“This collection of poems and photos beautifully illustrates the complex emotions of living in New York during a global pandemic.” ~ Kelly Ripa, Entrepreneur, Host, Actress and Producer
Living in New York City during a global pandemic has been some combination of surreal, dispiriting, challenging and inspirational. While many of us have yet to fully process and make sense of what has transpired on our usually vibrant streets and in our parks over these last several months—especially in its early epicenter days—several artists have continued to create.
Nicole Freezer Rubens, a native New Yorker, owner of a boutique design firm, and mother of three, is one such artist. Through her dual passions—poetry and photography—she has beautifully and poignantly chronicled her personal experience during the pandemic and shown its impact on our beloved city in her gorgeous debut, “The Long Pause and The Short Breath” (Three Tomatoes Publishing, 2020).
I had the pleasure of doing an Q & A with Nicole about her new book, one that gives readers a highly personal tour of the city during a moving and unforgettable time.
EZ: I’ve been enjoying your vibrant and gorgeous Instagram photos for years. What was it about the pandemic that made you take the plunge— not only to create a book of photos, but one that includes poetry too?
NFR: I have been writing poetry since I was 9 years old. Right after I read Shel Silverstein’s Where the Sidewalk Ends, I set out to create my first book of rhyming poems, bound in a denim blue loose leaf and including images and drawings. In college and after I studied poetry writing as well and throughout my life I have always written for myself. When the world shifted at the beginning of the global pandemic I was quite relieved that we were allowed to walk outside for exercise. Seeing our city empty out inspired me to write, often as I was walking in Central Park. With little else to do, I walked and explored a lot as a means to investigate and process what was happening. The poems began to accumulate after a few weeks. Not only did writing become therapeutic for me, but I began to feel a responsibility to myself to chronicle the events and repercussions of Covid-19 as a diaristic record for the future.
EZ: What was your process in taking and choosing photos specifically for the book, and how did you tackle the poetry (and do the photos pair with the poems or did you see them as separate if not related entities)?
NFR: I am generally a little obsessed with Instagram and love taking photos on my phone everywhere I go. Exploring new neighborhoods and photographing them is absolutely one of my favorite pastimes. When Covid prevented me from doing that, I began to take long walks to relatively local neighborhoods I had overlooked before. You ask an interesting question Elisa. The photos and poems were created as completely separate entities for me. Although they evolved simultaneously, I did not think to use them together until I realized that the poetry I had accumulated, was
becoming a body of work that could be a book. Once I finished writing I sat down to pair the poems with photos. This flowed naturally since they were captured to record the same subject matter of our city under lockdown.
EZ: So many writers and other artists have thrived during the pandemic, but many have also struggled (present company included). Did putting the book together help you cope and stay motivated during such tough times, or was it a struggle (or something in between)?
NFR: I have always had an easier time writing from the lows than from the highs. I have constantly used poetry writing as a coping mechanism. I realize as I write this, that that first binder of poems I wrote at nine, was written right after my parents got divorced. I am lucky because writing is a hobby, so I did not have the pressure to produce as so many artists do. I can say that on the days that I wrote a poem, I felt the satisfaction of productivity and that was personally rewarding and pushed me to continue to write. My interior design work was on hold for six months. My three grown children were home for three months, and cooking and cleaning occupied my days but did not satisfy me. I am very grateful that I was able to use some of my time on pause to create something long-lasting and that is important to me. It was not a struggle at all, it was more of a blessing for which I am grateful.
EZ: How would you sum up what you’ve experienced living in New York City during the pandemic, and what are some of the images or poems from the book that best encapsulate or capture the pandemic for you?
NFR: Overall, one of the most powerful aspects of being in NYC during the pandemic was bearing witness to the positive side of humanity. The Clap Because We Care round of cheering and applause that happened all over NYC at 7pm daily was always a bright spot in my day. Hearing, seeing and feeling the gratitude for and supporting the tireless healthcare workers and essential workers reminded me of the fundamental goodness in people and amplified my love for my city. Being able to scream for those two minutes, sandwiched between my family and neighborhood as we clapped, was a personal and helpful release. I also realized early on how fortunate I was in so many ways, including having bonus time together with my family. Although I felt frightened and deeply sad and frustrated, sharing that universal sense of loss with the world over made it easier to cope.
The cover image Off Limits of an empty Grand Central Station and You Are!! which shows a hand drawn heart-shaped message of strength taped to a lamppost truly define the times for me. Selecting a poem might be like picking a favorite child, but I can say that after I wrote March 30, 2020 about the field hospital being erected so unnaturally in Central Park, I felt I was on my way to having the writing soothe me.
EZ: What advice has helped you create in the face of a pandemic or grief or any kind or loss? (Or what advice would you offer to other artists?)
NFR: That is a very personal question, and each individual and creation is a unique situation which is what keeps artwork so interesting to me. I was always taught to write what you know, and the same applies to photography. I believe if one uses her voice, she will create from her truth and then it will certainly be meaningful and authentic.
The Long Pause and The Short Breath is available on Amazon or wherever books are sold. (If you don’t see it at your favorite independent bookstore or on their website, please request it.)
More about Nicole Freezer Rubens: She studied studio art, art history, creative writing and photography. Following a career in the art world, she launched NFR Consulting. Since childhood she’s written poetry and taken photos. Her favorite current pastime is exploring new neighborhoods and posting her treasured finds on Instagram. You can follow Nicole on Instagram at @nfrconsult.
Laura Taylor Namey is a woman on a mission. This dog loving, piano playing, former teacher is a mother of two and full time writer. She aspires to live in London someday, but right now is truly living the dream (and working her a** off) as the debut author of the brand new young adult novel, The Library of Lost Things (Inkyard Press, October 2019). Here’s a description of the novel from Goodreads:
From the moment she first learned to read, literary genius Darcy Wells has spent most of her time living in the worlds of her books. There, she can avoid the crushing reality of her mother’s hoarding and pretend her life is simply ordinary. But when a new property manager becomes more active in the upkeep of their apartment complex, the only home Darcy has ever known outside of her books suddenly hangs in the balance.
While Darcy is struggling to survive beneath the weight of her mother’s compulsive shopping, Asher Fleet, a former teen pilot with an unexpectedly shattered future, walks into the bookstore where she works…and straight into her heart. For the first time in her life, Darcy can’t seem to find the right words. Fairy tales are one thing, but real love makes her want to hide inside her carefully constructed ink-and-paper bomb shelter.
Still, after spending her whole life keeping people out, something about Asher makes Darcy want to open up. But securing her own happily-ever-after will mean she’ll need to stop hiding and start living her own truth—even if it’s messy.
I had the pleasure of doing an email interview with my lovely friend whom I had the pleasure of meeting several years ago at a Society for Children’s Book Authors and Illustrators annual conference. Read on to learn about her writing journey and why she loves #pitchwars and her critique partners (not necessarily in that order).
EZ: At what point in your life did you know you wanted to write for children and young adults? And when did you know you were a writer?
LTN: I have always felt like a natural writer, even if I didn’t have the logistics figured out until a few years ago. I am a former teacher, and I found myself using a lot of literature in my classroom lessons. I began to long for the chance to write my own stories. About five years ago, I started writing a young adult novel (this one will forever live in a drawer). I’d had no formal training, but I used that work to find out what I really did need to work on more. I got help, read a ton, and decided that I wanted to focus on the young adult age group. I love the emphasis on coming-of-age themes, high-concept storytelling, and exploring complex and relevant topics.
EZ: What has been the best part of transitioning from a pre-published to a published author?
LTN: I have such admiration and respect for career authors, and creators who consistently come up with beautiful and compelling content. Being able to take my small place beside them, with the word Published next to my name, is an incredible experience.
EZ: How do you fit writing into the rest of your life (and fit the rest of your life into your writing)?
LTN: I am blessed to have a supportive family, and the opportunity to write full time right now. I work best in the morning, so having a new teen driver in my home has helped to free up some of my time to build up my word count before lunch time. I take breaks to take care of my home and family, and to squeeze in a workout. Admittedly, I don’t watch a lot of TV. I am usually writing, or reading during down time.
EZ: What are your favorite kinds of books to read, and how do they inspire your writing?
LTN: I love books that stick with me long after I’ve finished them. I enjoy a wide variety of authors, age groups, and genres. Make me care, feel, and want to chat about your book all day and that’s my idea of a winner. I believe all writers need to actively read other writers. I am most inspired by other authors in the areas of scope and opportunity. There are so many ways to attack and deconstruct even the same topic in drastically different ways with differing points of view. Reading more only confirms my belief that so many possibilities lay in front of our pens.
EZ: Can you describe your experience with #pitchwars on Twitter?
LTN: I was a 2017 #pitchwars unofficial mentee. Besides working with a fantastic mentor who became the first person to work on THE LIBRARY OF LOST THINGS, #pitchwars brought me into a supportive community of writers. This is the real prize in any online contest. Put your work out there. Meet fellow writers. Team up and share and hone your craft together, and know that you are not alone in your struggles and hopes.
EZ: You are a big fan of your critique partners. How did you meet them, and what makes your partnership work? What advice do you have for other writers who want to work with critique partners or groups?
LTN: I have two fantastic critique partners that work with me almost every day. We met because we were all 2017 #pitchwars unofficial mentees. We began chatting privately on Twitter DM, and became lifelong friends through sharing our work and supporting one another. What sets our group apart is that we don’t wait until we finish a novel to edit or weigh in. We are always working together on our three individual manuscripts. We plan together from idea-up, talk through issues, name towns or characters, and share snippets of our writing as we go. When I get stuck, I can ask a question directly from the point of concern. My partners already have such a deep knowledge of my manuscript, plot and theme, and character arcs, that they can weigh in quickly. And I do the same for their work.
For those who would like to join or form a group like this, hang out on private writer’s boards or the community groups associated with social media programs, such as #pitchwars. Put yourself out there. It might take some time, but you will find your people. It’s okay if you try out a CP and that person isn’t quite right for you. Keep sharing and investing in others.
How will you know if you are collaborating with the best people for you? Your perfect CPs will be similar enough to you and your work that they share a taste level and basic skill level. But they should be different enough that they can expand your scope and contribute to your growth. A good CP walks beside you, while also possessing the tools to push you. My CPs and I are the best of friends, but when it’s time to work, we give tough feedback with love.
EZ: What are you currently working on? And where do you see yourself in five years?
LTN: Right now I am almost finished with the draft of a secret junior novel. I’m hanging out in the young adult contemporary world for a while, and hope to have a few books side-by-side on shelves in five years.
To learn more about Laura Taylor Namey and The Library of Lost Things, visit her website. You can also find her on Twitter and on Instagram. Stay tuned for Namey’s sophomore novel, A Cuban Girl’s Guide to Sweaters and Stars (Simon & Schuster, Fall ’20) and future titles as well!
If you’re intrigued by the idea of soulmates and are fascinated by fate, Soulstruck (Sky Pony Press, June 12, 2018) may belong in your hands and on your bookshelf. Here’s a description of Natasha Sinel’s sophomore young adult novel:
She might be only a lightning bolt away from finding her soul mate.
Seventeen-year-old Rachel Ferguson is trying to get struck by lightning. Maybe it will lead to finding her soul mate, like it did for her mother. And then maybe her mom will be as devoted to her as she is to her lightning strike survivors group.
When Rachel discovers letters written by her mother’s soul mate—the man she thought was her father—she begins to question everything she’s always believed, including soul mates, fate, and even her mother. No longer sure of its power, she decides to quit chasing lightning.
Rachel feels abandoned and alone—her best friend has ditched her, her boyfriend has dumped her, and confronting her mom only made things worse. At least she still has her friend Jay—in fact, their growing attraction to each other seems to be the only good thing happening.
But when her relationship with Jay starts to unravel too, the impulse to get struck by lightning resurfaces.
And there’s a thunderstorm coming.
Set in a small Cape Cod beach town in the off-season, SOULSTRUCK is about the search for love, and the risk of losing it while waiting for destiny to happen.
I had the pleasure of doing an email Q & A with Sinel. Read below to learn more about her and her writing life.
EZ: Now that you’re a seasoned novelist with two titles, how would you compare the process of writing your first novel, The Fix, with that of Soulstruck?
NS: A seasoned novelist? Ha! That’s super nice of you to say. While I did feel more confident this time around, writing a new novel still feels like starting from scratch. I think it’s safe to say that writing Soulstruck was just as difficult as writing The Fix! My novels have always started out as one thing and inevitably evolved into something very different. So I end up rewriting a few times as I discover my characters’ emotional arcs and the themes. It’s a long process, but so far it’s worked for me. I’m always looking for new processes to help streamline drafting and revising, but I usually end up doing what has always worked for me—basically, there’s no way out but through!
EZ: What’s the best thing you learned as a first-time author (related to writing, book promotion, etc.) that has helped you moving forward?
NS: I learned what a lot of debut authors learn—self-promotion is uncomfortable and it kind of sucks. Also, I’ve gotten much better at letting things go—like the little jealousies that arise about other authors getting sent to conferences or festivals, etc. I’m learning that sometimes it happens, and sometimes it doesn’t. Even with Soulstruck coming out, I’ve been much more focused on revising my current work in progress than on the release. I’m getting much better at doing what everyone says to do—just keep writing. The only thing we really have control over as authors is the writing.
EZ: What was the spark that lead to the idea that became Soulstruck?
NS: Back in 1991 there was a lightning strike at a high school lacrosse game in Washington, DC (where I’m from)—more than ten people were struck, and one teenager was killed. A young EMT who happened to be there saved several people’s lives that day. I wasn’t there but I’d heard about it and the story always stuck with me. An idea started to form in my head and as I researched lightning and the lightning strike survivors, my characters came into focus and my story began.
EZ: What was the most challenging part of writing Soulstruck?
NS: Some of my ideas in the beginning forced me toward a more paranormal storyline and, as I’m much more comfortable with realistic writing, it felt uncomfortable. I moved forward with it, though, because I remembered a former writing instructor saying it’s better to go big to start out and then you can always scale back. So that’s what I did. Though it was strange letting go of so much of the original idea I’d written, in the end, it was what was best for the story.
EZ: What was the best/most exciting or fulfilling part about writing Soulstruck?
NS: I always love those a-ha moments that come when you least expect it—as you’re falling asleep, taking a walk, in the shower. It makes me realize how hard my subconscious is working on my stories all of the time. One of my favorite moments was after I’d gotten some amazing editorial notes from my agent Linda Epstein, and I was in despair because the notes were BIG—like, really big. I let it all swirl around for a few days and then I got to work. I took out about 15k words. And added about 15k words. After I was finished, it was so much better, and when we sent it off to my editor, she loved it.
EZ: How did you get the idea for “Moving the Body,” your short story that appears in the recent adoption-themed anthology, Welcome Home? Was it something you had worked on before, or did you write it specifically for the anthology? And how excited were you to be asked (such an honor that must have been)!
NS: It was such an honor to be a part of Welcome Home. Eric Smith is amazing, and it was so wonderful to work with him. The anthology as a whole is really very special. And yes, I wrote Moving the Body specifically for the anthology! A few things came together to inspire the idea—one: I wanted to show that the bond between an adopted child and his mom can be as close as the bond between a biological child and his mom, two: I’d read a horrifying article about a teen in the UK who became involved with someone through an online game and the results were devastating, and three: right around the same time, there was an incident in my town—kids had spray-painted a swastika on a neighbor’s garage, and later it came out that a few of the kids were Jewish. Those three things did a little dance in my head, and out came my story.
EZ: Would you say you’re a one-book-at-a-time kind of author or can you work on multiple projects at once?
NS: So far, I work on one book at a time, though recently, when I was having difficulty with my work-in-progress, I wrote a few scenes for a new idea rather than skip a day of working. That was fun, and I could see myself doing that more.
EZ: Any advice for writers struggling to get their butts in the chair to just write?
NS: Ugh. It’s just so hard. There’s no way around it. Some things that help me are: 1. getting my butt in the chair right after putting my kids on the bus, so I don’t keep putting it off all day, 2. talking things out with my critique partner or setting up check-in times with her, 3. setting a timer for 25 minutes and committing to writing for just that amount of time—often, I’ll get on a roll and keep going, 4. writing a kissing scene or something I love even if it’s not the next scene I need to write. But some days, it just won’t happen. I try not to let it bring me down so I can start fresh the next day.
EZ: Anything exciting on the writing horizon for you?
NS: I’m finishing up a manuscript and getting ready to send it to my agent. I really have my fingers crossed for this one. And once I send it to her, I’ll get started on my next idea, which will require some research that I’m really excited about.
EZ: What’s currently on your book shelf?
NS: Lots of contemporary YAs: Monday’s Not Coming by Tifany D. Jackson, Foolish Hearts by Emma Mills, Sarah Dessen (I’m catching up on all of her books, way behind!), The Secret History of Us by Jessi Kirby, The Nowhere Girls by Amy Reed, and I can’t wait to read my agent-sister Miriam McNamara’s debut The Unbinding of Mary Read. I could go on…
EZ: Any favorite TV shows you’re currently enjoying?
NS: I read a lot more than I watch TV, but currently I’m watching The Handmaid’s Tale, Younger, and The Bold Type.
To learn more about Natasha Sinel and her work, visit her website here.
Full disclosure: Sinel’s publisher sent me an ARC of her book. I did, however, buy my own copy and cannot wait to get it signed!