I love nice hotels. I also like slightly less nice hotels as long as I get to stay for more than one night. The miracle of even crummy, cheap, roadside motel type hotels is you leave for a few hours during the day, and when you come back, it's all clean and nice and new again, and you get to start over. There's something very perfect about that. Plus it's a pretty good metaphor.
More often than you'd think, I set scenes in hotels. My first book opens in the Waldorf=Astoria (equal sign theirs) where I just went for the first time on a research expedition for novel number three which also opened there but doesn't anymore for reasons not clear to me until I set foot in the place. Also fodder for another day. Outside, there was this sign:
which probably wasn't actually a directive from the universe to me but certainly felt like it. It's a gorgeous old hotel.
Then there's this gorgeous new(er) hotel which I also visited for book research: the Ritz-Carlton New York, Battery Park (whose hyphen, let's admit, is a little passé). A scene I was writing hinged on the view from a suite in the hotel, so I needed to see a suite in the hotel and look out its windows. It was pouring rain in NYC, and I was wandering around in only a raincoat and hat because I am a Seattlite now apparently, and so a forecast of rain no longer suggests to me that I should bring an umbrella. Thus I showed up in the lovely empty lobby of this very posh hotel, soaked and dripping and bedraggled and asking politely to see and photograph a $1500 a night hotel room. The concierge was quite, quite skeptical. I explained as to how I was writing this book and really it would take only a minute and I promised not to even drip on anything. And he paused and looked askance and went and whispered with someone else and looked tempted to call security and looked tempted to throw me out and looked somewhere between alarmed and appalled at my very existence and said, down his nose, "I don't suppose you have a card or anything." I do. I fished around in my wallet and produced it for him. And a switch flipped. Suddenly, he was terribly solicitous and all smiles, very eager to help, very kind, delighted to take me up and let me into a room that was maybe one hundred times lovelier even than it had been in my imagination. Generally they require a permit for photos he said but I should feel free to just go ahead and take as many as I pleased. You understand I ordered these cards online. And you could too. They aren't certified by the Library of Congress or anything. This is the sort of reception one hopes will greet the revelation that one is writing a book. And it never, ever happens. So I was gratified. And as an aside, if you've the means, the suites at the Ritz-Carlton seem entirely worth $1500 dollars a night in my opinion. And they do keep out the riffraff.
"This telescope is provided for your enjoyment while a guest at this hotel. Should you wish to take it home with you, a $1,000 dollar surcharge will be added to your account." (I am just kidding. Probably if you pay $1,500 dollars a night for a hotel room, they throw the telescope in for free. Like how it's implied in your $99 a night hotel room that you may take your leftover shampoo if you wish.)
In fact though, the case I want to plead is for the opposite kind of hotel room. I did a couple book events recently at a wonderful bookstore called Auntie's in Spokane, Washington. Spokane is so far east of Seattle it's very nearly in Idaho, and its hotels were all booked so I stayed a bit out of town, even easter, maybe only eight or ten feet from the border in a Comfort Inn which cost not even 100 dollars a night and was exactly what you are imaging. And it was perfect. In New York City, it doesn't matter how nice your hotel room is -- there's too much else good on offer to spend very much time there. In between Spokane and the Idaho border? I think there was a Subway down the street where I could have hung out, but otherwise nothing. So I sat in the room and wrote. All day. The room was spacious and neat and comfortable with a nice big window (overlooking the parking lot), climate control free and at my fingertips, a large desk and chair, free wifi, a TV in case I needed a break, a bed in case I needed a nap. Just downstairs was a hot tub, a workout room, a pool so I could have a little (very little, but still) swim. When I finished availing myself of these, I returned to a newly clean room, newly made bed, sparkling bathroom. Breakfast was plentiful and included and did not even require my putting on shoes (I did. But I didn't have to.) plus hot coffee and tea all day long plus soup in the late afternoon plus cookies in the evening. It was quiet and interruption/distraction/temptation free. For $99 a night, you could do a lot worse in the way of a writing retreat. There's much ado these days about romantic writing retreats -- on the train, say -- and though I get the romance, a train is going to be much more cramped and loud and public and distracting and with way grosser bathrooms and a much flimsier desk than one's very own hotel room.
For me the only wrinkle is that Practically-Idaho is a solid five hours from Seattle, and though the ride there had been 60 degrees and sunny and so I'd put the top down on the convertible, when I left to go home, it was 35 degrees, and I could not get the top back up. And having packed for the former -- and for being in the car besides -- I'd not even brought a jacket. FYI: car heat does not stay in your car at highway speed if you don't have a roof. Strange but true. It was a long, cold drive home. But a good writer's retreat. A trade I am always willing to make.
About The Author
Laurie Frankel writes novels (reads novels, teaches other people to write novels, raises a small person who reads and would like someday to write novels) in Seattle, Washington where she lives on a nearly vertical hill from which she can watch three different bridges while she's staring out her windows between words. She's originally from Maryland and makes good soup.