exploring evolution, revolution and living life intentionally
This post continues an occasional series on writers — how and why they write, what inspires them and how they overcome challenges like writer’s block and rejection.
Today’s Q&A features a baker’s dozen questions with Jim Tobin, a newspaper reporter turned author and college professor.
From the announcement of Miami University granting him tenure in 2009:
James Tobin, associate professor of journalism, has been granted tenure. Tobin is a specialist in the areas of literary journalism and narrative history. After a semester as the Weipking Visiting Professor, he joined the Miami faculty in fall 2006. He is currently at work on a book about Franklin Roosevelt’s experience of disability, for which he was granted a National Endowment for the Humanities fellowship in 2008. Tobin’s first book, Ernie Pyle’s War: America’s Eyewitness to World War II (Free Press, 1997), won the 1998 National Book Critics Circle Award in biography. In 2003, Tobin edited and provided commentary for Reporting America at War: An Oral History (Hyperion), the companion volume to a two-part PBS television documentary on war correspondents in the 20th century.
Tobin’s most recent book is To Conquer the Air: The Wright Brothers and the Great Race for Flight (Free Press, 2003), which Publisher’s Weekly called a “detailed yet truly exciting tale…extraordinarily well-written and deeply nuanced…stunningly effective in presenting the intertwining lives of the brothers and an amazing cast of friends and competitors….” Tobin is also the author of Great Projects: The Epic Story of the Building of America from the Taming of the Mississippi to the Invention of the Internet (Free Press, 2001), a companion book to a four-part PBS documentary series by the filmmaker Stephen Ives.
After earning bachelor’s and doctoral degrees in history at the University of Michigan, Tobin was a reporter at The Detroit News for 12 years, where his work was twice nominated for the Pulitzer Prize.
(Editor’s note: yes, of course there’s a Michigan connection. You aren’t surprised, are you?)
I’ve written three books in the genre called “popular history,” with the “popular” being more hopeful than statistical: “Ernie Pyle’s War,” a biography (1997); “Great Projects,” a coffee-table companion to a PBS series (2001); and “To Conquer the Air: The Wright Brothers and the Great Race for Flight,” which is about the brothers and their largely unknown rivals. (2003).
I’ve also collaborated on two children’s picture books — one that’s been published, “Sue MacDonald Had a Book” (2009) and another that’s in the works. These were done with a great syndicated cartoonist, Dave Coverly, creator of the cartoon panel “Speed Bump,” who lives here in Ann Arbor.
I’m working on a book about Franklin Roosevelt and polio. It’s late.
The most recent thing in this large category is Adam Hochschild’s book about genocide in the Congo, “King Leopold’s Ghost,” a deeply serious and sad book, but a great piece of narrative writing, too.
I get inspired by really good writing, nonfiction and fiction, and by pieces by or interviews with good writers who talk about how they write, and how hard it is, and how they do good writing by dint of hard work instead of native genius. I also get inspired by the need to make money.
All of these exchanges are preferable to the old response to saying: “I’m a newspaper reporter” — “Oh….like, do you have a column?”
6. Describe your favorite writing environment.
I like writing at the far seat at the counter at Starbucks at Main and Liberty in Ann Arbor.
The cliche: Badly.
But I try to use David Allen’s “Getting Things Done” system and I think it’s really great.
Well, come to think of it, that’s not true. The New Yorker rejected a story idea about the Wright brothers’ sister. I dealt with this by thinking, “Okay, fuck you, you East Coast snobs who wouldn’t know a good story based in the Midwest if you saw one.”
The New York Times rejected an idea for a commemorative op-ed about Ernie Pyle on the anniversary of his death. I dealt with this by thinking: ”Okay, fuck you, you East Coast snobs who wouldn’t know a good story based in the Midwest if you saw one.”
And one of my favorite editors at the Detroit News rejected a historical feature I wrote in observance of the 50th anniversary of World War II. It was about the G.I.s’ frequent use of the word “fuck.”
It got harder. A little success made me set the bar higher, which tensed me up. It still does.
It’s wrapped up in my sense of self-worth, because my parents and my older brother and sister put a high value on books and words and language. And I absolutely love to read, so I just love taking part in the whole culture of reading and writing.