A Conversation with Laurenne Sala

I'm thrilled to announce that my beautiful and supremely talented friend Laurenne Sala has released her very first children's picture book! Her journey to becoming the author of You Made Me A Mother happened quite unexpectedly when HarperCollins caught wind of a video for Boba Carriers that she wrote. In our conversation below, Laurenne shares a bit about the process and offers some helpful insights and resources for those of you who may have a picture book percolating in you!

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LAURENNE SALA began her career as an advertising copywriter, writing national campaigns for clients like KIA Motors, Jack-in-the-Box, and Beats by Dre. She has written everything from the copy on a VitaminWater bottle to funny videos for BuzzFeed. After hiding lots of family drama during her teens and twenties, she finally told all her secrets on stage and in writing, which helped her feel such catharsis that she started her own storytelling show, Taboo Tales. She leads writing workshops and speaks at colleges around the country in order to help others create comedy pieces out of their authentic stories and give them the opportunity to release them on stage in front of a live audience.

Laurenne's first picture book You Made Me a Mother is a sweet celebration of motherhood and will hopefully make both kids and moms feel special. It's for kids between 4-8 and is illustrated by Robin Glasser, who also draws Fancy Nancy! She's fallen in love with the kid lit community, with You Made Me a Father to follow, and she hopes there'll be many more picture books to come. Find out more at laurennesalabooks.com.

Karin: How is writing a picture book similar or different than other kinds of writing you do?

Laurenne: Many people think writing a picture book is simple. They're so short and seem like a breeze. BUT, since they are so short, every single word is so important. Every single sentence has to have a reason for being, and that can drive a writer crazy. There's no time for embellishment or setting of the scene since the illustrator can do that. So, the problem usually begins on the first page and then a subtle message follows. I am not a fan of subtlety. I love to end my personal essays with big old morals to make sure every reader is learning the lessons I learned. But kids are learning lessons all day. They want to read for fun or so that it lulls them to sleep. The trend in picture books now it to steer clear of didactic morals and let the reader come to her own conclusions.

Also, language is so important. Alliteration, sounds, rhythm. I just heard the other day that picture books use even more of a variety of vocabulary than news articles! I find myself using more poetry than I normally would in order to make it more fun for the reader to string the words together in her mouth. 

I would like to take a lot of picture book lessons with me to my other forms of writing. 

Did you collaborate at all with the illustrator? If so, can you describe the process?

When they partnered me with Robin Preiss Glasser, I was SO intimidated at first. I think she's spent 300 weeks on the New York Times best-sellers list. And whenever you whisper the words “Fancy Nancy,” people usually know exactly what you mean. So, I didn't feel like I could give Robin a call to assert my opinions on her illustrations. But I didn't have to! I LOVED what she did. Even when I saw the black-and-whites, I fell in love with the family she invented. They are adorable. I love the story she wrote for them in her own way. I love how she infused her own motherhood experience in these pages. Some writers never meet their illustrators, but I was lucky in that Robin might be the nicest and most open and loving person on the planet. She invited me over to her house. She held my hand through the whole ugly marketing process. She shared the struggles she had early on so that I could learn from them. She sat me down on her bed and went through her contact list for me. I mean, she's truly an incredible person. It's like I was paired with an illustrator and mentor all at once. So lucky! I couldn't be happier with how the illustrations turned out.

The poem originally made moms cry when it was released as a video for Boba baby carriers, and I was nervous that without the visuals in the video, the book version would fall flat. But, Robin was able to so aptly illustrate the magic of motherhood and the way a child begins to let go of a mother's hand. I think together we are now making more moms cry than the video did! 

You're not a mother YET, so how did you manage to tap into that unique experience?

Oh, it's coming soon! And now that I've been reading this book at schools and hanging around kindergarteners, I'm dying for my own funny kid more and more each day. I'm getting married in September, so we'll see! BUT, I think one thing that helped me write from a mom's POV is empathy. Sure, I have written as some fictional characters from time to time, but it wasn't until I went to get my Masters in Psychology that I learned what empathy really was. It's actually imagining yourself in someone else's shoes rather than sympathy, which is just feeling sorry for someone. I noticed how great it felt to do that and to truly understand my clients. So, for two years during school at the University of Santa Monica, I practiced empathy. I practiced becoming someone else in order to understand them better. I even decided to write a memoir from my father's point of view, which helped bring me to a total understanding of who he was and why he left! I highly recommend that exercise! To put myself in a mother's shoes, I simply imagined what my mom must have felt when I was growing up and when I was leaving her to live across the country. 

Plus, this book is a culmination of my family's idea of motherhood. I asked my mom and my cousins and my friends what it was like to bring a baby home for the first time and what it was like during the hard parts. I am lucky to have some very honest friends and family who helped me visualize what it all feels like. One line that's in the video and not the book is from my mom. And I love it: Motherhood makes you want to fall at your mom's feet and tell her you get it. I am looking forward to that feeling.

What is one big thing you learned about writing a picture book that might be useful to others who have ideas for one?

One big thing about picture books is that they are truly fun and that most picture book writers love what they do. I wasn't used to that. I freelance often and in many offices, people hate their jobs! Picture book writers get to be silly, hang out with kids, and what they write can truly be meaningful to someone whose growing brain needs some good lessons or to just feel loved. If you want to write a picture book, I say do it! The community is welcoming, and kids always need to learn from different voices. A good place to start is SCBWI, the Society of Children's Book Writers and Illustrators. Plus, this ebook helps a lot.

Can you share a little bit about what you teach in your workshops? What is your approach to helping people create comedy pieces out of their personal stories?

I run writing workshops through Taboo Tales, a storytelling show with a certain kind of tone that is not AT ALL like picture books (In fact, I had somewhat of an existential crisis when trying to build a website that covers both topics). Our motto is: The more we all talk about how Fucked up we are, the more normal we all feel. As you know, Karin, and as Brené  Brown says, “The way to release shame is through story.” We first make a list of things we would never tell anyone ever. And those who dare choose the one that scares them the most. We then spend the day working with that topic. We share it in a completely non-judgmental atmosphere. And after the deep stuff comes up (often involving tears), we learn to laugh at it. There are ALWAYS truths about our experience that are inherently funny. Laughing about the absurdities is just as healing as speaking the story out loud. If the story took place during a certain time, it could be funny to think about your old beliefs during that time. Or things people said to you during your experience when they didn't understand it. Assumptions. Clothing styles. It's all pretty funny when you think about it.  

To learn more about Laurenne Sala, visit laurenne.com

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A Conversation with Paula Mallis

I'm excited to announce that I'll be leading a new workshop Write Your Birthing Story which will be taking place on Sunday, March 6th, hosted by Paula Mallis at her home in Venice. Paula is a doula who has been holding circles for women to gather, share and witness each others' stories around pregnancy and birth. As a mother, with my own birthing story, I'm thrilled to co-create this space with her! Read more about Paula and the workshop below.

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PAULA MALLIS is a mother, doula, yoga teacher, meditation guide and facilitator of women circles living in Venice. When she was pregnant and traveling on her own journey into motherhood, something shifted. She experienced a spiritual awakening that allowed her the opportunity to choose a more conscious way to approach her life as a woman and mother. In her practice, she blends her experience as a mother, her expertise as a doula and her extensive training in yoga, as a meditation guide and facilitator. Sharing what she knows and supporting women as they make their own journey into motherhood is her deepest passion.

Karin: Tell us about the Birthing Circle and how it came to be?

Paula: Over the past few years I've been holding circles to give women an opportunity to come and share; really just take a pause to share their transition from being a maiden to being a mother. A part of that transition is by sharing the birthing story that they have experienced in bringing their child into the world. And what I've experienced from holding a space like this is women not realizing how important it was to their healing process to actually pause and go back and share this story which, you know, was maybe one of the most amazing days of their life. And how there really isn't a safe non-judgmental space to share the story.

Being in my own experience having been pregnant and having given birth to my daughter a little over three-and-a-half years ago, I connected with other pregnant women; there were four of us. After we gave birth to our children and they were all either hours or at the most two weeks apart, we got together postpartum and shared our birth stories with each other. It was so beautiful; it was in my tiny little apartment and the four of us sitting around nursing our babies. It was just so special and so powerful to really honor each other and our journeys and what we had gone through and the birthing story that really brought us into motherhood. It was such a beautiful time to share and be together, and so from that I felt inspired to continue to offer that in a space for women to come and experience the same.

How does your “other role” as a doula support this work you're doing, or does it?

Yes absolutely. Part of my practice with my doula clients is going back for a postpartum visit and really debriefing and going over the birth story. And whatever comes up, the joys of the birth, the challenges of the birth, the “Aha” moments really bring our time together to completion. If there are any challenges or moments that they feel that the dots didn't connect for whatever reason, just really being there for my clients; being able to help facilitate any healing or reframing that needs support for the birth however it unfolded or really came into manifestation.

In doing these circles over the last couple of years, have you found that there is any kind of common story thread or theme?

Yes. Well I think the number one thing that comes up for them is, “I am so grateful that I had this space while I was pregnant and that I was willing to show up and hear these stories from the other women because when it came to a moment of questioning or challenge [during my own birthing experience], I was able to tune back in to the circle and remember the stories and remember the strength and remember the courage that all of them had had.” It's just so much gratitude for the circle and that they had an opportunity to be a part of it during their pregnancy.

And then the other thing that 99.9% of women say is, “My birth plan went out the window. What I thought was going to happen just did not happen.” Even if the outcome was absolutely joyful and bliss, for whatever reason in every woman's experience they were just like, “Birth plan? Forget it. It went nothing like I thought it was going to go.” That lesson seems to be one of the number one lessons in birth, the letting go and the surrendering.

I can relate to that for sure.

Yes, me too.

From a doula's perspective, what's the most unique birth experience or story that you've witnessed?

Oh wow. That's interesting. I would love to write a book one day on birth stories through a doula's eyes because I am witnessing the birth story as it happens, the entire birth story I'm a part of. 

One of the most amazing things is the second birth that I ever went to the baby was born in the sac. To be born in the sac is a very mystical thing, it's a very magical thing; it's kind of like an omen. Every baby is a blessing, but being born in the sac is kind of like an extra blessing. It's a pretty miraculous thing to watch as well.

From a personal standpoint, part of what intrigued me about co-creating a workshop with you is how struck I am that I don't share my own birthing story more often. Why we don't talk about it, when it happens to be for every woman a pretty transformative, defining event?

Yeah, I think that so much more is focused on what stroller you're going to get and when's the crib coming. Back in the day it was absolutely a part of gathering and being in the circle and being with women and sharing in this way. I don't know if you've ever read The Red Tent, but it's very much about being in circle and storytelling and sharing. The wisdom of the grandmother was shared with the mother which was shared with the daughter. And that's how women gathered information was through storytelling and through the lineage. So there was no misunderstanding; everyone understood what childbirth was.

But this day and age, we're not necessarily living near families or maybe our mothers or sisters aren't emotionally available to support in the way that we need while we're birthing. So I think it's just culturally we've gotten away from connecting as women and supporting each other through the most powerful day of our lives. When people do share their birth story you hear more negativity than you do positivity around the birthing experience. So my intention is to create the space, structured in a way where it doesn't really matter if you've had a traumatic birth or not. All birth stories are received with love and are honored all in the same way. No one comments back or gives any feedback. It's simply a space to share and to be witnessed and heard.

Hear-hear. That's a great lead-in to my last question about our upcoming collaboration, which I'm excited about!

Me too.

What do you envision for this workshop?

I think what will be beautiful about us collaborating is giving women the opportunity to go deeper and the healing that might come forth, using writing as a tool to heal a part of a woman's birth story that she may not be settled with. Or maybe she wishes that it looked a little different or maybe she just wants to acknowledge that moment of seeing her baby for the first time and that moment of joy and bliss and excitement and really just take a pause and write that out and see what comes forward. And so I'm just excited to hold the space and witness what you bring in your work and have women experience your work. 

Another thing I hear from women is, “Oh I wish I had just written my birth story down right after it happened. I just wish I had it to give my daughter or my son one day so they could read their story of coming into the world.” So I am excited about the opportunity to write and just be in the curiosity of it and open to how it unfolds.

To learn more about Paula Mallis, visit paulamallis.com

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A Conversation with Kelly Carlin

I had the great pleasure of speaking with Kelly Carlin last week about her memoir release, A Carlin Home Companion: Growing Up With George, published by St. Martin's Press in September. She has been running around doing all sorts of interviews and publicity for the book, but took the time here to share some insights about her creative process and how she discovered her own techniques for writing the more challenging and painful parts of her story. She also had some wise and enlightening thoughts on why women in particular are coming together in creative spaces to write and share their personal stories.

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Born in Dayton, Ohio in 1963,  KELLY CARLIN grew up watching her father, George Carlin, become a counter-culture hero with his comedy. As a child, Kelly explored her own creativity by writing skits and doing imitations (her Ethel Merman was quite good for an eight year old). She began her professional life in her teens working behind the scenes with her mother, Brenda, on various shows for HBO that continued into her twenties.

In 1993, at the ripe age of 30, she graduated from UCLA, Magna Cum Laude, with a B.A. in Communications Studies. While at UCLA, Kelly discovered her voice as a writer, which led her to a career in writing for film and TV with her husband Robert McCall.

After her mother's death in 1997, Kelly found her true calling - autobiographical storytelling- through her first one-woman show, “Driven To Distraction.” In 2001, Kelly stepped away from the entertainment business to pursue her masters in Jungian Depth Psychology from Pacifica Graduate institute. She studied mythology, Jungian psychology and the intersection of art and the sacred.

Kelly is a speaker, hosts The Kelly Carlin Show on SiriusXM, and "Waking from the American Dream" on SModcast Network, and has been touring her present one-woman show, “A Carlin Home Companion,” since 2011.  Her memoir, A Carlin Home Companion: Growing Up With George, was published by St. Martin's Press in September 2015. 

Karin: Could you start by sharing in your own words how you would describe your memoir, “A Carlin Home Companion?”

Kelly: Oh yeah absolutely.  And I love that phrase “in your own words.”  My dad made fun of that once; like “who's words would I possibly be using?” is his response. It's such a great little thing in speech that we do that we don't even think about.

So this book for me was really put into motion by my desire to share what they say in AA, “My experience, strength and hope.”  I went through so much in my life and ended up on my feet, and with a sense of myself and some wisdom. And I really wanted a chance to share that and to give people who might be stuck in some of these similar situations a little bit of light at the end of the tunnel to walk through.  So that's really the impetus of where it came from.

And then since my dad died, what also has come up for me is to be able to share aspects of my father that he never shared with his fans so that people could get a real idea of the whole human being that he was; the father, the husband, the artist and the man. And then of course the dance we did; the father-daughter dance we did, putting aside my mother for a moment, around me finding my own power and strength and voice. And the dance I did in relationship to him and his career and his personality and my own expectations; I really wanted to share that, too.

How did you go about balancing his story versus your story? When you talk about it now it just seems so clear. Was it always that easy to distinguish?

I've been privileged to have had done some real work around this stuff because four-and-a-half years ago I began developing a solo show with the same title. And Paul Provenza, my director, helped me a lot; really us just trying to find the clear narrative. Now in the solo show, we do focus on my father a lot in the first half and I played videos of my dad's career. So he's on-stage in video form and then I'm telling family stories around those different eras. As the show progresses, less and less of the George Carlin shows up and more and more of my story shows up, which is somewhat similar in my book. My book's structured a bit differently, but what I've come to tell people about my solo show is people come for the George and they stay for the Kelly. So I have some experience around balancing these two narratives.  

But I knew I wanted this book to be my book and my editor wanted it to be my book. The fact that it's Carlin and there's a picture of me and my dad on the cover, yes that gets you more attention in a world of books where there are thousands of titles a year. To find a little niche on a bookshelf somewhere is important and to catch someone's eye is important, but it's not a biography of my dad.

I knew that this was my story. I knew that I would tell it from first a daughter's perspective, a child's perspective, and then adolescence, teen and then my twenties and then a maturing adult.

Actually when my dad's autobiography came out, we posthumously published it. It's called Last Words and it was really based on taped conversations with Tony Hendra who was a friend of my dad's and a great writer in his own right. And when I got the galley and there was a chapter on my mother, there was a chapter on some other different people in my dad's life and there was no chapter on me, I was heartbroken. I thought that my dad hadn't even talked about me. I was really confused. And Tony even said to me at that time, “I decided not to put a chapter in there of you because you have such a rich story to tell in your own right and I wanted people to be curious enough so that when your book does come out there would be a real hunger for it.”

Wow, that's great motivation, and endorsement.

Totally. And that's when I knew; it was like, “Oh yeah I do have a great story to tell and even Tony Hendra believes that.” So yeah that was part of my motivation.

During the process of writing the book, did you ever struggle with him upstaging it?

It's always been a delicate balance, and I spent a lot of my years defining myself up against my father and still do. I mean it's just a natural part of what happens. I think having the book out now I feel very relieved because it's done. It's like my story with my dad is done, you know? In reality it's about our whole family; my mother is a huge part of the story too. So it's really about a family struggling through some things and how we all end up healing each other as well as we can. And we're all humans; we don't heal perfectly. But the reality was, I knew what my narrative was; I knew where I wanted to end up, which is who I am today. The scaffolding of my solo show helped me with this a bit; I had to go back to really decide what do I put in?  And I had to put in the things about me where I was giving myself away. So a lot of my story is about giving myself away and living through my dad's shadow and having no sense of self and fighting for it and discovering it and finding my way.  

So it's all in there; the part of being stuck in the shadow and the part coming out of it. But I was really, really lucky that I had a publisher and an editor that said to me, “This is your story.” I don't think I would have signed up for anything else.

Does it feel exposing?

It feels a little weird at times, but as my friend Sara Benincasa reminded me the night before my book was published and I was absolutely freaking out, no matter what “I” in your memoir is a character and that every person in you memoir is a character and you are not that person and you are not your book and that it is after all a constructed reality like everything else is in our lives. And that really helped me. Yeah of course there are particulars out there, but I know that I shared those particulars because they were pertinent to my story and what obstacles I needed to overcome and how I overcame them. But I've always been a person strangely enough who's felt more comfortable telling a room full of strangers my secrets than sitting among my dad or my mother. That's part of our story in the Carlin family. Here my dad was this great truth teller on stage and yet because of the nature of the dysfunction and the alcoholism and the drug addiction we were all in denial all the time and we were all pretending. We were all really good at pretending everything was okay and just the irony of that. So that was my training in some ways. It's very strange.

Did it really make a difference that it was published after your dad had passed away?

For me yeah, absolutely.

In what way?

I've had freedom. I feel a real freedom. I think people who have parents who died understand the freedom that comes with that. Even if your parents are not famous and even if you're not looking to tell your story out in the world, there's something that happens. Obviously there's grief and loss; that is very real and very deep, but at the same time there's a little more space for a person on earth without your parents there. Part of the work to do after a parent's death is not only to understand that they are physically gone from your life and they're not there to kind of watch over your shoulder, but that whatever you have internalized about them whether real or not your job then is to get right with that internalized version of them, too. Because if it's an internalized negative version of them, their negative voice is still going to haunt you and it has nothing to do with the person; it's the thing that you've internalized. It's your inner work to do. So even after my mom died and then even after my dad died, I had work to do around that kind of stuff to really get into a right relationship with them and own up that the negative voice in my head from my dad even when he was alive which thought that, “Oh he's not going to like it if I write about this or I tell about this,” might have been true on some levels, but that was really my negative voice that I'd put on him. So it was just easier for me for him not to be here with me to do that work because of his fame and his place in the culture. He's such a force of reason and wisdom and truth-telling and all of that - that that was a lot for me to compete with while he was here.

If you were to point to the most challenging aspect of writing this book, what was it for you?

I think it was having to slow down enough to go into some traumatic themes in my life and to slow down enough so that I could articulate them as a writer so that the audience and the reader could really live it with me. And therefore then having to go into the pain of my past and re-live it, not just as a witness narrator but as a person living it in order to really be able to use language to describe what it feels like to be in the room with a person when your mother's angry and drunk. Or you're in the room with your abusive boyfriend; you're not sure what's going to happen kind of a moment. And really having to slow down and feel those things again and realize that, “Ah, ugh,” you know? So those were hard moments to do and not fun chapters to have to dig into, but I found a way certainly to do that and was lucky to have some kinds of exercises I could do that helped me do it in a way that was safe.

Can you share those exercises?

Yeah, one of which is an NLP exercise, which stands for Neuro-linguistic Programming. And what it is, is you do a visualization of yourself and become a witness to yourself, as if you're looking at your life and you figure out which direction is future and past for you. For me, my future is forward and my past is back; some people it's left and right. It changes for whatever your wiring is. And so you see your future laid out in front of you, you see your past laid out behind you, and you turn around and you go into your past. And I would go into my past and see the numbers, the years ticking off.  And so whatever event I was writing about, say it was my mother's alcoholism when she was really, really sick with it, you go back to a time before you were affected by the trauma and you're trauma free. And so it's not in your body and you connect to that feeling in your body as being trauma-free and then you take an angled trip down into this traumatic scene you want to be witnessing. So I did that and I was able to go into our family's home where we lived up in Tellem Drive in the Palisades where both my parents were crazy on drugs and alcohol and my mother almost died from alcoholism; it was like the darkest years of the Carlin life. And I was able to walk around the house trauma-free and go into every single room and remember all the furniture, where everything was. I mean it was absolutely an incredible experience of memory. And that allowed me then to feel safe enough in that space to go and find my alcoholic drunk mother in a room.

Wow.

Yeah. And then be able to really let the little girl be there with her and be able to write about what that feels like; what that feels like, what's in the air. So I wasn't re-traumatizing myself by doing it some other way. And it was a really effective tool for me.

No one had ever recommended doing it that way.  I just decided, “Well I'm going to try this,” because I knew I had to go back in this house and I was resisting writing that chapter. I was like, “Aggghhh! Who wants to fucking write about this shit,” you know? Because really all of your resistance comes up in your body and it's healthy and smart because it's trying to protect you. And so I kind of figured out this little mind game to do.

Thanks for sharing that.

As you know, I have been offering memoir workshops for a few years now, and I've been struck by how the participants are nearly all female. I know you feel strongly that there is a larger cultural shift going on in the 21st century around women owning and telling their stories. Can you speak to that?

Yeah sure. I think women, especially our mothers and our grandmothers and then all the way through the mother lines, haven't been part of the grander narrative of civilization. We play supporting roles; we play roles behind the scenes. Essential roles, I mean Jesus Christ we birth the babies. And through the millennia we supported the men who were the warriors and the leaders and the business tycoons and all that kind of stuff. Not saying that there weren't important women in history certainly, but history was written by men and therefore our stories have not been accessible to us. And so I think even we don't feel like we have stories. And so I really believe, especially in this Oprah-age, you know Oprah was one of the first women on TV in the mainstream media to start giving us a voice about our internal lives and what we're living and empowering women to come forward and tell their stories. I think about Phil Donahue also; he was doing that, too. But that was really the beginning of it.

There is this claiming; so much I hear women saying the phrase finding my voice. “I want to find my voice. I want to live my authentic life. I don't feel like I can express all of myself.” And I think this just comes from these unspoken, unseen, invisible rules of our culture, even though it is 2015 and we have come a long way baby, as they say. When you think about the full scope of human history, this is just the beginning of women finding their voices. I mean it's been a hundred years since women got the vote in this country, so it's not a long time. And so I think women are in great need to connect to other people's stories, to find a room safe enough to tell our stories. Virginia Woolf is the one who talked about a room of our own, that you have to feel safe in order to come out and tell these stories. Not only have we not been allowed to tell our stories, but that when we do come forward to tell our stories, we're then defined by the mainstream culture and we're seen as whatever; too emotional or too this or too that or whatever it is. But this is all changing and it's really actually an amazing, kind of a golden age for women.

Most of the heroes in our mythology and comic books and the media are these kind of male versions of heroes. But how heroic is it for a mother who will do anything to protect her children? Or the sacrifice that women have made in order to keep the world spinning forward? These are just as heroic.  

I think it's really a unique time, so it doesn't surprise me that women are showing up in these rooms and wanting to do this work. Part of the reason I write is to understand myself, so it's not surprising that women are turning to writing classes to find out who they are and to figure out their own relationship with themselves and what they believe, and who are they in the world and in our culture.

To learn more about Kelly Carlin, visit thekellycarlinsite.com

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