The town kicked up its legs, put on an actual parade for all those who’d decide which town got the bomb works, her daddy being one of the deciders, a tall heavy-nosed state politician who looked good in a suit when others didn’t. His wife came along for the parade, and their daughter handed out flyers coincidental with the next election.
Hump took two.
The other guys kept their hands in their pockets once they Thank you ma’med her. Hump didn’t even look at the flyer before he wanted another. Known as Hump to his face, a face that looked enough like John Wayne’s that some people thought he should get a rope and start in with a lariat, if not a horse, he was not as shy as he could have been since you don’t get to be eighteen looking like that without some serious experience. A Marybeth was trying to wound him grievously by applying for a job in the next town, a Collette slunk around in a long dress in this 95 degree parade weather in the middle of a float that read: We’re ready if you are, and a Nancy wore nothing under her band jacket just in case.
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February 6th, 2010 12:12pm by Hannah Tinti  One Story author Dani Shapiro has a fantastic essay in today’s LA Times, talking about how to “edure” as a writer today. She starts off by quoting legendary editor & founder of New American Review, Ted Solotaroff:
“Solotaroff wondered where all the talented young writers he had known or published when he was first editing New American Review had gone. Only a few had flourished. Some, he speculated, had ended up teaching, publishing occasionally in small journals. But most had just . . . given up. “It doesn’t appear to be a matter of talent itself,” he wrote. “Some of the most natural writers, the ones who seemed to shake their prose or poetry out of their sleeves, are among the disappeared. As far as I can tell, the decisive factor is what I call endurability: that is, the ability to deal effectively with uncertainty, rejection, and disappointment, from within as well as from without.”
She goes on to discuss how today’s writers often focus more on publishing than actually writing:
The 5,000 students graduating each year from creative writing programs (not to mention the thousands more who attend literary festivals and conferences) do not include insecurity, rejection and disappointment in their plans. I see it in their faces: the almost evangelical belief in the possibility of the instant score. And why not? They are, after all, the product of a moment that doesn’t reward persistence, that doesn’t see the value in delaying recognition, that doesn’t trust in the process but only the outcome. As an acquaintance recently said to me: “So many crappy novels get published. Why not mine?”
Go here to read the rest of this great article, and if you missed Dani on the Today Show, go here to see the clip!
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