“It’s also just confidence and knowing that it’s still there, and knowing that you are a writer when you are not writing.” — Megan Baxter, from Ep. 470
Darcy Frey’s The Last Shot: City Streets, Basketball Dreams (Mariner Books, Spiegel & Grau audio) is a masterpiece in writing, structure, and immersive journalism — not participatory — but true immersion. It’s also a master class in how best to use the first person in a work that predominantly focuses on its core group of central figures.
Darcy’s essays and journalism for Harper’s and the New York Times Magazine have received numerous awards, including a National Magazine Award, a Livingston Award, and an Award for Public Service from the Society for Professional Journalists. His work has been adapted for stage and screen, and anthologized in The Best American Essays, Best American Science Writing, and the Library of America series. He teaches in the English department at Harvard.
The Last Shot was recommended to me by the late great Dick Todd, who worked on this book with Darcy. So we talk a little bit about Dick and how Darcy came to know and work with him.
After a horrific accident, doctors told Todd Barcelona that he’d likely never run again. So he and his wife decided to run farther than they ever had before.
Maggie used to be a trial attorney, and she made the pivot to freelance writing during the height of the pandemic, so we dig into how she made that change and what skills transferred over.
Of the many books I’ve read of Glenn’s, this one’s my favorite and it, at long last, is in movie theaters starring Daisy Ridley.
In this episode, we talk about the journey of how this book came to be adapted, the hiccups along the way, how serendipity played a role in the adaptation, and a lot more book-writing stuff you’ll love to hear about.