Jim Breslin is a writer, storyteller and a former television producer whose new book, Shoplandia, is inspired by his 17 years as a television producer at the QVC home shopping network. Jim’s short story collection Elephant (2011) features twenty-one stories about loneliness and hope in suburbia.
His short stories have been published in the Schuylkill Valley Journal, Turk’s Head Review, The Molotov Cocktail, Metazen and Think Journal. His non-fiction writing has appeared in Main Line Today, WHYY, Newsworks, Daily Local and others.
Jim’s micro-publishing project, Oermead Press, has published four books, Elephant (2011), Chester County Fiction (2011), Virginia Beards’ poetry collection Exit Pursued By A Bear (2014), and Shoplandia (2014).
Jim is also the founder of the West Chester Story Slam, a monthly storytelling event where hundreds of people have taken the stage and told their stories in front of rousing live audiences. The West Chester Story Slam is also turned into a monthly podcast, available on iTunes. He is currently editing West Chester Story Slam – Selected Stories 2010-2014.
Jim Breslin Interview
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Books by Jim Breslin
Jim Breslin Interview
Tim Knox: Jim Breslin is my guest today. Jim is the author of the new book Shoplandia, which details the behind the scenes goings-on at a fictional shopping site, not unlike QVC, where Breslin was a producer for 17 years, where he hobnobbed with such celebrities as Richard Simmons and Joan Rivers.
Jim also writes short stories, produces anthologies, publishes short story collections, and offers advice and interviews other authors on his website.
This was a fun interview to do and hopefully someday Jim will write a tell all about his time behind the scenes at QVC. Until then, here is my interview with author Jim Breslin, author of Shoplandia, on today’s Interviewing Authors.
Tim Knox: Jim, welcome to the program.
Jim Breslin: Thanks for having me on, Tim. I really love your podcasts.
Tim Knox: I appreciate that. I’m very excited about having you on the show. We got a lot to talk about. You’ve got a wonderful new book out called Shoplandia and you have other things going on that just interest me. It’s going to be a good interview. Before we get started though, if you will, give the audience a little background on you.
Jim Breslin: Well I was a producer at QVC, the world’s largest shopping network, for 17 years and I left about 6-7 years ago because I really wanted to pursue a more artistic career, more artistic life, and I was lucky enough to be able to do that.
So I left QVC but I did love being a TV producer so I really set down to try to learn the art of writing and spent a lot of time in the seat. What I found is I published a collection of short stories called Elephant: Short Stories and Flash Fiction. When I did that I really found that I loved the publishing hat too, that after sitting for three years writing I loved the idea of being a publisher and working with the editor and a creative, artistic designer to publish a book.
After Elephant I published Chester County Fiction. I approached several local writers that I really admire. I live in Chester Country, Pennsylvania and asked them to submit a short story each. I published a book called Chester County Fiction with 16 stories from 13 writers and it was a big hit and got a lot of press. It was really well received in this area and it was a lot of fun.
Since then I’ve published a book of poetry by a former Penn State professor. It’s called Exit Pursued by a Bear. Then just recently my book Shoplandia was published in May and then this fall I’m going to publish West Chester Story Slams: Selected Stories 2010-2014.
So I like writing but I also enjoy publishing and it’s been a real treat to do both.
Tim Knox: You’re kind of on both sides of the fence here. You write, produce, compile, all kinds of stuff. I want to go back though if you don’t mind. You were a producer for 17 years at QVC. How fun was that job?
Jim Breslin: It was amazing. I started there three years after the channel started so it was really in the early stages before there were any on air guests and stuff. So it was kind of interesting to be there the first time we started getting guests and realizing, you know, if there’s a celebrity guest on people are going to watch the show longer, and just obviously the growth in sales.
The one thing that defined my time at QVC was one time walking through the studio when we’re having a big gala event and there are all these major celebrities – Ernie Borgnine, Joan Rivers, Richard Simmons – there were hairstylists to the stars, nail stylists to the stars, everything. This Vice President turned to me and goes, “This place is like a Fellini film,” and I just started laughing because it was true. You never knew what you’d run into there. So that’s why I wanted to, at some point, write about that.
Tim Knox: The thing that I find interesting about QVC is over the years the on air talent at QVC are as big celebrities now as the celebrities that come on.
Jim Breslin: Oh they really are. It’s amazing the followings the show hosts have. I just recently interviewed David Venable, who’s the kitchen guru, the food guru on QVC. He has a new cookbook that came out; it actually just released yesterday. He has an amazing following that follows him and tweets him and watches the show religiously every Sunday.
Tim Knox: Interesting. Let’s go back in time a little bit. Before you went to work for QVC what did you do? What was your background?
Jim Breslin: My first three years out of college I worked in news. I actually worked for Westinghouse News and basically… this is hard to believe in this day and age but back then we used to do a newsfeed service so that if somebody needed video from a, let’s say a plane crash in Detroit, we would have to get the Detroit station to turn their transponder and uplink.
So we had to do satellite video feeds. In this age when I can FaceTime with nephew in Australia on my phone, it’s hard to believe that it was only 20 years ago that people had to do these uplinks. So we would do the latest breaking news, news and sports. We would also do live events in the New Hampshire Primary or the Reagan/Gorbachev Summit.
So I worked in news for three years and then somebody told me about this little thing starting out in West Chester called QVC and that’s how I made that transition.
Tim Knox: Interesting. Were you always a writer? Were you always interested in writing?
Jim Breslin: Yeah, I mean I was a kid that was always reading. As a youngster I was reading on the bus ride home. My favorite teacher in high school, Mr. Maguire, gave us a list of his top 10 books that had 50 books and I had that list for years. I just always loved to read and always wanted to write but didn’t have the time to sit down and do it in the early years and with full time jobs and then raising the kids was tough.
Tim Knox: Life seems to get in the way.
Jim Breslin: Right. So I was really lucky to be able to take time off and really study the craft for several years.
Tim Knox: So when you left QVC that’s really when you started writing.
Jim Breslin: Yes. I would write stuff occasionally but never really was consistent at it. Then I had all this time where I could get up and write in the morning and really give it a couple hours a day. I joined a couple writing groups and joined a critique group so I made sure I always had words on a page to take and get critiqued.
Tim Knox: Let’s talk a little about that because I hear this from a lot of writers who are… I don’t want to say they start writing later in life but they start writing after they’ve been in a career for a while and it’s kind of a dream becoming fulfilled. I hear a lot that joining a writers group and really diving in is what helps them learn the craft and learn how to write.
Jim Breslin: Yeah I think it really does. I’ve been part of two critique groups and knowing that I had writing due in these critique groups every month and that I had to polish it and make it as good as I possibly could before I showed it to these friends, and they would give me harsh feedback when I needed it.
Showing your work to a small group of people that you can trust with your work and you know they’re going to give you solid advice is important. Then doing that consistently. If you know it’s like your homework, your term paper due every month. My two critique groups were like two weeks away.
Often I’d write it as best as I could, show it to the first critique group and they would make recommendations. I would tweak it for the next two weeks and submit it to the next one that was totally different and get their take. When you get the same feedback from two different critique groups a lot of times it strikes you as, “Yeah that’s true, I need to work on that.” That’s important for writers to hear.
Tim Knox: That’s what I was going to ask you. When you would get critiqued – writers, we’re nice, sensitive people even though rejection is a huge part of what we do. Sometimes it’s hard to stand up in front of a group… I mean just the word critique, a critique group. Where can I find the praise group?
Jim Breslin: You have to be able to distance yourself from the work and not be afraid when people will say it’s not for them. It’s okay with me if somebody says, “I didn’t like this story,” or, “The story was disturbing,” or something. But other people may like it.
My favorite critique groups were when I would have two people in the critique group start arguing about a character in my story, one person saying they liked the person and the other person saying no.
Another thing is having been a producer at QVC, I tried a lot of creative ideas on the air and some customers loved it and sometimes they’d write in the QVC threads, they’d bash me for some of the ideas I came up with. You just learn to roll with it. You’re not going to please everybody so you just roll with it and give it your best creative chance.
Tim Knox: Did you find though that it made you actually try to be a better writer?
Jim Breslin: Yes it did. I really hoped to go to get praise when I would go to these critique groups but when they would give me a bit of constructive criticism, often it did ring true and I would really acknowledge that was something I needed to work on.
In my first group I had Jenny Beards, who’s the poet I’ve published, but she taught at Penn State for years. Her husband had taught at Temple University for like 49 years and she would come back sometimes and say, “Your short story, I loved it so much. I read it to my husband. I shared it.” Knowing that these college professors really liked my work was just so rewarding and really spurred me to keep writing.
Tim Knox: Your first book was a collection of short stories. Is that right?
Jim Breslin: Yes.
Tim Knox: Tell me how that came about.
Jim Breslin: Well it’s a collection of short stories. As I was writing short stories and flash fiction I was submitting them to small journals and a few were getting picked up. Elephant, I actually published first on Fictionaut, which is a little website for writers where people share work. That piece of flash fiction was liked by a lot of writers.
So I was piecing all these short stories together and thinking I’m getting close to submit a selection. I was really trying to decide if I wanted to go the traditional route or go the independent route. I was on Twitter following agents, writers, aspiring writers and trying to keep my pulse on publishing.
I came across a Wall Street Journal article about Preston Lee who I think lives in New Hampshire and he wrote a collection of small, quiet short stories. The article was about how Preston took a year and a half or two years to find an agent, and then the agent took a year and a half or two years.
None of the publishing houses wanted it so he found a very small press that would publish it and the quote that I remember from the article was something from the agent saying, “I finally able was to sell the short story collection but my percentage of the advance I don’t think paid for the phone calls and the work I put into it.”
I knew what was happening with traditional publishing and that obviously short story collections did not sell as well. I just thought I don’t want to wait three or four years to possibly get it published by a small press for a very small advance. I’m just going to put it out myself.
So that’s what I did and it was a lot of fun. It was very rewarding to work with… I hired an editor who I’d known who lives locally and I’ve become great friends with a graphic designer. I found that the publishing piece is kind of like being a TV producer in that as a TV producer I would work with a graphic operator, I would work with people in the control room and show hosts. So I’d work with creative people trying to bring the best out of them but trying to make sure it’s all tied together. That’s very much like publishing.
Tim Knox: Did you find that writing a good short story is more difficult than writing a novel? I can’t write short stories; I have tried. I just love the sound of my own voice I guess.
Jim Breslin: For me, it’s probably the opposite. I love writing flash fiction. I kind of see writing very short stories as almost being like doing a haiku where every word has to fall in place, obviously the saying “every word matters”. When I’m writing something longer, when writing a 70,000 word novel it’s hard to make every word count.
So I like it when it’s tight, when it’s 600 words and I spend a few days on it and I feel like I can see it all on one page. To me that’s exciting.
Tim Knox: I used to write a newspaper column for many years and I remember the first column. It was supposed to be 1,000 words. I submitted like 2,800 and the editor called me back and goes, “This is really good but we need 1,000 words.” “I can’t say what I need to say.” “Well if you can’t say it perhaps I can.” Okay, let me back up and tuck my tail between my legs and do some self-editing.
I hear that from a lot of authors that it’s really hard to boil down or self-edit their own words. So like you they’re smart and go to someone to do it for them.
Jim Breslin: I’ve always been a minimalist in a way and my favorite writers are like Lydia Davis and Raymond Carver. So I think there’s something about that minimalism that I do like. Writing longer pieces, I’ve written a couple of novels that will probably never see the light of day. I do like the short form.
Tim Knox: Let’s talk about the new book, Shoplandia, because it is novel length. That’s one of the reasons I wanted to interview you. I’ve written a novel about television so when I saw yours I’m like oh that’s funny. Give us the premise of Shoplandia.
Jim Breslin: So Shoplandia is really a look behind the scenes at a shopping network called Shoplandia. It was inspired by my 17 years at QVC and really it’s a novel told through stories so I follow basically Jake Meecham as a first day production assistant behind the scenes learning the ropes there. It follows his career but there’s chapters where we visit with other producers and a couple show hosts as well as one of the VPs.
It’s just giving behind the scenes glimpses into the hysterical nature behind the scenes. I have a couple cameo appearances like Willy Nelson and Mister T, and then I have some fictional named characters like a self-help guru that might resemble Tony Robbins. There’s a romance book cover icon who may resemble Fabio.
This follows Jake as he starts right after college. He watches some things go behind the scenes that are rather crazy. He also falls in love, has a disastrous marriage and then in the end tries to make another connection. It’s a novel told through stories and visits with a couple different show hosts, some of who are heroic and some who will make you cringe.
One of the things I wanted to write, I wanted to write this from a point of view as there’s insanity behind the scenes but I wanted to write empathic characters, characters that you would root for, that you understand they’re in these absurd situations.
I felt there was nothing written about the home shopping industry that was like that. The only thing I’ve read about the home shopping industry is Sellevision by Augusten Burroughs, which is a very outsider’s view and the characters are very satirical. I wanted the characters to be somebody you could root for and you realize they’re caught up in this strange capitalist television studio.
Tim Knox: Did it ever occur to you to write like a tell all? You’ve got to have stories.
Jim Breslin: I wrote this more from the idea of these would be things we would joke about that might happen or we’d say, “Wouldn’t it be crazy if this happened?” and I didn’t want to do a tell all obviously with the names because I’ve worked with many celebrities and I really respect them. I wouldn’t want to tell anything about them. That wouldn’t be cool.
Tim Knox: You can tell me after the call. How about that? So the book isn’t just you are average day behind the scenes at QVC because there’s sex and death and all kinds of fun stuff in this book.
Jim Breslin: Yeah this is definitely fiction. I kind of think of it as a bizarre-o world of QVC. Everything’s heightened a little bit.
I’ll give you an example. When Joan Rivers was always in, her dog’s name was Spike and for a while she’d bring the dog in the studio, into the green room with her. When the dog was in the studio, we had a big rotating stage and we used to always make sure the rotating stage, before we rotated it we’d have to find out where Spike was so it didn’t get crushed. We always did that but we would always joke around about what if Spike were crushed?
So in the novel I have this disaster happen where a dog gets crushed by the rotating stage. I call him Alfie in there and Alfie belongs to an aging actress who is not Joan Rivers but is a composite of several actresses I worked with over the years.
Tim Knox: It’s all told with some humor. It’s not a tragedy even though Alfie gets pancaked.
Jim Breslin: Yes. It’s told with humor and I think many people have said, “I can’t believe you did that to the dog,” and I’m like, “No dogs were harmed in the writing of this novel.”
One of the things I wanted to capture… the studio crew is on headsets watching these presentations and the studio crew might think some of the products are rather silly. So the studio crew will be making jokes about the products as they’re being sold on air. People who work in the studio can be very sarcastic, so I wanted to try and capture that feel. We knew we weren’t performing brain surgery and what we were doing was selling America.
I also wanted to capture the feel of when things were flying out the door, when America was buying a products, it’s quite a rush to be at the producer’s desk and seeing hundreds of products moving every 10 seconds and trying to pace the presentation accordingly.
Tim Knox: Talk a little about the process of writing this book because you had written short stories and anthologies and you’ve done a lot of magazine writing. What was it like writing a novel? Did you do it eight hours a day? What was your process to get this done?
Jim Breslin: I would basically write four hours every morning. Like I said, it’s a novel through stories so I had submitted a couple of them and had them published in journals. Really I had written a number of pieces and then I thought how can I piece them together?
There’s a term called a ‘fractured novel’ and that’s what I like to think of this as. It’s a fractured view into the world behind the scenes. So I pieced it together there and needed to do a couple of things because I wanted the arch with Jake to follow through so I kind of built it that way.
When I originally left QVC I did sit down and try to write just a plain out novel on it but I had to throw that out and go write other things to really hone in on the craft for a few years.
Tim Knox: Have you thought about trying to get this produced as a TV sitcom?
Jim Breslin: It really could be and I know it’s been suggested. I’ve had a couple friends who know some producers but nothing’s really happening with it right now. I’d love to see it be a Netflix or Amazon television show. I think it could be really funny, not like 30 Rock funny. It’s not one liners but it pulses with some things that would make you cringe and just feel for the characters. There’s sadness.
Tim Knox: What is it? The Newsroom. I think it’s on HBO but it’s very much a drama but there’s a lot of tongue and cheek and irony and that sort of thing. As I was reading about the Shoplandia I’m thinking I’d watch this.
Jim Breslin: I think it really could be and it’d also lend itself to guest appearances. I think that could be quite fun. We’ll have to see what happens.
Tim Knox: Let’s talk about your micro-publishing project.
Jim Breslin: Oermead Press is basically what I started out. I needed a publishing name and when I was reading a lot early on and this idea of publishing other people’s work in addition to mine was something that really piqued my interest. That’s why I reached out and published Chester County Fiction with 13 authors.
So basically I’ve published four books right now and the fifth is coming out at the end of the year. It’s just a way of finding writers that I like or creating books that I’m interested in. I’m not sure… I’ve got this fifth one I’m working on and I’m not sure what I’m going to do next year but it’s been fun. It’s really been fun to push the boundaries with publishing and to work with a creative designer and editors and stuff.
I do CreateSpace as my printer. I feel like CreateSpace is just a printer that can do print on demand as well as obviously put it on Kindle. To me that’s amazing. I think print on demand is cooler than the eBooks really. That idea of somebody orders a book off Amazon, they make it within 24 hours and ship it to you is amazing.
Tim Knox: I agree. What’s your process there? When you decide to do like an anthology do you go out and find authors or writers that you enjoy that fit the book that you’re doing? How do you do it?
Jim Breslin: That’s how I’ve approached it. With Chester County Fiction I made a list of the writers I had met and networked with in my area who I really respected their work and I knew they were writing fiction. I knew there were a lot of nonfiction writers that I admired too but I wanted to do fiction.
I approached them and said I’d like to publish this book and publish it in November, which gave them like 11 months. Basically I approached them in December the year before and said I’d like to have your story by June if you’re interested.
Then I had two editors for that book that sat down and the three of us kind of worked through and just cleaned them up and made some points and got back to them and had them do some revisions. Then we put it out in October of 2011. It was great because we had a party and we had a great launch. These were 13 writers that had followings and had a lot of friends and word got out there and it got picked up my Philadelphia Radio and some local magazines.
It was really a sampler more than a collection. It was a sampler of different people’s writing. Most of the stories were set in Chester County so they have a local flair to them. Andrew Wyeth, the painter, is from my area. He’s right on the Delaware County/Chester County border so my story in that collection is Real Gentleman and it’s inspired by a Jamie Wyeth painting that I had come across in the Brandywine River Museum. So it has a real local tie in.
Tim Knox: Do the authors share in the spoils, if there are spoils?
Jim Breslin: For Chester County Fiction what I did when I went out, I said here’s what I’d like to do. We’ll publish this book and after six months whatever profits are made we will do two things. We’re going to make a donation to a local literary charity and we’re going to throw a party.
A year afterwards I took that money from the first six months and we donated to a local literacy campaign. It’s actually these two nuns who basically teach children English. We have a large Hispanic population that comes and works in mushroom farms in Chester County. We donated two iPads and a couple dozen books to these nuns who teach these young kids.
We had a rather nice party too and had the nuns come to the party, which was a lot of fun.
Tim Knox: I would have liked to see that.
Jim Breslin: It was great. So that’s what I did there. With my next one, West Chester Story Slams, now that I know how much editing and work on my end is needed, we’re going to donate… this has 40 writers in it. So basically I said 10% of the profits will be donated to a local campaign.
Tim Knox: So basically the proceeds go to charity but the books are a great way for the authors to market and at least have something that they can say I was actually part of a book.
Jim Breslin: One of the first places I was ever published was in The World According to Twitter, which was by David Pogue, the former New York Times geek guy. He liked two of my tweets and put them in this book and basically I got a free signed copy of the book and got to be published. It was fun. People like to have their stuff published and I like to pick good stories and publish them.
Tim Knox: You mentioned a minute ago the West Chester Story Slam. I want to talk about that really quickly in the time we have left. Tell the audience what that is and how you got started.
Jim Breslin: Around six years ago I was listening to LAMOTH Storytelling podcast. I got done and I was so enamored by it. I had listened to it before but I just tweeted out, “Does anybody know of anything like LAMOTH here in West Chester?” A friend replied, “No but you should start one and I’ll come.” Then somebody said, “I’d go to one too.” That was the urging I needed.
I invited some people and we had like 17 people come to my living room. We told like 12 stories that night and we had so much fun. That was in November of 2009. We had so much fun that I went to a local bar and asked if we could use their second floor on a Tuesday night once a month and in January 2010 we started West Chester Story Slam.
Anybody can come tell a story based on the theme of the night and the story should be five minutes long. There’s no notes or props allowed. It’s just you and a microphone. We’ve been doing it now for five years and it’s amazing the stories people will come tell. We have themes such as scars, courage, embarrassing moments, love and marriage. I try to keep the themes pretty loose and the themes are set for the full year.
Some people come and you know they’ve prepped a story. Maybe they’re writers or artists but then we get people who come and listen to the first five stories. We do an intermission, they come up and sign up. They’ve had a beer or two but it’s hit them that they have a great story. Everybody has a couple go to stories that are classics and a lot of times those are the people who win because they’ve really rehearsed that story in bars and around the Thanksgiving dinner table over the past 20 years. They just know all the major points and it’s just an incredible story.
We’ve been doing this for five years now. Some of the stories are funny and some are really sad but it’s really brought together a community because there’s 70 people in the audience and when the guy at the next table gets up and tells this great story, you just feel compelled to talk to him during intermission. So there’s been a lot of friendships made and it’s been really rewarding.
Tim Knox: So basically what you’re doing is you publish a schedule of topics for the year and people can come to the story slam, sign up and they get five minutes of stage time to tell a story that matches that them, scars for example.
Jim Breslin: Yes.
Tim Knox: Who decides who has the best story? Who wins?
Jim Breslin: So I pick three people out of the audience and they are the judges. They’re usually people who have come to a couple story slams that I know. There’s a couple people that like to do it and I know they’re fairly consistent.
Each storyteller is judged on a scale of 1-10 for content and 1-10 for presentation. So they get like six scores. Three judges give them two scores each and that gets tallied up. Sometimes it’s fairly close. The winner gets a coffee mug. In West Chester Slam we call it ‘the coveted coffee mug’ but more importantly the 10 winners from January through October then get to compete in the Grand Slam in November and the Grand Slam is of course the event of the season.
I do these at a bar because that’s a great place to tell stories. What we found is the first couple years the Grand Slams would just be packed and it got to be a fire hazard so last year I moved it to our local historical society and we sold 280 tickets, which was amazing. It was a huge stage and it was so cool to see the storytellers telling stories in front of that big of a crowd. So that’s where we have it scheduled again this year.
Tim Knox: I just love this concept and this is so good for writers and authors to get out there. You’ve got five minutes. Get up there and tell a great story.
Jim Breslin: Yeah it really is. I think I’m always urging people in my writers groups, no matter if you’re going to go an indie route or traditional route, you’ve got to be able to get up and tell a good story. If you’re submitting to agents you want to be able to show them a YouTube video that you can tell a good story and hold an audience captive. If you’re going to be an independent writer you’ve got to be able to do that too.
I videotape the stories and there’s a West Chester Story Slam YouTube channel. If somebody tells a story and they have a website they can always link it to their website or their Facebook page or whatever.
Some of the stories blow my mind. I’ve been editing this 40 stories from the first 5 years and it’s been a delight to read through and try to study the stories as I’m editing them down a little bit or just tweaking them. Everybody has interesting stories. You have to be attune to them when they come and hit you.
Tim Knox: Out of everything you’re doing do you have a favorite thing or are you just enjoying everything?
Jim Breslin: I enjoy the mix of it. I enjoy writing fiction and then I enjoy taking that hat off and doing the publishing. I feel like the story slam is I get to host a party every month that is 70 people show up, everybody’s in great spirits having a couple beers. The crowd there is kind of raucous at times.
It’s kind of strange how it’s all come together. I really feel blessed and I feel what I learned at QVC being a producer and producing live events and then getting in the writing and mixing it up there really kind of… it just all came together and I didn’t realize. It wasn’t something I planned. It just happened and now looking back I’m like that made sense.
Tim Knox: Are you working on a new novel? Are you going to do more fiction? What’s on the horizon for you?
Jim Breslin: That’s a good question. There’s one novel I worked on that’s kind of like if the Hardy Boys were taking a cross country road trip and it was being directed by Quentin Tarantino. I’ve kind of had that flushed out but I have another idea for more like a novella that I’m trying to sketch out.
This summer’s been kind of busy with Shoplandia, pushing that, and then editing the Story Slam book. I haven’t been writing as much fiction as I want to but I definitely want to try and get something out next year.
Tim Knox: Jim Breslin, the book is Shoplandia. Tell folks where they can learn more about you, your book, the story slam and everything you’ve got going on.
Jim Breslin: Well the West Chester Story Slam is WCStorySlam.com and from there there’s a link to the podcast and also a link to the YouTube channel that you can check out. My website is JimBreslin.com and I blog, I like to interview writers. So there’s a blog there and there’s also information on my books. There’s also a page with photos that shows a number of photos with me with Joan Rivers, Richard Simmons and a lot of celebrities, as well as other interesting links.
Tim Knox: Very good. Do you have a picture of you and Joan River’s dog?
Jim Breslin: Not her dog, just me and Joan.
Tim Knox: Very good. Jim Breslin, the author of Shoplandia. We’ll put up links to everything. This has been a lot of fun. We’re going to talk some more I think.
Jim Breslin: Thank you. Tim, I really appreciate it. I love your podcast.
Tim Knox: I appreciate that, Jim. Talk to you soon.