Tag Archives: voice

When a Theater Nerd Writes Fiction: interview & giveaway!

The Mortification of Fovea Munson

Look what’s out in paperback tomorrow (June 4)! The Mortification of Fovea Munson by Mary Winn Heider. It’s LOL funny—the zaniest middle-grade novel I’ve read in years. Author Varian Johnson described it as “equal parts screwball comedy, coming-of-age story, and tearjerker,” and Adam Gidwitz called it “hilarious and disgusting… in other words, exactly what you’ve been waiting for.”

And I’m thrilled to have the author here for an interview! Plus, in celebration of the paperback release, I’m doing a book giveaway. Hop to the end of this post to sign up for a chance to win a copy of The Mortification of Fovea Munson, then come on back to hear what Mary Winn Heider has to say about writing her debut novel. Deadline to enter the giveaway: Tuesday, June 11, 2019, at 11:59 PM.

A.B. Westrick: Hello, Mary Winn! Welcome to my blog.

Mary Winn Heider: Woohoo! Thanks for having me!

ABW: I don’t want to ask the same questions you’ve already answered (I loved the interview Julie Rubini did with you at From the Mixed-Up Files), but we have to start with the bit about you having worked as a receptionist in a (cough, cough) cadaver lab. Okay, so clearly, that experience influenced this novel.

MWH: Oh, for sure. My cadaver lab adventure was the randomest. I ended up working at the lab by accident, and as soon as I saw what an absurd-also-serious-also-bonkers-also-fascinating place it was, it was all I wanted to write about. So I wrote the first draft (plus a few revisions) while sitting in that basement office, in between ordering body parts and assembling suture kits. Eventually, I wound up with more and more responsibility, and the version of the job where I had a lot of down time vanished. But for a long time, I was able to write at the lab, which was awesome for so many reasons.

ABW: Ordering body parts. Uh-huh. I need to pause on that for a second. Yeah. Ordering body parts. That part of the story was great!

Okay, back to the genius of your book—yes, I said genius—beyond the zany humor, which still has me smiling. I loved the way you brought all the details together at the end. You tied up ends I didn’t even realize were loose! For example: tampons in a drawer and frog guts in a middle school lab. You are a master at storytelling. So my question is: how many of these details were in your initial draft, and how many got added later, during revision?

MWH: Ha! So…I didn’t map any of it out beforehand. And in the end, there were a lot more setups and payoffs than I thought I was writing even as I was writing.

My favorite thing is when I’m writing a scene and a character needs something and I realize the answer already exists in the story. So, for example (this includes the mildest of spoilers)—when I was filling Whitney’s office drawers, I tried to make the detritus distinctively Whitney’s, instead of generic office stuff. I thought about everything she might want in her desk drawers, and I included a whole bunch of tampons just rolling around in there. Whitney didn’t strike me as a person who would hide her tampons or be delicate about them. And then, a little bit later when I was after some kind of incendiary material, I had my character look around, and hey presto. We were both pleasantly surprised to find exactly what we needed.

ABW: I was totally surprised. And in awe of your craft! Genius. Really. Not that I’ve ever set tampons on fire, but when I read that part, I could see them burning.

MWH: Details like that are the most fun! I guess really, it’s about mucking around and creating potential. Not necessarily with an eye to how I can come back later to whatever that particular detail is, but really simply, by honoring the world and the characters. If only I were better at plotting, I might be able to plan that stuff! As it is, it’s like a ton of little Chekhov’s guns that I’m tucking in everybody’s pockets and then I’ll see which ones go off.

ABW: Hahahaha. That’s great.

Mary Winn Heider
Mary Winn Heider
Popio Stumpf Photography

MWH: Total theater nerd here. But also, to be fair, some moments are definitely reverse-engineered. Sometimes I’d think, Hey, I can seed this organically so it’s not super random when it appears.

You also mentioned the frog from the science class. He came along in a much later draft. Early on, there were no classroom scenes with Fovea, and when I went to add one, I wanted to make it feel like it fit in thematically. I tossed in the frog, and I won’t spoilerize him too much, but I’ll say that he surprised me, too.

ABW: That frog—too funny. Not at first, actually, but in the end, I laughed out loud.

So it sounds like the novel went through a lot of revision. How different does your final version look from your first draft?

MWH: The final version is a lot longer but also way more focused. There was originally a wild goose chase sequence with food trucks that my wonderful beta reader Rachel Hylton gently suggested was irrelevant and ought to be cut. But Grandma Van wasn’t in the earlier drafts, and neither was the museum of holography—both of which feel like crucial parts of the story now.

I love cutting. I love breaking things open. They are the most exhilarating parts of revising for me.

ABW: I’ve never before heard a writer call the revision process “exhilarating.” I love that! And kudos to you for listening to your beta reader and taking her feedback to heart.

Now, let’s return to the early stage. When you set out to tell Fovea’s story, where did you begin? Did you do character sketches? What was your entry point into this whacky story? What was the first scene you wrote?

MWH: I’d decided I was going to set a story in the lab, and then I gave myself some space (not in front of a blank page) to think about how it would open and what the voice would be. And out of the blue, I heard Fovea’s voice, introducing herself as the bouncer of the cadaver lounge. That bit became the opening—but you haven’t read it because it doesn’t exist anymore! It wasn’t right, ultimately, but it was exactly what I needed to get into the story. It was all voice, and that set the tone for me.

ABW: Oh, interesting. Thank you for sharing that. You’ve reminded me of a post I did years ago about a character who helped me get into a story, but later I cut her from the manuscript. It’s helpful to hear that you cut an early version of the opening. Good stuff. It’s all part of the process. What other insights or words of wisdom do you have for aspiring novelists? What might you tell them about the craft?

MWH: I’d tell them what I needed (and still need) to hear! The best thing they can do is keep trying to fail better. I didn’t really understand how to do that until I went to grad school at VCFA. I failed at so much there! It was the best.

ABW: The MFA program at VCFA is outstanding!

MWH: I think being cool with failing was the moment I actually became a serious writer. Because then it wasn’t about the failure anymore; it was about what I learned and how I could do better next time.

ABW: Oh, great answer. Brownie points! Yes, fail better. (And a shout-out to Samuel Beckett for first coining that phrase. “Try Again. Fail again. Fail better.”)

MWH: Heck yeah. Theater nerd to the death.

ABW: Haha. Okay, before we wrap this up, I have to ask about your parents. You open The Mortification of Fovea Munson with your main character bemoaning her parents’ dark humor, and I noticed that you dedicated the novel to your parents. So tell me… were they the source of your sense of humor? (Or the cause of some middle school moments of mortification?) How did growing up with Karl and Malie influence your writing?

MWH: Oh, there is so much of my parents in the book! They are sneaky hilarious, and my brothers and I all got a lot of our sense of humor from them—so many of my favorite moments are sitting around the kitchen table with them, all of us laughing until we cry. I’m sure there were also some mortifying parental moments in there, because that seems pretty essential to growing up, but the truth is, I was the kind of kid who really fixated on my own disasters, so the mortifying times that stick out to me now are the ones I was responsible for myself.

ABW: Some day I want to meet your parents. Okay, final question. How long did it take you to write this story, and what are you working on now?

MWH: It was six years from beginning to end. The first three and a half years were pretty focused, and after that, it was mostly copyedits and waiting. These days, I’m working on another middle grade book that takes place in the same Chicago-not-Chicago world.

ABW: Thank you so much for doing this interview, Mary Winn! I learned a lot and laughed a lot.

Readers who want to know more about Mary Winn Heider should check out her website, and follow her on facebook, twitter, and instagram. And if you do check out her social media links, be sure to say so in the Rafflecopter below. Each entry is a chance to win a copy of The Mortification of Fovea Munson. (You can log multiple entries by returning to the Rafflecopter on different days.) On June 12, Rafflecopter will randomly choose a winner, so be sure to enter by June 11, 2019, at 11:59 PM.

 

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The Humility to Keep Trying

Barbara Kingsolver

Barbara Kingsolver
Photo by Annie Griffiths

In a recent essay in Publishers Weekly, “5 Writing Tips,” author Barbara Kingsolver said, “[Writing is] a project of balancing the audacity to do this work, and the humility to keep trying until you’ve gotten it right.”

The humility to keep trying.

I like that. And Lord knows, I’ve kept trying!

An unexpected value of blogging once a month is the ability to track the evolution of my writing. When I re-read my June 2013 post about killing a few darlings, I had to smile. Back in 2013, I remarked that I’d drafted 22 chapters. I can now report that after multiple darling-killing sessions, I’ve cut every one of those first 22. And I don’t say this to whine! I say it because it’s true and I appreciate that I needed to write them to get the story to a place that works; they don’t belong in the final version. Continue reading

Hear the Character’s Voice: Interview & Giveaway

Just Like JackieWhat a great debut from Lindsey Stoddard! When I read Just like Jackie, I couldn’t wait to feature Lindsey and her writing on my blog.

In addition to doing this interview, I’m giving away one copy of Just like Jackie! For a chance to win, hop to the end of this page and fill out the form. Then come back, enjoy the interview, and glean some craft-of-writing insights. What Lindsey says about hearing a character’s voice is a fabulous tip. Deadline to enter the giveaway: July 25, 2018, at 11:59 PM.

I first met Lindsey at Vermont College of Fine Arts. Back then she was teaching middle school (my all-time favorite age group) while drafting stories and working on her MFA. She now writes full time, or as full as she can with two little ones in tow.

A. B. Westrick: Lindsey, welcome to my blog!

Lindsey Stoddard: Hello from Vermont!

ABW: Ah, Vermont… I’ll bet it’s gorgeous in New England right now—best place on earth in the summer. I guess maple syrup season is awesome, too, but we’ll get to that in minute.

First let’s talk about your feisty and oh-so-lovable heroine, Robbie. I read in your interview at Through the Tollbooth that part of your writing process involved channeling your anger as a child. Robbie’s anger comes through with honesty, and my question is: how much are you and your protagonist alike? Did you have to learn anger-management techniques like she does in the novel? Were you also a regular in your guidance counselor’s office? Where does the real Lindsey end and the fictional Robbie begin? Continue reading

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

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

Opening Lines

I should complete a first draft before deciding on my opening lines. I know I know I know this, but I’m starting a new novel, and I want the first chapter to be really good, so I just spent a morning re-writing what I drafted yesterday.

You’re wasting your time. I scold myself, and it’s deserved. I don’t yet know these characters, don’t know where they’ll take this story. Write like your fingers are on fire, Kathi Appelt told me. Get all the way to the end before you revise, Ellen Howard told me.

I know I know I know this, but revision is so satisfying, and blank screens so terrifying.

And so I procrastinate.

I pulled a bunch of books from my shelves and poured over opening lines. I know these authors didn’t write these lines in the first week that they sat down to work on these books. I know I know I know this.

But still.

I want to write this well. Read these openings.

 

Between Shades of Gray by Ruta Sepetys

They took me in my nightgown.

Thinking back, the signs were there—family photos burned in the fireplace. Mother sewing her best silver and jewelry into the lining of her coat late at night, and Papa not returning from work. My younger brother, Jonas, was asking questions. I asked questions, too, but perhaps I refused to acknowledge the signs. Only later did I realize that Mother and Father intended we escape. We did not escape.

We were taken.

 

Above Us Only Sky by Michele Young-Stone

When I was born, the doctor said, “I’m sorry.”

I had a full shock of dark hair and long legs like the rest of the women in Freddie’s side of the family, but no one noticed these things. No one saw anything but the wings, which were heart-shaped, crinkled like a paper fan. They were smaller than Freddie’s palm, slick with primordial ooze, compressed accordion-style against my back. The doctor whispered, “Some kind of birth defect.” Defect. “How some kids are born with tails and others with cleft palates.” He mopped his brow. “But I’ve never seen anything like this.”

 

Shine, Shine, Shine by Lydia Netzer

Deep in darkness, there was a tiny light. Inside the light, he floated in a spaceship. It felt cold to him, floating there. Inside his body, he felt the cold of space. He could still look out the round windows of the rocket and see the Earth. He could also see the moon sometimes, coming closer. The Earth rotated slowly and the spaceship moved slowly, relative to the things that were around it. There was nothing he could do now, one way or the other. He was part of a spaceship going to the moon. He wore white paper booties instead of shoes. He wore a jumpsuit instead of underwear. He was only human, or scant flesh and long bone, eyes clouded, and body breakable. He was off, launched from the Earth, and floating in space. He had been pushed, with force, away.

But in his mind, Maxon found himself thinking of home.

 

Sugar by Jewell Parker Rhodes

Everybody likes sugar.

Folks say, “There wouldn’t be any good food without sugar.” Like rhubarb cobbler. Blueberry Pie. Yellow cake.

But I hate sugar. I won’t eat it. Not ever.

“No sweets, just savories,” I used to tell Ma. “Corn bread. Grits.” Even nasty okra and green beans are better than sugar.

There’s all kinds of sugar. Crystals that turn lemons into lemonade. Syrup that cools into taffy. Or pralines, brittle. There’s even sugarcane you can suck until your lips wrinkle and pucker.

 

Golden Boy by Tara Sullivan

I am sitting under the acacia tree on the ridge when I first see them: three men, in nice clothes, coming toward our house. Their shoulders are straight and their fat bellies strain against their belts when they walk. They are the image of power.

I wish I could see their faces, but my eyes aren’t good enough for that this far away. I peel off my long-sleeved shirt and my floppy hat with the cloth sewn onto the back and crawl to the edge of the ridge in nothing by my long pants. My skin burns so easily that I could never do this in the middle of the day, no matter how hot it was, but now that the sun is setting I can enjoy the feeling of the wind whispering over me. Our goats mill around me, eating their dinner; the breeze carries the smells of the evening meal my mother and sister are preparing up the slope. The three men walk to our door.

Hodi hodi!” the first man bellows.

 

Brown Girl Dreaming by Jacqueline Woodson

I am born on a Tuesday at University Hospital
Columbus, Ohio,
USA—
a country caught

between Black and White.

I am born not long from the time
or far from the place
where
my great-great-grandparents
worked the deep rich land
unfree
dawn till dusk
unpaid
drank cool water from scooped-out gourds
looked up and followed
the sky’s mirrored constellation
to freedom.

 

Don’t you just feel hugged by the confidence in these voices? I do. Hugged. Embraced. Encouraged. Inspired. Ready now to go back and write like my fingers are on fire.

Point of View

This month I’ve been drafting chapters with points of view (POV) that alternate between characters. This is a challenge to write. And a joy! And a frustration. Each day when I sit to work on a scene, I re-read my notes on that day’s POV character’s musings and backstory to get inside his head. Not only his head, but into his body. I get up and pace and try to imagine that I am he.

2 boysYes, he. I’m writing boy characters. One of these days I’ll force myself to wrestle with the reasons I find it so difficult to write girl characters. I probably need psychoanalysis to get at the root of it, and I’m not sure I’m up for that! In the meantime…

This alternating POV-business has great potential. It forces me to reveal only those things that the POV character knows. Not revealing other tidbits creates a sense of mystery. Switching points of view introduces dramatic irony; the reader learns facts from one character that another character doesn’t know.

I like this. And while I’m trying to remain patient, accepting that the rewriting will take a while, I admit that right now, the revisions feel endless! My tenses (present and past) are all over the pace, and I’ve shifted from first person to third and back again. It is one crazy process, lemme say. I’m not sure which points of view will survive the final edits, but for now I’m trying not to think about the later stages. Even though I’ve completed a first draft of the entire novel, this manuscript is still in an early stage.

If I hadn’t gone and gotten an MFA in writing a few years ago, at this point I might be tempted to shelve this draft and start something else. But one thing that the MFA taught me was that there are no shortcuts. At least, when it comes to my process, there aren’t any. Voice and POV can make or break a novel. Here’s hoping my revisions will make this one work.

In Search of Perfect Sentences

Through the Osher Institute at the University of Richmond, from time to time my friend, Jan, teaches a class called “In Search of the Perfect Sentence.” Isn’t that just the best title?! I spend nearly as many hours reading as I spend writing, and often when I encounter a gem of a sentence or paragraph, I’ll pause to savor the words. Some stun me with their beauty or mesmerize me with their cadence, or just plain make me smile. And always, these writers challenge me to dig deeper to hone my craft.

From character-driven plots to organic settings and realistic dialogue, good books take so long to write that, come on, isn’t it nice when someone notices the effort? Here are a few of the awesome efforts that have recently kept me turning pages. In some cases, I’ve paused to read lines out loud. Try it. Try reading your own writing out loud. Does it flow? Will a reader pause and marvel at your word choice? Your phrasing? Your voice?

From Justin Torres‘ 2011We the Animals debut, We the Animals, which sings with a cadence all its own: “We wanted more music on the radio; we wanted beats; we wanted rock. We wanted muscles on our skinny arms. We had bird bones, hollow and light, and we wanted more density, more weight. We were six snatching hands, six stomping feet; we were brothers, boys, three little kings locked in a feud for more.”

 

From Sheila Turnage‘sThree Times Lucky Three Times Lucky, in which the language is real and funny and compelling: “Already I didn’t like him. Didn’t like the starch in his shirt, or the crease in his pants. Didn’t like the hook of his nose, or the plane of his cheekbones. Didn’t like the skinny of his hips, or the shine of his shoes. Mostly, I didn’t like the way he didn’t smile.”

 

From Virginia Pye‘s debut,River of Dust River of Dustjust out from Unbridled Books, in which the beautiful ending still haunts me: “As she continued to study him, a humming began in her head: a slight bothersome background murmur that was not altogether a noise but could grow to become one if she was not careful.”

 

From Robert Goolrick‘s debut, End of the Worlda memoir, The End of the World as We Know It, in which he plays with phrases in a most delicious way: “Now people wiped away tears when they imagined her sitting there again, so witty and pretty and chic, the way she had been before it all, or not before it all, but before it all got out of hand.”

 

From Louise Hawes‘ retellings Black Pearlsof fairy tales, Black Pearls: A Faerie Strand, in which classic characters from Rapunzel to Sleeping Beauty—characters we’ve taken for granted and thought we already knew—reemerge with cunning and complexity: “Yet clear as a stone dropped in a still pond, loud as the call of geese across the sky, I heard the music of my own heart. It played a stream burbling in the shade of apple trees, and the warm, solid thrum of waking bees.”

 

From Cori McCarthy‘s Color of Raindebut, The Color of Rain, in which she crafts the dystopian setting so organically that it’s oh-so-easy to suspend disbelief: “High above us, silver starships hang in invisible parking spots like stars lured too close to earth. Some are as large as skyscrapers while others are only big enough for a captain and crew, but they all gleam with blue light, the pulsing proof of their mighty engines… Engines that run the Void and weave between the stars. I’ve always been drawn to that blue…”

 

I’ve always been drawn to words and stories so perfectly crafted that the room I’m sitting in—or the airport or the screen porch or the treehouse—falls away and the literary magic transports me to another place. Ah, the encounter with perfect sentences…