writer

They’re so darn cute together, these two. Neal Allen, father of four, newspaper reporter turned corporate executive turned spiritual coach turned author of two spiritual guidebooks, stands a full head of hair taller than his dread-headed wife, who calls him her “current husband.” He calls her his “remarkable and beautiful partner” and himself “Mr. Anne Lamott.”

And no wonder. Author Anne Lamott has published 21 books, with worldwide sales in the millions. “Bird by Bird,” her 1994 writing handbook, which has sold more than 1 million copies and continues to sell approximately 40,000 copies each year, became a meme before there were memes. Thirty-two years later, the titular phrase has made appearances everywhere from “Ted Lasso” (Coach Beard: “I hate losing.” Coach Lasso: “Bird by bird, Coach.”) to a Gloria Steinem interview in Cosmopolitan (“Every writer, truth-seeker, parent, and activist I know is in love with one or more books by Anne Lamott”).

Ask a famous writer how they do what they do, and “Bird by Bird” will likely get honorable mention. Harlan Coben, whose 35 novels have sold roughly 90 million copies, calls “Bird by Bird” his “favorite writing manual.” “I use it like a coach’s halftime speech to get me fired up to write.”

In a 2007 interview, “Eat Pray Love” author Elizabeth Gilbert called herself Lamott’s “literary offspring.” Paula McLain, who wrote the 2011 blockbuster “The Paris Wife,” told me: “I return to ‘Bird by Bird’ again and again because Anne Lamott tells the truth about how hard this work is — and then somehow makes you laugh about it.”

I reached out to best-selling memoirist and novelist Dani Shapiro to ask if she had her own experience with the book. “A writer is always a beginner,” she said. “And there is no better companion than ‘Bird by Bird.’”

Lamott and Allen partnered to write “Good Writing.”

(Christie Hemm Klok / For The Times)

Lamott, 71, and Allen, 69, met in 2016 on the 50-plus dating site OurTime.com. Nine months later, they bought a woodsy Marin County home with room for Lamott’s son and grandson. Sam, when he was 1 year old, was the subject of his mom’s first bestseller, the 1993 memoir “Operating Instructions.” His son Jax was the subject, at age 1, of his grandmother’s 2012 memoir, “Some Assembly Required.”

“We were watching U.S. Open tennis one night and Neal said, ‘Can I ask you something?’” Lamott told me via email. “I barely looked away from the TV, and he asked me to marry him. I said, ‘Yes, if we can get a cat.’”

After a decade of marriage, Lamott and Allen have undertaken a professional collaboration whose outcome, like their union, is greater than the sum of its parts. “Good Writing: 36 Ways to Improve Your Sentences” is as sharply specific as “Bird by Bird” is wanderingly wonderful: as winning a companion piece as two winning companions could create. The table of contents is itself a mini-manual of writerly tips: “Use Strong Verbs.” “Sound Natural.” “Keep it Active.” “Stick with Said.” “Don’t Show Off.”

Lamott and Allen.

(Christie Hemm Klok / For The Times)

I spoke to the late-life lovebirds about their process of marital manuscript-making: the good, the not so good and the blackmailing.

Meredith Maran: How did writing “Bird by Bird” compare to co-authoring “Good Writing”?

Anne Lamott: “Bird by Bird” was literally everything I knew about writing, everything I had been teaching my students for years. It was definitely my book. “Good Writing” was definitely Neal’s book. I just foisted my attention on him and threatened to undermine the marriage if he did not let me contribute.

MM: Neal, what on earth convinced you that you could add something to one of the world’s most popular writing books —written by your wife, no less?

Neal Allen: Oh, I’m not adding anything to “Bird by Bird,” which is a complete classic. It’s everything you need to know about becoming a writer. “Good Writing” is about what comes next: a second draft. And while it’s not fair to call “Bird by Bird” a craft book — it’s much more — it’s fine to define “Good Writing” that way.

“Helping each other with our work is one of the richest aspects of our life as a married couple,” Lamott said.

(Christie Hemm Klok / For The Times)

MM: In producing this joint project, how did you two negotiate the differences between your writing styles and personalities?

AL: We didn’t need to negotiate. Neal somehow manages to be both elegant and welcoming, whereas I think I am more like the class den mother, with a plate of cupcakes, exhorting people not to give up, trying to convince them that they can only share their truth in their own voice, that their voice is plenty good, and that when they get stuck, as we all do, I know some tricks that will help them get back to work.

NA: I once asked AI to describe the difference between my writing and Annie’s. AI answered that I explain things to readers; Annie helps readers reach catharsis. I think that’s absolutely right.

MM: How did you come up with the book’s fab format, whereby each of you writes your own introduction, and then each chapter starts with Neal’s thoughts about one of the 36 rules and ends with Annie’s?

NA: Annie first asked if she could annotate what I had written. That scared the bejesus out of me. When she started writing her own essays in her own voice, I was quite relieved. One of the format’s surprising strengths is that Annie always gets the last word. I explain the rule; then she helps the reader find their way and resolve their issues with the rule. There’s a downside: I don’t get to respond when she tells the reader to ignore me.

“I’m not adding anything to ‘Bird by Bird,’” Allen said. “It’s everything you need to know about becoming a writer. ‘Good Writing’ is about what comes next: a second draft.”

(Christie Hemm Klok / For The Times)

MM: In your intro, Anne, you recall Neal telling you he was working on a writing book. “Well. Hmmmph,” you replied. “I had written a book on writing once …” How did professional jealousy, competitiveness, possessiveness, or, on the brighter side, tenderness, collaborative spirit and generosity play out as you wrote a writing book together?

AL: We have no competitiveness or jealousy when it comes to each other’s writing. We just want the other person to write the most beautiful work they can. We are each other’s first reader, and editor, and while of course I feel attacked if Neal suggests even the tiniest change to my deathless prose, I have come to understand that his suggested cuts and additions save me from myself. Helping each other with our work is one of the richest aspects of our life as a married couple.

NA: There’s no way around “Bird by Bird,” and I just have to deal with that. My worry was whether Annie really wanted to be associated with my little book. I’m envious of Annie’s brilliance, of course, but we speak the same writing language and we love it equally.

MM: What are each of you proudest of, “Good Writing”-wise?

AL: We just recorded the audio version, and I was surprised by how much practical help the book offers. Also, I love the tone, which is so conversational and sometimes, I hope, pretty funny.

NA: I had the opposite reaction to recording the audio version. I saw all the opportunities for readers to mock me. In the 18 months between writing a final draft and the book showing up in stores, we’ve both flipped from believing it reflects well on us to thinking it’s a disaster. Luckily, both of us haven’t ever thought it sucks at the same time.

MM: That is fortunate. Also, Neal, I’m not sure you answered my question.

NA: What am I proudest of? That the book exists. I carried around these rules for improving sentences for years. I think a lot of writers do a book because they notice it’s not out there, and why isn’t it? And then they shrug, ‘Well, I guess it’s up to me.’ That’s how I came into all three of my books.

AL: May I just add that I’m proud to introduce my seriously charming and breathtakingly wise husband to a wider audience.

It has been nearly three years since Hollywood writers went on a historic strike that lasted 148 days and ushered in an extraordinary period of labor unrest that virtually shut down the film and TV business.

Now, writers are poised to commence another round of bargaining with the major studios on a new three-year film and TV contract. Few observers think the union is girding for another showdown, especially at a time when many of its members are struggling to find work amid media consolidation and belt-tightening.

But in advance of negotiations that begin on Monday , union leaders are eager to dispel any perception that they might have scaled back their demands.

“Our members have shown many times that they’re willing to fight for what we need as a collective group,” WGA West President Michele Mulroney said in an interview. “And there’s no exception here.”

With its current contract expiring on May 1, the WGA hopes to improve its members’ healthcare plans, increase streaming residuals and expand AI protections.

Michele Mulroney speaks as the Screen Actors Guild (SAG-AFTRA) and Writers Guild of America (WGA) join GLAAD in releasing the 11TH Annual GLAAD Studio Responsibility Index at The Village at Ed Gould Plaza Los Angeles LGBT Center in Los Angeles, California, on September 14, 2023.

(Michael Tran/AFP via Getty Images)

Ellen Stutzman, the union’s executive director, said despite popular belief, the studios have weathered the transition from cable television to streaming “very well,” citing their efforts to maximize revenue with streaming bundling, rising subscription fees and advertising revenue.

“Writers are watching as Netflix and Paramount are fighting it out to acquire Warner Bros… Paramount is spending $81 billion,” said Stutzman. “There’s money for a fair deal for writers.”

The union leaders agree that this year’s negotiations are all focused on the sustainability of a writer’s career.

A spokesperson from the Alliance of Motion Picture and Television Producers, which represents the major studios in negotiations, said in a statement that they look forward “to engaging in a constructive and collaborative bargaining process with the WGA. Through continued good-faith dialogue, we are confident we can reach balanced solutions that support talented writers while sustaining the long-term success and stability of our industry and its workforce.”

A top priority for the WGA is to increase the caps that companies contribute to the union’s healthcare plan. Union officials say the current cap has remain unchanged for two decades as healthcare contributions have steadily declined due to fewer writers working.

AI is also top of mind for the WGA.

In 2023, the guild secured various AI protections by establishing that AI isn’t a writer and nothing it produces is considered literary material.

But as major studios start to make deals with AI companies, like Disney’s $1 billion investment into OpenAI’s Sora platform, many writers are concerned about how their work could be used.

“AI is using [studios’] IP, which is stuff that we wrote to license these models,” said John August, the co-host of the “Scriptnotes” podcast and WGA’s negotiating committee co-chair. “With the Sora deal, it seems clear that the companies intend to monetize this IP for use with AI.”

August says the union will be skeptical toward arguments that it’s still too early to seek more safeguards around such a nascent industry, citing the union’s past history with the rise of DVDs and the internet and how profoundly those technologies changed the compensation for writers.

“If you’re taking the work that we created to generate AI outputs, we are owed money. They’re using our work to do something down the road,” added August.

WGA’s negotiating committee also is looking to boost streaming residuals, expand the minimum number of people allowed in a writers’ room and add protections for scribes working on pilots.

“We very much hope that lessons were learned in 2023 and that the AMPTP will come to the table ready to take our proposal seriously and to make a fair deal, and to do that quickly,” Mulroney said. “It provides stability for the companies and for our membership. It’s better for everybody.”

WGA is entering contract negotiations nearly a month after the actors’ union, SAG-AFTRA, began its bargaining sessions. Last week,
the AMPTP said it was extending negotiations another seven days.

Whether it’s a long-haul flight or a weekend city break, there’s one item I always ensure I pack, and it’s an absolute game-changer for feeling refreshed, and it costs just £3

Before jetting off abroad, there are a few essentials I always make sure I pack, and there’s one particular item I can’t go without. While I thought it was pretty common, it turns out not everyone does, and I guarantee it’s a game-changer for feeling fresh after a flight.

Packing my hand luggage ahead of a flight, or any trip for that matter, has become something of a ritual. I’ll lay everything out on my bed, deciding between what is essential and what I can go without (in a bid to save space), tick everything off my mental checklist, and then stuff it neatly into my bag.

My noise-cancelling headphones are often top of the list, followed by my eye mask, my reusable water bottle, hydration tablets and a handful of skincare products, so I can feel somewhat restored, particularly after a long flight. Yet, nestled among my bag and packed alongside everything else is my toothbrush and toothpaste.

After every flight, without fail, I will brush my teeth. Whether that’s on the aeroplane or in the airport bathroom, it’s a lifesaver for feeling refreshed after a flight. And if I ever forget it, I’m a little out of sorts.

Aside from a simple skincare routine to level out the dryness, I guarantee that brushing your teeth before landing will leave you feeling like a new person. And if you’re concerned about using tap water on an aeroplane to brush your teeth, simply go to the bathroom and use bottled water.

I know it’s not glamorous, and I know there are other ways to leave feeling refreshed, but this small everyday item can really do wonders. Plus, there’s nothing worse than walking around worried that you have bad breath, and sometimes chewing gum just doesn’t quite cut it, especially after a long flight, and those G&Ts or red wines.

What’s more, it will barely take up any space in your hand luggage, as nifty travel toothbrushes are available on Amazon. Instead of packing my electric toothbrush, which is a bit unnecessary for a flight, I take a portable bamboo toothbrush that folds into a cylinder case, reducing it to half its size.

Not only does it ensure the toothbrush remains clean, but it also attaches the toothbrush head to the case, creating a standard-sized toothbrush. Plus, it’s good for the environment as it’s made from bamboo rather than plastic.

A pack of two portable bamboo toothbrushes is available from Amazon for £5.99, or just over £3 each. The travel toothbrushes are also handy for any trip, whether that’s a festival, a weekend away, or just having a spare in your bag whenever you want to clean your gnashers. (Boots also offers Bamboo toothbrushes from £3 ).

To accompany my travel toothbrush, I always pack a mini tube of toothpaste to save extra space. I often grab these from my local dentist, but they’re available at various shops, so it really couldn’t be easier to stay refreshed after your flight.

Do you have a travel story to share? Email webtravel@reachplc.com

As a travel journalist, I am away a lot, and there’s one £9 bag makes me feel like one of those super-organised people that can pack light

Despite travelling a lot for work, and fun, I’ve never mastered the art of packing light. I do not have a chic capsule wardrobe for city breaks, and I like to test those budget airline baggage capacities to their fullest.

As a perimenopausal woman, my carefree days of chucking a couple of lipsticks and a few makeup remover pads in a bag are also way behind me. When I go away for the night I need my skincare products, magnesium and collagen supplements, and industrial amounts of makeup, which arguably, are not making a huge amount of difference. A teeny tiny makeup bag is not going to do the job.

Last year, I stumbled across a toiletries bag on Amazon that has since become my favourite thing to take on trips, and at just £8.99 it’s something I’ve recommended to anyone I speak to who’s heading abroad. The Chakipee Travel Hanging Toiletry Bag looks just like an ordinary makeup bag on the outside. I bought the medium size, which measures 26x17x9cm, and when it arrived, I was sceptical about how much it would fit.

I don’t know what sorcery the manufacturers have used, but I can fit a surprising amount into this bag. I’ve managed to squeeze full size shampoo bottles into the big pockets, plus it has some smaller compartments for things like my toothbrush, contact lenses, and small stuff I don’t want to lose.

But perhaps the handiest feature is that it unfolds and can be hung up on a hook. While I’d love to pretend that my job always involves luxury travel to hotels with huge marble bathrooms, the truth is, I often stay in budget hotels where the bathroom is roughly the size of a postage stamp. If you are staying somewhere with zero bathroom counter space, just hang the bag from a spot such as a shower rail and you can easily access your products.

I’ve managed to fit a week’s worth of supplements and skincare products into the bag for longer trips, and as the ultimate test, once managed to do an everything shower in the tiny ensuite of a ferry cabin by hanging this bag on the door.

The only time the bag doesn’t come with me is if I’m travelling with hand luggage only, as annoyingly, the 100ml liquid rules are still in place at many airports. In general, the product reviews for the organiser are positive, with lots of people praising it for having plenty of pockets and compartments. A couple of reviews have complained about broken zips., but so far, I haven’t had that issue and have found it to be good quality.

If you’re looking for a bag solely for makeup then the Charlotte Tilbury Pillow Talk Makeup Bag also comes with some glowing recommendations. It also has a Tardis-like interior that can fit in full sized products, yet is compact when zipped up. One review says it offers: “Lots more room than I was expecting, can fit all my products in and love that I can organise things in the separate sections.”

If you’re travelling with hand luggage only, then Charlotte Tilbury also has lots of travel size skincare and makeup products that will ensure you don’t break the 100ml rules. Its Beauty Check-in Kit is currently on sale for £72 and includes a mini lip kit, powder, and setting spray that are just the right size for a week away.

Have a story you want to share? Email us at webtravel@reachplc.com

As Hollywood writers continue contract negotiations with major studios, one topic remains front and center: the role of artificial intelligence.

On Friday, the Writers Guild of America released a list of contract demands, which 97% of the union membership supports. Though some details have yet to be revealed, many of the union’s asks involve expanding protections over the use and abuse of AI, in addition to improved health coverage and higher residuals.

AI and streaming residuals were central issues in strikes by actors and writers in 2023.

WGA’s current contract, which expires May 1, established that AI isn’t a writer and nothing it produces is considered literary material. It prohibits companies from giving writers AI-generated scripts for a rewrite fee or requiring writers to use AI software, and a company must disclose whether any written materials were developed using AI.

The union says its current demand is to simply “expand” these protections. Other priorities include increasing contributions to the WGA benefit plans, raising minimums for “page one” rewrites and boosting streaming residuals.

The Screen Actors Guild-American Federation of Television and Radio Artists has identified similar issues as it negotiates a new contract for actors. Last week, SAG-AFTRA and the bargaining group for the major studios disclosed that they are extending their negotiations for seven days. The discussions began Feb. 9.

The union, whose contract expires June 30, is expected to propose what has been called the Tilly tax, a fee that studios would have to pay to the union in exchange for using an AI actor. This demand is in response to the first AI actor, Tilly Norwood, being introduced to Hollywood. Though the bot has yet to star in a major project, the fear of AI-generated characters taking jobs is real for many actors. The bot’s creator, Xicoia, also recently announced the expansion of its AI actor universe, called the “Tillyverse.”

WGA’s negotiations are set to start Monday and will be led by Ellen Stutzman. The studios will be represented by the Alliance of Motion Picture and Television Producers’ new president, Gregory Hessinger.

The negotiations are happening as WGA West’s own staff members have been on strike, forcing the guild to call off its L.A.-based award show. The staff union, with more than 100 employees, are similarly demanding higher pay and protections against AI.

The blood of the dragon is headed to the big screen.

A “Game of Thrones” movie is in development at Warner Bros. written by “House of Cards” showrunner Beau Willimon, The Times has confirmed. According to Page Six, which first reported Willimon’s involvement, the “Andor” alum has already submitted a first draft.

While details of the plot have yet to be confirmed, the film will reportedly center Aegon the Conqueror, who was the first Targaryen monarch to sit atop the Iron Throne in the world of George R.R. Martin’s “A Song of Ice and Fire” series. According to the Hollywood Reporter, HBO is also developing the story of Aegon’s conquest of Westeros as a potential drama series.

King Aegon I is the Targaryen who started it all. Around 300 years before the events of “Game of Thrones,” the dragonlord led a campaign, with his sister-wives Visenya and Rhaenys, to conquer six of the seven kingdoms of Westeros. He was the first ruler of the unified realm and launched the Targaryen dynasty.

His descendants revere Aegon the Conqueror so highly that he has numerous prominent namesakes. King Aegon II, whose controversial coronation is what sparked the Targaryen civil war known as the Dance of Dragons, is a key character in the “Game of Thrones” prequel series “House of the Dragon” (portrayed by Tom Glynn-Carney). In “A Knight of the Seven Kingdoms,” adapted from Martin’s “Tales of Dunk and Egg” novellas, young Egg (Dexter Sol Ansell) is revealed to be the missing prince Aegon Targaryen. Even “Game of Thrones” eventually revealed that the show’s beloved Jon Snow (Kit Harrington) was a Targaryen named Aegon.

Other previously reported “Game of Thrones” spinoffs in the works include an animated project about “House of the Dragons” character Corlys Velaryon, also known as the Sea Snake.

The third season of “House of the Dragon” will premiere in June.

Tayari Jones was feeling intense pressure to deliver a follow-up to her 2018 bestseller, “An American Marriage.” She was three years past her publisher’s deadline. Worse, she had begun to suffer symptoms of what was ultimately diagnosed as Graves’ disease, a serious autoimmune condition that attacks the thyroid. At the time she didn’t know what was causing pain in her right leg and the intense itching on her arms, legs and torso — or why her handwriting had “gone funky.” Meanwhile, 200 pages in, the novel she owed Knopf Publisher and Editor in Chief Jordan Pavlin wasn’t coming together.

She confided to a close friend, “This book got me feeling like a clown right now.” Jones began to doubt that she was ‘worthy’ of another literary success.

“You know how musicians say ‘that band was swinging’? I wasn’t swinging,” Jones, who lives in Atlanta, tells me during a recent phone call.

She says she turned to an empty notebook, and began word doodling — scrawling random words, going wherever her pen took her. “Kin,” the magnificent novel that emerged, is out now. Oprah recently announced that it’s her latest book club pick (the second time Jones has been honored with the selection).

“Kin: A Novel” by Tayari Jones

(Knopf)

“Kin” was supposed to have been an entirely different book — an of-the-moment novel about gentrification in the New South — but what materialized from Jones’ creative experiment was a tiny Louisiana town called Honeysuckle, amid the 1950s and Jim Crow. Then, as Jones puts it, “Annie and Vernice [her main characters] introduced themselves.” All of Jones’ previous fiction has been contemporary, and at first she didn’t know what to make of the path Annie and Vernice were leading her on. “I don’t write historical,” observes Jones, “I’m a writer of my own era.” Not to mention she’d always been suspicious of writers who claim their characters came to them fully realized.

Even at that point, Jones still believed Vernice and Annie might just be part of a larger backstory, perhaps parents to protagonists she had yet to conjure. “So I stuck with it to find out.” The more she wrote, the more the puzzle pieces began to fit together. Annie’s journey out of Louisiana takes her through a sharecropping brothel in Mississippi, then on to Memphis where she is convinced she will find and reunite with her mother. Meanwhile, Vernice attends Spelman (the HBCU Jones is a ’91 graduate of).

Jones began to suspect that she’d had a previously undetected ulterior motive for moving her book to the past. She wondered if “Kin” was actually an effort to better understand her parents, particularly her mother, a former economist who’d been active in the civil rights movement. “My mother is a very tight-lipped person,” Jones says. “I knew very little about her life, and maybe this was my imagination trying to crack the code.”

Jones’ progress wasn’t without its setbacks. She was deep into the writing of “Kin” when her Graves’ disease flared in earnest. Her blood pressure spiked. She got winded just climbing the stairs to her bedroom. She landed in the emergency room with a life-threatening “thyroid storm,” requiring surgery and daily medication. Then her eyesight deteriorated, which necessitated a month of radiation. But she powered through, and sent off the manuscript.

Jones’ editor, Pavlin, admits the novel she received was a surprise. “But it was as perfect a novel as I’ve ever read,” she says. “No publisher in their right mind would stand on anything as insignificant as a contractual description in the face of such a work.”

“Kin” deftly alternates points of view between Vernice and Annie, narrating events by way of a vernacular that would be at home on a front porch rocking chair. When Annie takes a job at a nightclub in Memphis, she says of its penny-pinching owner: “The man was tight as a skeeter’s teeter.” Jones is equally adept at the delicate prose, as in this description of a well-worn family Bible: “The paper, thin as butterfly wings, was heavy with wisdom.”

While Jones had Toni Morrison’s short story “Recitatif” in mind while writing “Kin,” her take on the subject is singular. “Vernice and Annie remain friends because each of them is the keeper of the other’s true self,” she says. “Friendship is particularly meaningful because it’s a relationship you’re constantly recommitting to — reupping.”

Now that “Kin” is out in the world, and Jones has weathered the bumpy road to publication day, we asked her if she’s nervous about how it will be received eight years after her previous novel was published. “I am not ambitious now in the way I was then,” she says. “I’ve learned what success can and cannot do for a person. You have to learn to be satisfied. People say ‘don’t rest on your laurels,’ but what are laurels for?”

Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.