Glad You Asked, Q1

March 23rd, 2017

Are you working on a new manuscript?

I’m struggling my way through a book set in San Diego in 1941, shortly before Pearl Harbor. Here’s the beginning, or the beginning at the moment:

Jorge lifted the slimy creature to his lips and bit it right between the eyes.

I shuddered as I watched.  “Doesn’t that taste muddy and disgusting?”

 “Nah,” he said, wiping mud from his mouth. “Is only salty. This way they don’t die but only sleep, stay fresh.” He threw the octopus into a bucket and slipped through the mud flats to another hole in the muck. He filled a baster from a mud-spattered Clorox bottle and squirted the bleach into a hole. When the occupant slithered to the surface, Jorge pulled it out and bit it, too. “You want?  Make good stew.”

I shook my head.  I preferred fish that came in cans and was mixed with mayo and chopped celery.

San Diego's Santa Fe train station

San Diego’s Santa Fe train station 1940s

Congratulations, Late Bloomer!

JC KatoJC Kato has won the 2015 Cushman Late Bloomer Award with her manuscript for Finding Moon Rabbit,  the incredible story of Koko Hayashi, a ten-year-old girl who doesn’t follow rules, but must survive with her mother and sister in a Wyoming internment camp. JC said she’s been wanting to write this story ever since she married into the Kato family, and now she has. I chose Finding Moon Rabbit because the writing is strong and authentic, Koko is an intriguing and original character, and the subject matter is compelling and important. Well done, JC. I look forward to reading the finished book.

So all you over-fifties, think about applying. Next year I could be congratulating you.

The Polish word for family

RodzinaQ: Choosing names. Is there a story behind the names you’ve chosen for your characters? (e.g., Brat becomes Beetle becomes Alyce)

A: There is no good answer to this question. Names just pop into my head, often before the story does. But there is a story behind Rodzina: When I was ten, my Grandma Lipski took me to the Polish cemetery in Chicago to show me her mother’s grave. In front of a gravestone marked Rodzina Czerwinski, she sat and cried. Many years later when I was writing a book about a Polish girl from Chicago, I decided to call her Rodzina after my great-grandmother. I checked with my father to make sure I had the spelling correct, and he told me that rodzina was not her first name but was the Polish word for family. The gravestone marked the resting place of the rodzins Czerwinski, or Czerwinski family. The book Rodzina is all about the search for family, so I decided that while Rodzina was not my great- grandmother’s name, it was the perfect name for the girl in my story. And so she is Rodzina.

My writing future

Copyright-free image of Elvis Presley from the Library of Congress collectionI was asked not long ago if I plan to write in other formats—plays, poetry, screenplays, or picture books. My short answer was good grief, no! but here’s more. I think I wrote all the plays, poetry, and screen plays that I had inside me before I was fifteen. I still have boxes of them: plays like “Jingle Bagels,” the story of Santa Claus going down the wrong chimney on Christmas Eve and finding himself in a Jewish home; a notebook called Plots for Elvis Movies; and of course poetry, poetry I wrote when I was happy, angry, frightened, in love, broken hearted—even a series of poems based on the life of Elvis (do you see a theme here?). No, I believe I’ll stick to middle-grade novels. They have gotten me this far.

About a Boy

Will Sparrow's RoadWhy did I write a book about a boy? I had in mind a story about a child alone and on the road in Elizabethan England. I knew a girl likely would not survive there in those somewhat brutal times. And I don’t believe that in a world with so little privacy, she could successfully disguise herself as a boy for long. She wouldn’t have access to a private bedroom or dressing rooms or bathrooms. London did have one public restroom—a plank with 18-holes, emptying directly into the Thames River. In fact using the whole world as a toilet—streets, fields, the halls of great houses—was so common that a book of manners from 1731 stated that it was impolite to stop and greet someone who is urinating. So it had to be a boy, and Will Sparrow was born.

It was important to me to build a Will who was believable, true to his character, his gender, and his times. My first attempts made Will more like a girl in britches so I had to do a lot more research. I read books on psychology and child development. I spoke to boys and mothers of boys. I watched boys at the bus stop and my husband and his friends at play. The resulting Will has boundless energy, his voice is changing, he distrusts displays of emotion, and he longs to grow facial hair. But he lives in a time that was more chaotic and dangerous so he is extremely vulnerable. There was no concept of adolescence so a boy of thirteen, no longer a child, was considered a man, with the responsibilities of a man.  

I hope I have managed to construct a Will who is believable, not a stereotype, and wholly entertaining.  Let me know what you think.

This article originally appeared on the Green Bean Teen Queen blog.

The Story Sleuths

Alchemy and Meggy SwannAllyson Valentine Schrier, Meg Lippert, and Heather Hedin Singh, the women behind The Story Sleuths, did a seven-part series on Alchemy and Meggy Swann, culminating in an interview with me. They look at things such as character transformation, inner dialogue, and details. It’s a good thing an author doesn’t have to plan all of this while writing a story. Much better to have the readers mull it all over and find meaning.

On the edge

November 12th, 2013

On the edgeFor a week or so now, I have been stuck on my new book. My main character needed to be in danger, but from what? This didn’t work, that was unbelievable. What to do? Finally, in frustration, I went back and read from the beginning of the story, and there they were—the vicious “edge dwellers” who had appeared and disappeared in an early chapter. Perfect villains, frightening and dangerous, and they were there all along.

I think we writers write more into our stories than we even know, not because our characters take over or we are channeling someone or because there is a muse at work. I think we do it ourselves, unwittingly, because we are preparing ourselves for surprise. We merely find what we planted there, the unconscious gifts we give ourselves. So I am for the moment unstuck and ready to deal with those vile edge dwellers.

I’m no Ansel Adams

Writers at Oregon SCBWIHere’s a crummy picture of an amazing group of writers at the Oregon SCBWI conference in Portland last weekend. All 201 of them were full of questions, ideas, and enthusiasm, and they welcomed me most warmly. I hope their passion is contagious as I once again dig into the draft of my new book.

Writing Irresistible Kidlit

Writing Irresistible KidlitOn quiet afternoons, I love to sit curled up in a chair and read books about writing (really!). I’m a writing book nerd. Mary Kole, literary manager at Movable Type Management who blogs at kidlit.com,  just sent me a copy of her new book, Writing Irresistible Kidlit: The Ultimate Guide to Crafting Fiction for Young Adult and Middle Grade Readers. And ultimate is right. I can’t think of a topic Mary doesn’t cover. The book is lively and helpful—my only quibble is the term kidlit in the title. It’s my pet peeve, but a pretty minor quibble for what is a terrific book. If you want to write for children or are a writing book nerd like me, take a look at Writing Irresistible Kidlit. I recommend it.