Meredith Turits, JUST WANT YOU HERE

Summary

Podcast Summary: Totally Booked with Zibby
Episode: Meredith Turits, Just Want You Here
Release Date: April 3, 2025

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Introduction

In this engaging episode of Totally Booked with Zibby, host Zibby Owens welcomes Meredith Turits, the acclaimed author of Just Want You Here. The conversation delves deep into Meredith's latest work, exploring themes of love, desire, and personal growth. Meredith shares insights into her writing process, the inspirations behind her novel, and offers valuable advice for aspiring authors.

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Overview of Just Want You Here

Meredith Turits introduces her novel as a "second chance coming of age story" centered around Ari, a 28-year-old woman navigating life after her long-term engagement is abruptly ended. The story follows Ari's tumultuous journey as she relocates to Boston, enters an affair with her new boss, and becomes entwined with his wife. Meredith describes the narrative as an exploration of self-discovery, desire, and the complexities of love.

“It's about finding yourself, trying to do as little harm as possible and looking at desire and love and kind of what we do to find ourselves in that.”
— Meredith Turits [03:54]

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Writing Process and Challenges

Meredith recounts the arduous decade-long journey of writing her previous book, which ultimately did not see publication due to market mismatch. This setback, however, fueled her determination to create Just Want You Here, which came together remarkably in six months. She attributes this success to a newfound writing groove and the supportive environment of the Yale Writers Workshop.

“My writing process is very absorptive. It's pretty manic. I don't sleep when I'm writing. And I just got into this groove that I never had with the book before.”
— Meredith Turits [06:19]

Meredith emphasizes the importance of perseverance and adaptability in writing, noting that the experience with her first book was instrumental in shaping her approach to her second novel.

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Character Development and Personal Experiences

A significant portion of the discussion focuses on character development, particularly Ari's struggles and growth. Meredith highlights the authenticity of Ari's emotions and decisions, making her a sympathetic and relatable protagonist despite her flaws.

“I think you have to really think about your life in a different way and take chances and kind of cross your fingers that they work out.”
— Meredith Turits [05:21]

Meredith also draws from personal experiences to enrich her storytelling. She shares how her mother's accident inspired key scenes in the book, ensuring that the medical aspects felt genuine and impactful.

“My mother fell down our front steps on Christmas Eve...that was taken from personal experience.”
— Meredith Turits [17:40]

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Balancing Journalism and Fiction Writing

Meredith discusses her dual career in sports business journalism and fiction writing, highlighting how each discipline informs the other. She describes journalism as "a different part of my brain," allowing her to switch between factual reporting and creative storytelling seamlessly.

“Anything you put on the page, anytime you spend time with your writing or even anybody else's writing, you are constantly learning.”
— Meredith Turits [19:40]

This balance not only keeps her writing fresh but also hones her ability to craft compelling narratives grounded in reality.

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Advice for Aspiring Authors

Meredith offers heartfelt advice to writers, stressing the importance of self-reflection and authenticity. She cites Meg Wolitzer's guidance on ensuring that every part of the manuscript engages the reader, emphasizing that if she skips a line, readers likely will too.

“If you are reading back your work and you skip something on the page, the reader is going to do it, too.”
— Meredith Turits [22:12]

She encourages authors to stay true to their creative instincts and to be honest with themselves during the writing process, ensuring that their work resonates deeply.

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Book Recommendations and Literary Influences

Meredith shares her literary favorites, including Tomorrow and Tomorrow and Tomorrow and works by Sally Rooney and Elissa Dolan. These selections reflect her appreciation for nuanced character development and the exploration of complex emotional landscapes, which similarly influence her own writing.

“I think there's a lot to learn from those books. To make people care about a character, even if not a lot happens.”
— Meredith Turits [24:42]

Her recommendations serve as both inspiration and a guide for writers aiming to create compelling, relatable characters.

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Conclusion

The episode concludes with Meredith expressing gratitude for the opportunity to discuss her work and the support she has received from her editor, Carmen Johnson. Zibby Owens thanks her guest, reiterating congratulations on her latest publication. Listeners are encouraged to check out Just Want You Here and support Meredith Turits' literary endeavors.

“Thank you for listening to Totally Booked with Zibby... And go buy the books!!”
— Zibby Owens [26:10]

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Final Thoughts

This episode of Totally Booked with Zibby offers a profound look into Meredith Turits' creative journey, the heartfelt themes of her novel, and practical advice for writers. With rich discussions and personal anecdotes, it serves as both an inspiration and a valuable resource for literature enthusiasts and aspiring authors alike.

Transcript

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[Zibby Owens]

Hi, this is Zibby Owens and you're listening to Totally Booked with Zibby. Formerly Moms don't have Time to Read Books. In my daily show, I interview today's latest best selling, buzziest or underrated authors and story creators whose work I think.

[Meredith Turrets]

Is worth your time.

[Zibby Owens]

As a bookstore owner, publisher, author, and obviously podcaster, I get a comprehensive look at everything that's coming out and spend my time curating the best books so you don't have to stay in the know. Get insider insights and connect with guests like I do every single day. For more information, go to zibbemedia.com, and follow me on Instagram. Ibeowens.

[Meredith Turrets]

Meredith Turrets is the author of Just Want yout Here. Meredith's writing and interviews have appeared in publications including vanity fair, ELLE, bbbc.com, electric liter, the Paris Review, Daily, and Bustle, where she was a founding editor. She graduated from Tufts University and attended the Yale Writers Workshop. She lives in Connecticut. Welcome. Meredith, thanks so much for coming on. Totally Booked to talk about. Just want you here. Congratulations.

Thank you. It's still a little surreal.

Tell listeners what your book is about. Well, I'll put you really fast right out of the gate.

So I think of it kind of as a second chance coming of age story. It's about a girl named Ari. She's 28, has been engaged for a couple years to her high school sweetheart. They've been together for a decade. And the book opens with him breaking up with her, and she is left without a compass. She has no idea what to do. So she kind of blows up her life, moves to Boston, and quickly gets in an affair with her new boss. And then she gets very closely entwined with his wife. And so the story is sort of about finding yourself, trying to do as little harm as possible and looking at desire and love and kind of what we do to find ourselves in that.

Love it. And we have the same editor with Carmen Johnson, who I love.

She's just the best. I think the thing about Carmen is she really saw into the soul of this book, honestly, in a way that I hadn't yet. Work we did just made it so much better and so much more real. I feel really grateful.

Well, I feel like you did a particularly good. Well, you did a good job with everything but this feeling where your life is pulled out from underneath you, like a rug being snatched out. And what do you do when the world just feels so wobbly? And how do you write yourself? And sometimes you don't get up all the way. You make mistakes and you're halfway there, but you're trying. And I feel like that's what makes your character so sympathetic. Right. You root for her even though she's doing things that maybe you don't necessarily think are the quote unquote, right things and that she doesn't think are the quote unquote right things. But we understand it, right? Was that part of the goal or. Tell me about that.

Yeah, I think so. I mean, you know, for me, I'm really interested in these second chances. Like I was saying, you know, you feel like your life is going to go a certain way and you are, you know, ready to follow this linear path, and then everything kind of explodes and you have no compass. And the things that you thought were going to work out don't necessarily. And I think you have to really think about your life in a different way and take chances and kind of cross your fingers that they work out. And if and when they don't, you got to pivot. And so I think that was one thing that I was really excited about exploring with Ari. She thought things were going to work out in a really linear way, and they absolutely did not.

Has your life taken a turn that you didn't expect?

I think so. I lived in the city. I thought I was going to be the Brooklyn for life. I grew up in the suburbs, and I just got to a point where my life didn't fit there. I moved back to the suburbs three miles from where I grew up. I live in Connecticut now and just didn't think I would be that person. And moving away from the city, I figured out what my priorities were and was able to put my life together in a way that made a lot more sense for me. And I think having that change and of being like, all right, I'm gonna try something. We'll see how it works out, that was something that definitely resonated with me in the book.

So I read that you wrote a lot of this at Sterling Library at Yale, where I have also done a bunch of work in the past. Tell me about that and your process of writing this book and how you got this done and why now? Why do you decide to write it at this time?

So I had been working on a book for 10 years before this, and we finally went out with it and got this close to selling it, and then did not. And it was devastating. It was. You know, I put my heart and soul into this book. This was a story I had to tell. And all of a sudden, it wasn't out there like we thought it might be. And so I thought about what was next. And while I was thinking, I had this story that I just sort of started casually writing, and all of a sudden, it just took over. It was the only thing I can think about. And my writing process is very absorptive. It's pretty manic. I don't sleep when I'm writing. And I just got into this groove that I never had with the book before. And the draft came together in six months, which is just, like, mind blowing, considering it took me 10 years to get the other one together. So I had a draft in six months. I sent it to my agent, but at the same time, I got into the Yale Writers Workshop, which is a week of really intense work on the Yale campus, which I have about 45 minutes from. And I had, you know, 10 people introduced to this character that no one had met before. And it was just so interesting to see Them latch onto her and understand her immediately. And I was like, oh, I have something here that I just didn't have with the first book.

Wait, so what was the first book about?

The first book was about a very rough marriage. It was a woman who was about 10 years younger than a man she'd met, and he kind of brought her into this life that she really didn't want to live. She wanted to live in the city and, you know, do young people things. And he was set on, you know, working in finance in the suburbs, having a family. And she found herself really suffocated by this marriage that became abusive, you know, and it was tough to swallow. And, you know, the market was not super looking for stories that were suffocating and emotional and in ways abusive, especially right after Covid, you know. And so it's definitely not the market forces. Like, I stumbled over the book a lot. You can tell them the prose when you go back to it, but it wasn't the right fit for me. It wasn't the right fit for the market. And then all of a sudden, I had this new book, this new idea that I didn't even know would be a book, and everything about it clicked in terms of timing and my writing and my process and the market, and it just ended up where it needed to be.

That's amazing. Yeah. I mean, I know everybody has a novel in a drawer, but, like, my novel in a drawer was, like, that represented so much pain, you know, it's not just like an inanimate object. It's like, oh, there were. Look at all those hours that are now just, like, on these pages in my cabinet. Do you know what I mean? Like, that was so much time. But you could never have written the next book had you not written the first book. So I try to remind myself of that, and I'm sure you do as well. It all works out.

But sometimes it does, and I really believe in that. That book I rewrote from scratch eight times. My husband is just like, you just keep throwing it out and writing it from scratch. Like, why don't you edit it? And I was like, no, that's just what I'm doing. And I must have written hundreds of things, thousands of words. And even, actually, before the new project I'm working on, I wrote 200 pages of a new book, and I sent it to my agent, and she was like, this is great. It's not your book. And I had kind of. I plucked two characters from that 100,000 words that I had written, and they're the. I learned about them through that draft, and now I have a fun draft I'm working on. And I think you never throw out words. They just live in you kind of a different way, even if they don't live between the covers of a book. Right?

Yeah. Although I'm always like, well, is there anything I could cut and paste to just, like, speed this next draft along? Even a scene, Even, like, five lines of dialogue? And then I'll spend so much more time looking for a discarded five lines of dialogue that I could have just, like, easily rewritten it. But it's like. It's like the. You know, the principle of the thing.

But that's fair, too, because it's like, if you write a line that sticks with you, maybe it does belong in the new draft. Right. You are like, oh, that's the distillation of the feeling that I want on the page. And maybe it's in a different context. Maybe a different character is saying it. But if that thing rings true to you, put it back on the page and see if it fits.

Yeah. So what did you want to be when you grew up? When you were young? Did you always want to be a writer? How did your life path take you here?

I think I was not one of those children who was like, doctor, lawyer, astronaut. I was just always a writer. And I think as you kind of go through life and you figure out, like, hey, that can be a career, I just kind of started following that path. I'm a journalist by trade. I started in digital journalism and women's magazines like Glamour. I founded a website called Bustle, and now I am in sports, business, journalism, journalism. And I think what's been cool is that from a path perspective, I was able to just learn about myself through writing. And that was the right path for me, whether it was fiction or whether it's, you know, writing about hockey, which is what I do to pay the bills.

So you founded Bustle. Like the Bustle? Like Bustle Media Bustle. Oh, my gosh, that's amazing.

It started in my studio apartment. Basically, it was a lot of right place, right time. Fifth employee, first editorial hire. I just remember sitting in my studio apartment in Park Slope, resetting the router because there were way too many. There were five of us trying to build a website on it. And I stepped back, and I'm like, oh, that's really cool to be a part of.

Wow, that's amazing. I mean, it's grown so much, and to be at the beginning and shaping a content site like that. That's really awesome. Wow.

Thank you.

Yeah, very cool.

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[Meredith Turrets]

Shop now at Walmart. I'm hoping that you didn't have a boss. Like, well, you were kind of the boss at the time, but have you had these types of experience? Are you drawing more from the MeToo movement in general? Not that it was that because it was consensual, but I don't know, blah, blah, blah.

Anyway, I think desire is just what I wanted to mine. And I, you know, I think in college it was had this like weird emotional something or other with a man who was 14 years older than me and it never went anywhere but it taught me a lot about desire and kind of things you shouldn't have and how this like incredible feeling that burns is compatible and incompatible with, you know, something that is just not gonna pan out. And, and I think it was really interesting to kind of pop inside Ari's head and be like, well, what if it did happen and what does permission look like and what does longing look like and how can and can't it live in your life I kind of.

Want to know more about what happens to Morgan after the book.

Me too.

Where did his story end up?

So the funny thing about Morgan is I was most comfortable inside his voice of the four voices. And he has the fewest pages. He only has two sections. And I just spend so much time with him in my head still in the post publication process because I love him, I connect to him, and I just didn't get a chance to explore. So for me, I think it's really important that readers take what they take from the end, including the path of Morgan. But I have the same questions. I really want to know what happens to him, too.

I think it was like the Cocoa Puffs that endeared me to him and how he was embarrassed to eat them in front of his friends. I mean, that's sweet, too. I don't know. Very funny. Oh, my gosh. And I also, you know, when she. I don't think this is too much of a spoiler. I mean, I don't think it is. But when Ari goes to Morgan's mom Kathy's funeral and, you know, she can barely stand seeing Morgan so upset, and she ends up leaving without saying anything or, you know, that wanting to do right again and not knowing the right thing and not even sometimes being able to do the right thing or, you know, socially appropriate or whatever, that moment. And also the loss of someone who was so important to her in her own life, too, I felt like was such a poignancy.

Thank you. And it's funny because I rewrote that a lot. You did one of the things. Yeah, one of the things that Carmen pointed out. I'm trying to think. She never went to the funeral in the first draft, in the draft that sold to Carmen, and she was like, that's not Ari. She wouldn't do that. And a reader wouldn't believe that she would do that. And I was like, hmm, I think you're right. And I think, you know, Kathy was a mother figure to her. Her home life was bad. Her mother was so distant from her. She's not even named in the book. You don't even know what her name is. And I think thinking about, you know, this idea of what is right and doing as little harm as possible and, you know, balancing sort of how you hurt or do not hurt others while taking care of yourself, that moment was really interesting to me because she was there as much as she could be, you know, and it really felt more like Ari to do that instead of having her not show up. Right.

Yes. I also felt the pain of her broken ankle and the surgery needed and that whole mess very acutely as well. And honestly, the future sort of medical related stuff, which I won't go into, you know, but all of that felt so moving and real and you could like feel all that pain as well.

Thank you. It's funny. Funny. I guess it is what it is, but my mother fell down our front steps on Christmas Eve, oh, years ago and she broke her ankle. And I was like, I guess I'm going to take this because I knew all the details of healing and all that. And it's funny because she is one of my earliest readers. She always is. And I was like, there's going to be something in here that's like a little familiar to you. And she got there and she was like, are you kidding? So that was taken from personal experience. And then I had an absolutely wonderful friend named Ginsey Thankachen who is a cardiologist. She literally works with heart transplants. She's just like this incredible human being who actually read an early draft to make sure that the medical stuff was believable. And even Luke and Summer as doctors, that that fell into place. And I think I'm so fortunate to have these readers who are invested in drafts before they even become books.

Yeah, that's smart. I know you mentioned Luke how he's like on his feet 10 hours a day or something like that. It's like I'm just thinking, wow, it's not enough that they're geniuses, right. They also have to like, I don't even stand up. I haven't stood up in hours.

My husband made me a, like, hacked together this standing desk for me. He like bought a standing desk and kind of adhered it to my regular desk. And he was like, you are in front of the computer all the time. Like, when I am not writing for my job, I'm writing fiction. And he was just like, you have to stand up.

Yeah, it's so true. I mean, I'm like, my knees are cracking. I feel like I'm much, much older than you, but like, I feel like I'm not like the creeks and cracks. This is not good. Not good at all. So wait, tell me a little more about your day job and the type of writing or editing and all of that that you have to do. And how does that type of journalism inform narrative fiction?

So I currently am in sports business. So basically that's looking at not reporting on the score of the game. It's sort of what is the Sports doing to grow or what were the ratings or who's hosting what. And so it's a. A really, really different part of my brain. And I think I have always considered journalism as a different part of my brain. I've kind of gone in and out of writing journalism versus editing journalism. And I think it's interesting because I think a lot of people are like, oh, you're constantly writing isn't exhausting. And for me, they've just never been the same thing. It's just, you know, part of your brain A, and you turn off the journalism when you want to go to part of your brain B, you know, that said, anything you put on the page, anytime you spend time with your writing or even anybody else's writing, you are constantly Lear. So, you know, even if I think from a compositional perspective, they are two totally different worlds. Just that muscle and kind of how I was talking about you never actually throwing out words. It just builds and builds and builds.

Did you have someone in mind? Like, was there a visual for you for some of these characters, like actors or actresses? Like, I'm thinking in particular of Leah and, you know, what it is to be this jilted wife, but she doesn't feel like some sort of dowdy wife that you would think of in, like, old, you know, 80s literature like that. You know what I mean?

Like, hot wife who's got her own style. Yeah. Yeah.

Thank you. I guess I could have just said that.

It's funny because I am not a real, like, film watcher. Like, I watch television, but everyone actually makes fun of me that they're like, oh, you've seen, like, you know, insert classic movie here that literally every human has seen. And I'm just like, what's that? So it's funny because these characters have always just been very visual to me outside of kind of who people are on screen. That said, I think of Welles as like, a Theo James. I loved Light Lotus, of course, and a little obscure, but Search Party, of course. I can't think of the name of the extremely tall blonde character, but that was Luke. And it's interesting because they are a lot more visionary to me in terms of like, somebody tangible in the outside world than the women. The women just, like, are fully formed to me, and they just are their own people, which is interesting.

Wow.

Yeah.

I feel like I always have to have some sort of general reference point to describe someone I don't know.

Yeah, yeah.

So what advice do you have for aspiring authors?

I think it's important to examine the feeling inside yourself as you're writing. The best writing advice I ever got was from Meg Wolitzer, who a billion years. I interviewed her for a publication called Bookslet that doesn't exist anymore. And we were just kind of casually talking, and one thing she said to me, and this feels so obvious, but she said to me, if you are reading back your work and you skip something on the page, whether you're like, oh, I've read this a million times, or, I know how the scene works, or whatever, if you physically skip something on the page, the reader is going to do it, too. So I think that's a really important thing to think about. And I think about the 10 years that it took me to struggle on that first novel, and something just was off. And I had all these questions and I didn't know how to solve them. And then this thing came together in six months, and I just was like, oh, there's a different feeling in me. And as I'm working on this new draft, the reason I think it's going to work is because there's that. That same manic desire to write and continue to be in that world and tell that story that I had with Just Want yout Here. And it's not just about production. It's about how you listen to yourself during the writing process and you have to be really honest with yourself if something just doesn't work.

Yes, Good advice. Very good. Have you read anything that you love, or are there books that are some of your favorites or just recent reads that you could recommend?

So the best book I have read in eons is Tomorrow and Tomorrow and Tomorrow. You know, just this masterful book that touches every literary device and every voice. And, you know, I actually didn't pick it up at first because I was like, video games, not my bat and ball. And everyone was like, take it, pick it up. It's about relationships. And it was. So I feel, you know, grateful to have picked up that book. I love that sort of like sad millennial women canon. So I've read a ton of Sally Rooney and Neesa Dolan. She gets a lot more kudos for exciting times. But I loved the Happy Couple, which I read recently, and Megan Nolan also. I think there's a lot to learn from those books. If you are a writer who writes a lot of interiority, a woman kind of at a turning point, because those sort of girl walks around books can get really suffocating. So you can learn a lot from. To make people care about a character, even if not A lot happens.

Love that. That's really funny how you said sad millennial characters. I feel like I might need to make that a shelf in my bookstore. That's really funny.

And it's funny because so much of it is Irish and British writing, and obviously there's a lot of sad girl walks around books here. But I don't know. There's something about it.

Would sorrow and bliss fall in that category? Have you read that? No. Okay. I don't know. Maybe that's. Maybe she's too old. I don't know. Now I'm going to think about who I would put in that category.

That's funny. I mean, the other two books by American authors that I read during this process that I think really helped me were all this Can Be different by Sarah Dinkinson Matthews. I thought that was beautifully done as just a look of, like, what am I doing with myself? And I loved Acts of Service by Lillian Fishman, which I think should get way more kudos than it does, because as you're thinking about desire and interiority, that book just knocked it out of the park. So I think those kinds of books really appeal to me. You know, I read different kind of stuff. I just read Madwoman by Chelsea Beaker, which I love the Wedding People. I've not read something so funny in such a long time.

Me too. Loved.

Yeah, but you think about kind of the books that, like, inform your own writing, and you're just like, oh, there's definitely a theme.

I love that. Thank you. Good recommendations. Well, Meredith, it was lovely to meet you. Thank you for coming on, and congratulations on just wanting you here. Congrats.

Thank you. I really, really appreciate it.

Okay. All right, take care.

Bye.

[Zibby Owens]

Thank you for listening to Totally Booked with Zibby, formerly Moms don't have Time to Read Books. If you loved the show, tell a friend, leave a review, follow me on Instagram, ibbeowens and spread the word. Thanks so much. Oh, and buy the book.

[Warby Parker Advertiser]

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[Maybelline Advertiser]

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[Meredith Turrets]

Shop now at Walmart.

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