Tag Archives: author interview

Writing about cancer: talking craft with Dean Gloster

This month, after devouring Dean Gloster‘s debut YA novel Dessert First, I just had to track down the author and hear a bit about the story behind the story. How did he come to write this poignant novel? Lucky for me, Dean is currently studying in the MFA program at my alma mater, Vermont College of Fine Arts, so I found him there, and he made time in between MFA assignments to talk craft.

A.B. Westrick: Hello, Dean, and welcome to my blog!

Dean Gloster: Thank you for having me!

ABW: I want to start with a question about the funny-sarcastic parts of this book, but first I need to tell readers a bit about the story because a whole lot of the book really isn’t funny at all. From the title and cover art, readers might think the book includes a few recipes, but… no. Dessert First is the story of 16-year old Kat Monroe and the many issues in her life, beginning with her brother’s cancer relapse (leukemia), and including soccer girl bullies, a former boyfriend, and academic woes. Life is pretty rough, but Kat tries to keep up her sarcastic-funny side. So my first question is where this character and her sense of humor came from. Your bio says you’ve done stand-up comedy. Is it easy for you to write one-liners? Do teen characters bring out a natural snarkiness in you?

DG: Humor does come naturally to me and Kat’s voice came easily, in part because I channeled 16-year-old me. (Back then, I also had anger that came out as sarcasm, and that did not serve me well with peers.)

ABW: Ah-ha, so there might be other teen-you stories that you can resurrect for future novels. But sticking with Dessert First here, Kat sounds totally authentic. I’d love to hear you reflect on the challenge of writing outside your gender. You’re a guy and Kat’s a girl, and why did you decide to write this story from a girl’s point of view?

DG: Kat and her voice arrived before there was a story—I wrote one scene late in the book (the fight with Kayla) and then had to figure out what would lead Kat to that. Her bond with her younger brother, Beep, her struggles with her older sister, her trying to navigate her friendship/romance with Evan, her difficulties with other girls at school, and her being a partial caretaker for her family as a parentified child seemed to fit a female character better than a male one. It helped, in writing her, that she was an athlete—a soccer player—because I had coached girls’ soccer for many seasons, and I approach the world like an athlete. (My hobby is ski racing.) I got praise from my agent and editor and reviewers for how authentic Kat sounded, which was gratifying and reflected lots of editing and revision I’d done to take out what didn’t work.

ABW: You definitely nailed her voice. And thank you for sending pictures of you ski racing! I especially like the one you labeled, “What? Me worry?,” taken just after you’d lost a ski. Go, Dean!

Okay, now let’s get back to the book and talk about social media. I thought you handled it deftly in the story. Your characters friended and unfriended each other, cyber-shamed peers, communicated “I love you” online rather than in person, and even “attended” a prom via Skype. Social media platforms didn’t exist when you were a teenager. How much research did you have to do to get the social media piece right? How’d you pull it off?

DG: I liked the idea of how people can have different identities online—

ABW: Oh, yes! I kept wondering if people were going to figure out that Kat and this other character—her online persona—were the same person.

DG: Yes, that added plot tension, but it wasn’t part of my early drafts. When I started writing the book, there was no Facebook. In the first draft, Kat’s online experience was through the cancer forums, an online bulletin board. So I changed a lot during the writing and revising. Like a lot of introverts, I like social media, so I had personal experience, but I also did lots of research, including how cancer kids’ use of Facebook is often different from other teens. One problem with including social media in a novel is that usage changes rapidly, while the writing and publishing process is slow, so it can date a book. (In an early draft, there was a reference to Myspace, which would be like trying to include live dinosaurs in a contemporary novel.)

ABW: Agreed. I think you’re safe with Facebook. These days, even if some readers don’t use Facebook, they know what it is.

Now I have a question about books with similar themes. Although your plot is significantly different from John Green‘s in The Fault in Our Stars, in both books The Big C—Cancer—looms. (Readers: if you liked Green, try Gloster!) Your book comes at cancer from the point of view of a cancer sibling. Did the release of Green’s blockbuster in 2012 have any influence on you while you were writing Dessert First?

DG: Not while I was writing it, because I wrote the first draft before The Fault in Our Stars came out, and then studiously avoided reading John Green’s wonderful book (and Jesse Andrews’ terrific Me and Earl and the Dying Girl and Jordan Sonnenblick’s great Drums, Girls, and Dangerous Pie and Jandy Nelson’s amazing The Sky Is Everywhere about grieving the loss of a sibling) until I was done with revisions. Which is good, because those books would have been intimidating. I genuinely thought that no one in the publishing industry would be very interested in a funny, tear-jerking book about childhood cancer—sibling or otherwise. So John Green’s book created a market, and a possibility of publisher acceptance, for mine. (And for that, I remain eternally grateful.)

ABW: Yes, great timing. In Dessert First, I loved the sections written in “Mom Calmese”—your label for the voice of updates on cancer support websites. Nice detail. There were many, many details that lent authenticity to the story—so many that I wondered about your own personal history with cancer. How have you or your loved ones been affected by cancer?

DG: Wow. It’s hard to find a family that hasn’t been affected by cancer. My wife was a pediatric ICU nurse, and she took care of lots of young people with leukemia. Now she works in a children’s hospice. My dad had colon cancer. One of my brothers has had colon cancer, one of my sisters has had breast cancer, my brother-in-law has lung cancer, and my stepmom has had three separate kinds of cancer. It’s an awful, pervasive disease.

ABW: Good point. So let me ask it this way: what compelled you to write this particular story?

DG: My heart hurt for Kat, the protagonist, and I loved her voice and humor and fierceness. Once I started, I couldn’t not tell her story, so I had to figure out how to learn to write well enough to do her justice. That took lots of drafts, and after about the fourth draft I realized the story was also about learning to forgive others and yourself, which is a lesson I needed to learn, so I kept going.

ABW: That sense of forgiveness really comes through at the end.

Sam Westrick, the bass player in my family.

Okay, now on a totally different topic, I have to tell you that I happen to love bass lines and a certain bass player in my family, so I want to call you out on a comment deep in the novel. Hahaha. Yes, I laughed when I read, “… when we find somebody ignorant enough to play bass…” but hey, come on, what’s that supposed to mean? What is your beef with bass players?!

DG: I was only ever in a rock band for seven minutes. And that was during the seventies, so it shouldn’t count at all. And I was only in the band that long because the song I sang was seven minutes long. After my performance, except for my brother, all the other members of the band literally said they’d quit if I stayed. (I didn’t stay.)

ABW: Okay, I forgive you!

DG: So I’m exactly not the authority on what makes music great. Both my brothers, though, are musicians. Kat’s snark about base players, very late in the book, is meant to show that while Kat has mellowed, and learned forgiveness, and grown as a person, and is moving away from using sarcasm as the way to grapple with the world, she still has a lot of anger and a ways to go.

ABW: Yes, a ways to go. Kat’s not going to change overnight, but I like the way you got her to a hope-filled place at the end.

Okay, last question: how long did it take you to write Dessert First, and how many revisions did it go through before you submitted it to an agent or editor? How different is the published version from your first drafts?

DG: It took me approximately forever—seven years, anyway—because when I started I had no idea how to write a novel, and because two years into the process, my brother got diagnosed with cancer, so I had to put the book aside until he went into remission.

ABW: Oh, I’m sorry to hear that—but glad he’s now in remission.

DG: Thank you. So am I.

I wrote an entire through-draft to the end before I showed a word to anyone and went through many, many drafts and edits before sending it to an agent. Like a lot of first novelists, I struggled initially with the form, so the first draft was in the format of the massive make-up paper that Kat submits to avoid flunking out in all her classes—complete with footnotes, which Kat didn’t know how to use, so she just put the jokes in there. That first draft was entertaining, but remarkably terrible, so I had to do a complete rewrite. But it helped me to find Kat’s voice and to get the story down, as a starting place.

ABW: Ah, yes, I get the reality of remarkably terrible first drafts. Kudos to you for persevering, and thank you so much, Dean, for writing such a good story, and sharing a bit about your process.

Readers interested in more should check out Dean’s website at DeanGloster.com and follow Dean on Twitter. Oh, and go get a copy of Dessert First. Once you read it, you’ll understand the meaning of the title.

Try Something New

I don’t remember exactly when I met Erin Teagan, but I know it was through SCBWI‘s Mid-Atlantic chapter—either the annual fall conference or the novel revision retreat. It might’ve been as many as ten years ago, so in 2015 when I heard Erin’s debut novel had sold to Houghton Mifflin Harcourt, I did a happy dance!

The Friendship Experiment is a heart-felt middle-grade novel about a 6th grader who loves science and could use some help in the friendship department. It hit shelves in late 2016, and this month I caught up with Erin to ask about her writing process.

A.B. Westrick: Congratulations, Erin! And welcome to my blog.

Erin Teagan: Thank you, Anne!

ABW: I want to start by asking about you. Your bio says you’re a former research scientist. How much of you is present in your protagonist, Maddie, and how much of Maddie is pure fiction? Tell us a little about your process in crafting this delightful character.

ET: The idea of Maddie came to me when I was working for a biologics company and I took my mug to the dishwasher and found that a scientist had posted a very official and detailed standard operating procedure on how to use this everyday appliance. I immediately thought about this scientist’s life. Did he write SOPs and put them on his appliances at home? Did his kids have an SOP taped to their bathroom mirror to help them brush their teeth? This is how Maddie came to me.

ABW: Hahaha. Makes me think about the little notes I post at my house. But mine aren’t SOPs! They’re more like labels on leftovers so I don’t leave them to rot in the fridge. But back to Maddie. Say more about crafting her… Continue reading

Sailing Oceans with Padma Venkatraman

How’s this for serendipity? When I met conference keynoter Padma Venkatraman at the James River Writers conference in October 2016, she recognized my book. She’d read it! Turns out her book had also received the NCSS Notable Trade Book Award. We were award-sisters! And right then, I knew I had to interview Padma for my blog.

I’ve just read her multiple-award-winning novel A Time to Dance about a girl who dreams of dancing again after losing a leg in a bus accident. It’s intense, at times funny and sad, soul-touching, heart-warming—all in all, a great read.

A.B. Westrick: Welcome, Padma!

Padma Venkatrama: Hello! Thanks for having me.

ABW: Your keynote address was inspirational, and I’d love for you to repeat a bit of what I heard you say at the James River Writers conference. Would you please talk about “going method”—the way you approached the task of writing about a character who’d lost a leg? It was so interesting. What did you do, and how did it influence your writing process?

PV: I’d like to begin by sharing with your readers the incident that inspired A Time to DanceOn a trip to India in my late teens, I was bitten by a viper, one of the most poisonous Indian snakes.

ABW: Oh, no!

PV: Oh, yes! It’s a miracle I survived without having to have my leg amputated. That experience—of nearly losing life and limb—solidified my sense of spirituality (which isn’t necessarily bound to any religion). Continue reading

Ruta Sepetys on Multiple Points of View

 

 

This month, I caught up with Ruta Sepetys, recently home from a two-month book tour for her latest historical YA, Salt to the Sea. It’s a gripping World War II story of a group of teenagers running for safety while the Russian army marches toward Germany and American bombers fly overhead. Set in 1945 in what is now Poland, the story leads up to the sinking of the Wilhelm Gustloff in the Baltic Sea, the greatest tragedy in maritime history.

 

 

In this video clip on Ruta’s website, we learn a bit about the family history that inspired Ruta to set her novel during WWII. Watching this clip is well worth four minutes of your time:

Ruta notes that “empathy is one of the greatest and most beautiful contributions that we can achieve through writing.” Empathy. Yes! So necessary when it comes to crafting a character, and especially when writing multiple characters and multiple points of view. I’m thrilled to have Ruta here to tell us how she did it.

A.B. Westrick: Welcome, Ruta. So glad you could share your thoughts about craft and process.

Ruta Sepetys: Thank you so much for having me!

ABW: Let’s start with that awful Alfred character—awful and oddly funny. The story is tense and Alfred provides a lot of comic relief in circumstances that are otherwise bleak. Was Alfred part of your early drafts, or did you weave him into the story later when you realized the need to lighten things up? How did you go about crafting him? To what extent is he based on someone you know? Continue reading

Kimberly Brubaker Bradley on Craft

Last week, Kimberly Brubaker Bradley won the Newbery Honor Award for her middle grade novel, The War that Saved my Life, and just this week she’s learned that it’s hitting the New York Times bestseller list. The book was also a co-winner of the Schneider Family Book Award, and the audio version won the Odyssey. Wow. Congratulations, Kim!

Kim and I “met” online after she blurbed Brotherhood (her lovely words appear on my book jacket and on the Brotherhood page of my website), and I was thrilled when she agreed to carve out time for this blog interview.

 

 

A.B. Westrick: Welcome, Kim! I loved reading The War that Saved my Life, and wanted to ask for your reflections on the craft of writing.

Kimberly Brubaker Bradley: So glad to appear on your blog! Thank you for asking.

ABW: Let’s get right to the heart of The War that Saved my Life. Set in England at the start of WWII, it’s the story of ten year-old Ada, who was born with a clubfoot and whose abusive mother has tried to keep her hidden. As world events compel Ada out into the world, she must struggle both to understand all that she’s missed and to heal from the trauma of abuse. My first question is: how did you go about crafting Ada’s voice, so British and so real? Continue reading

So This is Voice

 

 

I’m big on beginning novels in media res (in the middle of things), meaning jumping into a scene before explaining who’s who or what’s what, no back-story.

But if you insist on starting with a character who talks to the reader, do it well. Make it fresh. Aspire to do it the way Lamar Giles does in Endangered. He’s mastered this sort of opening. Here are some of the lines in his first chapter:

 

 

      I’ve haunted my school for the last three years.
      I’m not a real ghost; this isn’t one of  those stories. At Portside High I’m a Hall Ghost. A person who’s there, but isn’t…
      Jocks don’t bump into me, and mean girls don’t tease me, and teachers don’t call on me because I don’t want them to. Hiding in plain sight is a skill, one I’ve honed. My best friend, Ocie, calls me a Jedi ninja, which is maybe a mixed metaphor and redundant. But it’s also kind of true…
      We’re all something we don’t know we are…
     

      My target is stationary, in a parked car, one hundred yards away. A quick lens adjustment turns her face from fuzzy to sharp despite the darkness. An easy shot. Which I take.
      Keachin Myer’s head snaps forward, whiplash quick.
      I shoot again.
      Her head snaps back this time, she’s laughing so hard. Odd, I was under the impression the soulless skank had no sense of humor…
      I rub my tired eyes, and switch my Nikon D800 to display mode… Keachin—rendered in stark monochrome thanks to the night-vision adaptor fitted between my lens and my camera’s body—belly-laughing at whatever joke the current guy trying to get in her pants is telling. Basically, Keachin being what everyone in Portside knows she is. Rich, spoiled, and popular. Nothing the world hasn’t already gleaned about this girl. Nothing real.
      I intend to fix that. If she ever gives me something good.
      Keachin Myer is as clueless about what she is as anyone else. And being unfortunately named is not the part she’s unaware of. If you let her tell it, her parents strapped her with such an ugly handle because, well, she couldn’t be perfect, right?

 

Maybe a mixed metaphor and redundant… An ugly handle. This is smart writing—tight, engaging, real. And I’m thrilled that the author is here to share his process in crafting such a compelling voice.

Lamar Giles burst onto the YA fiction scene last year with Fake ID, a finalist for the Edgar Award. He’s a founding member of the We Need Diverse Books campaign, and now has multiple contracts with HarperCollins and Scholastic for forthcoming books. The guy is so busy writing, he couldn’t do this interview when I first asked. I had to wait a few months.

A.B. Westrick: Lamar, welcome! And thank you for taking time away from fiction-writing to tell us a little about your process. I read Endangered in two days—it’s the classic can’t-put-it-down.

Lamar Giles: Thank you for having me! I’m glad you found ENDANGERED unputdownable.

ABW: So let’s start with that voice. Would you talk a little about where it came from? What was your inspiration for this character, who goes by Lauren… or Panda… or Gray, depending on circumstances? Continue reading

Don’t Shy Away from Conflict

If you read only one book this summer, make it Something Must Be Done about Prince Edward County. Part memoir, part journalistic exposé, this sensitive and compelling book explores the history of a Southern town where local history wasn’t taught even though a suit filed on behalf of black students in the county was one of the five consolidated into Brown vs. Board of Education. Author Kristen Green alternates between memories of growing up there, enjoying time with her family’s black housekeeper, extensive research and interviews, and dreams for her own children, who are multi-racial.

I couldn’t put it down.

It struck me that in terms of craft, journalists can teach novelists a lot. So I caught up with Kristen (she lives in Richmond, VA—lucky me!) to get her insights into writing about tough topics.

 

A.B. Westrick: Kristen, welcome! And thank you for doing this blog interview. Your book has so many layers—such complexity distilled down to about 300 pages—that we can’t do it justice here. But we sure can talk craft…

You tell us how University of Mary Washington professor Steve Watkins (who happens to be a novelist now, just sayin’) helped you hone your journalistic grit. After you got “worked over” by a “nice” administrator, “‘The hell with nice!’ Watkins snapped. ‘Nice doesn’t mean good!’” (pg. 90). In another anecdote, you tell us that your former history teacher shut down your interview with the message “loud and clear: She’s done talking about this, and she thinks [you] should stop, too” (pg. 198).

So let’s discuss the born-to-be-nice problem. How do you handle tough moments like that? When an interview gets uncomfortable, what do you do?

Kristen Green: I think it’s like writing. Don’t give up too quickly. It’s tempting, when things start getting interesting, to pack up and say you’ve got enough information. But that is the time to push a little bit harder. I’ve been a journalist for a long time and confrontation is just part of who I am. I do not shy away from conflict.

I tend to keep asking questions, to follow a natural succession, to want to go deeper with each question. People expect writers to ask the hard questions, so my advice is just go for it. Assume that whomever you’re interviewing wants to talk about the tough stuff or is at least expecting you to ask about it. If you do it respectfully, and if you’re patient, you can get really good information you never expected to get. But don’t be in a hurry. And keep going back to the person over and over to ask follow up questions. New information will be revealed. One really great trick is to just be quiet at various points in the interview. Leave some space for the person you’re interviewing to fill—sometimes the interviewee will be so uncomfortable that they just talk to avoid silence. Continue reading

Author Wendy Wan-Long Shang Talks Craft

What a joy to feature Wendy Wan-Long Shang on my blog today! Wendy is the author of the award-winning novel The Great Wall of Lucy Wu, and tomorrow (April 28th) her second book for young readers, The Way Home Looks Now, comes out from Scholastic. Welcome, Wendy!

A.B. Westrick: This is a fabulous book—not only beautifully written, but so compelling. At times it’s sad, at other times funny, and more than once surprising (but no spoilers here!). Let’s talk about the beginning. I’m interested in the way you chose to start the story, or as I like to think of it, the place where you invite readers to enter in.

We meet the protagonist, Peter Lee, as he arrives home to find something very wrong with his mother, but it’s a wrongness he’s come to expect. Readers don’t understand at first, and we’re curious, and by the end of chapter three, we get it: there’s been a death in the family. My question for you is this: was this opening always your opening? How did you come to settle on this particular scene for chapter one?

Wendy Wan-Long Shang: I had to go to my drafts folder for this one, and I’m so glad you asked because I had forgotten about some of my early drafts until now. In my earliest attempt, I tried to work completely chronologically, so that the death happens in “real time.” What I discovered, though, was that I wasn’t getting quickly enough to the heart of what I wanted to talk about—how Peter’s relationship with his father changes.

In Chapter One, Peter and his sister are locked out of the house, even though his mother is inside. I developed this opening because I wanted it to serve as a sketch of Peter’s situationhe is literally shut out of his mother’s life, and he wants very much to re-connect with her, while at the same time wanting to protect his sister from getting hurt. Continue reading

Crafting Nonfiction for Young Readers

I met Winifred Conkling in 2009 when we were students in the MFA program at Vermont College of Fine Arts, and today I’m thrilled to feature her reflections on the craft of writing. Winifred is the award-winning author of numerous books and articles for adults and children, and her newest book, Passenger on the Pearl: The True Story of Emily Edmonson’s Flight from Slavery, comes out today from Algonquin Young Readers.

A.B. Westrick: Winifred, welcome!

Winifred Conkling: Thank you for inviting me, Anne.

ABW: Passenger on the Pearl is a heart-wrenching story that hooked me on page one. I can tell from the sidebars and source notes that you researched the life of Emily Edmonson and her contemporaries extensively. So my first question is how you distilled down what must have been a mountain of primary sources, and decided to begin the story where you did (with Emily’s mother’s fears about bringing children into the world)?

WC: I always struggle with where to start a story. You’re right, I started the process by reading piles of source material. I finally decided that the most natural way to frame the story was to focus on Emily’s birth into slavery and to end with her marriage and the promise that her children would be born free. In my background reading, I was devastated by the quote from Emily’s mother, Amelia, who had fallen in love but refused to marry, saying: “I loved Paul very much, but I thought it wasn’t right to bring children into the world to be slaves.” I am the mother of three, and I can’t imagine what it would feel like to know that my children would be destined to face the horrors of slavery. I know that young readers are familiar with the idea of slavery, but I wanted to make the suffering personal. Continue reading

Kelly O’Connor McNees on Writing

When James River Writers (JRW) invited me to interview some 2014 conference speakers, I looked over the impressive list of who’s coming and jumped at the chance to interview Kelly O’Connor McNees. I love the fact that she’d founded Word Bird Editorial Services. When she’s not writing her own fiction, she’s editing other people’s novels, so I figured she’d be perfect for my blog—as much in love with the process of writing as I am. And I was right!

Kelly will be speaking on panels during the JRW conference, October 18-19, 2014, in Richmond, VA, and on Friday, October 17, will lead a master class on “Point of View: Who’s Telling and Who’s Listening?” You can find more information on the JRW website.

Kelly’s third novel, The Island of Doves, came out earlier this year from Berkley/Penguin. She’s also the author of The Lost Summer of Louisa May Alcott, and In Need of a Good Wife, which was a finalist for the WILLA Literary Award. I’m thrilled to share with you her wisdom on the writing process…

A.B. Westrick: Welcome, Kelly! I’ve just finished reading The Island of Doves, a beautiful novel set in Buffalo, Detroit, and the wilds of the Michigan Territory in the early 1800s, and I’d love to hear your comments on a few craft points.

Kelly McNees: Thank you for that very kind introduction! I am thrilled to be coming to Richmond for the conference and look forward to meeting lots of new friends and fellow writing geeks.

ABW: And they’re looking forward to meeting you! So let’s talk craft. I want to start at the beginning; usually I hate prologues, but yours drew me right in. You wrote it in scene, and I didn’t even notice that it was a prologue until five pages later when I hit the words, chapter one. At that point, the story had already hooked me. Very nice. Can you say a little about your decision to make that opening a prologue, rather than calling it a chapter?

KM: I think of a prologue as a snapshot of an event that came before the main action of the story, which is why it works to set it apart that way rather than write it as a chapter. But I agree with youtypically I do not like prologues. They can feel tacked on and melodramatic. Sometimes they make a big promise that the novel can’t live up to. I added this one in a later draft, after I had tried and failed many times to communicate the events it describes (in much more elaborate ways) through flashback in other parts of the novel. Eventually I realized that we didn’t need to know the entire history of this family up front. We just needed to know about this one very important event, the death of the youngest sister, Josette, because it sets everything else into motion. Continue reading