Tag Archives: YA

Anne Blankman on emotional truth in historical fiction, & YA ARC giveaway

Today I want to sing the praises of Richmond, Virginia’s writing community! I’m fortunate to be surrounded by poets, novelists, journalists, and nonfiction geniuses. Just a few minutes away lives Anne Blankman, and last year when I visited, her daughter snapped this picture of us.

Anne is the author of three YA novels, all published by Balzer+Bray: Prisoner of Night and Fog, Conspiracy of Blood and Smoke (a sequel to the first), and Traitor Angels.

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

Anne Blankman: Thanks so much for having me!

ABW: Today I want to discuss your first novel, but before we jump in, I have to tell readers that I’ve got a giveaway here: an Advance Reader Copy (ARC) of Traitor Angels, signed by you! Readers who leave a comment at the bottom of this post will be entered into a drawing for the ARC. The deadline to comment and have your name in the drawing is June 15, 2017.

Now let’s focus on Prisoner of Night and Fog. Set in Germany during Hitler’s rise to power in the 1930s, it’s the story of 17 year-old Gretchen Müller, who adores Hitler and knows him as “Uncle Dolf.” When Gretchen learns that her father had been murdered, not martyred (as she’d been told), she sets out to find the truth.

So my first question is about Hitler. Readers might think they already know him, but you show Hitler in new and intimate settings. I particularly enjoyed the parts where you depict him interacting with close friends and family members. How did you go about crafting him? How did you come to imagine the way he might have acted in all these scenes—in parks, restaurants, his flat, etc.?

AB: I researched Hitler extensively before I wrote a single word of Prisoner. Biographies, social histories, and psychological profiles were helpful, but I found memoirs and diaries to be invaluable. Reading about people’s personal experiences with Hitler helped me form a more complete picture of him. A collection of interviews of so-called “Hitler children”—the offspring of Nazi leaders—gave me insight into how Hitler treated young people, particularly young females. I also listened to recordings of his early speeches to get a sense of his voice and speaking patterns, and I watched endless videos of him so I could study his gestures and gait. (And by the way, some of the Hitler children really did call him “Uncle Dolf”!) 

ABW: Awesome. Your research really paid off. In some scenes, you even manage to make Hitler come across as a sympathetic figure, and I found those scenes intriguing. (And disturbing.) Of all the real historical figures in the novel, which was the hardest for you to write, and why was that one so hard?

AB: Hands down, Hitler was the hardest. Not only is he one of the most evil people of all time, he’s also one of the most well-known historical figures in the world. Also, I felt a tremendous responsibility to his millions of victims to capture him as accurately as possible. It would have been easy to represent him as a caricature.

ABW: And you succeeded. Really well done. In your Author’s Note, you reveal which characters were fictional and which were real. Of the fictional ones, which did you enjoy crafting the most? What was it about that character that drew you in?

AB: This is going to sound like a strange answer, but I try not to play favorites with my fictional characters! I find if I like them too much, I’ll be too easy on them and won’t put them through the wringer—and, of course, we want to see characters work hard to reach their ending.

ABW: Haha. That’s great. Yes, you’re right about the need to go hard on characters. Putting them through the wringer speeds up the pace. And when it comes to pacing, you move things right along! Your plot moves really quickly (your book actually brought to mind The Bourne Identity—not that your plot is anything like that one—but I remember turning pages really fast while reading that one years ago, and again while reading yours). You’re a master at plotting, and you love to end chapters with cliff-hangers! Would you share a bit about your process in crafting this plot?

AB: Thank you, Anne! What a lovely compliment. I always write an outline before I begin drafting. An outline helps me keep the story focused and prevents me from drifting off in directions I don’t want to take.

ABW: Ah-ha! So you’re a plotter rather than a seat-of-your pantser.

AB: Yes, very much so!

ABW: Do you have any plot advice for aspiring novelists?

AB: I’d say that I think it’s important to remember that every scene needs to propel the story forward. If you’re unsure if a part is necessary, ask yourself if it advances the plot or the character’s emotional journey. If the answer’s no, then it needs to go.

ABW: Good point. How about revision? How many drafts did you have to write to get the manuscript ready for publication? How involved was your editor in your revision process?

AB: Oh my goodness! Many, many drafts. I must have revised Prisoner at least eight times before I submitted it to an agent. Being a newbie, I thought the manuscript was pretty much “done” when my editor at Balzer+Bray/HarperCollins acquired it. Little did I know that the hard work was just beginning!

My editor, Kristin Rens, writes wonderful, long edit letters, detailing everything she likes about your manuscript….and everything that doesn’t work. Instead of telling you what to fix, though, she asks you questions that force you to think about your story in new ways. Working with her was a lovely experience.

ABW: It’s amazing what a good editor can bring out in a writer. Okay, finally, last question: when it comes to writing fiction that includes real historical figures, what tips might you have for aspiring authors?

AB: Not everything that your real-life characters do in your story needs to be historically accurate, but it needs to be emotionally true.

ABW: Oooooh, I like that. Sometimes writers can get caught up in the details and lose the heart of a piece.

Thank you so much, Anne, for telling us a bit about your writing process.

AB: Thank you so much for having me!

ABW: Readers who want to know more can find Anne Blankman at her website, and also on facebook and twitter.

If you want your name in the drawing for a signed ARC of Traitor Angels, leave a comment below! Deadline: June 15, 2017.

In Traitor Angels, six years have passed since England’s King Charles II returned from exile to reclaim the throne. Elizabeth Milton, the daughter of poet John Milton, and handsome Italian scientist Antonio Viviani discover that Milton has placed an explosive secret in his masterpiece, Paradise Lost. A secret the king is desperate to conceal. Do they risk cracking the code and possibly tearing apart the very fabric of society…?

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.

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

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

Mistakes Writers Repeat

Oops, I did it again.

No, no, I haven’t broken a guy’s heart à la Britney Spears, but I’ve repeated the same mistake that earned me a decade-worth of rejection letters: writing from my head. Allowing my scenes to drift into the safe world of ideas. Into thoughts and concepts and heady stuff, and out of the dangerous world of feelings and sensory responses. I need to stop pretending that I have my act together and instead revisit the times I’ve felt vulnerable, insecure, embarrassed, and scared.

From Where You DreamThis month I’m re-reading Robert Olen Butler’s From Where You Dream in order to shake myself up, wake up my writing, and dig deeper into each moment. I’ve challenged myself to craft a novel in alternating points-of-view (four characters), and it’s coming along, but lemme tell you… thinking is easy. Feeling is hard. People often ask writers where they get their ideas, and for me this question misses the mark. Ask me how I tap into emotions. (I’ll tell you I’m working on it.) Butler says:

… in order to get through childhood and puberty and adolescence and young adulthood, broken relationships and a marriage or two, or four—you have identified with your mind… you’ve got this self-conscious metavoice going all the time… That voice wants to drag you up into your head… [but] the only way to create a work of literary art is to stop that voice. Your total attention needs to be on the sensual flow of experience from the unconscious.

You’ll need to read the book to grasp everything he’s saying, but for now let’s call it digging deeply for the unconscious physical responses that accompany the emotions we feel. Digging really, really deeply. An author who has mastered the ability Butler talks about is Patrick Ness. Right now I’m reading Ness’s latest novel More than This, and I want to show you the opening sequence so you can see the way he’s crafted a “sensual flow of experience.” Check this out:

more-than-thisHere is the boy, drowning.

In these last moments, it’s not the water that’s finally done for him; it’s the cold. It has bled all the energy from his body and contracted his muscles into a painful uselessness, no matter how much he fights to keep himself about the surface. He is strong, and young, nearly seventeen, but the wintry waves keep coming, each one seemingly larger than the last. They spin him round, topple him over, force him deeper down and down. Even when he can catch his breath in the few terrified seconds he manages to push his face into the air, he is shaking so badly he can barely get half a lungful before he’s under again. It isn’t enough, grows less each time, and he feels a terrible yearning in his chest as he aches, fruitlessly, for more.

He is in full panic now…

Wow. These paragraphs draw me into the present moment of the story. I don’t know how the character ended up in the water—and it will be many chapters before Ness supplies the backstory—but already, I care about this character. I’m beside him in the water, and I’ll keep reading to find out what happens.

Years ago I read Butler’s book and it helped me understand “show, don’t tell” (I blogged about details), but this time I’m digging deeper than details. I’m going into places that feel dangerous, places where my characters feel vulnerable, places that are a whole lot harder than details to tap into.

All of this is to say that I’ve developed coping mechanisms to avoid emotional black holes, but these same mechanisms—the ones that keep me sane—block my fiction. They block a reader’s ability to connect with my characters on an emotional (subconscious) level. I need to let myself feel scared again, or angry, or embarrassed, or humiliated. Really feel it. Then I must write scenes without using words like scared, angry, embarrassed, or humiliated. I must write the sensory details of the experience.

(An aside: my sister is a nutritionist and dietician who specializes in eating disorders, and just last week was telling me that she’ll sometimes ask her clients to sit still—just sit for as long as they can, for an hour even, or two hours—and allow themselves to feel. To experience their own emotions. It can be a terrifying exercise, but she promises them they won’t die in the process. They might cry, tremble, rage, etc., but they’ll survive. The technique has helped some of her clients, and it got me thinking (oooh, here I am, thinking again): I need to tap into the place where I tremble.)

I’m guilty not only of writing from my head, but of repeating this mistake even though I’m aware of it. How about you? What are your mistakes? What is your comfort zone—your default button—the place you retreat to, where you pat yourself on the back for having penned another scene that sounds oh, so good when the truth is that it’s nowhere near honest? Not yet.

#MyWritingProcess

When I was a kid, I wrote letters. Real letters. By hand. Sometimes chain letters. Who has time for that anymore? (Besides the fact that stamps now cost 49 cents. Ouch.) I’ll still send an occasional handwritten thank-you, but I stopped saying yes to every chain that came along… until Marci Rich tapped me to participate in this Writing Process one. An invitation to talk craft? Yes, ma’am!

Marci writes the award-winning Midlife Second Wife blog, which has gotten over 70,000 hits since she launched it in August 2011. So well-written, some of her posts have been picked up by The Huffington Post. (Here’s her reflection on the death of Philip Seymour Hoffman.) So I’m honored Marci tapped me for this chain. And I’m thrilled to tap three more writers to keep the chain going: Mindy McGinnis, M.A. Hoak, and Laurie Morrison. Scroll down for more information about them and their writing!

And now… for the chain… here we go with the 4 questions:

(A) What am I working on?

I’m scrambling to complete the first draft of a new novel, scrambling because I promised my agent something in early April before I quite realized just how soon April would arrive. I made that promise three weeks ago when it was snowing in Virginia… again… and spring seemed unbelievably far away. At that point, I’d written thirty-seven chapters (well, fifty-something if you count the ones I’d scrapped), so you’d think I could wrap it up by April, right? But after I made the promise, it hit me that I didn’t yet have a novel, and I kind-of freaked out. I had characters and a setting and a lot of stuff going on, but no unifying emotional arc that would hold it all together. Thinking about my promise made me break out in a pinkish rash. It itched. I did yoga to make myself chill out.

I went into step-back-and-mull-it-over mode. What desire was strong enough to drive the wayward plot? I’d already revised chapter one multiple times, and it wasn’t working. It didn’t set up the trajectory of the story—a tale about a group of boys at a summer program for gifted musicians. During my freak-out, I questioned the whole thing and feared I’d have to tell my agent, sorry, no can do.

Then I scrambled, and you know what? Deadlines are good. I’d started this novel last year, but when Brotherhood came out in the fall, I couldn’t keep up my regular writing schedule. I was too busy with book release hoopla, then school visits. The April deadline helped me re-focus, turn down a few invitations, and postpone requests for editing services. Over the past month, the novel has started to come together. I think. Maybe. I might even make my arbitrary deadline. Not tomorrow (which—eeh gads—is April already), but soon.

(B) How does my work differ from others of its genre?

Broadly, my genre is YA, and within that, my current work-in-progress falls into the sub-genre of LGBT literature. In many LGBT stories, the protagonist comes to terms with his or her sexual identity or gender orientation, but my novel will differ in that my straight character will struggle with his homophobia. My first novel, Brotherhood, differed from others of its genre (Civil War historical fiction) by focusing on the aftermath of the war (period of Reconstruction) rather than the war, itself, and doing so not from the viewpoint of the Union, but from that of the defeated South.

(C) Why do I write what I do?

My first novel wrestled with racism, and now I’m wrestling with homophobia. The new one (as yet untitled) also addresses issues of faith, and includes characters who run the gamut from fundamentalist Christian to atheist. So to answer this question, I’d say that I love to write about stuff that interests me—stuff I like to talk about! And I especially enjoy writing for teenagers.

I often think about the fact that kids aren’t responsible for their parents’ views or mistakes or successes, or the way their parents sought to raise them. They’re stuck. Or they’re lucky. They’re born or adopted into whatever family they’re in, and they get what they get. Around the time kids hit middle school, they begin to separate from parents, question authority, and contemplate a future that is self-directed rather than parent-directed. And I wonder how they do that. How did I do it? How does a kid raised in, say, a prejudiced home, overcome those prejudices? How does a kid raised to follow his father’s calling come to find his or her own? In some ways, maybe I’m still asking myself these questions, and I guess that’s why I write what I do.

(D) How does your writing process work?

My process is messy, as you might gather from my answers above. I write to figure out my characters and what motivates them. I don’t outline. I do pay attention to the details in a setting because until I have the physical qualities of a place and a sense of the time (year, month, day, hour), I have trouble making my characters take action. Once they’re in a specific place, I listen to them. I watch them. I feel them. I try to inhabit them and experience their world vicariously. I put one character into another character’s face and see what happens. I throw obstacles at them and duck when they throw things back.

In that sense, my writing process is something like method acting, except that I’m not finished when I’ve acted out a moment. I have to write it down. I have to describe the physicality of what just happened. The process is slow and messy and not exactly lucrative. But I love it, and I’d spend even more hours writing each day, if I weren’t hampered by the bother of having to eat, sleep, wash, etc. Once I learned to embrace my messiness (thank you, Uma Krishnaswami, for helping me accept my process for what it is), I came to love it. My best days are the ones when I write for hours… and hours… and hours… uninterrupted.

What are other writers’ processes like? Stay tuned! This blog chain continues one week from today with posts from these awesome writers:

Mindy McGinnis is the author of Not a Drop to Drink and In a Handful of Dust, as well as being a full-time YA librarian. She and I met online last year through the “Lucky 13s,” a group of debut 2013 authors who write for young readers. She blogs at Writer, Writer, Pants on Fire.

 

And talk about librarians! M.A. Hoak is a native Floridian (a relatively unknown species). She works as a Youth Library Assistant and spends most of her time up to her elbows in books, glitter, and glue. Her poetry has been published in The Saw Palm and Cantilevers Literary Magazine. She has an MFA in Writing from Vermont College of Fine Arts (where she and I met) and her debut novel is forthcoming. She blogs at The Loudmouth Librarian.

 

And talk about Vermont! That’s where I also met the third writer I’m tapping for this blog chain. Laurie Morrison has an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts and primarily writes contemporary YA fiction. She lives in Philadelphia, where she teaches middle school English, and loves to read and bake. She is represented by Sara Crowe at Harvey Klinger, Inc.

Leave a message to tell me about your writing process, and check out the blogs of these three writers to see how they approach their craft. Happy writing, y’all…

Kathryn Erskine on historical fiction

I was thrilled when James River Writers (JRW) asked me to interview Kathryn Erskine in advance of the JRW conference in Richmond, Virginia, October 19-20. Kathryn will be speaking on three conference panels, and on Friday, October 18, will lead a workshop entitled, “Getting in your Character’s Skin.” Kathryn is the author of numerous novels for young readers, including the 2010 National Book Award-winner Mockingbird. Her most recent novel Seeing Red was released by Scholastic in September 2013.

Welcome, Kathy! I’d love to talk with you about Seeing Red and the way you approach the writing of historical fiction. The story is set in the early 1970s and touches on all sorts of issues, from social unrest and the Vietnam War to racism, the women’s movement, domestic violence, and bullies. In more than one scene, characters note that “the times, they are a-changing,” a line from a Bob Dylan song that was popular at the time. Not only has the death of Red’s father wreaked havoc on his nuclear family, but Red’s family is in turmoil because the whole society is changing.

So my first question is: when you began this novel, did you begin with the character and later decide to set his story in the 1970’s, or did the historical time period come first? What did you set out to write about, and how did it morph into the story that it became?

Kathryn Erskine: Characters always come to me first, but I knew Red was in the world of the early 1970’s because of what he was seeing, what bothered him, what he cared about. What changed over time was a more direct approach to an issue I really wanted to address: racism in this country. When I first started this story years ago I was too tentative and only alluded to the problem. I finally gained the confidence as a writer to come out and say what I wanted. Some critics may not like it because it’s raw and honest. But I don’t write for praise (although praise is lovely!); I write to have people think about tough issues and talk about them. Continue reading

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

The bully character: when less is more

I’m so glad toYacqui Delgado Wants to Kick Your Ass have had the opportunity to interview Meg Medina, author of Yaqui Delgado Wants to Kick Your Ass, coming out this month from Candlewick Press. It’s a tense, tightly written novel about surviving high school. Click here to watch the trailer, and read on to hear what Meg had to say about crafting her bully, Yaqui, and her protagonist, Piddy Sanchez.

A.B. Westrick: From the opening line, Yaqui Delgado’s threat carries the tension even though her physical presence is (relatively) minimal. Here, less bully makes for more bully. A brilliant story structure! What was your process in writing the story this way? Was that first line always your first line, or did it emerge in the course of revisions?

Meg Medina: The first line of this novel has never changed, and that’s not something I can say about anything else I’ve written. It was plucked from real life, which we’ll get to a little later. As an author, it provided me with a way to reveal the main problem of the novel in one crude and forceful blow.

Keeping Yaqui as a threatening presence, rather than fleshing her out was tricky. At first I wondered if I should develop her more. Readers would wonder, I thought, about what fills someone with such rage. Continue reading