I had the privilege of meeting
A. J. Paquette (Ammi-Joan) in person this past spring at the
2011 Texas Library Association Conference while she was in Austin, and she’s every bit as lovely in person as she is in her picture. Charming. Kind. Warm. Professional. Stylish. And do you see the glint of mischief and curiosity in her eyes? It really leaps to life when you hear her talk about the things she’s passionate about: her clients with the
Erin Murphy Literary Agency (yes, she wears many hats as agent and author), her own writing projects and her two glorious girls (oh, and she likes to travel. Oui?).
I first read Joan’s work when she published
The Tiptoe Guide to Tracking Fairies, illustrated by
Christa Unzner (Tanglewood Press, 2009) and loved her fresh picture book idea and voice. Since then, Joan and I have kept in touch, and I’m thrilled she’s speaking to us today about her new middle grade novel,
Nowhere Girl (Walker & Company, Sep 13, 2011). Welcome, Joan!
How did your writing process differ from writing a picture book? They’re both such different animals. Can you talk a little about how you handled switching and writing in a different genre?
There is definitely a big difference between writing novels and writing picture books. For me, my picture book inspiration comes in large part from my interactions with my children, so in writing those books I am, you might say, either channeling them or channeling the voice of my interaction with them. With novels, I feel something much closer to a child-voice of my own, drawing on feelings and emotions that resonate with me now, or with the person I was growing up. That aside, I think the main difference in my process is that picture book writing can more easily fit in around the cracks of my everyday work. If I’ve got a picture book in development, I can take a half-hour here or there to mull through a quandary or brainstorm a new rhyming couplet. Novel writing and revision tends to need longer chunks of time, and it also requires more of a shift in mindset to get into the right creative space.
In Nowhere Girl, we’re introduced to thirteen-year-old Luchi Ann who is living in a women’s prison in Thailand and the death of her mother forces her to leave the only home she’s ever known. Where did the inspiration come for this story?
The first inspiration came from a news article I chanced upon, describing a boy who had grown up with his incarcerated mother in a Thai prison. This was such a completely unexpected incident that it stayed in my mind and, eventually, began to weave its way into the story that would become this novel.
How important is it to choosing the “right” names for your characters?
I do tend to find that one certain name feels right for a given character, and with main characters especially, I almost have to find that “right” name before I can go very far into the story. Perhaps for this reason it’s very difficult for me to change a main character’s name once they have been brought to life on the page.
Do you believe it’s important for characters to have strength and flaws? And how do you develop each of these in all your characters?
I do think that finding this balance in a character is extremely important. Characters who are all good or all bad don’t have the same ring of authenticity—maybe because such a person couldn’t exist in real life. I think the most strongly resonant characters have positive or heroic attributes which readers can look up to, and/or negative traits that readers can identify with and recognize in themselves. Flaws humanize characters—and, okay, they help advance the plot, too! But more than that, they make people so much more interesting. As far as development, I try to follow the story in all things. Dropping my characters right into the action and pushing them on their way, and then paying attention to how they would react—which they tend to do in their own quirky and unique ways—is one of the best ways to bring out well-rounded characters.
There’s a powerful sense of hope in Nowhere Girl and that life continues even after death. Luchi Ann’s courage is breathtaking as she faces her fears and starts over by charting a new destination for herself. When does theme emerge for you in the revision process, and how do you strengthen it without beating it to a pulp?
I often don’t discover the theme in my work until after the first draft has been completed. Sometimes, determining what you “want to write about” from the get-go can encourage heavy-handed or didactic writing. But when you first follow the story, see where it takes you and what it has to say, and then look back down that path to find the common threads, it’s amazing how many things become very clear that started out as only a dull muddle. It’s in the revision stage that I tease out the themes that have begun manifesting throughout the story, and then work to strengthen and amplify them so that they have the proper development and exposure.
As I mentioned earlier, you wear many hats as a literary agent with the
Erin Murphy Literary Agency. How do you balance the two careers? What are the joys you find in each role?
It’s definitely a juggling act, and for my first few years as an agent I found myself doing very little on the writing front. Nowadays, I am more easily able to compartmentalize those different parts of my work day or week. And for me, the two really do feed from each other, each one providing its own energy and inspiration. I wouldn’t trade each of my “hats” for anything!
Can you talk about some of your latest agented deals?
Yes! There are some very exciting new titles coming out over the next few months: In November, Anna Staniszewski’s hilarious middle-grade debut MY VERY UN-FAIRYTALE LIFE (Sourcebooks, 2011) hits the shelves; in December, look for Mary Lindsey’s dark and sexy YA paranormal, SHATTERED SOULS (Philomel, 2011), and in spring 2012, get ready for Eric Pinder’s adorable picture book IF ALL THE ANIMALS CAME INSIDE, which will be illustrated by the celebrated Marc Brown. This is just a small sampling, of course—I could talk about my authors’ books all day!
What’s it like collaborating with Erin Murphy as your literary agent? And what’s around the corner for A. J. Paquette, the writer?
Erin has been absolutely wonderful to work with—the perfect blend of mentor, friend, boss, collaborator and more. I couldn’t ask for a better agency to have settled into! And next up from my author persona are two picture books: THE TIPTOE GUIDE TO CHASING MERMAIDS (Tanglewood, 2012) and GHOST IN THE HOUSE (Candlewick, 2013). Both of these are in the artwork development stage which is so very exciting!
Tell us 3 things you can’t live without.
Firstly my laptop, since it connects to just about all I do; next I’m just going to say delicious food—because eating isn’t enough, it must be truly divine; and lastly, hot showers are essential at any and all times of year.
Tell us 3 things you wish were never invented.
I’m drawing a blank! I know such things exist, but the only ones I can think of offhand (eReaders, Facebook, jeggings) have definite upsides, even to my jaundiced eye (for manuscripts, for reconnecting, for my daughter). So who am I to splinter off a universe in which these things don’t exist? I’ll pass.
Thanks, Joan! Best of luck with both your careers.
