Amy Cohen Discusses The Fountain at the Crossroads

Earlier this year I published A Humble Story Lives On, a post based on the work of Amy Cohen, a distant cousin of my husband’s. Amy has been busy over the last several months lovingly publishing a posthumous memoir written by Ernest Lion, another shirt-tail relative who survived the Holocaust at Auschwitz.

Amy asked for my guidance in preparing the manuscript for publication, and I became intrigued with her project as well as the story. In this post Amy explains how she came across the story and why she decided to publish it. I find it especially intriguing that a story written late in life with no known plans for publication could be found and brought to the world by a stranger. It just goes to show that you never know where your words may end up.

SL: Amy, how did you discover The Fountain at the Crossroads?

AC: I was researching the family of one of my Schoenthal cousins—Rosalie Schoenthal. She was one of only two siblings of my great-grandfather who did not immigrate to the US from Germany in the late 19^th century. She married Willie Heymann. All but two of their many children left Germany and escaped the Holocaust. The two daughters who stayed in Germany were killed by the Nazis. In trying to learn more about the lives and deaths of these cousins, I found out that one of Rosalie’s granddaughters, Liesel Mosbach, had married Ernst (later Ernest) Lion. Although Liesel was killed at Auschwitz, her husband Ernest survived. One online source included a link to a memoir written by Ernest Lion.

I clicked on the link and printed out the 200+ page manuscript. I read it in one sitting over the course of a day, tears streaming down my face, unable to put it down until I reached the last page.

SL: What did finding the story mean to you?

AC: Although the fact that Ernest was a relative initially drew me to his book, I quickly realized that his story is the story of more than six million people. It’s the story of how the Germans tried to strip them of their humanity and lives. But Ernest, like countless survivors, refused to surrender his humanity or dignity. The narrative brings you into his experiences and also his mind, allowing the reader to understand the reality of life at Auschwitz and perhaps even more importantly what it was like to survive during and after that experience.

This book reveals both the darkest and best of human nature. Ernest’s ability to persist, to escape, to build a new life in a new country, to find love and purpose is inspiring and deeply moving.

SL: How did you decide to publish it?

AC: After reading the book, I felt strongly that it needed to be read by others. But aside from a few links to the rough manuscript, there was no way for people to find this 200 page manuscript. And with no chapters and crude formatting, it was difficult to read.

So I decided to see if I could get permission to edit and publish the manuscript to make it more readable and publicly accessible.

SL: What challenges did you face?

First, I had to find out who had the rights to the book. I knew Ernest was deceased and that he had a son, but I had no way to contact him. Ernest had acknowledged a number of people in the book, including Randall Wells and Suzanne Thompson, his writing instructors at Coastal Carolina University. Through the university, I got in touch with them and got contact information for Ernest’s son Tom. I soon learned that Tom was the sole heir to Ernest’s estate and thus owned the book’s copyright.

Tom liked the idea of making his father’s book more accessible, so I began editing the manuscript. Wanting to preserve Ernest’s voice and leave content intact, I did nothing but add chapter headings, fix typos here and there, and reorganize one section so the chronology flowed more smoothly.
The second greatest challenge was figuring out how to publish it. That’s where you came in, Sharon, with advice on how to create a professional looking format. Your important suggestion that I use CreateSpace made the process of getting the book on Amazon in both print and Kindle format relatively easy.

SL: What are your hopes for this volume? 

AC: I hope that a multitude will read the book. We set the price low to keep it affordable. Our hope is that readers will gain a deeper understanding of the Holocaust and human nature.
I am hoping that schools and libraries will put the books on their shelves. I am hoping that the book will be reviewed in places where it will draw the attention of history buffs. We need help spreading the word.

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Fountain at the Crossroad is available on Amazon in both print and Kindle versions. You can find them here. Whatever small profits may accrue will be donated to the United States Holocaust Memorial and Museum in memory of Ernest Lion.

For an extensive array of family history stories collected and written by Amy Cohen, visit her Brotmanblog: A Family Journey.

Giving Helpful Feedback

Kathy Pooler’s Memoir Writer’s Journey blog post, “The Art of Constructive Feedback in Writing and in Life”, blew me away. Everyone who works with children in any capacity should read her account of the way her grandson’s soccer coach interacts with his team. Everyone who works with people should read the post and pay close attention to the juxtaposition of that style with the feedback she got on an early writing assignment that shut her down for decades.

Her post especially hit the spot because I’ve been deeply reminded lately that strong writing – deep, meaningful writing – generally benefits from feedback of one sort or another, and yet awkwardly given feedback can do more harm than good. In an attempt to prevent such a negative outcome, writing classes I teach, I always give each student a copy of the follow  Feedback Ground Rules:

• Stories you hear in this room stay in this room! This is crucially important for classes and writing groups to ensure people feel safe enough to share honestly and openly. This caution is not just about story content, it’s about writing skills. Who wants to run the risk that a fellow writer or student might blab to others the sort of thing your own Inner Critic is screaming? You need to respect everything about the writing process. If you want to share an amazing story, ask the author. Most likely the answer will be yes.
• Be care-fully honest. Don’t white wash your feedback, but strive for compassion and tenderness when you point out aspects of a story that don’t work for you.
• State at least two or three strong points for each piece. This may include memorable (velcro) words and phrases, a feature of the story structure, great description, moving content, anything at all.
• Limit comments about needed improvements to the two or three most compelling ones. Respect each person’s need to grow writing skills gradually.
• Avoid opinion — I like it, I didn’t like it, that was a great story. Opinion isn’t inherently bad, it’s just too easy to fall back on opinion rather than exert the mental effort to quantify why you liked or disliked a piece.
• Tell how you felt about it — how it affected you. Were you inspired, amused, touched, saddened … ?
• What worked especially well?
• Did the story seem to be missing anything?
• What one or two things can you suggest to make it even better?
• Avoid the temptation to start telling related stories — make a note of them on your story idea list.

That last item is not specifically related to feedback, but it is a frequent sidetrack in classes and writing groups. I encourage people to keep paper handy to write these ideas down while they’re fresh so they can go home and write the stories.These same rules work with one-on-one critiquing, although in this case, you may do more line-editing. Find out from the author just what information he or she needs and wants. If it’s an early draft, there’s no point in pointing out every missing comma. Stick with conceptual and structural comments.

Should you find yourself in an unenlightened group and be subjected to a barrage of negativity, have a firm talk with your Inner Critic. Tell her something like “Consider the source. Some of those comments were valid, but I’m not going to throw the baby out with the bathwater, and I’m' not going to assume their mean spirits meant anything other than that they don’t know much about how to be helpful. I’ll keep writing.” You may bring this up with the group and suggest some ground rules (you are welcome to copy the ones above), or you may just find a new group.

Be kind with yourself and others, be patient with all concerned, and remember that neither writing nor feedback skills are mastered in a single sitting.

Write now: jot down some thoughts about feedback experiences you’ve had. Were they negative or positive? If they were negative, use the “Is it true” technique to explore the implications.

Joining the Uncopyright Revolution

A year and a half ago, Leo Babauta, author the the ZenHabits blog, signed on as a soldier in a revolution — the uncopyright revolution. I came upon this concept only a couple of days ago in a post entitled Grab and Run: The Great Uncopyright Experiment on Mary Jaksch’s Goodlife Zen blog. If you have any interest in copyright matters, I urge you to read both Leo’s and Mary’s posts. They may change your life.

I’ve already discussed copyright on this blog twice this year. In March, I posted an article explaining the basics of copyright law and associated ethics. That post was prompted by the dismay a friend felt after discovering that whole posts from her blog had been pirated and reposted by a woman she had inspired to begin blogging, and whom she considered a friend.

Two weeks ago I wrote about the resulting fiasco after Amazon arbitrarily pulled George Orwell’s works out of all accessible Kindles that had purchased the work. At bottom, that mess resulted from violation of copyright law. Orwell has been dead for nearly sixty years, and his works are in the public domain nearly everywhere else in the world. Animal Farm was written in 1945 and Nineteen Eight-Four in 1949, shortly before his death. You can download the text of either book from the Internet, but not legally in this country.

I won’t go into those legalities other than to say they make me nuts! I think it’s insane that if 49 years after I die, someone picks up something I wrote, finds it inspiring, and wants to share it with the world, they can’t do it, because it's still protected by copyright. Even my kids are likely to be gone by then, maybe even my grandchildren, but my estate is still protected. Whoopee! Who are the winners here?

Furthermore, I have long believed that all inspiration comes from the same Source, and there is nothing exclusive about it. I’ve learned and benefited enormously from the works of others, incorporating their thoughts into my own and building on them. I’ve always believed that I “owe back to the pot” at least to the extent I've been fed from it; that the world will be a richer place if creative people cross-pollinate by freely sharing ideas, even to the extent of copying; and that if I become protective and proprietary about whatever small amount of wisdom I may have accrued, the creative part of my mind will soon be Saharan.

Please do not take this to mean that I advocate copying. The exercise involved in putting your own spin and personal touch on ideas you value helps cement them in your mind and keeps your brain healthy. I don’t even share links to things without adding a few words to explain why I find them valuable. But if you sincerely believe you don’t have any value to add, by all means, pass material along — with a link back, please.

So when I read Mary’s post and tracked back to find Leo’s, I thought Oh yes! That’s IT! I’ll do that too. Like them, I declare my blog Public Domain. As you'll see from the notice in the left sidebar, I've taken that step. You are welcome to copy, adapt, and build on articles found in this blog as you wish. That being done, I hope that if you do copy or adapt from it, you’ll link back and identify the source. Crediting source material publicly affirms your integrity and generates good karma. And I hope you’ll let me know so I can smile with grateful satisfaction, knowing yet more people are finding my work valuable and inspiring.

Write now: about your feelings around copyright and ownership of words and ideas. Do you feel proprietary about your work, or welcome others to share?

An Ethical Dilemma?

Considering my recent admonition that reading great works of memoir and fiction are the best do-it-yourself writing workshop you can find — at no cost if you have a library card — a recent fiasco involving the Amazon Kindle caught my eye. As a disclaimer, I should begin by stating that in spite of recognizing their convenience factor, I do not own a Kindle, nor have I ever had plans to buy one.

Part of this reluctance stems from the price. Only a small part. A much larger part stems from the fact that I realized I would not own the books I bought. I owned only the right to read them. I could not pass them along to a friend or relative. I could not donate them to the library or sell them at a garage sale. I couldn’t use sticky flags to mark sections I wanted to note for future reference (I respond best to visual cues), and I couldn’t run selected pages through the copier.

A third part relates to the first. I’m a library addict. If my local library doesn’t have a book I want to read, they can get it through Inter Library Loan. This is my personal plan to live within my means, avoid cluttered shelves, and “read green.” Not only do I save dollars and shelf space, but library funding is based on Use It or Lose It. Circulation figures weigh heavily, and not just in Pennsylvania where the Neanderthal governor and state legislature is threatening to cut library funding by 50%, sending us back toward the stone age.

Yep. I’m a geek who loves techno toys, but the Kindle did not make the cut. Neither did the Sony, which is favorably recommended. Nor did any of the other lesser known and even higher priced alternatives.

So where is the dilemma, and what does this have to do with life writing?

The dilemma is that today’s July 17 New York Times carried a report that “This morning, hundreds of Amazon Kindle owners awoke to discover that books by a certain famous author had mysteriously disappeared from their e-book readers ... “ Amazon stealthily removed copies of George Orwell’s classic novels Animal Farm and 1984. The good news is that they did credit the readers’ accounts.

Within hours, over 200 comments on the New York Times page had registered outrage, with over half expressing a firm determination stick with paper books — especially the library versions — rather than buying the Kindle they’d been considering. This has lit a highly readable firestorm of debate about Digital Rights Management, ethics, Amazon’s greed factor, and a score of other issues. More debate follows on the official Kindle Forum.

Another aspect of the debate and dilemma is the issue of copyright. These titles are in the public domain in most of the world, but still covered by what many consider to be unreasonably prolonged copyright protection in the USA. Apparently this was part of the reason for the scandal. The matter of copyright protection is one that concerns all writers.

I sense a watershed here involving the world of electronic publishing. Which way will it go? Who will determine the outcome?

The tie to Life Writing and your personal writing opportunity, involves personal essays outlining feelings about this ironically Orwellian issue of eBooks versus paper, copyright, rights of ownership, and related matters. This is your chance to put the stamp of your opinion on the history of publishing.

Write now: write that essay. Tell how you feel about technology in general, and digital books in particular. Do you have a Kindle? How do you feel about that now? Did you realize you wouldn’t own the books you purchase in the traditional way? If you don’t own a Kindle, would you consider buying one? Let it all hang out on paper or screen.

Copyright, by Me

Nearly every time I speak to a group or teach a class, someone asks about copyright:

“Aren’t you afraid that someone will steal your ideas or posts and use them somewhere else?”

“How do you protect your work so nobody can copy it?”

“If I read someone else’s story and subconsciously copy something they said, can I be sued?”

“If I want to include something someone else said, how much can I use without violating copyright?”

Like all authors, I put a lot of work into what I write, whether that’s a blog post, a book chapter, a program description or handout, or an e-mail. I freely admit that I’m influenced by the work of other writers, and I often write on topics I’ve recently read about. However, I don’t write about anything until I’ve mulled it over enough to develop my own thoughts and opinions and can honestly say that what I write is my unique perspective because that’s how I learn and grow. And, it keeps me out of court.

That gently modified perspective is what sets my work apart from the work I read earlier. I’ve taken a concept and given it a slightly different twist, as the person who inspired me did in her turn. We are each part of a chain of literary and philosophical evolution. At the risk of sounding like I’m inviting people to snag my work and repost it, which I most certainly am not, I will say that I don’t put anything on the Internet that I’m deeply attached to.

Please respect the work of any author and use it to develop your own message. Write about the topic your way and add your voice to the choir. But don’t copy my work or anyone else’s verbatim, especially without giving us credit. That’s both illegal and unethical.

Anything anyone writes, even a note on a napkin, is copyright by virtue of having been written. Many of us include a copyright notice on our stories and other work when we distribute it publicly. That is as simple as placing a line at the end or some other suitable place saying copyright, (current year) by (Your Name). Or you can use the copyright symbol to replace the word: © 2009, Sharon Lippincott.

For the greatest legal protection, register your copyright. You can do this online. The fee is currently $25 per item, so I reserve this for the most important documents, like book manuscripts.

The chances of subconsciously recreating the words of another author closely enough to put yourself at risk are slim. If you have questions or doubts, reread the original, and change yours if need be.

If you want to quote someone, you can use short excerpts without permission, according to Fair Usage laws. But anytime you quote the work of others, directly or indirectly, you should credit the author. Ditto on graphics. Don’t swipe graphics from a website to slap onto your own. Graphics are covered b the same copyright law as text. Noting in print today will be in the public domain within our lifetimes. If you ask permission, you’ll often get it, and sites like Flickr have photos available for your use under what’s called a Creative Commons license, which generally stipulates that you are free to use the photo as long as you cite the source.

If you have further questions about copyright, check these links:

A brief intro to copyright
Ten Big Myths about copyright explained
United States Copyright Office
Some Observations on Copyright Law

Bottom line: Keep your eyes on your own monitor and don’t copy the work of your neighbors. Stealing stories is bad form and bad karma.

Right now: a short essay an your thoughts about copying. Did you copy on tests in school? Did you ever turn someone in? How do you understand the difference between inspiration, adaptation, and stealing?

The Sound of a Voice on Paper

My e-mail today held a Mother’s Day story sent by a writer friend. Something didn’t quite click when I read the story. Is this a flashback story? I wondered. The timing seems off, and ... this does not sound like her writing! This isn’t the way she puts things.

This experience sparks several thoughts, and the first relates to my perception that it did not sound like my friend’s writing. I know the sound of her voice on paper, also known as her Writer's Voice, and this voice wasn’t hers.

I’ve been thinking a lot about writer’s voice lately, and realized that our writing voice can be compared to an opera diva’s voice. When she first begins to sing, the diva sings naturally, like anyone else, though her gift for singing may soon become apparent. Many people have lovely voices, perhaps even the potential to become divas, but the vast majority of them are content to simply sing for worship or pleasure, and their tunes touch the hearts of all who hear.

In contrast, the diva spends years studying, practicing, and learning new ways of projecting and using her voice. Its glory eventually thrills audiences. But all the training and coaching serves only to remove rough edges and distractions from her voice, allowing her truest, purest sounds to emerge. She still sounds like herself — her best, most polished self.

Lifestory writers may go through a similar process. We all begin by jotting down simple stories or letters, some with more natural polish than others. Most people who are primarily interested in leaving a written record of their lives for their families will be content with single drafts or simple edits, and their families will be thrilled with their efforts.

Some of us desire to hone our craft. We read, study, and practice new ways of presenting those stories to polish our technique. Years later, our words may flow like silk ribbons along the page, but our stories will still sound like we wrote them. We may avoid grammatical errors and distractions, and include more colorful descriptions, but they are still our stories, told the way only we can tell them. The longer we write, the more consistent and recognizable this voice becomes.

I know my friend did not intend to pass this story off as her own work, but even if she had, I would not have been fooled, because I know her voice.

Beyond the matter of writer’s voice, this story raises a couple of points about sharing stories by e-mail:

• Sharing stories via e-mail is lots of fun, and an easy way to delight your family and friends. Pasting them into the body of the e-mail is fine, though they will be easier to save for posterity if you attach them as a document.Be sure to include a title, and be extra sure to include your name. I encourage you to enter your name as Copyright 2007, Your Name, or © 2007, Your Name.

• It’s fine to forward those cute anonymous stories that are caught in endless e-mail loops. But as a writer, you need to take extra care to make it clear you did not write the story yourself, or you may confuse people. My friend was in a hurry, and hit forward without adding a personal note or any sort of explanation. Simply listing “Author Unknown” at the bottom would removed any doubt.

Your own stories are unique and special because you wrote them. Give them the respect they deserve, and showcase them proudly, with your name at the top and/or bottom, and a copyright notice. Your work is protected by copyright whether you include the notice or not, but don't settle into complacency with that assurance. Don’t worry about seeming arrogant — think of it as a way of managing respect. Mentioning the copyright shows that you respect your own work and encourages others to do likewise.

I’ll be thrilled if someone eventually forwards one of my stories back to me from cyberspace, and I hope when that happens, my name is still attached. But if it isn’t, by that time I hope half the world will recognize the sound of my voice on paper.

Write on,

Sharon Lippincott, aka Ritergal

Countdown: 51 days until the release of The Heart and Craft of Lifestory Writing on July 1. Stay tuned for ordering details.