A Working Library: Further Notes & Tips for Writers of Historical Fiction, History, Biography and/or Travel Memoir & Etc.

This blog posts on Mondays. Second Mondays of the month I devote to my writing workshop students and anyone else interested in creative writing. Welcome!

> For the archive of workshop posts click here.

Special Note: I ever and always invite comments at the end of each blog post but for this post in particular I would especially like to hear comments and any tips from those of you who have been wrestling with your own working libraries. (It strikes me that in all the many writers’ workshops and writers’ conferences I have attended over the years I have never seen this vital practical necessity addressed. And what I have seen in terms of advice from librarians and personal organizers is not quite apt for a working writer’s needs. Have I missed something?)

Selected titles at-hand as I was writing an essay about Black Seminole oral historian Miss Charles Emily Wilson. This essay is destined for an anthology and will also be the Marfa Mondays podcast # 21, apropos of my book-in-progress about Far West Texas– for which I have a scary-big working library. I call it the Texas Bibliothek. My writing assistant Washingtoniana Quetzalpugalotl says it’s been exhausting, all the thinking going on, and books of so many smells going hither, thither & zither. She would like to take a siesta.
The scene as I was revising my essay. No worries, I certainly would not shelve my books over a radiator! They were here only temporarily. Shortly thereafter, I used my supersonic reshelving method, described anon.
Still working on the same essay… on this day, my other writing assistant having appropriated the chair, I was using my StandStand.

Why a Working Library?

Why should you have a working library? Well, dear writerly reader, maybe you shouldn’t. It depends on what you are writing.

Poetry or, say, a novel of the imagination might require nothing more than a dictionary and thesaurus–– and of course, you could access those online. Perhaps, should you feel so moved, for inspiration you might keep a shelf or two of books by your favorite writers, and perhaps another shelf devoted to books on craft, on process, etc. Or not.

The need for a working library arises when you attempt to write historical fiction or in some genre of nonfiction, for example, a biography, history, or travel memoir. And the problem is–– if I can extrapolate from my own experience––which perhaps I cannot–– but I’ll betcha 1,000 books and three cheesecakes with a pound of cherries on top that I can––you are going to ginormously underestimate how fast and how very necessarily your working library expands, how much space it gobbles up, and how quickly any disorganization unravels into further disorganization, and to muddle the metaphor, makes a clogged up mega-mess of your writing process.

you are going to ginormously underestimate how fast and how very necessarily that working library expands, and how much space it gobbles up, and how quickly any disorganization unravels into further disorganization, and to muddle the metaphor, makes a clogged up mega-mess of your writing process.

In short, by underestimating the importance of first, acquiring, and second, adequately shelving, and third, maintaining the organization of this collection, writing your book will turn into a more frustrating and lengthy process than it otherwise would have been. (Trust me, it will be frustrating and take forever and ten centuries anyway.)

Yes, I know about www.archive.org–– I oftentimes consult books there–– and I have accumulated a collection of Kindles. I also make use of public and university libraries when possible. (There is also the question of keeping paper and digital files, which would merit a separate post.) Nonetheless, my experience has been that a working library of physical books at-hand remains by far, as in, from-here-to-Pluto-and-back, my most vital resource.

About My Working Libraries, In Brief

First understand: I am not a book hoarder! When I do not have a compelling reason and/or space to keep a book, off it goes– to another reader or to donation. (See my previous post “How to Declutter a Library.”) I don’t live in a house the size of an abandoned aircraft hanger; it would be impossible for me to keep every book I’ve read in my life and still find my way in and out of the front door. Aside from a handful (literally maybe 10) that I hold onto for sentimental reasons, the books I keep for the long term I have a precise reason to keep: to assist me as I write my books. And I maintain them scrupulously organized as working libraries.

No, I do not have OCD. Scrupulous organization is terrifically important! My motto: A book I cannot find is a book I do not have. Disorganization is a form of poverty.

A book I cannot find is a book I do not have.
Disorganization is a form of poverty.


Over many years of writing several books, each with its own working library, and also teaching, and so gathering an ever-growing working library on craft and process, I have accumulated a daunting number of books, and to keep them all accessible I have had to tackle some eye-crossing challenges. (Add to that moving house a few times in mid-book and, boy howdy, did I get an education in organizing!)

My books for which I assembled and continue to maintain working libraries include:

Miraculous Air: Journey of a Thousand Miles through Baja California, the Other Mexico
This is the second-to-smallest of the working libraries; it takes up most of a wall of shelves and includes works in English and Spanish. Many are rare memoirs and histories of what was, until the late 20th century, a spectacularly remote place.

The Last Prince of the Mexican Empire
This working library is more substantial, as it should be for a novel based on the true story set during Mexico’s most complex, tumultuous, and thoroughly transnational episode. (So why did France invade Mexico and install the Austrian Archduke as emperor and then why did the latter make a contract with the family of Mexico’s previous emperor giving them the status of the Murat princes?!!! It took me several years to get my mind around it all…) Some very rare Maximiliana.

Metaphysical Odyssey into the Mexican Revolution: Francisco I. Madero and His Secret Book, Spiritist Manual
This one is a wall, floor to ceiling, and includes many rare occult texts and also many now exceedingly rare books on the Mexican Revolution. It also has a copy of Madero’s Manual espírita of 1911 and the also very rare Barcelona reprint of circa 1924.

World Waiting for a Dream: A Turn in Far West Texas
(in-progress) I call this one my “Texas Bibliothek.” This one is just… sorry for the cliché… GIANT. Texans are far more literarily industrious than most people imagine, and there is endless celebration of and controversy about their culture and history. Some of the works published just in the last decade are paradigm-smashers. I’ve had a heap of very necessary reading to keep up with… Plus understanding Far West Texas requires fathoming what surrounds it– New Mexico to the west, Coahuila and Chihuahua to the south, the heartland of Texas and Gulf to the east, the Llano Estacado to the north…and the larger geological, geopolitical, and cultural context. Oh, and all about oil!! This has been my most challenging book yet. Wish me luck.

Plus, as mentioned, I maintain a working library on the craft of writing and creative process which I consult for both my writing workshops and my own writing. Accumulated over some twenty years, this is a substantial working library, but it is the smallest. I haven’t counted but I’d say this has some 250 books.

(Did I mention, I’m not 25 years old? If I live to 100… uh oh…)


Why, pray tell, keep all of these books,
and even add to the collections, year after year?


(1) I often reference works in one collection for another another book (for example, in writing my book on Far West Texas I have consulted works in all four collections), and I expect this will continue with the projects I am contemplating for the future.

(2) I plan to see more of my books published in translation and so will require consulting some of the original texts (many in Spanish, some in German, a few in French) from which I quoted. This may or may not be an issue for you. But if it is, take heed. It can be crazy difficult and expensive to track some of these things down later.

(3) I often receive email from researchers, both amateur and academic, and I am delighted to assist, when I can, in answering their questions and for this oftentimes I need to reference a book or three in my collections. And what goes around comes around.

(4) I do not live near a relevant library and even if I did, many of the works in my collections are nonetheless exceedingly difficult to find. Plus, even if a nearby library were to have each and every book I would want to consult when I want to consult it, it’s a bother and a time-mega-suck to have to go to a library and call up so many books.

Yes, my working libraries take up a lot of space. This cranks my noodle. But a painter needs an atelier, no? Um, you aren’t going to bake bread in your lipstick compact.

Tips for Your Working Library
(Future Reminder to Take My Own Advice)

With all due respect for the operations of institutional libraries, earning a degree in Library Science is not on my schedule for this incarnation. But as a writer with my own absolutely necessary working libraries, none of them large enough in scale to require professional cataloging, yet each nonetheless larger than I was prepared to manage efficiently, alas….. painnnnnNNNfully…. I have learned a few things. What I offer here for you, dear writerly reader, is not the advice of a knowledgeable librarian but what I, a working writer having muddled through writing several books, would have told myself, had I been able to travel back in time… to the late 1990s.

(1) If you have good reason to think you’ll need it, don’t be pennywise and pound foolish, buy the book! To the degree possible, it is better to buy a first edition in fine condition; however, cheap used / ex-library copies are fine for a working library. Many ex-library books in good condition cost just pennies. (Or did you plan to write an sloppily researched, amateurish book?)

(2) Go head and mark up those ex-library books and mass-market paperbacks, but if you happen to have in your hands a hardcover first edition in fine condition, take care! Keep the dust jacket, protect it from any bumps and the sun, and if you must mark the pages, use only very light erasable pencil. Drink your coffee and eat your snacks at another time, in another room. (I shall spare you the super sad episodes…)

P.S. More tips on care and preservation of books here.

A first edition of a Very Important book! Grrrr, I marked it up and I mistreated the dust jacket!! And I already knew better!! I used a highlighter!!!!! WAHHHH

(3) You will need bodacious amounts of bookshelf space. And more after that, and even more after that…. If you do not have it, make it. If you cannot make space, then probably you should reconsider embarking on this type of writing project. I am not kidding.

(4) For keeping the books organized you will need a system that is at once flexible, easy-peasy, and supremely useful to you. It may not make sense to anyone else, but Anyone Else is not the name of the person writing your book.

It may not make sense to anyone else,
but Anyone Else is not the name
of the person writing your book.

For example, for my Texas Bibliothek, right now I have about 30 categories, each with from 10 to approximately 50 books in each. Each category I have defined to my liking, broad enough that it doesn’t occupy more than a brain cell or two to figure out, yet narrow enough that I don’t need to bother organizing the books alphabetically.

For my writing workshop working library however, I do have the craft and process books organized by author alphabetically. I have never been able to find a reasonable way–– reasonable for me––to break down the collection beyond books on “Craft” and on “Process.”

(5) Of course, some books could fall into more than one category, e.g., Jeff Guinn’s Our Land Before We Die: The Proud Story of the Seminole Negro could be in U.S. Military; African American/ Seminoles; Texas History; Regional History / Fort Clark; US-Mexico Borderlands. (I chose African American / Seminoles. But I might change my mind.) For such endless little categorization conundrums, well, say I, just apply deodorant and do what seems most sensible to you. You can always change your mind, and you probably will.

To make sure you do not overlook important works in your collection, as you work with your library, and as you dust it, make an effort to let your eyes rove over the whole of it.

(6) Dust regularly using an ostrich feather duster.
Seriously, go for the ostrich.

(7) For the shelves use BIG, READ-ICU-LOUS-LY EASY-TO-READ LABELS. I print these out on my computer, cut and tape them to index cards, and tape them on the shelves.

This is what I mean by a READ-icu-lous-ly big label. Huh, I can read it.
Tom Lea was a most elegant artist and novelist, El Paso’s best. And, yay, I found a place for my super chido “Honk If You’ve Seen La Llorona” bumpersticker! Maybe one of these days I will put it on my car!
That portrait on the spine of that book to the left is not actually Cabeza de Vaca. Everyone seems to think it is. Which kind of annoys me.

(8) Key is to be able to not only find, but lickety-split, without a thought––look, Ma, no brain cells!–– reshelve any and all books in your working library. Institutional libraries have catalogs you can consult and usually affix a sticker with the catalog number on each book’s spine, but for you, with your writer’s working library, this is probably going to be too fussy a process. And anyway you don’t want to be sticking anything on a rare or first edition book unless it has a mylar cover, in which case, you could put the sticker on the mylar cover. Mylar covers are nice… buying more is on my “to do ” list… but….

What works splendidly well for supersonic reshelving is a labeled bookmark. Yep. It’s this simple.

(9) To label each bookmark, get a typewriter because, for all the many other good reasons to use a typewriter, you can quickly type up legible labels on your bookmarks.

(=You can stop laughing now=)

Trying to make labels for bookmarks using a wordprocessing program and printer will give you a dumptruck of a headache. I used to be a fan of labelers such as the Brother Labeler. No more. Batteries, replacement cartridges… fooey. Yes, using your own handwriting may be the easiest of the peasiest, but it will slow you down when you are trying to reshelve books because the eye groks machine-written words so much faster.

Get the typewriter! A workhorse if you can, such as a refurbished Swiss-made Hermes 3000 from the 1960s-1970s.

No battery, no click-bait, no wifi! No need for any Freedom app, either. (And ecological. Um, my little tree huggers, have you ever actually seen a server farm? Or where and how they mine the stuff to make batteries?)

(1o) To make the bookmarks, use paper strong enough for the bookmark to always stand straight. I cut up left over or ready-to recycle file-folders for this purpose.

(11) To identify each working library (should you have more than one) place a sticker or stamp on each bookmark.

The sticker reads “C.M. Mayo’s Texas Bibliotek.” Make your own at www.moo.com.

(12) Another advantage of these plain paper bookmarks is that you can easily change them. Just cut off the top and type in the new label! As you delve deeper into researching and writing your book, you will undoubtedly find it convenient to both add to and reconfigure the categories in your working library, and perhaps several times.

(13) Further consideration: While many book collectors write their name in the book or paste in a book plate, I stopped doing this several years ago because I found this made it more difficult for me to let go of books that, after all, I wanted to declutter. I might change my mind about this. A custom-made ex-libris has always seemed to me a lovely idea. It’s in my Filofax for my old age when, maybe, I live in a house the size of an aircraft hangar.

(14) Cataloging? Nah. Even with a wall or six or seven or ten filled from floor to ceiling with books you are still far from operating at the scale of an institutional library. A catalog, whether low-tech or high-tech, will take too much time to figure out and maintain (ugh, more glitch-ridden software updates). Ignore anyone who tries to sell you library cataloguing software. Seriously, trying to do it digitally in some-fangled DIY way may also end up proving more trouble for you than it’s worth. (… cough, cough… ) With adequate bookshelf space (see tip #3, above) and meaningful categories with BIG, RIDICULOUSLY EASY-TO-READ labels (see tip #7, above) you can grok your whole enchilada at a glance, or two.

However, it may make sense to catalog the books when you get to your long-term plan (see point 16 below).

(15) Ignore ignorant people who tut-tut that you should declutter your books. Have they ever tried to write a book? No, they have not. Smile sweetly as you shoot them eye-daggers.

(16) Make a long-term plan for your books because obviously, at some point, perhaps when you move into smaller digs for one reason or another, or you die, they have to go. If you are incapacitated or dead, these working libraries may prove a heavy burden for your family, literally, figuratively, and financially. Chances are your family members won’t have a clue what to do with them, nor the time, and possibly, alas, they may not even care. I aim to write more on this sticky wicket of a subject later; for now, I point you to a fantastic resource, the Brattlecast podcast #57 on “Shelf Preservation” from the Brattle Book Shop.

One of the special treasures in my Texas Bibliothek is Cloyd I. Brown’s Black Warrior Chiefs.
Tipped inside my copy of “Black Warrior Chiefs” I found this letter from the late author (I blocked the name of the recipient to protect his privacy). Hmm, he says he has several hundred unsold copies… Only a very few show up for sale online as of 2019.

What has been your experience with your working libraries? Do you have any tips to share?

A Review of Patrick Dearen’s Bitter Waters: The Struggles of the Pecos River

On Writing About Mexico: Secrets and Surprises

Typosphere, Ho! “Stay West” on my 1961 Hermes 3000

Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.



Working with a Working Library: Kuddelmuddel

This blog posts every Monday. Starting this year, every fourth Monday, except when not, is a Q & A with another writer. This week not.

As you dear, faithful, writerly readers know, I have been at work on the Far West Texas book. One of the individuals who appears and reappears throughout the narrative is Lt. John Bigelow, Jr. An officer in the Tenth U.S. Cavalry in the late 19th century, Bigelow had an illustrious father and his own impressive body of work in military strategy and tactics, in many ways anticipating the industrial-level wars of the twentieth century. So, having done a small Himalaya of reading on those Bigelows and the Tenth Cavalry, last fall at the conference at the Center for Big Bend Studies, I presented a paper on Lt. Bigelow, expecting to polish it up into publishable form lickety-split. Ha! It’s still not finished, but at least the draft is, and I submitted it. Wish me luck.

In the meantime, herewith, a few lessons learned about working with a working library.

I’m several decades and several published books down the pike now that I pause here, en blog, to confess that I never fully appreciated what was involved with writing a book that necessitated a working library. I just sort of accumulated whatever books I needed, or thought I might need, willynilly, clearing bookshelf space, catch as catch can. Things got rather pile-y, shall we say, and sometimes I wasted good working mornings just hunting for things. I never fully appreciated how unwieldly  some of these working libraries can grow– and grow as, in many cases, they rightfully must.

Some of my working libraries took up only a few shelves, for example, the reading for my anthology Mexico: A Traveler’s Literary Companion. The one for my Baja California book, Miraculous Air, took up an entire wall, floor to ceiling, and the working library for my novel on Mexico’s Second Empire almost twice as much space. Ditto my recent book on Madero and metaphysical religion. And… drumroll… most especially the one I am using now on Far West Texas. The Texasbibliothek, as I call it, now hogs and camels and elephants and Macktrucks an entire room.

You may wonder, why can’t I just borrow books from my local library? Answer, Part I: I don’t have a relevant library nearby. Part II: When I am writing I often need to have several different books at-hand; many libraries will not lend out so many books at once, nor bring out so many volumes to a reading room. (But yes, I have consulted books in libraries, and in archival collections.) As I worked on that Baja California book, the Second Empire novel, and the one on the Mexican Revolution, I often had five or ten or even as many as, say, fifteen books open on my desk… such is the Kuddelmuddel of my process.

So… for the types of books I was and am writing, this means having a budget– a realistic budget– for buying books. University press hardcovers can be, ouch. To save money, many a time I bought an ex-library edition off of www.abebooks.com— which for used books is, in my experience, more reliable than amazon or ebay.  And for collectible editions, I would advise steering way clear of amazon and ebay because all sorts of sellers on there have no clue what a first edition is or how to accurately describe a book’s condition. Again, abebooks.com is good and better yet sellers who are members in good standing of the Antiquarian Booksellers Association of America. An occupational danger is that you can get a jones for collecting, and start buying first editions. But that’s another blog post. I used to buy Italian shoes, let me put it that way.

As for organizing these working libraries, I posted previously about that here.  Indeed, I got this current working library, my Texasbibliothek, into such superb shape that, as I was pulling out various titles for this paper on Lt. Bigelow, I had a little fiesta of self-congratulation every single time. 

And reshelving the books? Something I do now with this Texasbibliothek that I have never done before– and I am shaking my head that it had not occurred to me sooner– is to tuck into each book a bookmark with its category.

UPDATE: See my November 11, 2019 post “A Working Library” for more about using bookmarks. My technique has advanced!

Making individual bookmarks with the categories noted might seem more trouble than it’s worth, but the challenge is, many books could go into more than one category, and if I have to remember or decide anew which one it is each time I reshelve it, well…. then… unshelved books tend to start piling up and sprawling into big, giant, King-Kong-scale Kuddelmuddel! 

Decluttering? Indeed I do declutter. However, for some subjects, as in these working libraries, the collections in themselves have significant cultural / scholarly value; they should not be broken up. One day I will find them a good home.

What is Kuddelmuddel? 

Not to be confused with Kugel Mugel.

Q & A: Lynn Downey “Research Must Serve the Writer, Not the Other Way Around”

On Writing About Mexico: Secrets and Surprises

This Writer’s Distraction Free Smartphone (Plus an App Evaluation Flowchart to Tailor-Make Your Own)

Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.


On Organizing (and Twice Moving) a Working Library: Ten Lessons Learned of Late with the Texas Bibliothek

The Texas Bibliothek, Ready to Ship. Yes, it is big. Yes, I devour books like a ravenous owl. Yes, this is my process. I accumulated similar-sized working libraries in writing some of my other books, e.g., Miraculous Air: Journey of a Thousand Miles through Baja California (2002); The Last Prince of the Mexican Empire (2009); and Metaphysical Odyssey into the Mexican Revolution (2014).

File this post under Future Reminder to Take My Own Advice, and if some or all of these ideas also work for you, gentle reader, verily I say unto you: Wunderbar!

Late last September, having finally rearranged and set up my working library in my new office in Mexico City– the work in question being a book on Far West Texas— I had to pack it all back up again and ship it across the Atlantic. (Why? Well, that’s a novel I’m not going to write, both literally and figuratively).

Now that I’ve got my Texas books resettled on their second set of new shelves in less than six months, I’m ready to take on 2018! But whew, I’ve got biceps after this job for a Hercules. The thirty-eight boxes of books comprising what I now call the Texas Bibliothek– I have landed in German-speaking Switzerland– arrived in mid-January. And a couple weeks later, every tome and paperback and pamphlet and back-issue of Cenizo Journal is in place, and I can carry my bike over head! I could scoop up and toss dessicated Christmas trees, small donkeys and their Schmutzlis out windows, too, should I take a notion!

ON ORGANIZING (AND TWICE MOVING) A WORKING LIBRARY:
Ten Lessons Learned of Late with the Texas Bibliothek

1. Organize the books by topic– not as a librarian would recommend, but as your working writer’s mind finds most apt. 

Ideas About Texas (Some, Anyway…)

After all, you’re the one who will be using these books, not the general public. And even in a fairly substantial working library, such as this one, there are not enough books to justify the bothernation of cataloging and labeling each and every title.

If you have more than 50 books and if you do not organize them in some reasonably reasonable way, why don’t you just open your front door and let your dogs wander out and then you can go looking for them on the freeway at four a.m., that might be more fun!

2. If any category has more than 30-40 books, create a new subcategory.

Because trying to keep books in alphabetic order, whether by author or by title, makes me feel dehydrated, RRRRRR.

3. Label categories of books with large, easy-to-read lettering. 

Because if you’re a working writer, like me you’re probably near-sighted…

Funny how book designers always have such unique ideas about colors and font sizes and typefaces…. In other words, I don’t want to have to look at the visual clutter of those spines to try to figure out what this bunch is about; I let that BIG FAT LABEL tell me.

If you do not want to make labels, why don’t you peel the labels off all the jars and cans in your pantry, mix ’em up, and then try to find which one is the dog food and which one the canned pumpkin? That would be a mile more hilarious.

4. When moving, before touching anything, take photos of the whole shebang.

I do not have early onset dementia, but boy howdy, moving house sometimes makes me feel as if I do. (Did I used to have a working library? Was I working on a book? What day is it? Is Ikea still open?)

5. Then, before even touching those books, take a tape measure and write down the inches of shelf space required for each and every category.

I suspect that these things are in cahoots with pens and umbrellas.

A tape measure!

I realize this may sound very OCD.

But three moves ago, it did not occur to me to do this with my working collection on Mexico’s Second Empire / French Intervention, for my then recently-published book, The Last Prince of the Mexican Empire. In the rush of moving I allowed the moving company crew to pack the books, willynilly-fefifo-rama-chillydilly, and then, on arrival, lacking space, never mind bookshelf space, and so having to leave that particular library in a half-unpacked, unsorted chaos, for the next few years more correspondence and related research was bottlenecked than I want to think about. (That library now has its home in Mexico City– that would be another blog post.)

The main thing is, you want to be certain you actually have the bookshelf space you need plus ample wiggle room for each  category before you start packing– and then double check the available bookshelf space again before you start unpacking.

And never, ever let anyone else pack them.

Sounds obvious. Alas, for me, three moves ago, it was not.

Yeah, “Literary Nuns!” Note upper right-hand corner.

6. Save those neatly made shelf labels to reattach to the new shelves, and also label– with mammoth, easy-to-read fonts– each and every box.

Geology, Energy, Box 1 corresponded to category 40,
requiring 17 inches of shelf space.

7. Number each box, e.g., 1 of 32; 2 of 32, etc.

These can be cross-referenced with the master list of categories, which has the measurements.

8. Don’t be stingy with boxes!!

For moving books I prefer the so-called banker’s boxes with punch-out holes for handles. Banker’s boxes are large enough to take a heaping helping of books, and the handles make them easy to carry, however the weight of a book-filled banker’s box remains within the range of what I, a 50-something female whose daily mainly workout consists of walking two pugs, and, la-de-da, whatever biking and yoga, can easily haul up or down a staircase.

Yes, you could snag a batch of free boxes at the grocery store, and yes, you probably could, as I certainly could, lift bigger boxes with double the number of books in them– and most men can haul a stack of two or even three bigger boxes at a time. However, whatever the upper-body strength you have and shape you are in, when you are moving house, unless you for some reason enjoy showering hundreds of dollars on, say, your chiropractor’s vacation home, lifting huge, ultra-heavy, and unwieldy boxes is penny wise and dollar dumb. Ox dumb.

Goodie for me, I learned this lesson three moves ago, and I had an excellent chiropractor.

9. Take photos of the boxes, labels included.

Because you never know! Seems I have good moving juju. Knock on wood for next time!

  1. On reshelving day, gather together before commencing:
  • Papertowels
  • Cleaning spray for the shelves (they will be dusty)
  • Garbage bag
  • Tape
  • Scissors (to trim off old bits of tape, etc.)
  • Measuring tape!!!!!!!!!!
  • Step stool or small ladder
  • Water and snack
  • iPad with audiobooks and/or podcasts and/or dance music
    P.S. History nerds podcast alert! Check out Liz Covart’s Ben Franklin’s World.

If you are missing any one of these items, you will probably have to interrupt whatever you are doing to go get it, and then in, say, the kitchen, because you have Moving on the Brain, you will be distracted by some zombie command from the dusty ethers such as, I must now go to Ikea to buy garbage bags and whatnotsy whatnots…

#

Meanwhile, dagnabbit, people just won’t stop writing books on Texas!! Two more, post-move, essential additions to the Texas Bibliothek:

Regular Army O! Soldiering on the Western Frontier, 1861-1891
By Douglas C. McChristian

The Earth is Weeping: The Epic Story of the Indian Wars for the American West
by Peter Cozzens

Wish me luck, gentle reader. I aim to finish my book on Far West Texas this year. By the way, I host an associated 24 podcast series, “Marfa Mondays,” which is woefully behind schedule because of these moves, but soon to resume. I invite you to listen in anytime to the 20 podcasts posted so far.

P.S. Using the free blogger platform, I also maintain an online working library of out-of-copyright (now in the public domain, mainly linked to archive.org) Texas books— books which I could not or did not want to attempt to purchase but would like to be able to consult at my leisure. It includes a number of titles that might appear bizarrely out of place (one is on Massachusetts, for example)– but after all, this is not for the general public, but a working library in service of my book in-progress. I mention this because perhaps you might find it of use to create such an online library for your own purposes.

P.P.S. For those wondering, what is my take on ebooks? First of all, I delightedly sell them!  And yes, I have bought some, and as far as the Texas book research goes, when I need a book urgently and/or the paper edition is unavailable or expensive, I have been known to download a Kindle or four– or, as above-mentioned, download out-of-copyright books for free from www.archive.org and similar sites. I appreciate that convenience, and also the ease with which I can search within a text for a word or phrase. Nonetheless, on balance, I find ebooks decidedly inferior to paper. Morever, I doubt that my electronic libraries will outlive me in any meaningful way, while I expect that my working libraries of hardcovers and paperbacks, including some rare editions, may serve other researchers well beyond the horizon of my lifetime.

> Your comments are always welcome. Write to me here.

#

As anounced in the last post of 2017, in 2018 I will be posting on Mondays on the following schedule:

First and third Mondays of the month: New writing / news / podcasts;
Second Monday: For the writing workshop;
Fourth Monday: Cyberflanerie and/or Q & A with another writer, poet, and/or translator; 
Fifth Monday, when applicable: Whatever strikes my gong. 

Working with a Working Library: Kuddelmuddel

Book Review by C.M. Mayo:
Pekka Hamäläinan’s Comanche Empire

Book Review by C.M. Mayo:
Patrick Dearen’s Bitter Waters: The Struggles of the Pecos River

Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.


Email Ninjerie in the Theater of Space-Time, or This Writer’s 10 Point Protocol for Inbox 10 (ish)

BIG FAT CAVEAT: If you have a job and/or family situation that oblige you to use your smartphone like a bodily appendage, dear reader, a shower of metaphorical lotus petals upon you, but this post is not for you. Perhaps you might enjoy reading this post from 2012 instead. See you next Monday.

The challenge in a pistachio shell: How to maximize the quality of one’s email, both incoming and outgoing, while minimizing the time and effort required to dispatch it— all the while maintaining the blocks of uninterrupted time necessary for one’s own writing?

What works for me may not work for you, dear reader, but I know that many of you are also writers, and a few of you are artists and/or scholars, so perhaps—and here’s hoping— my time-tested 10 point protocol for dealing with email will be of as much help to you as it has been to me.

A PRELIMINARY NOTE ON CONTEXT: 
EMAIL!!!!!!!!!!!!!!!!!!!!!!!!!!RRRRRRR

How is a writer to cope with this snake-headed conundrum-o-rama that just about everyone everywhere has been wrestling with since it first emerged out of the DARPA-depths of this rapacious fabulosity we call the Internet?

I’ve been slogging it out with email for more years than I care to count. It was sometime in the mid-1990s when I logged on to my first account; I but fuzzily recall the roboty-dialup-and-connection sounds and an inky screen with neon-green text. A few years after that, I was using this cutting-edge thing called an AOL account. (Whew, AOL, Paleolithic!) Now I use a nearly-as-ancient yahoo account plus a pair of gmail accounts all funneled into ye olde Outlook Express inbox, into which pour… pick your metaphor… 

(a) Rains! 
(b) Niagaras! 
(c) Avalanches! 
(d) Gigazoodles of emails!

As anyone who remembers the late 1990s will attest, it seemed that overnight email blossomed into a hot-house monster—or, I should say, a Macy’s Parade of monsters— and for me, by 2009-2010, when I was on tour for my novel, The Last Prince of the Mexican Empire at the same time that my father was in his last days, trying to cope with email, both professional and personal, had become a nightmare.

In 2011-2012 I was tempted to follow the example of “Swiss Miss” blogger Tina Roth Eisenberg after her three months of maternity leave: Declare email bankruptcy. Many a time I was also tempted to remove my email address from my website. Neither of those strategies appealed to me, however; I appreciated so many of those messages, and I also appreciated that, apart from spam and the occasional bit of nonsense, behind those messages were relationships that I sincerely valued, even cherished.

I also realized—and this is something I am writing about in my book on Far West Texas— that hyper-connectivity along with endless carousels of hyper-palatable distractions are now woven into the very fabric of modern life. As long as the electric grid continues functioning, I doubt these forces impinging on one’s experience of work, family, social life, politics, and travel, will diminish; on the contrary.

“hyper-connectivity along with endless carousels of hyper-palatable distractions are now woven into the very fabric of modern life.”

Over the past several years, chip by chip, I managed to whittle down that ghastly backlog (not to zero, but on some days it gets razor-close). More importantly, by trial, error, research, and mental muscle, I formulated a more workable strategy for dispatching the ongoing flow.

Again, that caveat: this post is not for those who need to be continually available to a boss, colleagues, clients, friends, or family.

IT STARTED WITH SOME ILLUMINATING READING…
THEN THE FLOODLIGHTS SWITCHED ON WITH “THE MACHINE STOPS”

I gleaned many an insight and tip for managing email from:

+ David Allen’s Getting Things Done;
+ Naomi Baron’s Always On (a linguist’s perspective on the current madness);
+ Matthew Crawford’s The World Beyond Your Head;
+ Neil Fiore’s The Now Habit;
+ Julie Morgenstern’s Never Check Email in the Morning (also love her organizing books); and
+ Cal Newport’s Deep Work (common sense on a silver platter).

All highly recommended.

For me the most enlightening reading of all, however, and strange to say, was a work of fiction from 1909: E.M. Forster’s “The Machine Stops.”Astonishingly, that short story written more than a century ago by an Edwardian Englishman best known for his novel A Passage to India, envisions email, texting, Facetime, and the like. It also seems Forster anticipated the American diet built around corn-syrup heavy fast food. The main character, cocooned in technology, has turned into a heartless, incurious, yet hyper-connected blob. 

On reading this sci-fi horror, I realized that one needs to evaluate a technology not by its gee-whiz-what-would-Steve-Jobs-say factor, but by how it affects the body. I mean, by how it affects one’s human body, brains to toenails, now, here, on Planet Earth.


THE BODY AND TECHNOLOGY IN THE THEATER OF SPACE-TIME

(1) Assuming one can afford it, does a given technology help one realize one’s conscious intentions born of free will?

(2) Does using said technology cause one to serve or to neglect the body?

(3) Is there a better available alternative?

These are the key questions to answer for a sense of the true and full (both monetary and nonmonetary) net cost / benefit of utilizing a given technology because if your body, which by the way, includes the brain, ends up not working the way it was meant to, well, in terms of going anywhere or doing anything or interacting with other people, that more than kind of sucks.

Some metaphysicians argue that we are not our bodies, but in essence,immortal pinpoints of consciousness. It seems to me that if they’re right, after we finish up here on Planet Earth, we have forever and eternity to do what immortal pinpoints of consciousness do; and if those metaphysicians are wrong, well, then they’re wrong, and we won’t be here anymore to argue with them about it anyway.

Either way, as I write this and you read this, we are conscious, each in our place in the Theater of Space-Time. We did not arrive here encased in technology, but in our human bodies, with all their pain and joy and bones and squishiness and awkwardness and grace. Why then would we want machines to do everything and our breathing for us— unless, of course one has the crap-awful luck to require an iron lung? 

I want to utilize technology not to supplant but to enhance living this life— this human life on Planet Earth. Or, to use my new favorite metaphor, to enhance my experience of being here now in the Theater of Space-Time.

Technology is not bad per se, of course; it can help us survive and even thrive. But last I checked, a quality human life requires being able to breathe, walk, see, hear, exercise, sleep, eat nutritious food and drink adequate clean water, soak up some beauty, and interact in multitudinous ways with other people. What good is a technology that turns us into blobs staring at and fiddling with screens all day, even as we neglect our relationships? (Or walk into oncoming traffic?)

On the other hand, email, like pen-and-paper-correspondence of old, is one technology, a powerful one, that when properly employed can help us work with / get along with other people. And like pen-and-paper-correspondence of old, for a writer email can be a joy.

Dead-simple observations, I’ll grant you, gentle reader.

Another dead-simple observation: Email is like any other tool in that it can be used to good or bad purpose. For example, you could use a hammer to pound down a nail that might otherwise snag your sweater, or, say, pulp your neighbor’s pet goldfish (not recommended).

And on the scale of expertise, one can use email poorly, or with world-class finesse. Let’s say, my very Aristotelian aim has been to employ email reasonably well so that it may prove useful— and without the mental drag of noodathipious flooflemoofle!


DOWN WITH NOODATHIPIOUS FLOOFLEMOOFLE!

Finally, after years of frustration and experimentation… drum roll…. I am no longer overwhelmed by email. I have not arrived at “inbox zero” because….drum roll… I am not dead!

And knowing that I am not dead, other human beings in the Theater of Space-Time continually send me emails, and I, in turn, write them back. Ping, pong. And that Medusa’s hair of a conundrum-o-rama about pinging the pongs and pongings the pings, and which pings to pong, etc., is now wrestled down, at least in my own mind, to a pretty little pretzel.

YEAH, PUT SOME MUSTARD ON IT.

Now I can sincerely say that I welcome my correspondence (ahem, email). I love to hear from friends (lunch, yeah!), family (weddings, yay!), colleagues (congrats on your new book, lotus petals upon you!), and from readers, known to me or not, I always appreciate a kind and/or thoughtful word about my books / some subject of interest / relevant to my work. I even appreciate cat videos! (Just kidding about the cat videos. But cousin A., I don’t mind if you send me a cat video.)

Herewith:

1.
SCHEDULED BATCHING

For me, of all the 10 points in my method, processing emails not one or two or three at a whim, but in scheduled batches was the game-changer.

I usually do 20 minutes of email processing with a stopwatch. It’s not that I am trying to hurry through my email, but rather, I am respecting the limits of my brain’s ability to effectively focus on it. I’m a speed-reader and I can type faster than lickety-split, but on most days I can deal with email for only about 20 minutes before my brain cells run low on glucose and I end up scrolling up and down the screen, dithering, feeling scattered— in short, procrastinating. (You might be able to do 10 minutes, or, say, an hour in one go— of course, not everyone’s energy to focus on their email is the same, or the same every day and in every circumstance. One can always set the stopwatch for a different amount of time.)

Don’t believe me about batching? Check out the extra-crunchy research at MIT (PDF).

By processing email in 20 minute batches, when the sessions all add up over the arc of the day, I find that I accomplish more in, say, one hour of three separate 20 minute sessions than I would have had I plowed on for an hour straight.

When the stopwatch dings, I do not expect to have finished— “inbox zero” is a fata morgana! And that’s OK, because I have another email batch session already scheduled (a few hours later, or five minutes later. It’s important to take a break, at the very least stand up and stretch.)

Above all, because I am focussing on email at my convenience, on my schedule, my attention is no longer so fractured. I need not attempt to wrestle with each and every email as it comes in; and of course, some emails cannot or should not be answered immediately. I aim to dispatch the average daily inflow. In other words, if, net of spam, I receive an average of 30 emails per day, then I should be averaging 30 emails dispatched per day— they need not be one and the same emails. One day I might dispatch 50, and another day, 10. 

The point is, there’s no there there, as long as my email account is working, barring volcanic explosions of a geological nature, I’m probably never in this lifetime going to get to inbox zero. What matters is maintaining a consistently adequate dispatching process.

The easiest way to keep track of the process is to keep a running tally of all undispatched emails as of the close of the last session of the day. (In Outlook Express, for each folder of undispatched email, select all, go to the main menu, click edit, select “Mark all unread,” and it will automatically generate a tally for that folder.)

(And by the way, when the batching session is done, I close my Outlook Express. I never, ever leave it open. And would I never, ever, use any alarm for new email.)

> UPDATE MARCH 2017 On using a Zassenhaus kitchen timer.


2.
DO THE DDO:
DOWNLOAD; DELETE; ORGANIZE

I used to download email into an undifferentiated inbox at random moments and, oftentimes, even as email was still downloading, start answering willynilly. How about that for an attention-fracking technique!

Now I begin each email session as I would with a haul of paper mail: first,by taking it all in; second, deleting the junk; and third, organizing the correspondence I want to look at and/or answer into precisely labeled files.

Files are easy to create and, when emptied of their contents, to delete, or rename or whatever— a powerful tool within a tool. And I cannot overemphasize how effective a simple and flexible filing system has been for helping me focus and more quickly dispatch my email.

Of course, just like a paper filing system, too many files can be counterproductive. For me, the best filing system is one that holds 15 or fewer emails per file. So if I have a bunch of files with one or two emails, I might consolidate those; if I have, say, 50 emails in one, I might to break that up into, say, two to four more files.

My filing system changes depending on what I’m working on or dealing with in my life. This week, nearing the holidays, it looks like this:

INBOX (this has whatever I’m going to tackle now, preferably never more than 11 emails)

BACKLOG: TEXAS (anything to do with my book in-progress)
BACKLOG: FAMILY
BACKLOG: FRIENDS & COLLEAGUES
BACKLOG: FINANCIAL
BACKLOG: OTHER

3.
JUI-JITSU-BLOCK TROLLS, KRAY-ZEEEEES & SPAMMERS

I do not respond to rude or certifiably ultra-weird messages, and as with businesses that spew spam,* I add those email addresses to my “block sender” list. Happily, there are not many of those, and happily, once I’ve blocked them, with lightning ease, I never see their emails again!

Out of sight, out of mind.

*(Phishers tend to use one-time only emails; those I just delete.)

Many of my writer friends agonize over emails (as well as social media comments) from trolls and nuts and spammers. I tell them as I tell you, dear reader, it really is this simple to make them all go away. The challenge is, your ego, prompted by its its arch sense of justice, might jump-up-and-down-insist on responding to them, but your ego, if it’s like most people’s, including mine, should not be in driver’s seat here. Surely you have better things to do with your time and attention than engage with emotionally stunted, social-skill-challenged, and possibly dangerously disturbed individuals. (If you lived in a big city, would you leave your kitchen’s back door open to the alleyway 24/7?)

If you relish unnecessary fights and pointless thrills, well, as they say in Mexico, dios los hace y ellos se juntan (God makes them and they get together.) I prefer the Polish saying, Not my circus, not my monkeys.

[ VIDEO ]

Viva Moti Nativ!
(Seriously, I took Moti Nativ’s Feldenkrais workshop, it was a blast.)


4.
PRIORITIZE & TACKLE

Stopwatch ticking, after having done the DDO, then I prioritize emails (and other related tasks as noted below), and then I tackle them.

There’s no magic formula here: I might think about it for a moment or three, then decide what should come first.

(Once dealt with, I archive each email by year. Some people just delete them; in my repeated experience, however, that is not a good idea.)

5.
SWEEP OUT THE SPAM FOLDER ONCE PER DAY

I check the spam folder once per day because that is precisely about how often I find an important email in there. These days floods of spam are coming from phishers (easy to spot for many reasons, also because they vary their email addresses); those I don’t touch, I just delete them.

(I remain perplexed by correspondents who do not check their spam folders. On the other hand, checking too often wastes time—small amounts, but they add up.)

.

6.
APPLY & ADJUST “SENDER FILTERS” AS NEEDED

I’m not talking about an app or programming or anything complicated. By “sender filter,” a concept I grokked an eon ago but a term I first encountered in Cal Newport’s Deep Work, I mean some specific information on one’s contact page that, ideally in a kind and generous spirit, encourages potential senders to not send email— so that, for the few emails that do squeeze through, I am able to respond quickly, politely, and thoughtfully. 

My contact page includes a long lineup of sender filters: First, a newsletter signup (mainly for those who want to know when I will be teaching a workshop or post a new podcast); then it answers FAQs, such as “where can I find your books?” (I am ever-amazed by that question in this day of amazon and Google, but I do get such emails fairly often); for book club inquiries; the best way to reach me for media and speaking inquiries; answers to writerly questions (“how to find a publisher,” etc.); rights inquiries; press kits including high res images; and finally…

… (few indeed seem to have the attentional snorkel gear to arrive there at the bottom)….

… if someone still wants to email me, he will find my email address.

Like many other writers, back in pioneer days, once I had a live website showing my email address, I found myself receiving so many messages from people seeking my advice about / feedback on / encouragement of their writing, it would have been impossible to answer them all individually. As a solution, many authors have opted for what I think of as “The Wall of Silence”— no email address at all—and/or what seems to me a snotty-sounding third-person notice along the lines of “Wiggy Blip is so famous and busy being fabulously famous, he cannot possibly deign to acknowledge your email.”

(Well, bless you, Wiggy Blip. And Ziggy Stardust, too.)

Cal Newport’s various sender filters conclude as follows— I quote from his book, Deep Work: “If you have an offer, opportunity, or introduction that might make my life more interesting, e-mail me at interesting (at) calnewport.com For the reasons stated above, I’ll only respond to those proposals that are a good match for my schedule and interests.”

Of course, some emails, even from perfectly civilized and well-meaning people, do not merit a response— they presume too much, they’re eye-crossingly vague or, as in a few cases, they clearly neither expect nor invite a response. But as for myself, because my own sender filters work beautifully, my stance is that I will do my darnedest, most reasonable best to answer everyone, whether family, friends, students, literary colleague, or mysterious Albanian, who takes the trouble to write to me a civilized email.

On occasion a sender blazes past or perhaps never saw the relevant sender filter, so I reply with the link or paste-copy the text of my long-ago posted answer to their question. (For example, I am often asked by students, friends, relatives, neighbors and utter strangers if I will read their manuscript. Here’s my answer to that one.)

If you want to comment on this blog, which I sincerely welcome, click hereand what you’ll see the simplest of sender filters, stating that I read but do not usually publish comments. It works blazingly well. Trolls and their ilk took a hike, never to return! (As for my fierce-looking writing assistant, I assure you, dear reader, Uliberto Quetzalpugtl only bites cheese.)

P.S. Cal Newport’s take on some industrial-strength sender filters. Personally I would not want to use such forbidding sender filters, but for some writers, and some people, that might be the right strategy. In any event, a sender filter beats the daisies out of the Wiggyesque Wall of Silence.

UPDATE: For a good example of a strong but both friendly and polite sender filter, see publishing consultant and blogger Jane Friedman’s contact page.

FURTHER UPDATE: For a Groucho Marx-esque example of sender filters by someone whose religious ideas seem to attract trolls like bananas do fruit flies, see John Michael Greer’s page for his Druidical Order of the Golden Dawn.

7.
FUNNEL IT ALL INTO MOOOOOOOOOOOORE EMAIL!

Over the past year and some I have freed up chunkoids of time and energy for email by deactivating my Facebook account, minimizing Twitter and LinkedIn (including turning off email notifications), and closing this blog to published comments. 

In other words, I have reduced the number of channels for people to communicate with me, funneling as many communications as possible into ye olde email.

I tell everyone who asks, the best way to find me is by email.

Yes, I receive more email as a result, but interestingly, many of my “friends” who were so chatty & likey on Facebook rarely if ever trouble to send me email. I have also found that many of the younger generation do not respond to email. Hmmm, also interesting! (Have a nice life, kiddos!)

Well, at least we still have telephones. But sorry, don’t count on me to retrieve my voicemail, I am too busy answering email!

(What about texting and Whatsapp? Ask me again after I’ve lugged home my taxidermied hippopotamus.)

8.
BE QUICK & CLEAR, MY DEAR, BUT ADD DETAIL TO CUT THE CLUTTER

The emails I send myself have a clear subject line and the text clearly calls for or implies expected action or inaction. For example, some of the younger generation in my family prefer to text rather than use email, and getting them to answer an email, such has been my experience, requires laser-like focus in this regard. Hence, subject lines like this: 

Re: Super Quick URRRRRgent Question about X—

or, say:

Re: Confirming dinner at at 9 PM this Saturday

What do I mean by “add detail to cut the clutter?” Minimize the number of emails needed to arrange things by politely making specific actionable proposals and provide websites, addresses, phone numbers and any other information that your correspondent might need, and hence avoid further emails. For example, instead of blah blah blahing about when and where to maybe kind of sort of meet for coffee, go ahead and make a specific proposal, e.g., “How about if we meet for coffee at 4:30 PM this Tuesday or, if you would prefer, 5:30 next Wednesday at Café Thus-and-Such, 123 Avenue ABC.”

Cal Newport offers more detailed advice about this brain power-saving email tactic on his blog, Study Hacks and his book, Deep Work.

9.
WHEN CALLED FOR, FOR HEAVENSSAKES, JUST APOLOGIZE (BRIEFLY)

Freelancer Aja Frost offers a batch of handy templates categorized by degree of situational horribleness. 

Deluges of karmic lotus petals upon you, Aja.

10.
AT THE END OF THE LAST EMAIL SESSION FOR THE DAY, REPEAT AFTER SCARLET…

[ VIDEO ]

It is a fact that for me, as well as for everyone who uses email, night falls in this Theater of Space-Time… and falls again, and again…. Funny how that happens once every 24 hours… until it doesn’t. I guess. In the meantime, some emails fall through the cracks of all good intentions.

Anyway, as Cal Newport writes in Deep Work,

“[I]n general, those with a minor public presence, such as authors, overestimate how much people really care about their replies to their messages.”

Newport’s bluntness may sound cruel. I don’t think it is; rather, he points to a cruel fact: that even when surrounded by other people, in fundamental ways we are each of us in this Theater of Space-Time alone. Writing is a technology that permits us to send thoughts from one axis of space-time to multiple others. And this is precisely why I write books— and why I read books, and why I welcome correspondence, albeit in electronic form.

And no, I am not worried that one day, should my one of my books be made into a movie starring Brad Pitt, or something, I might need to raise the Wall of Silence, or else bring on a bucket brigade of secretaries to cope with cannon-hoses of incoming emails.

Why am I not worried, pray tell? 

(1) Because my 10 point system works splendidly well.

(2) Furthermore, should the need arise, it would be a simple matter to add more sender filters / templates, and perhaps, now and then, an autoresponder.

(3) Moreover, I need only note the numbers of smombies I see on city streets to conclude that, alas, the world of those of us who still have the cognitive focus to actually read the sorts of literary books I write and to engage in thoughtful correspondence is, and seems destined to remain, a cozy one.

And if I turn out to be wrong, so what? Then I will get a secretary! In the meantime, I shall make do with my writing assistants (although, alas, with emails, those two are all paws).

From the Archives: 
“A Traveler in Mexico: A Rendezvous with Writer Rosemary Sullivan”

Biographers International Interview with C.M. Mayo: 
Strange Spark of the Mexican Revolution

Using Imagery (the “Metaphor Stuff”)


Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.


Literary Travel Writing: Notes on Process and the Digital Revolution

Photo by C.M. Mayo. Hueco Tanks State Park and Historic Site in Far West Texas. Confession: After I snapped this photo with my iPhone I checked my email, just to see if I could! Alas, I could.

The aim of literary travel writing was– and remains– to bring the reader to deeply notice, that is, get out of her head and into the world of specific sounds, smells, tastes, textures, colors, ideas, histories, geographies, geologies… In the words of Kenneth Smith, “You have to open space, and deepen place.” 

Start with escape velocity: from wherever you are, whoever you are in your known world, you rocket out, beyond the orbit of ordinary life. You float around out there– there being your own backyard or, for that matter, the island of Molokai– for a spell. Then, with a story to tell, you splash back to earth.

Next step: craft the narrative, rendering your experience in and understanding of that time and place as vividly, as lyrically, and engagingly as possible. I’ve had plenty to say about the craft of literary travel writing; what I want to touch on here are some of the steps in the process and how they have or have not changed with the lure of digital technologies and the tsunami of the Internet.

HEREWITH SOME NOTES, 
FIRSTLY, ON TAKING NOTES:

THEN: In olden times of yore, I mean in the 1990s, when traveling in Baja California for my travel memoir Miraculous Air, I carried around a pen and bulky notebook, and a camera with so many lenses and dials that if I were to pick it up today I wouldn’t remember how to operate it. To get every raw thing down that I would need for my book, I had to scribble-scribble-scribble, and during interviews and/or at the end of a day’s driving and hiking or whatever, boy howdy, I felt like a squeezed-out sponge and my hand like an arthritic claw. Once home, I spent hours upon hours typing up my field notes. And neither film nor film processing was cheap. Such was the first step of the process.

Charlie Angell, expert guide, in the Solitario, Big Bend Ranch State Park, Far West Texas. Listen in anytime to my podcast interview with Angell here.

NOW:These days, for my book in-progress on Far West Texas, I carry a pen and a slim Moleskine to jot down this-and-that, but my main tool is my iPhone. Rather than scribble my field notes and interview notes, I simply turn on my iPhone’s dictation app and press “record” — when finished, I have a digital file. I also take loads of photos and videos. Oh yes, this is infinitely easier on me as I am traveling, and as far as the pictures and video go, the cost is zip. Once home, however, transcribing the audio field notes takes me hours upon hours, and it is exhausting.[*] 

[*]Yep, I have voice recognition software but it doesn’t work well enough– in the time it would take me to correct the gobbledygook I might as well transcribe from scratch. I expect this to change. For some of my podcasts I have used a transcription service, but field notes are another matter– too detailed, too personal. Furthermore, as tedious a job as it may be, transcribing my field notes helps me hyper-focus, recall more details, and gain further insight.

I am the first to admit, were I to do another literary travel memoir, while I would dictate my notes, I would need a better strategy for getting them transcribed. So I’m working on this mid-way. Ayyy.

ON UTILIZING / PROCESSING / PUBLISHING PHOTOS & VIDEO

THEN: Photos stayed in a box. A few ended up in the book. (Several years after the book on Baja California was published I uploaded a few to my website. You can view those here.)

NOW: Photos and videos can be amply shared on this blog, the website, Twitter, etc. A few will end up in the book, I expect.

Is this aspect of the process really that different because of the Internet? A few years ago I would have said so– I got very excited about the multimedia possibilities in ebooks. But I now believe that while our culture is increasingly oriented towards visual media, as far as books go, not much has changed, nor will it because what readers want is text. 

I’ll grant that some literary travel memoirs might offer a few more images and color images than might have been economically feasible before. I’ll grant that ebooks can include video or links to video. And I’ll grant that a few people may find out about and read my book because of a photo or video they Google up on my websites. A few. Most people surfing around the Internet don’t read books, never mind literary travel memoir. And there is nothing new about that.

ON FINDING BOOKS

THEN: To find books on Baja California, I scoured the shelves at John Cole’s in La Jolla, El Tecolote in Todos Santos, and a very few other bookstores and libraries, including the Bancroft at UC Berkeley. I thought the bibliography on Baja California was enormous, and I ended up owning a wall of books.

NOW: Amazon!!!! Although the other day I bought a rare book about the town of Toyah on www.abebooks.com. Over the past few years I have also bought a few books from bricks-and-mortar shops including the Marfa Book Company and Front Street Books in Alpine, and more from the bookstores in various state and national parks. And I go to the always fabulosa Librería Madero in Mexico City for out-of-print Spanish language books. I have consulted a few archives and collections… But I get most of my books from amazon.*

*I hasten to add that for research purposes I am mainly buying paperbacks and used reading-quality books, the kind I’ll take a highlighter to, not rare books. Buying rare books from amazon is not the best idea for many reasons, one of them being that the multitudinous sellers of used books  oftentimes describe a book as “new” when it is actually a stamped review copy, stained, or missing a dust jacket, and so on. For quality rare books from reputable sellers, I can recommend www.abebooks.com , www.abaa.com , and www.biblio.com

(Why am I buying so many books? Because I need to read and consult them and, alas, I do not live anywhere near a good English language library. And I admit, I do have a thing for rare books, especially on the Mexican Revolution, Baja California, Mexico’s Second Empire, or Far West Texana. Uh oh, that’s a lot.)

Bottom line: Not only is it easier to find books now, but the bibliography on Far West Texas and Texas makes that on Baja California look puny. Um, I think I’m going to need a new house.

Is this aspect of the process of writing a literary travel memoir really that different because of the Internet? It would seem so, but I’m contrasting an apple and a Durian, as it were. Baja California is a very different subject than Far West Texas. Many of the books I found useful on Baja California are not easy to find online, even today, while, so it seems to me now, if I sneeze someone hands me a book on the Great State of Lonestarlandia. 

I do miss ye olde brick-and-mortar bookstores. But I do not miss being unable to find what I was looking for. 

Anyway, not every travel memoir requires such intensive reading. 

And yet another consideration– and a topic for another blog post– is that it’s always easy to under- or over-research any given book.

ON THE INCONVENIENT LUXURY OF BEING INCOMMUNICADO 

THEN: Traveling in remote places on the peninsula I more often than not found myself incommunicado. (Back then, many small towns in Baja California did not yet have telephones.)

NOW: Few stretches of any highway, anywhere, including the most offbeat corners Far West Texas, are without cell phone reception. Many campgrounds and all hotels, properly so-called, have wifi. Digital distractions are legion. Or, another way to put it: the digital leash stays on– unless one is willing to confront friends, colleagues, and family. That takes energy. Or, another way to put it: that takes training. 

Deep Work by Cal Newport. Highly recommended.

While traveling, no, I do not text, no, I do not email (except when I fall into temptation!), and no, I do not answer my cell phone while I am driving or possibly fending off mountain lions! Sounds easy. Sounds curmudgeony. But for the kind of travel writing I do, trying to immerse my consciousness in an unfamiliar place, and come back with a vivid narrative, very necessary. 

Is it really that different? Not so much as it might appear. It has always taken a strategy plus herculean effort against formidable economic, physical, psychological, and social pressures to protect uninterrupted stretches of time for deep work. 

>> See Cal Newport’s Deep Work. Highly recommended.

ON FINDING (NONBOOK) RESEARCH MATERIALS

THEN: If it wasn’t in a book or a paper file, usually, for all practical purposes, it didn’t exist.

NOW: Whatever, Google.* And the Texas State Historical Association’s Handbook of Texas is a fabulously rich– and free- resource. 

*Don’t get me started about the Maoist Muddle, aka Wikipedia. 

Is it really that different? Yes. 

To take but one example, it is radically different to be able to look at all the real estate on the Internet. I can be sitting in Mexico City and with my iPad and surf around, looking at all these places for sale in Far West Texas– whether a luxury ranch or a humble hunt box / trailer— I can see the kitchen, the bedrooms, ayyy, the bathrooms… I hasten to add I am not looking for anything in the Texas real estate market, but those listings, the descriptions and photos, constitute a window onto a people and place– in the not-so-distant past, this sort of at-hand detail was available only to licensed local real estate agents. 

ON ANONYMITY & KARMA

THEN: In the 90s in Baja California I talked to a lot of people who wouldn’t know me from a denizen of the fifth moon of Pluto and who would probably never learn about, never mind pick up and read my book. I found that very freeing.

Everyone will be famous for, like, 2 seconds, LOL

NOW: Still true in 2016 in Far West Texas, but almost everyone who feels moved to do so can whip out his or her smartphone and Google up my name for scads of links from my webpage to podcasts to this blog to academia.edu to LinkedIn, Twitter, blah blah blah, and all about my book on Baja California, my novel, my stories, and my book on the Mexican Revolution with the uber-crunchy title! I Google other people, too. I can follow the Twitter feed for the Food Shark in Marfa! I interview Lonn Taylor for my podcast! Lonn Taylor writes about me for the Big Bend Sentinel! Sometimes when I go out to Far West Texas I want to wear a wig and dark glasses a la Andy Warhol! But seriously, human nature hasn’t changed; most people respond very generously when asked sincere questions about their art, their business, their research, and/or their opinion, and I believe this will remain the case whether people know about my works and/or Google me or not. Moreover I expect that it will remain the case long into the future that the majority of Texans, and for that matter, denizens of the planet, will not be avidly reading literary travel memoir and couldn’t care a hula-whoop about the oeuvre of moi. (Oh well!)

Is it really that different because of the Internet? Having published several books, one thing I do appreciate, although my ego does not, is that books go out to a largely opaque response. You can talk about sales numbers, “big data,” reviews, and prizes, and it doesn’t change the fact that an author does not know when any given person is actually reading or talking about or feeling one way or the other about his or her book– and anyway, the readers of some books will be born long after their authors have passed to the Great Beyond. 

Still, I think it best to assume that there is karma with a capital “K” — opaque as it may be. In other words, you might not have to, but be prepared to live with the consequences of what you have written. Translation: truth is beauty but cruelty is stupid.

ON DISTRACTIONS

THEN: The main distractions were the television and the telephone.

What Technology Wants by Kevin Kelly. Strange, wonderful, and kinda creepy.

NOW: It’s the magnetic rabbit holes-o-rama of the Internet. In some ways this is more difficult for me as a writer because I use the same machine, the laptop, for writing as for research, for email, and for social media and surfing. (Oh, so that’s the problem! Well, at least I don’t watch television anymore.)

Is it really that different? Yes, because technology really is taking us somewhere very strange, and in some ways, for many people, smartphones are beginning to serve as an actual appendage. But no, because since the dawn of written history we have ample evidence that people have been tempted continually by hyper-palatable distractions of one kind or another and have been taken advantage of by those with the wherewithal to take advantage. Hmmmm…. religion…. slavery…. alcohol… opiates…. cigarettes…. casinos…. spectator sports…. mindless shopping…. television… or even, as they did even back in the days of the atl-atl, lolling around the campfire and indulging in idle & malicious gossip…

>> See also Steven Pressfield’s The War of Art: Winning the Creative Battle.

ON PUBLISHING EN ROUTE

THEN: As work progresses, I would publish an occasional article in a magazine or newspaper such as, say, the Los Angeles Times, the Wall Street Journal— and I would actually get paid. I also published a number of longform essays in literary magazines. I got paid, a bit, and I treasure the beautiful copies.

NOW: Although I continue to publish in magazines, mainly I post digital media– articles on this blog, guest-blogs, and text, photos, videos and podcasts on my websites, plus I send out my emailed newsletter a few times a year. Downside: My short works make less money. Upside: publishing articles is quick, easy, and I retain control. Further upside: when people Google certain terms, they get me. For example, try “Sierra Madera Astrobleme.”

Is it really that different? Alas, yes. See Jaron Lanier’s You Are Not a Gadget

I would tell any young writer getting started today that if you want the freedom to write things you will be proud of, first find a reliable alternative income source and from there, always living below your means, build and diversify your sources of income away from the labor market. (Getting an MFA so you can teach in a creative writing program? That might have made a smidge of sense two decades ago. Now you’d be better off starting a dog grooming business, and I am not joking.) Yes, if you are brilliant, hard-working and lucky, you might one day make a good living from your creative writing. But why squander your creative energy for your best work worrying about generating income from, specifically, writing? Quality and market response only occasionally coincide. Jaw-dropping mysteries abound. 

FURTHER NOTES: WHAT ELSE HASN’T CHANGED (MUCH)? 

The Call to Dive Below the Surface

One might imagine that with all the firehoses of information available to the average traveler, literary travel writing now needs to offer something get-out-the-scuba-gear profound. But this has been true for decades– long before the blogosphere and Tripadvisor.com & etc. thundered upon us. 

As V.S. Naipaul writes in A Turn in the South– waaay back in 1989:

“The land was big and varied, in parts wild. But it had nearly everywhere been made uniform and easy for the traveler. One result was that no travel book (unless the writer was writing about himself) could be only about the roads and the hotels. Such a book could have been written a hundred years ago… Such a book can still be written about certain countries in Africa, say. It is often enough for a traveler in that kind of country to say, more or less, ‘This is me here. This is me getting off the old native bus and being led by strange boys…’ This kind of traveler is not really a discoverer.”

Organizational Challenges

Another thing that has not changed is the need to keep things organized– whether digital or paper. When I sit down to bang out a draft and then polish (and polish & polish & polish) a literary travel narrative, I need to constantly refer to my field notes, books, photos and videos, so it is vital that I have these resources where I can easily find them– and when done for the day, or with that section, that I have a place to easily put them back (and from where I can easily retrieve them as need be). This might sound trivial. It is not. 

Here’s what works for me: 

BOOKS: Shelve by category, e.g., Texas history, geology; regional; rock art, etc, using big, easy-to-read labels on the shelves; 

PAPERS: File in hanging folders in a cabinet, e.g., travels by date, editorial correspondence, other alphabetical correspondence, people (as subjects), places;

PRINT-OUT OF THE MANUSCRIPT: Shelve at eye-level in a box (along with a large manila envelope for miscellaneous scraps and Post-Its).

TRANSCRIBED FIELD NOTES AND INTERVIEWS: Store in three-ring binders; 

DIGITAL FILES: Save in folders on the laptop, e.g., audio by date and place, photos and video by date and place;

WEBSITES, PODCASTS, VIDEOS: For websites and etc, I often use posts on this very searchable blog as a way of filing notes that I can easily retrieve (here’s an example and here’s another and another and another and another);

Notes on Peyote, for example.

PRINT-OUT OF THE MANUSCRIPT: Shelve at eye-level in a box (along with a large manila envelope for miscellaneous scraps and Post-Its).

Sounds like I know what I’m doing! The truth is, no matter how often I declutter, books and papers tend to mushroom into unwieldy piles and ooze over any and all horizontal expanses. Piles make it easier to procrastinate. And procrastination is the Devil. I have been struggling mightily with getting my field notes transcribed. All that said, a book gets written as an elephant gets eaten– bit by bit. It’s happening. Stay tuned.

It Can Be Done! This Writer’s Distraction Free Smartphone
(Plus an App Evaluation Flowchart to Tailor-Make Your Own

Q & A: Sara Mansfield Taber, on
Chance Particulars: A Writer’s Field Notebook

Notes on Wolfgang Schivelbusch’s The Railway Journey:
The Industrialization of Time and Space in the NIneteenth Century

Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.


Why I Am a Mega-Fan of the Filofax

It was wicked fun doing a post a for Kevin Kelly’s Cool Tools blog on my seriously uncool Internet password management system, so I just had to write again for Cool Tools about my other favorite paper-based organizing tool, the Filofax Personal Organizer. (Note: I have no connection whatsoever with this company except as a delighted customer.)

Sturdy, Customizable, Portable Paper-Based Organizing System: The Filofax Personal Organizer

Why a paper-based organizing system in this digital age? First, as Get Things Done guru David Allen puts it, “low-tech is oftentimes better because it is in your face.” Second, last I checked (channeling Jaron Lanier here), I am not a gadget. I cherish the tools that help me stay organized, yet allow me to abide within generous swaths of Internet-free time—formally known as normal life (you know, when you didn’t see everyone doing the thumb-twiddling zombie shuffle). The Filofax personal organizer is one of them. 

I got my first Filofax over 25 years ago and it has been a love story ever since. Part of this English company’s century-old line of organizers originally developed for engineers, it is a beautifully made 6-ring loose leaf binder. With the Filofax diary, address book, paper inserts and other items that get tucked in there, for most users, it fattens up to the size of a paperback edition of Anna Karenina. Or, say, a Philadelphia cheesesteak sandwich. Right, it does not fit in a coat pocket.

Depending on the model, the Filofax personal organizer comes with an assortment of pockets on both the inside and outside flaps. Mine also includes a pen holder on the right and a highlighter holder on the left, and it closes securely, so no loose items (such as that drycleaner’s ticket) can fall out.

Filofax sells a cornucopia of inserts for the 6 ring binder, from a wide variety of configurations for the diary refill, to a personal ruler/ page marker, maps of most major cities, a pad for assorted sticky notes, checkbook holder, business card holder, super-thin calculator, extra paper in a rainbow of colors, index tabs, a portable hole punch, and an address book, among other items.

Countless are the ways to configure one’s Filofax personal organizer. I’ve evolved into using the Week on Two Pages diary for noting appointments, birthdays, and any time-sensitive to-dos; two rulers/ page markers; the assorted sticky notes pad (though now with my own, more economical, Post-Its); the address book at the back; plus a “page” of plastic sleeves for business cards. I stash items such as stamps and paperclips in the front inner pocket (especially handy when traveling). Tickets (drycleaners, concerts) go in another pocket.

In addition, I made up several tabbed sections to index my personal, financial, business, and other to do / might one day do lists, to which I slap on ideas scribbled on Post-Its as they occur to me. The tabbed sections follow my personal interpretation of David Allen’s Get Things Done  (GTD) system—his basic idea being, capture all your to dos in one “bucket” you regularly revisit, and thereby can clear your mind for more clarity and creativity in the present moment. (To track more complex medium and long-term projects, I use the Projecteze system of a Word.doc table which relies on the sorting feature—that’s another post.)

As for address book, it’s not my main nor my only address book, just the addresses I like to keep handy in this particular system—so, in part, it serves as a paper backup for the most vital addresses, and those I regularly consult when making appointments or sending birthday cards and such.

Usually the Filofax stays open on my desk– which works for me, but clearly that won’t be ideal for those who work in less private and/or mobile situations. I take it with me when I travel or attend meetings where I might need to review my schedule or consult the to do lists and/or address book. 

High-end stationary, luggage, and department stores often carry the Filofax line of organizers and inserts—as does amazon.com— but to ensure that I get exactly what I want when I want it, I order the refill for the following year from the Filofax USA’s on-line shop on September 1st. At year’s end—following the advice of my tax accountant who says it could be handy in case of an audit—I file the diary with the rest of that year’s tax documents.

There are four major disadvantages to this system. None of them torpedo it for me, but they might for you:

(1) It’s a paper-based system, and for those who want their hand-held and/or laptop to be their all, and the many bells-and-whistles of a cloud-based system, clearly, it’s a head-shaker.

(2) High cost. You get what you pay for, however, and I have been happy to pay for the refills and other accessories because their simple and elegant design inspires me to stay better organized. For those who bristle at such prices, however, it would certainly be possible to make a homemade version of many of the inserts.

(3) Security risk. One’s office or house could burn down or someone could steal the Filofax—but then again, they couldn’t hack into it at 3 in the morning from Uzbekistan, either. 

(4) Bulk and weight. I can easily toss my Filofax into a briefcase or shoulderbag, but without an on-call chiropractor, I wouldn’t want to haul it around on a walk. That said, when I go for a walk, I go for a walk. 

It Can Be Done! This Writer’s Distraction Free Smartphone (Plus an App Evaluation Flowchart to Tailor-Make Your Own)

Consider the Typewriter (Am I Kidding? No, I Am Not Kidding)

The Strangely Beautiful Sierra Madera Astrobleme

Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.


Decluttering a Library: The 10 Question Could-Be-A-Flowchart

When is it a library and when is it hoarding? A personal library can easily mushroom (ay, and paperbacks do seem to multiply, in multitudinous multitudes) into a gnarly mess. And what good is a library where you can’t find the darned book you’re looking for?

When I was younger and did not have so many books, I loved them each and all, and never gave a one away (though I did, to my everlasting regret, sell my Nancy Drew mysteries collection to my sister). Then, ten years ago, we moved and I had to give away more boxes of books than I imagined possible. Funny, it got easier and easier… and what with all the extra shelf space, so did going to bookstores and amazon.com… and once again, I found my shelves piled with piles and in general chaos (no, Travels in the Yucatan does not belong with the Beatrix Potter bio, and yikes, did I really need 11 books on crop circles??)

In the process of decluttering anew, these ten questions, in the following order, let me decide quickly and easily what to do with each book. I’m filing this post under Future Reminders to Take My Own Advice; should this serve you also, gentle reader, that would be grand.

1. Am I reading it now?

If yes, goes to the READING NOW shelf. If no, on to question 2.

2. Am I planning to read it in the next [fill in the blank]?

For me I have enough shelf space right now to say, “the next couple of years.”

If you live in an empty movie theater you might be able to ask, “Am I planning to read it in the next century?” But if you live in a tiny house on wheels your time frame may shrink to, say, “the next five days.”

Do try to be realistic, if inevitably (sigh) optimistic.

If yes, goes to the READING SOON shelf. If no, on to question 3.

3. Is it part of a collection?

Collections have value on many levels, and the moreso when curated with thought and care. Mine include autographed first editions; Mexican art books; Baja Californiana, Maximiliana, and 19th and 20th century English language travel memoirs of Mexico.

If yes, goes to the appropriate shelf. If no, on to question 4.

4. Does it have serious sentimental value?

Because everything may have some sentimental value, this needs to be rated on a scale of, say, 1 – 10. I have enough shelf space right now that a minimum of 5 on a scale of 1 – 10 works for me.

If yes, it goes to appropriate shelf. If no, on to question 5.

5. Is it necessary for reference?

This also needs to be rated on a scale. I’m going for a 7.5 on a scale on 1 – 10. If you live in a mansion, maybe a 2 or 3 would do; if you live in Manhattan in 2 feet square, maybe you’d need it to be an absolute 10 +.

If yes, goes to REFERENCE shelf or appropriate shelf by subject. If no, on to question 6.

6. Would someone I know be happy to have it?

If yes, goes into an envelope / box and out the door! If no, on to question 7.

7. Can I sell it?

A lot of people don’t realize that some of their older books have value. (How about a 1st edition signed copy of James Joyce’s Finnegan’s Wake? You might buy a car with that.) And even if they’re crummy old paperbacks, if you have enough of them, I suppose you could squeegee together a little mountain of cash.

If yes, it goes onto the TO SELL shelf. And answer question 8. If no, skip directly to question 9.

8. Yeah, but honestly, am I really going to get around to selling it?

The transaction cost might not be worth it.

If yes, well, cool beans. Stop here, and proceed to next book. If no, on to question 9.

9. Can it be donated?

It’s a lovely idea to imagine that the donation of a book might help a library or other nonprofit, and ultimately, be read by others. Please do it! (Certainly a lot of organizations would be thrilled to have that signed first edition of Finnegan’s Wake.) And don’t overlook historical associations and university libraries. Grandpa’s self-published memoir of his time as a POW during WWII; great grandma’s xeroxed and saddle-stapled family history; a highschool year book from 1939 or, say, 1899, might be very welcome on certain shelves. That said, alas, some books are in such bad shape (coffee stains, cracked spines, yellowed, torn pages, etc) that no one wants them, and when you haul them over to, say, Goodwill or your local library, you’re not helping; you’re just giving someone else the unpleasant chore of throwing it in the dumpster.

If yes, goes into the DONATION BOX. (I keep mine in the hall closet. When it fills up, it goes to the basket in the basement, and when that fills up, it all goes into the back of the car, and from there to wherever it needs to go.) If no, on to question 10.

10. Can it be recycled into furniture, insulation, a jewelry box, or art?

If yes, goes to your WORKSHOP / STUDIO.

If the answer has been “no” to all ten questions, light a candle and give it a blessing if you must, but PUT IT IN THE PAPER RECYCLING BIN. This really is the last, the very last, very horrible, very sad, very karmically problematic resort. Oh well!

More anon.

UPDATE: A few more library management posts:

On Organizing (and Twice Moving) a Working Library: Lessons Learned with the Texas Bibliothek

A Working Library: Further Notes and Tips for Writers of Historical Fiction, History, Biography, and/or Travel Memoir, & Etc.

Meteor, Influences, Ambiance

Synge’s The Aran Islands and Kapuscinski’s Travels with Herodotus

Working with a Working Library: Kuddelmuddel

Find out more about C.M. Mayo’s books, shorter works, podcasts, and more at www.cmmayo.com.