romanian and published\u00a0this fall by Editura Vellant.<\/p>\n<p>After years working in publishing, editing, writing fiction, non-fiction and hundreds of magazine articles, John Freeman\u2019s next venture will be poetry. \u201cThe first books I ever bought were poetry books,\u201d he recalls. Freeman already published poetry in The New Yorker, The Paris Review and The Nation, so writing a book on poetry is a nice way of coming full circle. &#8220;I&#8217;ve been writing poems the last five or six years and I think I have a collection, but I don\u2019t know. Hopefully that&#8217;s next. And a book slightly similar to this (i.e. How to Read a Novelist), but about poetry called The Alphabet of American Poetry,\u201d he predicted back in 2013 for <a href=\"http:\/\/www.newsmax.com\/US\/freeman-read-novelist-author\/2013\/11\/19\/id\/537484\/\" target=\"_blank\" rel=\"noopener noreferrer\">Newsmax<\/a>.<\/p>\n<p>Here are some of john Freeman&#8217;s advice for better writing and interviewing:<\/p>\n<p>1. <strong>Look at the bigger picture<\/strong>.\u00a0&#8220;I think a writer, the best ones, can be a bridge between your inner life and the outer life of the culture. Because the novel is so much part of society and culture\u201d, says Freeman in the same Newsmax\u00a0interview.<\/p>\n<p>2. <strong>Think before you ask<\/strong>. \u201cI think the right questions are open ended, are questions that require a story to be answered. The wrong questions are the questions that put them (i.e. interviewees) in a defensive position or the questions that were applying a critical gaze on them\u201d.<\/p>\n<p>3. <strong>Make up your mind about the important stuff.\u00a0<\/strong>\u201cCan you write a novel while being equivocal about whether God exists? I don&#8217;t know that you can. (\u2026) I think what gives Philip Roth&#8217;s books their power\u2014aside from their language and the intensity of his intelligence\u2014is that even though he doesn&#8217;t believe in God\u2014I don&#8217;t either, I&#8217;m not doing this as a polemic Christian\u2014he knows he has to answer those questions in his books. Which is: if there is no afterlife, if all we have is our lifetime, what does it mean? What are the things that matter? I think the best novelists always have those really big questions in mind\u201d, he says <a href=\"http:\/\/www.interviewmagazine.com\/culture\/john-freeman\/#_\" target=\"_blank\" rel=\"noopener noreferrer\">here<\/a>.<\/p>\n<p>4. <strong>Set out a specific goal when writing<\/strong>. \u201cI think it&#8217;s about this mixture of achievement of what it&#8217;s meant to do and coherence. Where you feel like everything matters in the book. It&#8217;s like that moment of when you&#8217;re listening to music and even when it&#8217;s got several melodies or a complicated beat, it&#8217;s also in perfect harmony\u201d.<\/p>\n<p>5. <strong>Don\u2019t fall asleep halfway through.\u00a0<\/strong>\u201cDoing the work, moving the story along, you feel the intensity wane and you have a time to doze. The [books] where you&#8217;re glued to them the whole time because they\u2019re that intense\u2014those are the masterpieces\u201d.<\/p>\n<p>6. <strong>You don\u2019t need to travel the world to<\/strong> <strong>tap into something universal,<\/strong> you just need to get over yourself. \u00a0\u201cPhilip Roth has produced an amazing body of work that explores the twenty-two mile terrain encircling the GPS location of Philip Roth. But then there&#8217;s a novelist like Peter Carey, who writes a book about an illiterate bank robber in Australia, and as far as I know Peter hasn&#8217;t robbed any banks. Writers have different capacities and bandwidths. This is not to say that one approach to novel writing is better than the other, but I do think that a novelistic exploration of the self should do more, should tap into something that&#8217;s universal. I don&#8217;t know, but the moment I realized I could go through most of my life without looking in the mirror was a really wonderful experience. I love the feeling that comes over me when I&#8217;m working a lot, really busy, also when I&#8217;m reading, when I have that Emersonian invisible eye experience and I&#8217;m just this permeable intelligence that&#8217;s absorbing and seeing. And I think the self\u2014at least our modern version of it\u2014is so souped up on social media\u201d.<\/p>\n<p><em>Catch the newest issue of his literary biannual Freeman\u2019s this October and take a look at <a href=\"http:\/\/lithub.com\/about-literary-hub\/\" target=\"_blank\" rel=\"noopener noreferrer\">LitHub<\/a>, where John is an executive director. Then, <a href=\"http:\/\/www.thepowerofstorytelling.org\/edition-2018\/registration\/\" target=\"_blank\" rel=\"noopener noreferrer\">b<\/a><\/em><em><a href=\"http:\/\/www.thepowerofstorytelling.org\/edition-2018\/registration\/\" target=\"_blank\" rel=\"noopener noreferrer\">ook your place<\/a> at the fifth edition of The Power of Storytelling to meet John\u00a0and learn more about his\u00a0work.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The universal BFF to the contemporary writer &#8211; as he was penned by LA Review of Books following his bestseller How to Read a Novelist -, John Freeman came late to reading. His summers growing up in Ohio were spent on the basketball court, not with his nose in books. The literary bug caught him &hellip; <a href=\"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/john-freeman-on-interviewing-the-most-famous-authors-in-the-world\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">John Freeman on interviewing the most famous authors in the world<\/span><\/a><\/p>\n","protected":false},"author":4,"featured_media":1183,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[24],"tags":[38,60,76,125],"_links":{"self":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts\/1182"}],"collection":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/comments?post=1182"}],"version-history":[{"count":15,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts\/1182\/revisions"}],"predecessor-version":[{"id":3012,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/posts\/1182\/revisions\/3012"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/media\/1183"}],"wp:attachment":[{"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/media?parent=1182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/categories?post=1182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thepowerofstorytelling.org\/edition-2018\/wp-json\/wp\/v2\/tags?post=1182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}