When you're at your second best
Monday, September 10, 2007 ![]()
Spider-Man 2 was better than the first, thanks to the scripting of Pulitzer Prize winner, Michael Chabon A mathematician would call it a regression toward the mean. A computer programmer would call it a second-system effect. In sports, music, television—and publishing, it’s called the Sophomore Slump.
When someone mentions sophomore meltdowns, I can’t help but think of Cardinals pitcher Rick Ankiel, who went 11-7, with 194 strikeouts during his first full season in the majors. But by playoff time, the 20-year-old phenom was practically beaning the mascot. Even the beer-man was ducking when Ankiel took the mound. Now he’s an outfielder.
And writing-wise, there’s Charles Frazier—who set the bar so high with his award-winning debut, Cold Mountain, that his second novel, Thirteen Moons, was bound to draw unfair comparissons, especially when his book advance was $8 million. (That’s $.6 million per moon…just sayin'.)
So here I sit working on book #2--my untitled sophomore effort. Am I worried about the Sophomore Slump? Nah.
It's true, the writing doesn’t get any easier, but am I wringing my hands in doubt. Not even close. Why? Because my first book, the one that sold at auction, the one a local newspaper just called about for an interview—that book was my sophomore effort. I rewrote an earlier novel four times before I shelved it indefinitely to write HOTEL. In my case, the second time really was the charm.
And I’m not alone.
Because for every Rick Ankiel, there’s a Ben Roethlisberger, who led the Steelers to Superbowl XL in his second season. (And yes, I still think the Seahawks got jobbed in that game!) And for every Charles Frazier, there’s a Khaled Hosseini, whose second novel, A Thousand Splendid Suns, is just as good as his breathtakingly-wonderful Kite Runner. (And who cares if Rick Ankiel isn’t on the mound anymore? He’s still got a better view than those critics in the cheap seats).
So what other sophomore efforts were better than the first?
Jamie |
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