Tag Archives: YA

Believe your Story (Goodreads Giveaway: WIREWALKER)

WirewalkerMary Lou Hall‘s debut novel Wirewalker came out in September 2016, introducing YA readers to 14 year-old Clarence Feather, a boy with a big heart and some big problems. He earns pocket money running drugs while grieving his mother’s death and longing for another way to live. The story is beautifully written and hard to put down, and after reading it, I just had to interview Mary Lou for my blog.

But before we get to the interview, note the title of this post. It’s not “believe in your story,” but Believe your Story. Read on to get to the distinction Mary Lou makes.

And meanwhile, sign up for the book giveaway! I tracked Mary Lou down, got her signature on a hardcover, and am doing this giveaway through Goodreads. If you want to enter, check out the Goodreads Giveaways page. Free, no strings attached. Deadline: July 20, 2017.

A.B. Westrick: Welcome to my blog, Mary Lou! I really appreciate your taking time from your busy teaching schedule to tell me a bit about what inspired you to write this gripping YA drama.

Mary Lou Hall: Thanks for inviting me to your blog!

ABW: Let’s start with where Wirewalker came from. I’d love to hear what the spark was that lit your imagination and compelled you to write Clarence Feather’s story.

MLH: During late college and through graduate school, I waited tables and tended bar in a swanky, successful restaurant. While I was there, I became friends with a co-worker who was six years younger than I was. At that point in my life, the age gap seemed significant. He was barely old enough to legally work. To me, he seemed like the quintessential innocent kid encountering the so-called real world for the first time. I was wrong. Read More

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. Read More

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.) Read More

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). Read More

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