Author Spotlight: Barbara Linn Probst

Barbara Linn Probst is featured in this week's Author Spotlight. Barbara is the author of two novels listed on Art In Fiction: Queen of the Owls   and The Sound Between the Notes . And she was my guest on Episode 18 (Season 1) of The Art In Fiction Podcast. What got you started on your journey as a novelist?  I wrote my first novel when I was seven years old. Yes, really!  Entitled At Home With Us , it was painstakingly printed into a tiny spiral-bound notebook (which I still have), complete with illustrations. And then I kept writing … I wrote poems, short stories, and a thinly disguised novel-memoir (which I never attempted to publish, thank goodness), then set all that aside while I pursued other interests. Over the years I wrote grant proposals, dozens of articles for scholarly journals, and two nonfiction books—before returning, at last, to fiction. I guess you could say that it was time, finally, to let my true voice be heard. I think I had to understand “real life” better before I was ready to write fiction, if that makes sense. What were the key challenges you faced when writing The Sound Between the Notes ? Every book has its challenges, of course, but The Sound Between the Notes posed two in particular. One was the task of navigating dual timelines, because each transition to the past—the supporting timeline—had to be natural and necessary, with something in the front story to serve as a compelling and inevitable portal. Over various drafts, I tried to structure the transition in different ways—for example, labeling each chapter by a place or date or a tag like “sixteen years earlier.” Eventually, I settled on Then and Now , which seemed like the simplest solution.   Another challenge was the protagonist’s character and motivation. In early drafts of the book, Susannah was much too angry. It took me a long time to understand her in a deeper, more nuanced way. You could say that I needed to find the love and kindness in her—and that really had to do with my own journey as a pianist. I had to understand music more deeply before I could depict Susannah as she needed to be depicted. I had to see, through music, that there was no way that a person who loved the piano could be as bitter and self-absorbed as I’d written her! To put it another way, I had to become a better pianist before I could be a better writer and make the book what it needed to be. As an author, how do you define success? For me, “success” means writing a good book that has touched and meant something to its intended audience. And getting better with each book, learning and growing. If you could go anywhere in the world and do nothing but write for six months, where would you go and why? I’ve always had a vision of going to Colorado or New Mexico on a long retreat, so that’s probably where I would go. That said, I don’t think of “doing nothing but writing” as an ideal state. If writing is a kind of exhalation, then one needs to inhale too—take in impressions, interact, have new experiences. Both are needed, in a kind of circulation. However, the idea of being away from the usual chores and responsibilities, in a place of ever-changing beauty—oh yes!  If you could meet your favorite author, what would you ask them? I think I’d ask how she navigated the ups-and-downs of being a professional author, while keeping true to her own vision. Holding to one’s personal integrity while taking risks (which is how one grows) and trying to attract reader attention in an over-saturated, competitive, and short-attention-span environment is so very challenging! I’d love to hear how someone I admire has been able to manage that.  What is the best money you’ve ever spent as a writer? “Best” is a tough word, so I’ll answer the question in two different ways. Defined as “most essential,” I’d say that money spent on a smart, insightful, tough-love mentor whom you trust is absolutely essential for one’s growth as a writer, and I’ve been lucky to have found that person. Defined as “most surprisingly important,” I’d say that, personally, it was the money I spent putting in a huge window in front of my desk. I sit at my laptop and look out, whenever I want, at an expanse of trees and hills and sky and light, feel my connection with nature and the changing seasons. That has been so vital for my well-being—especially during this year spent, so unexpectedly, at home.   Writing can be an emotionally draining and stressful pursuit. Any tips for aspiring writers? Writing can be draining and publishing what you’ve written can definitely be stressful, so I’ll speak to both! The hardest part of writing, to me, is the endless striving for perfection. On the one hand, we have to be rigorous and merciless with ourselves; on the other hand, we have to find the moment to let go and stop fussing. Uncertainty about where to draw that line can add to the stress. The best approach, I’ve found, is to stop, do something different, wait, and breathe. Then, when you return to the manuscript, listen to your intuition. More often than not, when something’s not yet right, I know it but hate to admit it! The hardest part of publishing, on the other hand, is the feeling of helplessness. So much seems out of our control—because it is. I’ve learned three lessons that help me with that. First, keep your eyes on your own paper and try not to obsesses about whatever accolades, sales, or gigs other people have gotten; instead, look for what you do well and focus on that.  Second, have fun. No one can do everything to market a book, so do only the things you enjoy. And third, remember why you wanted to do this—because you have a story to tell. Tell it as well as you can, out of respect for the characters. It’s about the story; it’s not about you. You are more than your author identity. Tell us about your current Work-In-Progress. I’m nearly finished with my third book, which continues my “brand” of books about how art can make us more fully human. My debut, Queen of the Owls , was framed around painting and photography; it’s the story of a woman who yearns to be truly seen. My second novel, The Sound Between the Notes , is told through the eyes of a musician; it’s about a woman who longs to give, connect, and know who she is, through music. My third book, framed around glassblowing and set in Iceland, is about the journey from isolation to passion, and from there to an understanding of unconditional love. What’s one of your favorite activities when you’re not writing? I love studying the piano, which of course plays such a vital role in The Sound Between the Notes . But, even before I started working on the book, I’ve always found that having another creative outlet that does not rely on words is really essential.  Playing the piano requires a focused attention of mind, body, and heart—the whole of oneself, fully present. No matter how tired I think I am, music restores me because it activates an entirely different part of myself. I do think we need that shift into another nonverbal modality in order to replenish our creative capacity as writers—whether it’s cooking, walking, gardening, painting, or even cleaning, which can be very calming and satisfying. When you’re writing, is it coffee or tea or…?  Coffee, absolutely!  Unless it’s a Grey Goose Vodka late at night … just enough to loosen the creative unconscious so the story can flow!