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This blog is intended to be a window into one writer's world, from thoughts about writing technique to musings about my experiences. Enjoy!
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I've known Julie Berry for quite a few years now, ever since she came back to Vermont College of Fine Arts as an alum and we met while I was a student. She's smart and savvy and a good friend, and she's written some wonderful, fun novels, but my favorite is her most recent, ALL THE TRUTH THAT'S IN ME. It's a fascinating story that I'm recommending to everyone as one of my 2013 top reads. Here's a synopsis: "Four years ago, Judith and her best friend disappeared from their small town of Roswell Station. Two years ago, only Judith returned, permanently mutilated, reviled and ignored by those who were once her friends and family.
Unable to speak, Judith lives like a ghost in her own home, silently pouring out her thoughts to the boy who's owned her heart as long as she can remember--even if he doesn't know it--her childhood friend, Lucas.
But when Roswell Station is attacked, long-buried secrets come to light, and Judith is forced to choose: continue to live in silence, or recover her voice, even if it means changing her world, and the lives around her, forever.
This startlingly original novel will shock and disturb you; it will fill you with Judith's passion and longing; and its mysteries will keep you feverishly turning the pages until the very last."
Congratulations, Julie, on your stunning new novel, ALL THE TRUTH THAT’S IN ME. That second person address is such a twist – well done! Please tell us how you were inspired to write this story.
This project began by accident. I was working on my critical thesis, a lengthy research paper assigned during the third semester at Vermont College of the Fine Arts, and I read some material in a craft book about second person point of view. I wondered, could I write something in that voice? I reached for my laptop, flipped it open, pondered for a bit, then wrote the first page in one sitting. Very little of it has changed to the present day. The voice appeared from that moment, and it remained throughout the process. It was one of those little miracles you pray for as a writer. Looked at another way, though, it was an act of homework procrastination.
One of the reasons for the novel’s appeal, I think, is that your setting feels both real and timeless. Can you comment on that?
The setting unfolded gradually. I saw it, at first, in a somewhat misty focus, swirling into view only as needed around Judith, as if she were walking through a cloud. I knew from the outset that I could not set this in a historically known place and time, because I didn’t want Judith’s story overshadowed one smidgeon by the expectations we bring to standard historical fiction (much as I love them where they properly belong). At some point I needed to make some decisions about what era to pattern this time period after, and the early modern period is a useful one in that the world still feels antique, pastoral, and pre-technological – which is where I think that nostalgic sense of timelessness resides -- but society has already begun to confront issues of philosophy, politics, reason, religion, and ethics that feel recognizable and relevant to us today.
The way that you handle Judith’s mutilation is deft and realistic. Was this something you had to research?
I wanted desperately to research it, but I couldn’t find any sources at all. I did consult informally with a practicing speech therapist, but most of my research came from personal practice and imitation. I spent a lot of time talking as I believed Judith would attempt to do, and documenting the sounds and sensations I observed. After the book came out, I met a reader at a book club meeting who was also a speech therapist. She had worked with a patient who, for medical reasons, ended up in a physical plight much like Judith’s. She told me that the depiction of Judith’s journey toward speech rang true to her own experiences with her patient. I felt so relieved and grateful to know it.
Above everything else, for me this novel is a moving love story. Is that how you would describe it?
I think so. I hope so! I wanted very much for readers to fall in love with this love story the way I did. It’s nice to know you felt that way.
I’m in awe of the way that you handle time – short, back-and-forth passages and no chapters. Somehow it works – not only is it not confusing, it adds power. How did you craft the story?
Strange as it may seem, the structure, the ordering, the length of chapters, the non-linear movement through chronological time, just happened that way. I wish I could say I architected it all in keeping with a brilliant master plan, but this is simply how Judith’s story unfurled. It was a singular experience.
Anything else you’d like to add? What do you have coming next?
I have a middle grade murder mystery coming out this fall from Roaring Brook which I’m really excited about, titled The Scandalous Sisterhood of Prickwillow Place. It’s three parts murder and two parts farce, and, of course, one part Victorian schoolgirl hijinks. It’s very different from All the Truth That’s in Me, but I like to keep things interesting.
Thanks so much, Julie!
Thank YOU!
Twitter @julieberrybooks
Facebook /julieberrybookspage
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After a hiatus of some years, I've recently taken up knitting again. It was one of those spur-of-the-moment things, looking in a shop window at all the brilliant yarn colors and thinking, well, why not? A small investment.
Plus, I really needed a way to disconnect.
Those who know me well know that I am not a patient person. I'm also something of a workaholic. I love writing and when I spend more than a couple of days away from it, I become very unhappy, anxious, fretful. I guess I’m a little compulsive about my work. I want to get the story out, put it on the page, open it to the world.
But much of writing requires patience. For one thing, the best stories are those with depth and nuance, and those things take time to craft. Like the best stews must simmer, the best writing needs to simmer both on the page and in the brain. Simmering requires time.
When I finish a draft, I’m impatient to get it out there, somewhere, but that’s a poor strategy, isn’t it? Yes, we all know how tempting it is to hit “send” way too soon. (It can be equally destructive to keep rewriting the same story over and over and over, but that’s a discussion for another post.) It takes time and distance – simmering – to recognize the flaws in a work. |
| One of my fingerless gloves... |
Then there’s the whole legendary waiting game within the industry. Waiting to hear from an agent. Waiting to hear from an editor. Waiting for the marketing people to okay the project, waiting for the edits, waiting for the book to come out. Waiting for the artwork. Waiting for the reviews. Waiting for the sales. Waiting for the check. From novel idea to book in hand can take years.
So, knitting. I’ve discovered that knitting is very meditative. Anything I knit that is complicated requires counting, and at least a minimal attention to what’s occupying my hands. I can listen to something but it’s hard to carry on a conversation. Other voices in my head go quiet. Even my nagging little internal editor shuts up.
Now I know why so many authors I’ve met are knitters. As the brain goes quiet the subconscious wakes up, and the subconscious knits the next story thread, the next character, the next scene. While my hands are occupied with creating something tangible, my brain is occupied with the intangible.
Plus, I'm learning to slow down and become patient.
I’d love to hear from some fellow knitters – or, do you have another strategy for developing patience?
My Christmas present this year was something I’ve been thinking about ever since Jessica Dils, a fellow alum of Vermont College of Fine Arts, presented her graduate lecture in January 2010, and talked about treadmill desks.
I’d never heard of such a thing, but it sounded like a great idea. A writer’s sedentary lifestyle? Check. Difficulty getting to the gym some days? Check. Recipe for weight gain and other health issues? You got it. The idea of being able to move and write at the same time was very appealing.
Shortly following Jess’ lecture I was surprised to sense a movement afoot (!), with the appearance of articles on treadmill desks in both SCBWI(January 2011) and Romance Writers’ (April 2013) magazines.
All during that time friends began to blog about their tread-desks and report weight loss and increasing productivity. The final swing vote came from a persuasive article in The New Yorker in May 2013, and I decided that I’d save my pennies for the purchase of a tread-desk.
While I’m relatively new to the experiment, I couldn’t be happier. I'm writing this article on the treadmill now. Here are a few thoughts and tips in case you are curious.
After research and reading I decided to buy a complete adjustable desk/treadmill combination made for this purpose by LifeSpan. This is not an exercise treadmill; it can’t go faster than 4 miles an hour. It’s smaller and lighter weight than the one you find at the gym, and has fewer bells and whistles, although it’s pretty slick. And it doesn’t have arms, which would get in the way of the desk. |
| close-up of the desk and controls - very simple! |
I chose the LifeSpan because they had great customer reviews, excellent warranty, and a decent price: $1500 including shipping for both desk and treadmill, plus the floor mat underneath. I could have purchased the treadmill alone for under $1000, but then I would have had to find or build a suitable high desk for my computer, and I’m not clever enough for that, and I’m not convinced it would have been much cheaper. I couldn’t convert my existing desk for a number of reasons.
I’m really pleased with this product that appears both well-made and is attractive enough to fit into our home, and requires only the occasional application of silicone.
However, if you are handy, you can probably purchase a second-hand treadmill and configure a desk and have the whole package for less than $500. Just make sure that the treadmill can go as slow as 1 mile per hour, and that you can adjust your desktop height because it won’t be perfect the first time out.
Here are a few other things I’m learning as I go:
- - The first hour I walked I wore my usual shoes – leather slip-ons. I quickly discovered that I need to wear a better-cushioned walking shoe, so I keep a pair of supportive workout shoes next to the tread-desk for that purpose.
- - Don’t try to work and walk at more than 1.5 miles per hour. I’m typing this at 1 mile per hour and that seems about right.
- - I was so enthusiastic that I just jumped right on and walked for an hour. Although I get to the gym 5 times a week and am relatively fit, I was stiff and sore. This was different. Ease into it, and take breaks.
- - I’m getting better at typing fast as I walk but it has taken me a few hours of practice. I need to keep my fingers closer to the keyboard to avoid constant errors.
- - The rocking motion of walking/working is odd at first, but as I got back into my story I forgot where I was and pretty soon had written a couple of thousand words while walking 2 miles.
- - My LifeSpan comes equipped with a Bluetooth-enabled fitness sensor, but the reviews on that software were poor and I’m a Mac user, so I haven’t bothered. Besides, my goal is just to get out of the chair more.
- - I’m lucky with space but be sure to factor in that the treadmill must be plugged directly into a grounded wall socket – not a GFI nor an extension nor a surge protector – and comes with only a six foot cord.
- - The same company produces a bike desk, so if for any reason you can pedal but walking is difficult, that is another option.
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| the entire treadmill-desk, right behind my sitting desk |
I would say this is one heck of a great Christmas present. I’ll update on my experiences, especially if I lose those five pounds I seem to gain at this time of year!
Some thoughts on the year just passing…
…for the first time in three years I did not launch a book…
…my first little non-fiction GET ORGANIZED is now in six languages and at least as many countries and still sells at an amazing rate…
…my second novel – my middle child, FORGIVEN – has gone out of print…
…but her sisters are selling well, with FAITHFUL in its third, maybe fourth, printing…
…I’ve parted company with my wonderful agent of eight years, amicably, but with great sadness…
…I have steadfast fans who write me beautiful notes, and I treasure them and their words…
…I have a critique circle of people gifted with keen insight and brutal honesty…
…I’m lucky to have the freedom to write every day in a place of perilous beauty…
…I’m writing projects that bring me such joy that there are days when it’s hard to stop working.
The writing life is refuge and terror, both. It is euphoria and heartbreak. I would not trade it for anything, though some years may be more euphoric, or more heartbreaking, than others.
I wish for you a rich and rewarding 2014 with as much euphoria as you can stand.
Today on the blog I'm delighted to welcome Bobbi Miller, talking about her acclaimed historical fantasy, BIG RIVER'S DAUGHTER. I'm a total sucker for historical fantasy, so take a look at this wonderful tale...
Raised by her pirate father on a Mississippi keeler, River is a half-feral river rat and proud of it. When her powerful father disappears in the great earthquake of 1811, she is on the run from buccaneers, including Jean Laffite, who hope to claim her father's territory and his buried treasure. But the ruthless rivals do not count on getting a run for their money from a plucky slip of a girl determined to find her place in the new order.
Hi Bobbi! First, can you tell us about how you came to write this particular tale?
“This here story is all true, as near as I can recollect. It ain’t a prettified story. Life as a river rat is stomping hard, and don’t I know it. It’s life wild and woolly, a real rough and tumble. But like Da said, life on the river is full of possible imaginations. And we river rats, we aim to see it through in our own way. That’s the honest truth of it.”
So says River Fillian as she begins to tell her story in my book, Big River’s Daughter. River’s story is an historical American fantasy, a blend of the tall tale tradition that captures so much of the American identity, and a unique form of fantasy. I have long been a student of tall tales, epitomized in the exploits of Annie Christmas and Mike Fink -- two important characters in River’s life. In true rough and tumble fashion, the heroes and heroines of tall tales mocked and defied convention. Even their language was as wild and unabashed as the circumstance and landscape that created these characters. And that describes my character, River.
I’m also an avid student of American history. David McCullough, two-time Pulitzer Prize winner, wrote, “We are raising a generation of young Americans who are by and large historically illiterate…We have to know who we were if we’re to know who we are and where we’re headed…If you don’t care about it –if you’ve inherited some great fortune, you don’t even know that it’s a great work of art and you’re not interested in it – you’re going to lose it…” History is literature, McCullough says. And our history is full of amazing stories.
The setting of my book was an extraordinary time in American history. We were embroiled in the War of 1812. While the War of Independence set us free of British rule, the War of 1812 ultimately defined us as a force in world power. My story is also grounded in many historical personalities, such as the Pirates Laffites, as well as events. In December 1811, a series of earthquakes shook the Mississippi River basin. Three of these earthquakes would have measured at magnitude of 8.0 on the modern-day Richter scale. Six others would have measured between 7.0 and 7.5. The quakes were felt as far away as Canada. It shook so hard, it forced the Mississippi River to run backwards, changing the very landscape. It also sets into motion River’s story.
Congratulations on being nominated for the Amelia Bloomer list. FAITHFUL was a nominee as well. Please talk about what that means for you, and for your novel.
What an honor this is! The Amelia Bloomer Project is an annual annotated book list in association with American Library Association, and features “well-written and well-illustrated books that empower girls by providing role models of strong, capable, creative women.” These personalities and characters were my inspirations when I was a young reader. Isn’t that the goal of every writer to inspire a young reader to become more than they imagined themselves possible? The characters in these books, both real and imagined, defied the social convention of their day –past and present – to become fully realized, astonishing individuals doing great things. http://www.ala.org/awardsgrants/amelia-bloomer-book-list Another honor is being listed at the site, A Mighty Girl, with its tag line, “The world's largest collection of books, toys and movies for smart, confident, and courageous girl.” And you can see this at: http://www.amightygirl.com/
I know that you believe that historically accurate language use is especially important to you (as it is to me) so please tell readers how you went about researching and using language.
With my studies in folklore, I have long studied the rhythms and patterns in speech and how they influence the storytelling process. I also listened to storytellers tell their stories, too, and the best ones – like Eric Kimmel, Rafe Martin and Ashley Bryan – enrapture the audience. Theirs is the process of storytelling as old as human communication. We are homo narratus, story animals, suggests Kendall Haven (Story Proof: The Science Behind the Startling Power of Story, 2007). We have told our stories for over 100,000 years. Not every culture has developed codified laws or written language, but every culture in the history of the world has created myths, legends, fables, and folk tales.To capture the language in River’s story, I also studied many readings, like Davy
Crockett’s Almanacs (1835 – 1856), which included much of the language used by storytellers of that day. Of course, these were the days before the dictionary and so people spelled words according to how they pronounced the. And deferent pronouncements produced different spellings. And one cannot write about the Mississippi River without reading Mark Twain. I read most, if not all, of his books, annotating, deciphering, pulling apart words and sentences. Of course, whenever river men, like the western mountain men, gathered, they told their tall tales. They used songs and signals to call to each other. One of my favorites was from Mark Twain, which goes, “Who-op!” It mean’s, “I’m here! Look at me!”
What are you working on now?
My next book is Girls of Gettysburg, due from Holiday House in Fall 2014. This book tells of the battle of Gettysburg using three different perspectives: a young woman disguised as a Confederate soldier; the young daughter of a free man and farmer; and the daughter of the town butcher, and the harrowing three days in which Gettysburg explodes and the lives of these three young girls intersect in unexpected ways. The inspiration came from finding an old newspaper clip dating from that time, in which a union general noted the presence of a fallen Confederate soldier, a girl, at the bottom of his report. His words “one female (private) in rebel uniform” became her epitaph. Her story remained a mystery. And to get the feel of the landscape, I not only walked the length of the Gettysburg battle several times over three trips to the area, I visited the reenactors, and made a pest of myself in the bookstores.
But that's what it means to me to write historical fiction: doing everything I can to bring that historical moment alive.
I have always had trouble with plotting, so I’m a big fan of collecting working solutions to planning the plot. Today I’m posting the latest in my personal collection of plot diagrams, something I’ve put together based on the best plot diagrams I’ve found and used. Here it is with some explanation…
The black line at the top is, of course, the classic Aristotelian 3-act structure, where Act 2 is twice as long as Acts 1 and 3, and the form is set-up, confrontation, and resolution.
Below that in green are the stages of the Hero’s Journey as outlined by Christopher Vogler in his now-classic writer’s guide The Writer’s Journey, based upon the research of Joseph Campbell.
In brown are the turning points defined for screenplays by the late Syd Field; they also apply perfectly to novels. You can find out more about these points in his books and DVDs here.
In blue, I’ve placed the plot line defined by Martha Alderson in her Plot Whisperer books and workbooks. What I particularly like about this plot line is that it shows how tension increases to two high points, the Crisis and the Climax.
And in red, I’ve added the 14 “Signpost Scenes” defined by James Scott Bell; check out his Write Great Fiction: Plot & Structure. I like the way that these signpost scene definitions are more colloquial than Vogler’s and add a few nuances, like “care package” and “pet the dog.”
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I hope this diagram and these links are useful to you!
A couple of weeks ago I went to a workshop - StoryMasters - that was one of the best I’ve ever attended. It was a four-day affair, run by three of the giants of the writing world:
Christopher Vogler, James Scott Bell, and Donald Maass.
Vogler is renowned as the man who brought to the writing world the mythic structure identified by Joseph Campbell in Vogler’s fabulous book
The Writer’s Journey. Bell, in addition to being an award-winning fiction author, is also author of a couple of my staples,
Plot & Structure, and
Conflict & Suspense. Maass, a high-powered agent, has written what I consider to be the best revision guide on the market,
Writing the Breakout Novel Workbook, plus a couple of other great craft books,
The Fire in Fictionand
Writing 21st Century Fiction.
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I felt as if I’d ascended Mount Olympus. (I confess to having a fangirl moment meeting the very friendly and warm Vogler, whose book was the first I read when I began to write. And, by the way, all three of these guys were friendly and warm and totally accessible.)
Each of these masters of the craft took one entire eight-hour day to dissect and explain all aspects of story-telling. They used examples from books and movies – the entire fourth day was devoted to a scene-by-scene analysis of To Kill a Mockingbird. Their approaches were radically different and meshed perfectly (they’ve been friends for a long time, and Maass is Bell’s agent.) And they sprinkled, or in Maass’s case larded, their lectures with exercises.
It would be impossible for me to distill what I heard: I took forty-two pages of notes. I can only encourage you to check the schedule for a future workshop by one or all of these guys. The StoryMasters Workshop was sponsored through
Free Expressions, and they host a number of workshops and intensives.
This workshop resulted, once I returned home, in a frenzied revision of my WIP, and I couldn’t be more pleased.
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Some workshops really do rise above. I’d love to hear from anyone who’s had a similar experience – let’s share!
I'm delighted to be back on the blog to highlight this amazing non-fiction book by Vicki Wittenstein, FOR THE GOOD OF MANKIND. It's a book that's scary, enlightening, and rich with detail. Here's Vicki:
Congratulations on the publication of FOR THE GOOD OF MANKIND? Please give us a brief description of the book.
Thanks, Janet. Writing the book was a difficult and often emotional experience, and I’m thrilled that so many people are interested in the topic. The book traces the history of human medical experimentation from ancient times to the present through some of the greatest medical advances—but also its most horrifying medical atrocities. Doctors performed thousands of experiments on orphans, prisoners, the mentally ill, and others with little power or voice, without consent. The subjects often suffered excruciating pain and humiliation, and some even died. And, as horrible as these experiments were, they were not comparable to the Nazi doctors’ torture and inhumane experimentation of concentration camp victims during World War II. Despite the laws and regulations in place today, problems continue with clinical trials, the pharmaceutical industry, genetic therapies, stem cell research, and DNA sequencing. The book raises many ethical questions, but primarily asks the reader how to fairly balance the rights of the individual versus the need for medical advancement. What price should we pay for medical knowledge and how can we learn from our mistakes in the past?
I was pretty horrified as I read, learning about the number of experiments in which the subjects were uninformed. Was this a surprise to you as you did your research?
Absolutely. The U.S. government’s secret radiation experiments during the Cold War shocked me. I kept imagining how I would feel if I had been one of the 18 random hospital patients that doctors secretly injected with plutonium, or one of the 829 pregnant women at a Vanderbilt University clinic who drank a supposedly healthy drink doctors laced with radiation.
How much were you able to use primary sources? Did you meet many of the subjects and/or clinicians?
I used many primary sources, including articles written by a noted antivivisectionist in the early 1900s, material from the United States Memorial Holocaust Museum, the final report on human radiation experiments from the U.S. Department of Energy hearings, newspaper clippings about various experiments, and the laws and regulations promulgated by the U.S. Food and Drug Administration and the Office for Human Research Protection (OHRP). I also interviewed several experts and bioethicists in the field, including Jerry Menikoff, M.D., Director of the OHRP.
One of the most difficult interviews was with Eva Mozes Kor, a twin and survivor of Dr. Joseph Mengele’s experiments on twins at Auschwitz. I was nervous. I had never spoken to a Holocaust survivor before, let alone someone who had been a victim of brutal experimentation. But Eva quickly put me at ease. Her story of survival is remarkable, and her honest voice provided an authentic way for me to discuss painful and inhumane experiments with young adults.
I also spoke to Joshua Shaw, the brother of Simeon Shaw, a four-year-old boy who was flown to the U.S. from Australia for treatment, but instead was injected with plutonium. Joshua Shaw told me that his family never recovered from what happened to Simeon.
It’s clear that without some of these experiments we would not have made medical advancements, and you clearly felt torn at times between what is ethical and what is beneficial. Can you discuss?
I think people are uncomfortable with human medical experimentation. In general, we don’t like the idea of using people as guinea pigs. Yet, without a doubt, new medical discoveries and technologies require human experimentation. Although laws and regulations now govern appropriate human experimentation and the horrifying examples from the past would not occur today, violations still occur and people are injured. The difficult challenge lies in balancing the individual’s risk of injury with the needs of society.
Do you feel there is a line that should not be crossed, regardless of the results?
Definitely. The Common Law mandates three ethical principles: respect for persons, beneficence, and justice. These standards basically mean that all subjects must give voluntary and informed consent; the harm to subjects must be limited; and subjects must represent a diverse group of people, regardless of race, economic class and ethnicity. Every researcher must strive to follow these laws.
I think we must never let the ends (scientific advancement) justify the means. As Eva Kor wrote in a personal account of the Nazi experiments, “The scientists of the world must remember that the research is being done for the sake of mankind and not for the sake of science: scientists must never detach themselves from the humans they serve.”
Much of this is also the domain of science fiction and horror. I’m playing with that kind of scenario now in a work in progress. Can you talk to fiction writers about addressing these issues?
When you write about horror, whether truth or fiction, a close first person account can help draw the reader into your story. The brutal facts and emotions speak for themselves, and there isn’t much need for descriptive details. It’s ‘show don’t tell’ with a chilling and creepy effect. Good luck on your project!
Thanks so much!
Thanks for hosting me, and for giving me the opportunity to share my thoughts.
VICKI ORANSKY WITTENSTEIN has always been curious about new ideas, people, and places. That curiosity has taken her life in many different directions. So far, she has been a student, a criminal prosecutor, a writer, and an advocate for children and families. She is the author of a number of science and history articles for young readers, as well as the book Planet Hunter: Geoff Marcy and the Search for Other Earths, which won the 2013 Science Communication Award from the American Institute of Physics. She lives with her family in Brooklyn, New York. For more information, and for a free discussion guide, visit http://vickiwittenstein.com/.
Follow her blog tour!
date | blog | blog URL |
Mon, Nov 4 | proseandkahn | |
Tues, Nov 5 | The Prosen People | |
Thurs, Nov 7 | The Nonfiction Detectives | |
Fri, Nov 8 | Growing with Science | |
Mon, Nov 11 | Ms. Yingling Reads | |
Tues, Nov 12 | Through the Wardrobe | |
Wed, Nov 13 | Kid Lit Frenzy | |
Thurs, Nov 14 | GreenBeanTeenQueen | |
Fri, Nov 15 | The Fourth Musketeer | |
I love October. My very first published piece - a poem - was published in October. I was 8, and my poem ("October") appeared in the local newspaper. It wouldn't win me any awards, but I remember as if it was yesterday the joy I felt at seeing my name in print.
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| my "first" publication |
Plus, October is visually a gorgeous month, and I love those first fires in the fireplace, those crisp cool nights, the first brush of snow on the peaks, the golden aspen and deep red cherry trees.
This October is crazy-busy. I have a ton of appearances. But I want to reflect a moment on what it means to be so busy.
It means I do connect with readers of all stripes. It means I might even make a deeper connection - encourage a young writer to continue, or pass on a piece of knowledge that helps a listener. It also means I don't have as much time as usual to write.
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| October snow with aspen |
Yesterday at a school visit I was asked by a 7th grade student about my daily writing goals, and I answered, truthfully, that I try to aim for 2000 words or 10 pages each day. Under normal circumstances, that's no sweat for me. I write fast - I'm a "fat" writer in the jargon of one of my former teachers, Ellen Howard - and then I go back and edit like crazy. But this October it's proving to be difficult for me to reach any goals at all.
Now perhaps I should add that I have an additional distraction: my husband and I have a new puppy in the house, which is rather like having a toddler running around. Both a joy and a headache, and thank heavens he's cute.
And then there are some personal/professional distractions, the kind that call my dedication to my profession into question. No details here and now, but I have to square my shoulders and soldier on.
That's the key to being a professional author. Yes, I aim to create a steady stream of prose, some of it good and some not, but there are times when the distractions beyond my control. Those are the times when I revisit my dedication to and love for writing.
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| my new office assistant |
For it all comes back to that: the writing. The stories. I must tell stories, and I will be writing until they have to pry the pen from my clenched fingers. Some days, some months, are better than others, but I know I'll be back in the mode of 2000 words/ten pages before much longer.
If you are having trouble with distractions - first weeks of school, kids, sports, preparations for the holidays (gah!) - I feel your pain. Don't lose heart; come back to the storytelling. That's what it's all about.
If you are in Helena, Montana, I'll be there October 24 as part of their Big Read this fall. Their book is THE GREAT GATSBY, and
I'll be discussing "SIRENS In the Time of GATSBY" at the Lewis and Clark Library from 7-8:30PM.
On November 2, I'll be on a panel and giving a lecture at the
Bozeman Children's Festival of the Book at the Bozeman Public Library.
Both will be fun events, and I hope to see you there.
Last year I participated in a terrific event in Texas: the Montgomery County Book Festival. I met many fabulous authors but more importantly met many, many tween and teen fans who loved the opportunity to meet their writer heroes up close and hear us talk about our books. What a fabulous way to bring readers closer to writers!
This year, in order to host the Festival again, the librarians who sponsor it are offering a Writer’s Workshop Fundraiser, with bestselling authors providing a day of outstanding content (and donating their time!) for the low, low fee of $100.
Believe me, if I lived close by, I’d be there.
Just check out the offerings! Whether you live in the Houston area or anywhere within range, please consider the great content – plus, you’ll be raising funds for an awesome event.
The Writer’s Workshop is being held on Saturday, November 16, all day; and registration ends on November 10.
Today I'm delighted to welcome Mindy McGinnis, who has written a dramatic story: "a survival tale set in a world with very little fresh water." A fabulous concept and I fear all too possible. Here's Mindy:
Congratulations on the publication of your novel, NOT A DROP TO DRINK. As a student of science, I'm fascinated by your topic, and think you may be prescient. Can you tell us a bit about the story and what inspired it?
Unfortunately, I think I might be too! A lot of people have asked me about the inspiration for the book, and the truth is that it came from a dream. But the scary truth behind it is that the dream occurred after I watched a documentary called BLUEGOLD, which is about the very real possibility of a freshwater shortage.
How long have you been writing for children/teens? Have you written other books or is this your first effort?
I actually began by writing for adults, and I wrote three books that weren't publishable. Serendipity landed me in a job as a YA librarian, after which I realized that I was surrounded by my audience and immersed in the market -- -why not write YA?
Can you describe your path to the publication of NOT A DROP TO DRINK?
It was a ten year path, but mostly because I was starting in the wrong place. I landed my agent, Adriann Ranta, only after I realized I needed to do research and that just having talent wasn't the key. Even after having an agent, I was on submission for six months. Patience is key, in everything.
Do you have any advice for beginning writers?
Do your homework. Don't be afraid of the business side. You need to know what you're doing before you jump into this crazy game.
Can you tell us something about your personal life – inspirations, plans for the future, goals, etc.?
I knew from a young age that I wanted to be a writer, but I also knew better than to hang a shingle on it. So I found a day job that I knew I could be happy in first. I think that's key to being a happy person, regardless of whether you land the pie-in-the-sky writer gig.
Do you have any new writing ventures underway?
I recently signed another two book deal with Katerine Tegen books for two YA books to be released in 2015 and 2016.
Do you have a website where readers can learn more about NOT A DROP TO DRINK?
I am a lucky person. Lucky, lucky, lucky. First, I have the honor and privilege of calling Kathi Appelt my mentor and my friend. Second, I've had the pleasure of reading her latest book THE TRUE BLUE SCOUTS OF SUGAR MAN SWAMP, which is one of the sweetest, funniest, most delightful reads I've had in many a year. Third, I've been able to snag her to appear here.
I've known Kathi for many years, ever since my husband and I landed in Texas for what turned into a 17 year stay. Kathi was instrumental in nurturing my nascent passion for writing, and then twisted my arm until I went to Vermont College of Fine Arts. Now I'm thrilled to host her here in the very week that TRUE BLUE SCOUTS has been accorded the honor of being on the National Book Award longlist in Young People's Literature - which to anyone who has had the experience of reading this charming novel comes as no surprise.
And if you are a student of literature, Kathi's answer to the second question is a fabulous and thoughtful essay.
Here's my sweet friend Kathi:Right from page one of TRUE BLUE SCOUTS I’m convinced that I’m in the depths of an original “tall tale.” How did tall tales influence this story?
I think that tall tales as a genre are deeply rooted in regions. I’ve also always been fascinated by the stories surrounding Big Foot. He’s an icon of the American south, particularly those areas that are swampy and hard to navigate. So called photos of him always make him look like he’s made up of bits and pieces of the swamp with his mossy coat and huge feet and hands. So, it made sense to me to build a story around a creature who might actually arise from the landscape itself.
I know you feel strongly that there is an American mythology to be tapped/written – could you please explain what you mean?
Well, I love literature that has an element of magic to it, and of course fantasy by its very nature deals with some aspect of the magical. But when we think of fantasy as a genre, we immediately think of what I call the “European Model.” That is, a fantasy that is based upon a monarchical governing structure. There’s usually a “chosen one” at the heart of these tales, chosen not only because of lineage, but also because of some magical power, a power that has to be harnessed or granted or learned. The notion that a monarch is magical comes directly from the notion that they are direct descendants of God. It’s that whole Divine Right of Kings thing—it hardly gets more magical than that. And so, in a lot of modern fantasy, the basic structure begins with the notion that a chosen one will rise to power and become the leader of his or her people, as ordained by a higher power. (That’s generic, for sure, and overly broad, but it’s useful as a way to understand the basic underpinnings of fantasy as we think of it).
An American fantasy doesn’t have that underlying structure. In a democracy, we don’t have leaders who are pre-ordained. Instead we the people choose our leaders. So, the notion that a person can, via some magical power, become the ruler or leader of his or her people doesn’t work in a democracy. Thus, when American writers turn to fantasy, it often has a distinctly European flavor. Or at least I think it does. Americans still love princes and princesses. We really do love the notion of a chosen one. How great would it be, after all, if God chose our governmental leaders, or if the president rose to power because he harnessed the magic of a sword and conquered the opposing forces? Democracy is so messy in comparison.
So, the challenge, to me at least, is to figure out what a distinctly American fantasy would look like if you stripped it of the notion of kings and queens. I do think that tall tales are good examples—they tap into the idea of America being bigger and better than everyone else, and they’re largely designed to have, at their heart, a character who arises from a “regular” family—one who is not necessarily high-born or well-bred. They reflect, in many ways, the American dream: that anyone can achieve great things by being themselves and working hard.
Mostly, I think that American fantasy goes deeper than that, or it has the potential of going deeper in that it comes from the peculiarities of regions. I want to encourage writers of fantasy to find the magic in their locales. Unlike fantasy that is largely based upon the Divine Right of Kings, American fantasy comes out of the landscape, out of the flora and fauna and the sensibilities of a particular place. It also comes directly out of the people who live there, and have lived there.
It’s to tap into the ancient stories that the region has offered up, too. In this regard, Native American stories should be acknowledged as part of the literary tradition of a place and time. Just as modern Eurocentric fantasy owes an incredible debt to the Arthurian legends, so does American fantasy owe a debt to Native American tales, many of which form the basis for tall tales—especially trickster tales. The challenge is to discover them, to acknowledge them, and to weave them into the fabric of tales to come. I’m no expert on Native American literature(s), but what I do know about it tells me that it arose from the experience of living close to the natural world, that the elements themselves offered up forms of magic that were incorporated into distinct stories. So the task for the modern American fantasist is to look at the ancient stories of his or her setting, to at least try to see the magic in the local landscape that has been recognized for centuries, and to go from there.
Likewise, legends and tales that have been imported to our country offer up distinct possibilities for a deeply American form of magic. If you think of the stories of Toni Morrison and Virginia Hamilton, for example, they tap into the vein of tradition that came from Africa via slave ships, and then blend those tales with the politics and landscape of their time, merging them into contemporary tales that illuminate more fully what it is to be not only African American, but fully American.
In The Underneath, I studied every story I could find about hummingbirds. It’s surprising how many folk tales and legends I found about such a tiny bird. I tried to understand where the magic arose and tapped into that vein. Does it have to do with the bird’s quickness, her tiny size, her shape? What is it about the hummingbird that defies science and offers up the possibility of magic?
When I was writing Scouts, I kept asking, what would a creature who rose right up out of the swamp look like? What would he care about? What would matter to him? What experiences might he have had through the course of history? Just as a Djinn might rise up out of the dust of the Arabian desert, or a selkie might show up on the Isle of Man, maybe a swamp man might rise up out of the east Texas canebrake.
You plant some wonderful seeds in the narrative. I’m thinking especially of the threat, “I’ll need a boatload of cash,” and the saying, “when pigs fly.” (And how literally Chap takes these – so kid-friendly!) How much of this comes to you organically and how much comes with revision?
I would say that one percent comes organically and ninety-nine comes from revision.
And a related question: are you a pantser or a plotter?
I think I start out as a pantser, but once I get my characters established, I turn into an avid plotter. I confess to being a believer in outlines. Oh yes, I do believe in outlines.
And yet another related question: I love the asides that are little information grabs – DeSotos, hogs – and that tie so many things together. Did this story unfold in a linear way? Did you know from the beginning you’d be weaving these pieces through the story?
A lot of those little asides were happy accidents. For example, I had already decided that I would use a DeSoto for the car, largely because of the hood ornament. I also knew that I would have a rampaging batch of hogs—my Bonnie and Clyde figures—but when I sat down to do a little research on hogs, I almost fell on the floor when I discovered that the first feral hogs came to this continent on boats under the command of, yep, DeSoto. I had a lot of happy accidents like that. It’s one of the joys of writing.
THE UNDERNEATHand KEEPER are gorgeous stories with serious tone – both made me cry like a baby. TRUE BLUE SCOUTS made me cry, too, but in an entirely different way, with tears of laughter. What was it like to “write something funny” for a change?
By now you know that it was Cynthia Leitich Smithwho encouraged me to write something funny. At first, I didn’t really understand why she would send me a note telling me that. But it arrived at the end of a very difficult year for me, and as a friend, she sensed that I needed to take myself and my whole life a little less seriously. That is a good friend, who has the wherewithal to tell you something you may not be ready to hear. So, I’ll be forever grateful to Cyn for her honesty.
And it was exactly what I needed to do.
I have to say that I’m a believer in writing what you have to write. That’s not always an easy thing to do. Sometimes it’s painful; sometimes it’s egoistic; often it’s downright stupid. But often, it’s what your soul requires. Cyn is intuitive, and she could see what I couldn’t. I hope that I can be that person for my friends in return.
Is there a recipe for sugar pie, and if so can I have it?
You’ll have to ask Chap or his mother. But if you can talk them out of it, you have to eat it with a cup of Community Coffee.
Anything else you would like to share?
Only a big thank you for inviting me to sit down with you!
Kathi Appelt is the author of the Newbery Honor-winning, National Book Award finalist, PEN USA Literary Award-winning, and bestselling The Underneath as well as the highly acclaimed novels Keeper and The True Blue Scouts of Sugar Man Swamp, and many picture books. She is a member of the faculty at Vermont College’s Master of Fine Arts program. She has two grown children and lives in Texas with her husband. For more information, visit her website at http://www.kathiappelt.com/.
And if I ever find the recipe for sugar pie, I'll share with my devoted readers. Oh, and with Chef Armend Latifi, too.
This coming Saturday I'll have the privilege of sitting on a panel with four other authors: Cat Winter (IN THE SHADOW OF BLACKBIRDS), Susan Hill Long (WHISTLE IN THE DARK), Teri Brown (BORN OF ILLUSION), and my good friend Rosanne Parry (WRITTEN IN STONE). What do these excellent novels have in common with SIRENS? All our books are set in the 1920s. I'm truly looking forward to this event, and if you live in the Portland area, won't you stop by? We'll be at A Children's Place at 2PM, Saturday, September 14.
In anticipation, I've invited Rosanne to the blog today to talk about her novel and the writing life, and I think you'll agree that she is one smart and interesting lady, in addition to being a fabulous author.
Congratulations on the publication of your third novel, Written in Stone. Please give us a brief synopsis.
Pearl had always dreamed of hunting whales, just like her father. Of taking to the sea in their eight-man canoe, standing in the prow with a harpoon, and waiting for the whale to lift his barnacle-speckled head as it offers his life for the tribe.
But now that can never be. Pearl’s father was lost on the last hunt, and the whales hide from the great steam-powered ships carrying harpoon cannons which harvest not one but dozens of whales from the ocean. Pearl’s people, the Makah, struggle to survive as Pearl searches for ways to preserve their stories and skills.
As someone who has written about a very different cultural expression of the 1920’s, I’m curious to know why you chose that era as your time period.
When I decided to write about the tribes of the Olympic Peninsula I initially thought I’d write about the resumption of whale hunting which occurred in 1999. But as I learned more about the history of whaling and what the resumption of the hunt really meant to the Makah it occurred to me that the more interesting story was that they voluntarily gave up whaling in the early 1920s in response to a catastrophic drop in the whale population due to industrial whaling. How do you survive economically, culturally, spiritually, and socially when something that has been at the core of your identity so abruptly disappears? That’s a question that intrigues me, and cultural survival is an issue that I think will resonate with many people beyond the tribes in the story.
Beyond that I think the twenties are fascinating in terms of the shift from rural to urban living that occurred at this time and the changing role of women in the workplace and the fallout from the devastation of the First World War and subsequent influenza epidemic. Written in Stone touches briefly on all three of those issues. I chose 1923 specifically because Native Americans were not granted citizenship in the United States and the right to vote until 1924 long after thousands of them fought and died for their country in World War I. Everyone thinks of the Twenties in terms of women’s suffrage but there were many groups besides women who were still struggling to gain the right to vote for many years after the famous 19th amendment.
What kind of research did you do in order to capture the Makah culture of that period?
I was very fortunate to have the help and support of some of the women I taught with while I lived on the Quinault Reservation. They were great about answering my questions and giving me access to unpublished doctoral research about the tribe. I’ve been to the Makah Cultural Research Center many times and heard the chairman of the Makah Whaling commission speak about the role of whaling in his tribe’s history and their hopes for a whaling future.
Although I read quite a bit and there are many interesting books on the subject of Native American history, my favorite part of research is meeting people and hearing their stories. I love listening to an artist talk about carving in the workshop as the chips of cedar are flying. I loved to see the looks in my students faces as they were doing their traditional dances or watch the grandmother who came in to teach my student’s basket making. She brought in armfuls of sweet grass and raffia. With fewer than three sentences of instruction, but much encouragement to gather close and watch her hands, and a lively running conversation about the merits of various professional wrestlers, she had my students deeply engrossed in a craft in which they had just a few moments before loudly professed their lack of interest. Being fresh out of college myself I have to say her teaching technique was a revelation to me. And I’ll never forget how proud my students were of the baskets they eventually finished.
You write very deep and character-driven novels. Can you share techniques that you use to capture your characters? What about the character of Pearl, in particular?
I’m a great collector of writing tips and techniques and I love to try different things. For Pearl the key to getting at the heart of that girl was not so much a particular technique but a willingness to spill great quantities of ink in getting to know her. I finished the first draft of this story when my oldest girl was in the third grade. That girl graduated from college this year! In many ways Written in Stone is the book that made me a writer. I’ve written more drafts of this one than any other. It was in third person initially. I wrote several drafts in blank verse. I tried giving Pearl a more direct and contemporary voice, and an even more formalized storyteller’s voice than she has now. I think there is much to be gained, from rewriting a story many times from many different angles.
The heart of the matter, for me, came down to voice. I think Sherman Alexie does a great job of capturing a contemporary Native American voice. I think Graham Salisbury does excellent work with contemporary Hawaiian turn of phrase. When trying to write as I heard my Quinault and Makah neighbors speak, I couldn’t quite get the sound of the voice right. I was maybe 90% there but just as a violin a little bit out of tune is worse than one that’s miles out of key, I wasn’t willing to settle for almost right. So I gave the story a contemporary frame of a grandmother sharing her recollections with her granddaughter. This allowed me to use a slightly more formal tone and a storyteller’s turn of phrase, which suits my present talents better.
So that’s not very helpful in terms of concrete technique. How about this: if you love a story, don’t give up until you’re satisfied with it. :)
How do you find the ideas for your stories – which are quite varied?
I was just talking to some students about this. Although my stories are quite different from each other, one thing they have in common is the coming-of-age theme. The thing that’s so exciting and also terrifying about being young is that the whole world is possible and its up to you to make choices that in the end will narrow your life considerably. So how do you know what your talents are and what you ought to do with your life because of those talents? That’s a great question to think about and I hope for families and students and teachers to talk about as they read the books.
I also think one of the great pleasures of fiction is that it takes you to someplace new and different every time. Heart of a Shepherd is set on a contemporary cattle and sheep ranch in Eastern Oregon one of the most starkly beautiful and empty places in the world. Second Fiddle is set in Berlin and Paris in 1990. I lived in Germany at that time, the fascinating and unsettled year when the Berlin Wall came down and the Soviet Union, the lifelong enemy of the Unites States, disappeared completely. It was a fascinating time to live abroad and great fun to revisit two of the most interesting and artistically vibrant capitols of Europe. Written in Stone is set in the only temperate rainforest in North America. The Quinaults maintain the only stretch of wilderness beach on the west coast. Yes, it rains about 15 feet a year, but the Twilight books got this setting entirely wrong. It’s not dark or depressing on the Olympic Peninsula. After the morning mists roll away there are as many clear days as cloudy and there is nothing to compare with the abundance of the rainforest. I’ve got some pictures from the Olympic Peninsula over at my Pinterest page. Take a look for yourself. http://pinterest.com/rosanneparry/written-in-stone/
What are you working on now?
I am so excited about my newest project. It’s a series for younger readers and it has magic in it, both of which are new ground for me. The first book is called Jamie and the Dark. It’s a friendship story about a boy who makes friends with the Dark—a kid much like Jamie, but only a foot tall, who lives in the closet and has pockets full of stories. It has been such fun to write something funny and light-hearted that has a really interesting story-within-the-story element.
I also wrote a graphic novel script for the book, which was a fascinating process. I love thinking about a story in new ways and it was fun to think about the pacing of the story in a much more visual way.
I don’t have a publication date for Jamie and the Dark quite yet but I hope to have that all worked out sometime this fall.
Where can readers find out more about you and your books?
My website www.rosanneparry.com is the place to go for information about author visits and lots more goodies like a recipe for each book. I’m also on Goodreads and you can follow me on Twitter @RosanneParry.
If you are lucky enough to live in Portland Oregon, I’ll be at A Children’s Place bookstore with Janet and 3 other MG and YA authors who also have books out this year set in the 1920s. We are going to have a Great Gatsby party and lots of lively conversation about historical fiction. That event will be Saturday September 14that 2pm. I hope to see you there.
My other project for the fall is Wordstock, Portland’s book festival. I’ll be doing a writer’s workshop on Saturday October 5th at 3pm. My reading and book signing will follow that at 5:30pm, and I’ll be moderating a panel discussion on creating multicultural characters Sunday October 6th at 5pm. All the events are at the Oregon Convention Center.
Thanks Janet for sharing your blog space with me. I’m so looking forward to spending some time with you next month.
So am I!!
As many of you know (if you’ve followed my blog or my work) I’m a pantser. An organic writer. Every time in the past that I’ve tried to create an outline I’ve felt it killed my work, and inhibited me from the freedom of discovery that I believe is a key element to my personal creative process.
No one could get me to plan a novel and, believe me, they tried.
Enter
Scrivener. (Before I go any further, this is not an endorsement except of the most personal kind. Oh, and I’m a Mac user, and Scrivener was initially made for the Mac although there is now a PC version. But I can’t account for that one – so please sing out about it if you use it.)
But let’s take a step back, to the novel I’ve just finished as draft number 7.
This novel is a middle grade fantasy. The idea for it popped into my mind from the clear blue, and I wrote the first draft fast – so fast it was a blur. It’s a complex fantasy involving two points of view and two separate timelines that converge midway through the novel. When I was drafting, the POV was in fact omniscient with digressions into a closer third. I had multiple mini-chapters, and resorted to the old cut and scotch-tape in order to move one bit here and another there, to see if it made any better sense.
In other words, this document was a knotty, tangled mess.
It still has issues, and I only wish I’d discovered Scrivener before now.
I had just put this draft 7 aside for a rest when a new idea arrived (I love my muse - mwah!!). And I’d just finally bought myself a new computer, and while upgrading my software I thought, well, what about Scrivener? I’d had it for years and never tried it, so, what about it?
I decided that if I was ever going to play with new software why not at the beginning of a new project on a new computer, when I’m a bit in transition mode anyway.
Scrivener had eluded me in the past because it didn’t seem completely intuitive and easy, and I still think that’s true. But once I got started – even a little bit into it – I was hooked.
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| screen shot of the Literature and Latte site explaining Scrivener |
Scrivener is like the ultimate virtual Trapper-Keeper. I do a ton of research for each of my books: I collect photographs and maps; I collect links within links; I draw and mind-map. All of these pieces of information can be stored within a single Scrivener document to be retrieved instantly while I’m working. No more closing one window to open another, no more logging on and off line to get back to something that I’m hoping I can find again, no more digging through that pile of print-outs to find the one picture or map or tidbit of information that I know is somewhere in there.
Furthermore, Scrivener’s corkboard tool is awesome. I have several whiteboards and corkboards – all awkwardly huge and cumbersome – and they were my mind-map places, with sticky notes or index cards that inevitably fell off or became jumbled. In Scrivener, I can create a virtual corkboard that goes wherever my computer goes. I can move and replace and add; I can annotate and highlight and transfer. I can color-code; I can change the size of the index cards so that more fit on my corkboard, or fewer. I can even use an outline feature – but, no, that will never happen.
One of my friends said that Scrivener is a program made for writers by writers. In other words, it’s the perfect left brain meets right brain tool.
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| screen shot of my corkboard |
Here are several hints if you decide you want to try Scrivener.
- 1. Try it for free. The folks at Literature and Latte are really awesome and you can give it a test drive. And really, it’s not that expensive if you are willing to take a chance.
- 2. The written tutorials are good, but in my case my eyes glaze over with all that technical stuff. I just want to get on the road. So I watched the two introductory video tutorials, one short and one long (links in the Scrivener help menu), and they are terrific starters. I had to watch them twice but during the second run-through I had set up a practice manuscript, and I just paused the tutorial and practiced for a minute in the practice ms until I understood where to go and what to do.
- 3. Don’t make the mistake I did of filling in the template sheets without doing a save as first. I had to reconstruct the template sheets after I realized that mistake. (You don’t need the templates – but I thought they were rather nice.)
- 4. Figure out through practice how to toggle between the corkboard and your manuscript, and between showing the image and showing the synopsis in the sidebar. I thought I was going crazy – importing images that seemed to vanish – until I realized that they were waiting for me in the image mode.
- 5. Compiling seems to be one of the places people complain about. Compiling is transferring your manuscript to another platform, such as Word. I haven’t reached that stage; but I have copied and pasted a number of chapters of my new novel into Word without a single hitch or change in formatting (unlike what I’ve experienced in using Pages on my iPad, but don’t get me started on that.)
In essence, this confirmed pantser has become a kind-of plotter, thanks to Scrivener. The bottom line? I’m writing more words per day, more efficiently, and yet I’ve retained the creative flexibility that I cherish.
Now I need to go back to the fantasy and see if Scrivener will help me untangle those knots!
Uma Krishnaswami is one of my favorite people, not to mention one of my favorite authors, not to mention a true talent, crafting delightful middle grade books. Like her newest - The Problem With Being Slightly Heroic, a sequel to her charming The Grand Plan to Fix Everything - rich with humor, cultural interest, and fabulous characters. (Full disclosure: Uma was my advisor at Vermont College of Fine Arts during my critical thesis semester, and she Made. It. Happen.)
At my urging (okay, I had to beg...okay, I had to promise the Chef my own grandmother's secret granache recipe) Uma was able to persuade the one and only Chef Armend Latifi (yes, people, "Cooking With the Stars" Chef Armend!) to join me on the blog for an interview.
But before we go too far, we do have a giveaway!! There's a giveaway copy of The Problem With Being Slightly Heroic (U.S. addresses, please), so check out the Rafflecopter at the bottom!
Now, here we go into the Chef's inner sanctum...
Chef Armend, please forgive the intrusion into your busy schedule. I hope you don’t mind my stepping into your kitchen to ask you a few questions.
WHO are you? Blogs? What is a blog? Never heard of you. Young lady, listen to me. If your business is not haute cuisine, I have no time for it.
Um—can we talk…[looks around for inspiration] pastry crust? [Steps inside the door]. Please. Pretty please?
Whatwhat? You’re interested in pastry crust? Why didn’t you say so? Sit. Here. Take a look at that. Fine, yes? Look at that surface, that texture! That is a divine crust, you hear, divine. It is a symphony made with flour and butter and a delicate sprinkling of sea salt. [Stands there for a moment, lost in admiration of his own handiwork].
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[Interviewer happens to think her pastry crust is pretty darn good, thank you very much...um, sorry.] Chef, what is your opinion of rose petal milk shakes? Of rose petal chocolate cake? Of rose petals in general?
Rose petals? Rose petals? [Kisses his fingertips.] I am a connoisseur of rose petals. There are rumors flying around that I used to be allergic to them. [Mutters] That is all nonsense. You be sure and tell your readers—all fabrication and lies. I am a sensitive soul, that’s all, and roses are a vital part of my family history. As for rose petal chocolate cake, let me tell you that MY cake is to be entered in the next Great British Bake-off. They’re taking bets on it, I’m told—what do you think about that?
Most impressive, Chef. On another subject, how do you feel about your first meeting with Dolly Singh?
Whowhowho? Oh, Dolly. We have a good working relationship now, don’t get me wrong. But she—she’s a bit touchy. [Shudders.] All that jewelry she throws around. Touchy and unpredictable, and we will not even talk about that first meeting, nonoNO. [Slams hand down on counter, then shrugs.] Well what do you expect? From a movie star? Hey, they’re all like that. Try this dressing for my six-fruit compote. Is that a wondrous flavor? Tastetastetaste!
[Yum. Yumyumyum. Wipes lips.] I know you were very fond of your grandmother. Can you tell us a bit about her?
My Nona? My NONA! [Wipes eyes.] She was a SAINT. A saint, but could anyone win an argument with her? ANYONE? NO, I tell you, no. My Nona was the cleverest woman in the world and the bravest and the kindest, the sweetest, the best. She used to read poetry to me—about love, suffering, solitude, death. The thorns that plague all rose bushes. Beautiful, simply beautiful! Do you have a grandmother? DO you? Grandmothers. They are all saints!
[See intro re ganache, which recipe interviewer politely and slyly slides across the table...] Maybe you could give me some culinary advice. I have this recipe for chocolate-cucumber-mint….
Cucumber? Chocolate-cucumber-mint? [Shakes head violently.] In a word…NO! And now thank you very much but I have work to do, WORK! Unlike some people who spend their time writing in blogs. Ha! [Takes notes as interviewer leaves and can be heard murmuring]. Chocolate. Cucumber. Huh. Mint? Hmmm.
Want more from the Chef? I do!! Here you go:
Uma Krishnaswami is the author of several books for children, including the first story featuring Dini, Maddie, and Dolly, The Grand Plan to Fix Everything. She is also on the faculty of the Vermont College of Fine Arts MFA program in Writing for Children and Young Adults. Ms. Krishnaswami was born in New Delhi, India, and now lives in Aztec, New Mexico. To learn more, visit her website: http://www.umakrishnaswami.com/.
Follow all of the unforgettable characters from The Problem with Being Slightly Heroic on Uma Krishnaswami’s blog tour!
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Mon, Aug 19 | GreenBeanTeenQueen | | Dini |
Tues, Aug 20 | There's a Book | | Maddie |
Wed, Aug 21 | Once Upon a Story | | Soli Dustup |
Thurs, Aug 22 | The Compulsive Reader | | Dini's father |
Fri, Aug 23 | Sharpread | | Chickoo Uncle |
Sat, Aug 24 | Booking Mama | | review |
Mon, Aug 26 | Read Now, Sleep later | | Mini |
Tues, Aug 27 | I Read Banned Books | | Dolly |
Wed, Aug 28 | Through the Wardrobe | | Chef Armend Latifi |
Thurs, Aug 29 | The Book Monsters | | Ollie |
Fri, Aug 30 | The Brain Lair | | Alana |
I've been taking Katie Davis's Video Idiot Boot Camp and learning a ton of fun stuff about making videos. The lessons are comprehensive and I've only begun to scratch the surface, but here's my first little creation, made through an awesome app called Powtoon:
The plan is I'll put it somewhere on my website, perhaps as part of a larger piece. Stay tuned!! (Or Tooned......)
Authors are moving to independent electronic publishing with astonishing results.
No longer is independent publishing “self-publishing” or “vanity publishing” with negative connotations. It’s a little hard for a traditionally-pubbed author to feel superior to someone who sells 5000 e-book copies a month, reaches the Times bestseller lists, and/or makes over a million dollars a year.
Yes, I’ve met or corresponded with more than one of these successful authors.
After listening to any number of tales from trenches, I’ve got a few thoughts on the new world order. If you are considering taking the plunge into publishing your book electronically, here are some things to ponder.
- Write a great story. Regardless of anything else I say, this is the only way to be truly successful. That means writing a story that captivates the reader with worthy characters and a strong plot, a story that doesn’t bewilder or bore, a story with an arc and a satisfying ending. And the writing needs to be grammatically correct and error-free.
- Consider your readership. Some genres are more successful as e-books than others. Romance, in particular, has a vast audience of readers willing to read quickly and often, who are used to purchasing an inexpensive book every few days, and are loyal to authors and sub-genres. Mystery readers are right behind romance readers in appetite. Science fiction and fantasy for YA and older is good. Literary fiction? Middle grade? Not quite there yet. Resources: http://www.youtube.com/watch?v=w5NRfjnOAu8
- Hire an editor. Even if you think your book is perfect it pays to hire a freelance editor to give you holistic plot advice, and/or to copyedit your text for grammar, punctuation, etc. Resources: http://www.the-efa.org/ , http://www.free-expressions.com/service-overview/
- Create a fabulous cover. Most of us are visual, and most readers choose their reads based in large part upon the cover. For your book to find an audience, it must have an attractive cover and one that translates to thumbnail size. If you’re not an artist, or are not facile with Photoshop, pay someone to make you the perfect cover. Resources: http://www.bookcoverpro.com/, http://www.earthlycharms.com/home.htm
- Hire a formatter. For books to be uploaded onto Amazon, Barnes & Noble, or any of the other e-book vendors it must be formatted correctly. Yes, you can do it yourself, but unless you are gifted in formatting I suggest hiring someone to do that bit for you. Resources: https://kdp.amazon.com/self-publishing/help?topicId=A2MB3WT2D0PTNK, http://mcwriting.com/MC/eBooks_ePubs.html
- Consider these costs. Editing costs range from the hundreds to the thousands. If you are already a strong writer, you could hire a grad student from your regional college to copyedit. Cover costs run in the mid to high hundreds. Formatting costs in the few hundreds of dollars. The writers I’ve heard from have paid between $500 and $1000 to get their books ready to market. Resources: http://www.pbs.org/mediashift/2013/05/the-real-costs-of-self-publishing-book(I do think the numbers in this article are on the high side, based on personal feedback I’ve had with successful authors.)
- Tag for your audience. Metatags for your book should be correct and targeted. That’s the only way for readers to find your book among the millions of e-books. Consider genre, sub-genre, regional flavor, age range, and character hobbies among other things. Be truthful, or you’ll turn readers away. You should check your “subject keywords” as you upload content. Amazon only allows for two categories per book. Resources: https://authorcentral.amazon.com/gp/help?ie=UTF8&topicID=201231280
- Consider a low starting price. One best-selling author I’ve met launched her first e-book on Amazon for $0.99, with a royalty rate of 35%. Within a couple of months she was selling 5000 copies a month. A year later, when she launched her second book, she’d gained enough of an audience to give book two a $2.99 price point and still sell at the same rate. With an Amazon author royalty rate of 70% for books priced between $2.99 and $9.99, you do the math. Caveat: the vast majority of authors don’t even make back their expenses. Resources: http://www.authorems.com/money-matters/tracking-sale/
- Grow your audience. The best way to grow your audience is by writing your next book. The second-best way is to participate in social media. That means having a website, Facebook author page, and a Twitter account, at the very least. And keep it all current without driving yourself insane. http://www.pbs.org/mediashift/2013/02/guy-kawasakis-10-social-media-tips-for-authors045
- Keep up with changes. The publishing industry is experiencing a revolution. What I say today (except for the part about writing a great book!) won’t be relevant tomorrow. Be aware of industry developments. Join a group like Romance Writers of America, SCBWI, or Mystery Writers of America.
If you decide to go for independent publishing, please share your experiences, and if I can I’ll feature you in a follow-up post.
K.A. (Kelly) Barson and I overlapped at Vermont College of Fine Arts, and I couldn't be more delighted to host her on my blog this week. She's terribly funny and insightful, and I'm imagining that her novel, 45 POUNDS (MORE OR LESS) will reflect her temperament. Plus, she routinely streaked her hair different colors - purple was my favorite. How can you not love that? And, her debut was selected as an Amazon editor's pick for best teen book for July!
Here's Kelly:
Congratulations on the publication of your novel, 45 POUNDS (MORE OR LESS.) Can you tell us a bit about the story and what inspired it?
It’s about a sixteen-year-old girl who wants to lose 45 pounds (more or less) before her aunt’s wedding. It was inspired by my desire to write a book about a real girl who is overweight, but her biggest battle is within her own head.
How long have you been writing for children/teens? Have you written other books or is this your first effort?
I’ve been writing seriously since 2004. This is not my first effort, but it is my debut novel for publication. I have other manuscripts. Some are submittable, others are far from it.
Can you describe your path to the publication of 45 POUNDS (MORE OR LESS)? Did your Vermont College experience play a role?
VCFA played a huge role! The manuscript would never have been in the shape it was in if not for Martine Leavitt’s and Rita Williams-Garcia’s questions and direction and, of course, two workshops full of brilliant faculty and students who made me think about what worked and what didn’t.
Do you have any advice for beginning writers?
Don’t be in a hurry to submit. Concentrate on craft for at least 10,000 hours. Read at least 1,000 books. I’m not exaggerating. I’d heard that early on, but was too eager to publish to listen. I regret it now. Focusing on submissions before I had something worth submitting only added more time to my process, which from beginning to release is about nine years.
Excellent advice, Kelly. Can you tell us something about your personal life – inspirations, plans for the future, goals, etc.?
I love spending time with my kids, grandkids, and dogs. Oh, and my husband, parents, and friends, too! People inspire me, so as long as I can be around people some of the time and be alone long enough to write the stories they inspire, I plan to continue doing that as long as I can.
Do you have any new writing ventures underway?
Yes! My next novel, also a YA contemporary and also with Viking (Penguin), is about a high school cosmetology student who thinks she has her whole life planned out and under control until it all falls apart. She has to figure out how she contributed to it before she can figure out how to fix it.
Do you have a website where readers can learn more about 45 POUNDS (MORE OR LESS)?
Bonus question: what was the name of your VCFA graduating class, and how did you choose it? (Note: in the Writing for Children and Young Adults program each class takes a name, that is a huge secret until it is revealed during a performance. Yes, we do have fun!)
I am a Bat Poet (Jan. 2011). We chose our name based on Randall Jarrell’s adorable book by the same name. (Maurice Sendak did the illustrations.) In the book, a little bat wants desperately to write something that people want to read/hear. SPOILER ALERT: He does, and the woodland creatures pay him in crickets for his work. Our class related to the little bat—his longing to create art that readers relate to, his insecurity about whether anyone would, and his desire to be paid for it—so that’s what we called ourselves. I love my Bat Poets!
I know THE GREAT GATSBY has been overshadowed by flashier summer fare, but, if you missed it in theaters, don't miss it when it comes to your living room. Here's my take...
Up-front confession: I’m a big fan of Baz Luhrmann. Not to mention Leo DiCaprio. But I don’t think those predispositions got in the way of my major two-thumbs-up response to Luhrmann’s interpretation of F. Scott Fitzgerald’s The Great Gatsby.
When the novel about the mysterious but wealthy Jay Gatsby’s (DiCaprio) love for and attempt to steal away the unhappily married Daisy Buchanan (Carey Mulligan) was published, it received mixed reviews, and Fitzgerald died disappointed – almost penniless and having wasted his body with alcohol. Luhrmann chooses a framing device for the movie where narrator Nick Carraway (Tobey Maguire) serves as a stand-in for Fitzgerald, by drafting the story to his psychiatrist in later years. For me, this works because of the instant association with the author, and the kind of posthumous approval he receives through the character of Carraway.
Luhrmann’s interpretation works at every level: how Daisy’s husband Tom (Joel Edgerton) doesn’t like to lose at anything (just look at those trophies in the opening segment!), and he won’t lose Daisy, no matter what. How Tom doesn’t want to be known as a polo player, and Nick doesn’t want to be known as a writer, and Jay doesn’t want to be known as a poor boy – and who are they all, really? How the two small parties – the orgiastic party that Tom compels Nick to attend with Tom’s mistress near the beginning, and the destructive party in the Plaza near the end – are mirrors but also opposites.
The movie is lush and opulent and natural imagery pops off the screen – even in 2-d – in vivid color. Skies aren’t just studded with stars: they are overwhelmed by the majesty of the infinite. Flowers don’t just bloom: they drip and ooze such that I could swear the air is perfumed. The costumes are lust-for gorgeous, and the music, though contemporary, fits so perfectly that it slips seamlessly, but beautifully, into the effect. And the visual impressions Luhrmann makes with Gatsby’s fabulous parties are beyond eye candy – they are excessive with glitter, noise, laughter, frivolity, class and race disparities, drunkenness, hedonism, waste.
When I was writing Sirens, my touchstone was Gatsby. The 1920s are revered as “high times”, but those high times hide dark secrets and even darker social injustices. And Luhrmann gets this in spades.
Today I want to welcome Tara Sullivan, whose debut novel GOLDEN BOY sounds like a beautiful and moving story. And isn't that a gorgeous cover? It's already received a starred review from Kirkus among other high praise, and I'm betting we'll be hearing a great deal about this novel in the months to come.
Congratulations on the publication of your novel, GOLDEN BOY. Can you tell us a bit about the story and what inspired it?
GOLDEN BOY tells the story of Habo, a boy who has never been able to blend in. His white skin, yellow hair, and light eyes set him apart from his Tanzanian family. When poverty forces the family from their small farm and they seek refuge in Mwanza, Habo finally discovers there is a word for what has always been different about him: albino. But they kill albinos in Mwanza. Their body parts are thought to be lucky, and soon Habo is hunted by a fearsome man wielding a machete. To save his own life, Habo must run, not knowing if he can ever stop.
Sadly, though GOLDEN BOY is a work of fiction, it is based on reality. About three years ago, when I came across a news story that told about the kidnapping, mutilation, and murder of African albinos for use as good luck talismans, I was horrified, and struck by the topic on multiple levels. The grown-up in me, the one that studied for a dual Masters in Non-Profit Management and International Studies and worked with village micro-finance and refugee resettlement programs, wanted to publicize this human rights tragedy. The kid in me, the one who grew up overseas, burning in the tropical sun and drawing stares in every crowd, wanted to tell a story about what it must feel like to be a kid who has those problems in the extreme. So I wrote GOLDEN BOY.
How long have you been writing for children/teens? Have you written other books or is this your first effort?
This is my first publishable effort. Five years ago, after grad school, I decided to take advantage of the time I was job hunting to really give writing the best shot I could. I took classes in craft, attended conferences, and produced a picture book, and early reader, and a young-MG chapter book. But none of them had strong enough stories to pull me through the revision process like GOLDEN BOY did.
Can you describe your path to the publication of GOLDEN BOY?
I kind of snuck in the back door finding my amazing agent, Caryn Wiseman of the Andrea Brown Literary Agency—she offered to read my full manuscript after doing a presentation to my writers group. (You can read all about it here if you like!) During our editing process I took a trip to Tanzania and walked the path of the book to make sure I was getting everything right. A few full-book edits later, Caryn sold GOLDEN BOY to Stacey Barney at G.P. Putnam’s Sons/Penguin. I was incredibly fortunate to have this happen, because Stacey put in tons of hard work to make my book better than I ever imagined it could be. And now… over a year and a half since it got acquired, GOLDEN BOY is hitting shelves!
Do you have any advice for beginning writers?
Get ready to work really, really hard. Surround yourself with a writers group that is professionally committed to improving their writing and yours. Develop a thick skin fast and be willing to listen when people tell you things aren’t working. Remember that they’re just trying to make your story better, not attacking your core idea or you as a person. Write through writers block—it won’t go a way otherwise. And lastly, but most importantly: try to keep perspective on how amazing it is to do this! There are bumps at every stage along the road to publication, but I for one feel so fortunate to be able to spend this much time pursuing my dreams I think it’s important not to lose that gratitude as we jostle along.
Readers take note: this is all excellent advice. Can you tell us something about your personal life – inspirations, plans for the future, goals, etc.?
I hope that the future will continue to have a balance of the things I love about where I am right now: teaching high school Spanish, writing contemporary middle-grade fiction, and spending time with my family and my big furry mutt. If I could add one more thing in and not go crazy, I would go back to learning fiddle too.
Do you have any new writing ventures underway?
Indeed! I’m deep into writing another book—not a sequel, but another stand-alone human rights book. I’m traveling to Haiti next month to do some on-the-ground research and I hope next year I’ll be pushing that story along the path to publication too.
Do you have a website where readers can learn more about GOLDEN BOY?
Absolutely!
Bonus question: chocolate or ice cream? Dog or cat? Mountains or ocean?
Ice cream… usually.
Dog, unless it’s small and yippy.
Ocean only if it’s cold & rocky.
Thanks so much, Tara!
When I invited 2k13 debut author Demitria Lunetta to write a guest post about her debut YA IN THE AFTER she agreed, and offered to explain the situation in her story from her character Amy's point of view. And what a story this is! Thrilling and chilling, this tale of post-apocalyptic horror sounds like an awesome read. You can find out more about the novel and Demitria here: http://demitrialunetta.blogspot.com/
Here's what Amy thinks about her frightening situation:
I only go out at night.
The creatures are everywhere during the day. They shuffle around in the sunlight, searching for food. I have nowhere else to go, so I hide on the roof of my house and peer at them through binoculars. They seem so decrepit. Their skin is a sickly pea green, their eyes milky yellow-white. They can't see very well, but even now They search. They hunger after human flesh. But They will not find what They crave. All the people are gone, devoured by them within the first few days.
They may not look like They should be a threat, but They are incredible hunters. They hear even the most silent of footsteps. Every breath, every sound. Even now, one of the creatures' head jerks around at the sound of a pigeon landing on a nearby garbage can. In an instant its posture completely changes. No longer does it wander aimlessly. It snaps to attention and in a flash pounces on the bird, grabbing it mid flight with its long yellow claws. I close my eyes as feathers fly and the creature bites into the bird's flesh. I force myself to open my eyes and watch as it greedily bites into the pigeon, consuming it, bones and all, in seconds.
I've had enough of watching Them. It's time to retreat into my house and read about how life was Before the creatures came. I slowly stand and turn toward the stairs, only to clumsily let my binoculars slide from my fingers and fall to the ground with a horrifying crash, the glass lenses shattering. I freeze as all the creatures within hearing range rush to my house. I drop into a crouch and watch Them throw themselves against the electric fence, their pale, puke colored skin sparking where it touches the metal. I crawl slowly backwards, out of view, and wait for the sounds of struggle to stop. They will forget in a moment, wander off. They may be deadly, but they are not smart.
I rest my head in my arms and wait for Them to lose interest. How have They beat us, these mindless, hungry creatures? I ask myself. How did we let ourselves become food for another species? How can aliens be real? I cradle my head and wonder how long can I survive this half life, alone in the After.
- Amy Harris, Age 14
Today on the blog I'm delighted to host debut author Kate Quinn, answering questions about her YA novel ANOTHER LITTLE PIECE. Here's a short take: "The spine-tingling horror of Stephen King meets an eerie mystery worthy of Sara Shepard's Pretty Little Liars series." It sounds amazing, and it's out tomorrow!
Congratulations on the publication of your novel, ANOTHER LITTLE PIECE. Can you tell us a bit about the story and what inspired it?
The story is about a girl who disappears from a school party covered in blood and then is found a year later, hundreds of miles from home with no memory of who she is or where she's been. What makes this different from other amnesia stories out there, is that as Annaliese begins to remember she becomes more and more convinced that she is not really Annaliese and that she has done something terrible. I have no idea what inspired this story, it really came together piece by piece, in pretty much the same way that the story unfolds for Annaliese and the reader.
Eerie! How long have you been writing for children/teens? Have you written other books or is this your first effort?
This is my first young adult book. Previous to this book, I'd written a romance novel and an urban fantasy for adults - both of which are now hidden at the bottom of the 'my documents' folder on my computer.
Can you describe your path to the publication of ANOTHER LITTLE PIECE?
I think my path was pretty typical. I wrote the book, sending bits of it to my wonderful crit partner along the way so that I could incorporate her feedback. After I finished writing the first draft, I let it sit for about a month before tackling revisions. Then it was time to query agents. Since I already queried two other books, this was relatively easy. Easy, as in I knew what to expect. NOT easy as in, I'd learned to laugh in the face of rejection, because no, rejection always stings. However, I was lucky in that a month after I'd sent out my first query I received an offer from an agent - and then three other offers as well. I ended up signing with Alexandra Machinist of Janklow & Nesbit. I did a quick round of revisions for Alexandra and then the book went out on sub. Again, I was a lucky. It only took a week before my book sold to HarperTeen!
Wow - that's not just luck; that's talent. Good for you! Do you have any advice for beginning writers?
It's the worst advice, because it is so easy and yet also so hard. JUST KEEP WRITING. I still struggle with this. Generating ideas inside my head is simple, but pushing them out onto paper is much more difficult. When I am writing a first draft especially, I really have to force myself to sit down and write.
Can you tell us something about your personal life – inspirations, plans for the future, goals, etc.?
As of now my plan for the future is to keep writing for as long as I possibly can. This is what I've wanted to do since I was in second grade. It took me awhile to get there, which was painful at times since I tend to be rather impatient and want things now. But, looking back, I have to say - the journey was worth it.
Do you have any new writing ventures underway?
I am right now working on the second set of edits for my next book with HarperTeen titled (DON'T YOU) FORGET ABOUT ME
What a great title - I'm already humming the song. Where can readers connect with you and learn more about ANOTHER LITTLE PIECE?
Oh lots of places.
Twitter @katekaryusquinn
Bonus question: what's your superpower?
I am Super Worrier. I can see the potential danger in even the most mundane of activities, and subsequently worry myself silly over it.
A pair of novels featuring a strong young woman, and set in 1920s Montana? Absolutely!! And both of Heidi Thomas’s novels are award-winners, too. Here’s a summary of the first, Cowgirl Dreams:
Nettie Brady should have been born a boy. She wants to do everything her brothers can on their Montana ranch. When, at age 14, she successfully rides a steer at a neighborhood rodeo, her life is changed forever. She wants to be a rodeo star.
The problem is, her mother thinks rodeo cowgirls of the 1920s are “loose women” and that Nettie needs to learn how to be a lady by playing the piano, doing needlework and cooking. Nettie could care less about these ladylike pursuits and takes every opportunity to defy her mother, sneaking out to participate in rodeos, helping her brothers train roping horses, and going to work for a neighbor who raises rodeo stock.
Add to her obstacles the death of a baby sister from influenza, Nettie’s broken wrist from riding a steer, and her older sisters’ skepticism. Nettie’s dream keeps getting put on hold.
After meeting young, handsome neighbor Jake Moser, Nettie gets a job with him, gradually falls in love, and they elope to escape Mama’s plans for an elaborate, fancy wedding. Mama shuns Nettie, afraid of neighborhood gossip that may ruin the family's good name.
Eventually, Nettie returns home and reunites with her mother. She rides in a rodeo, with her family’s blessing. Finally, she realizes being a girl isn’t so bad.
Her dreams are about to come true.
And here's Heidi:
Cowgirl Dreams and its sequel, Follow the Dream, were inspired by family history. Can you tell readers a bit about that inspiration?
After my grandmother died when I was 12, my dad mentioned that she had ridden bucking steers in rodeos when she was young, alongside Montana’s World Champion Bronc Rider, Marie Gibson. I thought that was a pretty cool thing for a grandma to have done, and I filed that tidbit of information away until years later when I began to write fiction. So far I have two novels published and a third coming soon (all loosely based on my grandmother’s life), plus I’m writing a non-fiction book about those old-time cowgirls of Montana. Four books resulting from an off-hand piece of family history fifty years ago!
I understand you grew up in rural Montana. It sounds like an idyllic childhood, one that directly influences your work. How much of your experiences play into your stories?
First of all, I like to attribute my sense of independence and my inner strength to the way I was raised on a ranch in isolated, rural eastern Montana. My parents taught me to think for myself, stick to my convictions, and live the Golden Rule. Also, we lived under similar circumstances to my grandparents when they were young—no electricity until I was six years old, attending a one-room country school with a total of four students, no TV until I was 12, and no indoor bathroom until I was a junior in high school (where I lived in a dormitory during the week). Because of that, I could identify with how my grandmother grew up and had to run her household. In addition, I grew up with a strong sense of place for the high plains prairie, an understanding of the people and the courage it took to live there, and a love of animals.
Can you tell readers a bit about how you got your start in writing?
I often tell people I think I was born with ink in my veins. My parents read to me and I loved stories. I made up little stories and then when I learned my ABCs, I started to write them down. I remember setting up a little “office” in the abandoned coal shed near the house, with a wooden box for a desk, a lined tablet and several sharpened pencils. I was a “writer.” So I’ve always loved to write, and I went on to earn my degree in Journalism at the University of Montana, worked for a newspaper for many years, then did freelance work, and then returned to my first love—fiction.
Your books could be classified as “new adult” – a cross between YA and adult. Would you agree with that?
I like that term. I did write the books for adults, but kept it suitable for young adult readers. I hope they can serve as inspiration for young readers—whether they like “western” stories or not—to follow their dreams.
What’s your favorite bit of writerly advice?
Perseverance. Read a LOT, study and practice the craft, and keep on submitting. When I started sending out fiction, I decided I would try to collect 100 rejections, because I’d heard that some big-name authors had received that many. And, I thought it might soften the blow of getting numerous “No’s”. I actually had collected about 35 by the time my first book was published, so I felt like I was a little ahead of the game.
I see that you have a couple of sequels planned in your series. Can you tell us a bit about them? When can readers find them in bookstores?
My third book, Dare to Dream, is a continuation of the Nettie Moser story, set in the 1940s, when women’s participation in rodeo was reduced from competing with men on bucking broncs and bulls to the role of “Ranch Glamour Girls” (or non-competing rodeo queens). I was hoping it would be out this year, but because of a change in publishers, it will probably not be published until early next year. My non-fiction book, Cowgirl Up! is also scheduled to come out in late 2014. The fourth book in my “Dare to Dream” series will feature the next generation and a new heroine, based on my mother who emigrated from Germany after WWII. And the fifth book in the series will be the great-granddaughter of the original character and more of a contemporary piece of fiction.
What’s the best place to learn more about you?
Thank you for hosting me, Janet. It’s always great to connect with another Montana gal!
Likewise!!
When I invited Polly Holyoke to come on board and submit to an interview, she had a better idea...little did I know she has a gift for puns and a subject - her debut novel THE NEPTUNE PROJECT - that lends itself to that kind of riff.
Not that the story itself is funny; it sounds like an underseas thrill ride, and as someone with a degree in oceanography, I'm totally hooked. Here's the synopsis:
"Nere is one of a group of kids who have been genetically altered to survive in the ocean. These products of the "Neptune Project" are supposed to build a better future under the waves, safe from the terrible famines and wars that rock the surface world.
But there are some big challenges ahead of her: no one ever asked Nere if she wanted to be part of a science experiment; the other Neptune kids aren't exactly the friendliest bunch, and in order to reach the safe haven of the Neptune colony, Nere and her fellow mutates must swim across hundreds of miles of dangerous ocean, relying on their wits, their loyal dolphins and one another to evade terrifying undersea creatures and a government that will stop at nothing to capture the Neptune kids...dead or alive."
And here's Polly:
So, Polly, I'm going to dive right in with my questions. Do you really think The Neptune Project is going to make a splash?
Well, I hope the book will reel in young readers and that they will read it in schools. It’s always great if a book can make waves. I think the tide of public opinion is finally shifting, and people are starting to realize that climate change is truly a problem.
Not to carp on the topic, but what if your sales plunge because you’ve tackled a difficult environmental issue?"
I doubt that happens, but I have no regrets. I had a whale of a time writing The Neptune Project.
Why do you think The Neptune Project sold in the first place?
I did go against the current by writing a book that is set almost entirely in the sea, if you catch my drift.
Did you have any problems finding a reputable agent? There are lots of sharks out there.
No, I was lucky to land the fabulous and very reputable Douglas Stewart at Sterling Lord Literistic on my first cast. He’s truly a pearl of an agent.
You must have been so pleased when KIRKUS gave Neptune a nice review. It’s like getting their SEAL of approval. How is your current book progressing?
I have to say it’s going swimmingly.
Do you have any fin-al words? Please don’t clam up on me now.
I’d like to dedicate this blog interview to my esteemed British Agent Shirley Stewart, who won our last sea pun engagement fins down. But we Yanks are a stubborn bunch, and I haven’t given up yet. I also want to thank you for letting me indulge my fondness for this punishing kind of humor.
I don’t think either of us or our readers can take much more of this. We really shouldn’t go overboard. We are fin-ally fin-ished here.
When blogger Gabrielle Carolina - one of the sweetest bloggers out there - asked if I'd like to participate in a blog tour highlighting SIRENS around the release of Baz Luhrmann's new film version of The Great Gatsby, I jumped for joy. For one thing, Gabrielle has treated me royally in the past. For another, I was thrilled to support her in her new enterprise, ModPodgeMarketing.
She suggested that I write guest posts for each of ten stops. I decided to make them kind of "mini-lessons" on the 1920s - hopefully not dry lessons, but interesting little facts and tidbits. They are, in a way, linked; if you are curious, you might want to read them in sequence.
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| Sybil's pants! Downton Abbey |
So...we're on the tour now, and here are the stops and the topics en route. And I want to give a shout-out to the fabulous bloggers who participated - and those who reblogged or reposted - THANK YOU!!
1.
Alice Marvels blog - How the "Great War" (World War 1) led directly into the Roaring Twenties.
2.
Mod Podge Bookshelf - Women's Suffrage in 1920 and those awful corsets (gone forever, we hope.)
3.
Rebecca's Book Blog - Women's fashion in the 1920s (one of my favorite subjects): Coco Chanel and those sweet slinky styles.
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| One of the best clubs of the '20s |
4.
Chapter By Chapter - How flappers and gents of the 1920s partied like it was 1999.
5.
Reading Teen - Prohibition! Or...why speakeasies were also called "blind pigs."
6.
Little Library Muse - Gangsters may be cool but really...not. And their molls lived equally short lives.
7.
Mundie Moms - There was a Wall Street bombing in 1920? Yes, and the similarities are uncanny.
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| Flappers! |
8.
Fire & Ice - Ghosts, spirits, life after death, and Harry Houdini - and what that had to do with the Roaring Twenties.
9.
The Book Rat - All that jazz. Satchmo and more. Yeah, baby.
10.
Pieces of Whimsy - The Gatsby itself: Scott and Zelda, the novel, the times.
I hope you enjoy these "histories" because I had fun putting them together!
And if you like 1920s fashion, as I do, check out this cool video:
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I think you've just tipped me over the edge--I've been toying with Scrivener but wondered about its appropriateness for a pantser. It sounds like it might help me untangle my current WIP!
Tracy - I can't imagine you'll regret it. It's so flexible that you can plot (or not) as much as you need to. The fabulous thing is that all my research is now in one place, and I feel like I can "see" the entire manuscript - even the gray areas!
Sigh. You're about the fifth person to praise Scrivener. While revising a novel, I tried Scrivener. I probably should have waited until I started another novel. I already had my research files nicely organized. But I'll eventually work on another novel, so perhaps Scrivener is the way to go with that!
Interesting that you should mention that, Linda, because I've been wondering just how hard it will be for me to use as a revision tool. I'll let you know if I try!