Tag Archives: literature

Where to Begin a Novel

How and where is it best Come August, Come Freedomto enter into a particular story—which moment, which sounds and which smells should a writer introduce in the opening scene? When I first read Come August, Come Freedom: The Bellows, The Gallows, and the Black General Gabriel by Gigi Amateau, I was fascinated by Gigi’s decision to begin the story the way she did. I asked her why she chose that approach, and am privileged to feature her answers here. I found Gigi’s comments as engaging as the novel.

A. B. Westrick: Come August, Come Freedom is the story of Gabriel, the enslaved blacksmith who organized a massive but ultimately unsuccessful rebellion in Richmond, Virginia, in 1800. What I found intriguing was the way you chose to enter into Gabriel’s story. The first line is, “Ma believed,” and the chapter unfolds to show Ma nursing him when he was six months old. Why did you choose to begin the book with Ma?

Gigi Amateau:  As I read and studied about the institution of slavery during Gabriel’s lifetime, I learned (in a way that I hadn’t really integrated into my thinking about slavery before writing Come August, Come Freedom) that the crucible of slavery was the childbearing role of enslaved women. The laws governing a person’s status as free or enslaved were grounded in the concept of maternal descent—the mother’s status (not the father’s) determined a child’s status. So, the impulsion of the plot is maternal descent. Also, I wanted to create the character of Gabriel as a person who was not the first freedom fighter in his community or in his family, but one who was born into a tradition of resisting oppression and fighting for freedom. So, I surrounded him early on in the novel with men and women imagining freedom and rebelling against slavery. Continue reading

Emotional seeds for stories

This past Saturday while speaking on a panel at the James River Writers Conference, I choked up and found myself babbling an apology to the audience. The panel moderator, Meg Medina, had asked such a simple question: when you began writing your novel, what was your starting point? What was the emotional place—the germ—the seed—from which the story came (the story being the YA novel I recently sold to Viking—the story of a boy who struggles to protect a friend from the KKK in 1867—pure fiction, but with historical anchors).

In answer to Meg’s question, I began to speak about my Alabama-born father, and the words caught in my throat. I felt my father’s shame over the fact that our ancestors had owned slaves, his pain over present-day racial prejudices that continue to poison parts of the South. When I was growing up in Pennsylvania, Daddy ducked my questions about the South, avoiding the topic as best he could. But at some point, he gave in and told me in his soft, thoughtful Southern drawl that at a young age he had vowed never to raise his own children there. He’d gotten out as soon as he could (on the G.I. bill) and never returned. He taught me that “it’s fine to judge people in any number of ways—of course we make judgments all the time—but don’t ever judge a person by the color of his skin.” What I suspect he meant was never treat black people the way I saw them treated.

So there I was on a panel with Meg and the inimitable Kathi Appelt, and I choked up over the image of my daddy as a shy, gentle boy in the 1930’s. I imagined him suffocating beneath the weight of expectations that he become a man in the way manhood was defined by good Southern boys. What he witnessed, I’ll never know because he’ll never say…so while writing my novel, I imagined what it might have been. The novel isn’t about my father—it’s a story set sixty years before he was born. But the emotional seed came from my daddy’s yearning to get as far away from his roots as he could.

My editor and I are brainstorming titles, and I’ll post the release date when Viking decides… Meanwhile, tell me… what is the emotional seed of your story? What triggers unexpected tears?

The difference between content and process

In mid-March, as I staffed the James River Writers (JRW) table at the Virginia Festival of the Book in Charlottesville, it occurred to me that the JRW Conference differs from the VA Festival in the way an MFA differs from an MA or PhD. The VA Festival is all about books and the JRW Conference, about the craft of writing.  Of course, there’s an overlap.  But it comes down to the difference between content and process, between analyzing literature and writing it.

I particularly enjoyed hearing Kekla Magoon talk about molding historical facts to heighten her protagonist’s struggle in The Rock and the River.  But if Kekla were to speak at the JRW Conference, she might go into more depth about the challenges of the craft.  She might note how she picked up the narrative pace in the fourth chapter by manipulating readers’ sympathies (her policemen characters beat up a boy, then charge the boy with resisting arrest).  She might tell us how she wove setting into plot.  She might talk about scenes added or deleted to enhance the story’s emotional arc.

It’s one thing to have a story to tell, and another to tell it well—to show up at the page every day in order to wrestle with the tense and pace and voice while developing characters and searching for the right structure. It’s one thing to love reading, and another to embrace the art and process of writing.

The VA Festival may not have showered me with tips on craft, but it drenched me in warm fuzzies.  I staffed the JRW table with Meg Medina and caught up with writers who have spoken at the JRW Conference over the years—Clifford Garstang, Charles J. Shields, Bill Glose, Michele Young-Stone, Irene Ziegler.  JRW members Linda Dini Jenkins, Kristi Austin, Beth Rogers and Judy Witt were there, as were conference-regulars Becky Mushko, Stephanie McPherson and Michelle Ehrich.  I saw SCBWI colleagues Ellen Braaf, Kathryn Erskine, Valerie O. Patterson and Anne Marie Pace, and Vermont College alums Kekla Magoon, Tami Lewis Brown, Maha Addasi, Louise Simone and Winifred Conkling. JRW shared a table with Rose Esber, and Lee Knapp sold her fun, grammatically-correct ceramics. I’m already looking forward to VA Festival 2012.