Guest Post: Chris Eboch on Plotting and Revising Your Novel

By Chris Eboch

After a dozen books in print, I like to think I’ve learned a few things. After all, I’ve written historical fiction (The Eyes of Pharaoh, a mystery set in ancient Egypt, and The Well of Sacrifice, a Mayan adventure), original paperback series (the Haunted series, which starts with The Ghost on the Stairs), and various types of work for hire, including fictionalized biographies and a mystery about a certain famous girl sleuth.

Unfortunately, that doesn’t mean the next book is always easy. Every novel has its own challenges and flaws. I tend to be analytical, and I have years of experience as a teacher through the Institute of Children’s Literature and as a freelance editor. So I’m always looking for clear, logical techniques to improve my writing, and that of my students. A couple of years ago I picked up a writing book that suggested you make an outline of your finished manuscript. My mind jumped ahead, seeing the possibilities. This could be a great tool for analyzing your work!

But the author didn’t do what I expected. She had some good points to make, but I thought she was missing an opportunity. I developed a system of my own, testing it with my manuscripts and in a class I taught, pulling in suggestions from other articles, editing and refining. And I came up with what I now call the Plot Outline Exercise.

Briefly, you make an outline of your finished manuscript, noting the main action and any subplots in each chapter, along with the level of conflict, the primary emotions, and the chapter length. Then you analyze your plot. I divide the analysis into sections for Conflict, Tension, Main Character, Subplots and Secondary Characters, Theme, and Fine Tuning, with over 40 bullet points. Here are the opening three, from Conflict, as examples:

·                      Put a check mark by the line if there is conflict in that chapter. For chapters where there is no conflict, can you cut those, interweave with other chapters, or add new conflict? The conflict can be physical danger, emotional stress, or both, so long as the main character (MC) is facing a challenge.

·                      Where do we learn what the main conflict is? Could it be sooner? Is there some form of conflict at the beginning, even if it is not the main conflict? Does it at least relate to the main conflict? The inciting incident—the problem that gets the story going—should happen as soon as possible, but not until the moment is ripe. The reader must have enough understanding of the character and situation to make the incident meaningful. Too soon, and the reader is confused. Too late, and the reader gets bored first.

·                      Where do we learn the stakes? What are they? Do you have positive stakes (what the MC will get if he succeeds), negative stakes (what the MC will suffer if he fails), or best of all, both? Could the penalty for failure be worse? Your MC should not be able to walk away without penalty.

As you work your way through the questions, you make notes on your outline about changes you’ll need to make to the manuscript. (I think it’s important that you study the overall manuscript and make notes first, rather than starting to fiddle with problems as you find them. You don’t want to waste time editing a chapter that you later decide needs to be cut.)

As an example, here is an outline of the opening scenes of my unpublished middle grade novel, The Mountain, featuring a 12-year-old boy who runs into mysterious people while hiking in the woods.

Chapter 1, 12 pages: Jesse plans a fishing trip while dealing with family secrets. Conflict—yes, related to family. Emotions—Jesse is angry and resentful. Subplot—family secrets.

Notes: Delete opening scene and start the next day when Jesse is ready to leave. Bring his father into the scene, showing the distance between them. Trim chapter to get Jesse out of the house and into the woods quickly—move scene with Becca to later in the book.

Chapter 2, seven pages: Jesse goes hiking, follows tracks, and meets a woman in the woods. Conflict—tension, but no major conflict. Emotions—confidence, then curiosity.

Notes: Cut scenery to get to action sooner. Have Jesse briefly get annoyed at family secrets while hiking. Increase conflict by having him notice blood on the trail. 

Outlining the book this way helped me take a step back and see problems. I had conflict in the first scene, but it didn’t relate to the main problem—the mystery in the woods. I needed to get Jesse into the woods more quickly. Then I had two chapters, one of them very long, with no major conflict. Since this is a suspense novel, I needed to increase the conflict, make the strangers more mysterious early on, and pick up the pace, deleting some of the description.

I also noticed that I dropped the family secrets subplot through much of the book, because Jesse is not at home most of the time. I needed to find ways to include that, if only by having him think about it.

The Plot Outline Exercise is flexible, and you can even use it at the outlining stage. To make the system more useful for others, I combined it into a book with essays covering specific techniques that come up in the Exercise questions, such as developing strong first chapters, writing vivid scenes, and using cliffhanger chapter endings.

Some of these essays I expanded from articles I’d previously written for Children’s Writer or Writers Digest. I also invited guest authors from a variety of genres, including romance, mystery, and fantasy, to share their insights. I cross-referenced the essays with the bullet points in the Plot Outline Exercise, so once users identified the problem, they could learn more about how to solve it. All this information became my book, Advanced Plotting.

If you’d like to learn more, stop by my blog, Write Like a Pro! where I’ve been posting a series of excerpts from Advanced Plotting. You can download the complete Plot Outline Exercise HERE  (scroll down on the left), or you can buy the book in paperback or as an e-book from Amazon 

Chris teaches through the Institute of Children's Literature and is the New Mexico Regional Advisor forthe Society of Children's Book Writers and Illustrators. She has her MA degree in Professional Writing and Publishing from Emerson College in Boston, as well as a BFA in Photography from Rhode Island School of Design. She has worked as an editor and writer for magazines. She has taught Fiction Writing and has led dozens of workshops for children and adults.

Learn more about Chris and read excerpts of her work at www.chriseboch.com (for children’s books) or www.krisbock.com (for adult romantic suspense written under the name Kris Bock) or see her Amazon page at http://www.amazon.com/Chris-Eboch/e/B001JS25VE/.

Author Interview: A.J. Paquette

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.

Book Talk: Reviews by Young Readers

Today in BookTalk: Reviews by Young Readers, I’m thrilled to have Sarah Dukes with us to talk about Jessica Day George’s Middle Grade novel Dragon Slippers. Welcome, Sarah! 

Hi, my name is Sarah, and I'm 13 years old!  I'm very passionate about writing.  With writing you can escape to a place you created.  Somewhere with drama, humor, horror, romance or mythical creatures.  A dream of mine is to become a published writer.  I often day dream of seeing the reaction my book would bring to people when I write.  Secretly I wish I could vanish into a book's world. 

I discovered that I also have a love for cooking.  One afternoon when Mom told me to make lunch is when it all began.  The only part of cooking I don't like is washing all the pots and pans afterwards.  What's the fun in that? 

Family is an important part of my life.  They are always there to help me through hard struggles and rejoice with me when there is victory.  Spending time with them is a blast.  We take lots of mini vacations through-out the year and are very close to one another.  My favorite vacation place we have visited so far is Disney World in Orlando, Florida.  It's a truly magical place!

Finally I believe music is words spoken through notes.  When I was going into the 6^th grade I decided to play the violin.  Playing the violin is captivating.  It makes you wonder how you can create such beautiful music just by touching down on a string.  It's a wonderful feeling.  I've played once in my church for Veteran's Day and have gotten a solo in a music camp I attended. 

Review – Dragon Slippers by Jessica Day George

In my spare time I soared on dragon wings and lived in Derda's shop with Cleer.  My head was nestled in the book Dragon Slippers. 

The book is quite fascinating and is told AMAZINGLY!!! All 317 pages of it, keeps you wanting more.  You feel the emotions of the character pull you in.  At parts I wanted to strangle Larkin and Amalia for what they did.

         

It gets so intense that you have to hold yourself from skipping to the end.  I enjoyed reading this book and so did my sister.  It's one of the best books I've read in a long time!

         

It's a GREAT story about dragons and what happens when unusual shoes get in the wrong hands.   You'll love it if you like reading fantasy, action, betrayal, and a pinch of romance!

Thanks, Sarah!! And now a few Q&A. Here we go!

Q&A

How do you choose a book? Is it the cover art that catches your interest? A recommendation from a friend? The jacket flap summary?

I know I shouldn't do this, but I tend to choose a book on the cover art.  Like food it must appeal to my eye before I devour it.  If the cover looks good to me then I read the back to see what it's about.  I mentally check it over, and if it seems like the book for me I start reading.  Sadly that doesn't always work out the way I plan. 

What kinds of books do you like to read?

Books that take me to far away places such as a dragon's lair or in a castle.  But I think what really wraps a book together is a bit of romance and excitement!

Where is your favorite place to read?

Somewhere where I can let my imagination run wild.  Where I can get cozy and comfortable with my mp3 quietly playing background music.  Most of the time it's curled up on my bed.  The room seems to disappear and is replaced in the book's world.

Have you always liked to read?

Surprisingly, no.  I didn't always like to read.  I think that when I didn't like to read it was because it seemed hard and took a lot of work to enjoy.  But I really enjoy reading now!  It's that first book that really sparks your interest and gets you started.

Do you have a favorite book? Favorite author?

My favorite book is: My Fair Godmother by Janette Rallison.  It's well told and leaves you smiling.  I've found her to be my favorite author so far.  The way she adds a bit of humor is like the icing on the cake...amazing.  Most of her books are romantic comedies.  

If a librarian asked you what type of book you’d like to see more of, what would you tell her/him?

I would like to see more appropriate romantic comedies and fantasy books.  Ones with dragons, knights, and a damsel in distress. 

Did you connect with the main character in Dragon Slippers? Why or why not?

I connected with Creel by the way she felt.  Her feelings were similar to mine and very strongly expressed.  I loved the way she was always ready to go forth with things.  Very brave!

What part or scene from the book resonated with you the most? And why?

I would have to say the scenes of Creel looking at Theordus’ and Shardas hoards. They seemed so beautiful! When I pictured Theordus’ I thought of the Beast’s library from Disney’s Beauty and the Beast except filled with shoes. A whole room filled with shoes, you have to admit it’s a girls dream come true. I imagined Shardas’ to be a huge room circling up with stain glass windows. Shardas’ took my breath away with how I longed for it to exist. I wanted to make it real! It just sounded so amazing and captivating. I would’ve stood looking at the windows for hours.

We know that dragons aren’t real so how did the author make you believe in her fictional world?

The author described the dragons as if they were still in a cave waiting to be discovered. And the brilliant idea of why people never visited them anymore. The stories townsfolk made up about the “evil beasts,m” it just seemed so real. Once you get caught up in the fairytale you live in the world as one of the townspeople too.

Sarah, thanks for the review and sharing your insights.

Author Interview: Julia Durango

Julia Durango is the author of picture books, adventure novels, and poetry for kids of all ages. Her middle-grade adventure novel, Sea of the Dead, was a Junior Library Guild selection, a Parents’ Choice silver medalist, and the winner of the 2010 Golden Kite fiction award for best children’s book of the year. I was lucky enough to be sitting in the audience that day when Julia accepted the award at the SCBWI summer conference. Today I’m fortunate to have the Illinois author on my blog to share about her writing process and to talk about her new books. Please welcome, Julia Durango.  

With the recent release of Under the Mambo Moon, illustrated by Fabricio VandenBroeck (Charlesbridge, 2011) can you share the inspiration behind the book?

I first fell in love with Latin American music when I was a teen travelling in Brazil.  Later, during college, I spent time in Colombia, Costa Rica, and other Latin American countries.  In each place, I encountered amazing music, from tango to salsa to mambo, which told stories about people transcending adversity and celebrating life.  I wrote Under the Mambo Moon as a tribute to an art form that has brought me so much joy throughout the years.

How long did it take you to write Under the Mambo Moon? Did the plot or characters come first? Any challenges along the way? Did you think about school curriculum tie-ins when you were writing it?

I wrote the first poems for this book back in 2001, perhaps even earlier (it’s been so long I’ve forgotten!).  I didn’t start with plot or characters, but rather the different types of music I wanted to explore.  Over the years, the collection slowly grew and evolved as I added more poems.  Marisol, the narrator of the collection, didn’t appear until much later, when I realized the poems needed a storyteller to hold them together.   As for school curriculum tie-ins, I must admit that I didn’t give them any thought at all!  I trust that good teachers will always find creative ways to incorporate books and poetry into their lessons.

You’ve also recently released the picture book Dream Away, written with Katie Belle Trupiano, illustrated by Robert Goldstom (Simon & Schuster, 2011). Is it exciting having two books out at the same time? Did you know that both books would be released around the same time? Although, each book targets a different audience, is it challenging marketing both books? Any tips?

Yes, it has been very exciting to have two books out at the same time, especially since both involve music.  WhiIe I didn’t know until later in the game that both books would be published in July 2011, I was quite pleased by the coincidence.  As you mentioned, the books target different audiences, so they’re not competing works.  As for promoting them, I’ve had a fun time emphasizing their musical nature as a “bonus” to readers.  You can read more about my collaboration with songwriter Katie Belle Trupiano and listen to her sing Dream Away click HERE 

You’ve come up with an innovative school visit program “Out of the Box” can you tell us about it? And how it came to be?

Since I am a school librarian, I am not able to schedule many traditional school visits as other authors do.  I love to connect with my readers, though, and wanted to figure out a way to “visit” schools that wouldn’t involve travel.  My “Out of the Box” program literally begins with a box – students send me a package containing a letter with questions and a stuffed animal or school mascot to go on “field trip” to my house.  I make a personalized DVD in return, which includes answers to their questions as well as photos of me and their stuffed animal or mascot.   I piloted the program with my sister Sherry’s second grade class in Missouri, and we all had a blast!  At $200, the program is also very affordable to schools where funds are scarce.

I was at the 2010 LA SCBWI National Conference when Sea of the Dead (Simon & Schuster, 2009) won the Golden Kite Award. Congratulations!! In your moving acceptance speech you talked about having special messages to your sons in your books. Is there a special message to anyone in Under the Mambo Moon? Or Dream Away?

Thank you, Carmen, I’m glad you enjoyed the speech.  The Golden Kite Award was a huge honor and definitely the highlight of my career so far.  Yes, there are hidden messages in the new books.  Under the Mambo Moon is my love letter to Latin America; in fact, many of the characters in the book were named after Latin American friends, teachers, and others I admire.  For example, Rubén is named for the great musician Rubén Blades from Panama, who has long been a hero of mine.  In Dream Away, the message is for the kids in my life and is quite simple:  Dream. Explore. Play.  And holler if you need me. J

What are your thoughts on when a writer should seek representation with an agent? Can you share your experience when you signed with Barry Goldblatt Literary? Were you published yet?

I sought representation after I’d made some magazine sales and a book sale to a small publisher.  I had also collected a stack of rejections – form letters at first, which gradually evolved into personal notes and a few close calls.  A trusted author friend and mentor suggested I submit to Barry, who had recently opened his agency, and I happily became his tenth client.  That was ten years ago and his agency has grown quite a bit since then!   As for when writers should seek representation, I think it all depends on their career goals and the quality of their writing.  This is where SCBWI membership can be so invaluable; the numerous conferences and events they organize can be great opportunities for networking and professional feedback.

What are you working on now?

A middle grade fantasy novel set in the Andean highlands with my writing partner, Tracie Vaughn Zimmer.  Tracie has been my critique partner for the past ten years; in fact, she helped me enormously with Under the Mambo Moon.

What do you do when you’re not on deadline? For fun?

I spend time with my family, my dog, my friends.   I go for walks, read books (love my Kindle!), daydream about trips I want to go on, and read recipes I will probably never try.

Tell us 3 things you can’t live without.

My guys. Libraries. Gel pens.  

Tell us 3 things you wish were never invented.

Diets. Multi-tasking. Jersey Shore.

Thanks, Julia!!!

You’re welcome, Carmen. J

Author Interview: Jessica Lee Anderson

It's exciting when I get to interview children's authors whose work I admire and even more thrilling when that author is also a friend. I first met Jessica Lee Anderson when I attended a book signing party with several other Austin SCBWI authors at Barnes & Noble. At the time, she was signing her middle grade award winning novel Trudy (winner of the 2005 Milkweed Prize for Children's Literature) and her warm smile enveloped me with her inner beauty. She's one of the kindest, sincerest people I know. When you speak with Jessica you feel that she's invested in you. No one else matters. She's genuine and generous and incredibly talented. And no doubt why she was such an effective instructor when she taught for five years at the Institute of Children's Literature. Lucky students!

One of the things I admire about her as a friend and writer is her hard-working and determined attitude. She's always working to improve her craft, she has a Masters of Arts in Children's Literature from Hollins University, and open to sharing what she's learned so far in her journey with other writers. I've had the pleasure to hear Jessica speak on several occasions to peers, librarians and teachers, and her passion for writing and inspiring children to read and write is magical. Spell-binding. AWEsome. 

She believes in excellence and raising the bar every time her pen strikes the page. Her books touch you deeply and she's not afraid to write about serious topics like mental illness and border issues which she did in her Young Adult novel Border Crossing (Milkweed, 2010). She invests in you the reader and her characters. And I'm touched she took time out of her extremely busy schedule to talk with us. But I'm not surprised. Because that's just the kind of thing she does. Please welcome, Jessica Lee Anderson!

Describe your typical writing day for us? Are you a morning writer? A night owl? Do you write in an office? Under the shade of a lilac tree? A café? Let us peek into your writing world.

My typical writing day starts with a large cup of coffee or tea in the morning.  I check my email and then try to research, dig into a manuscript, or revise depending on where I’m at in the writing process.  I’ll write for a couple of hours, take a break for lunch, and then write some more in the afternoon if possible.  If I’m close to finishing a draft or a revision, I’ll write well into the evening.  I use to be a complete night owl and get my best writing done in the wee hours, but as I’ve gotten older and as my schedule has changed, I’ve forced myself to be more of a morning writer.

Do you set daily writing goals for yourself? Weekly? Yearly? Do you think goal-setting is important for your career? Are you more of an organizer or fly-by-the-seat-of-your-pants person?

I’m a loose organizer who sometimes flies by the seat of my pants! (See her interview with Samantha Clark on To Outline or Not Outline) Goal setting is definitely important to keep myself accountable and to be able to see how far I’ve progressed. That said, I do need to set some consistent daily writing goals, such as completing a certain number of chapters or writing a certain number of words.  Whenever I work on a new novel, I set goals in terms of when I’d like to finish and when I hope to have the revision(s) complete by. 

What do you like most about being a writer? What is the thing that surprises you the most about writing? Or being a writer?

I love the creativity of being a writer most of all—getting surprised by characters and their actions, hashing out a plot, honing words, etc.  When I first started writing, I was surprised by how effortless books were to read yet so challenging to write.  This reminds of a quote I love by Nathaniel Hawthorne, "Easy reading is damn hard writing."  I’m constantly and pleasantly surprised by how supportive and wonderful the local Austin writing community is.

F. Scott Fiztgerald said, “Character is plot. Plot is character.” In your novels Trudy and Border Crossing your characters drive the plot? Their action and reactions direct the scenes.  When you begin a novel do the characters come first or the plot?

In most of my work to date, the characters drive the plot.  Their actions and reactions direct the scenes and influence future choices, etc.  In half of my novels that I’ve worked on, the plot came first, though.  I knew what was going to happen, but it took me a while to get to know my characters and their desires.  In the remaining half, I “heard” the character voices and then the action began to unfold.

In Trudy and Border Crossing the characters both deal with illnesses yet in very different ways?  Can you briefly describe why you felt compelled to write these stories?

Trudy is very personal to me as I watched my grandmother slowly slip away to Alzheimer’s. It was a very painful process, and I wrote as a way to cope. Years later, I became fascinated with the brain, and wanted to know more about schizophrenia.  This research eventually led to Border Crossing.

Both Trudy and Border Crossing are written in the first person point-of-view? Did you start the novels in this point-of-view? Or did the point-of-view change? Do you experiment with point-of-view when you’re writing a novel? Did writing in the first person point-of-view make it easier to get inside your characters’ head?

I’ve started with first person point-of-view with all my novels.  I’ve found that this close viewpoint makes it easier for me to better understand my characters and their motivations.  I experimented with the third person point-of-view in Border Crossing during a revision, but found that it was too distancing (even though my protagonist is an unreliable character).

Tell us about your newest novel Calli (Milkweed, 2011) to be released this September and currently available for pre-order on Amazon or Barnes & Noble. What was the inspiration behind the book?

My family and research into foster care inspired Calli.  Calli’s world changes when her moms take in a foster child named Cherish. Cherish kisses Calli’s boyfriend, steals things, and seems like she’s trying to ruin Calli’s life.  When Calli retaliates, things go horribly wrong. Even though there isn’t an easy solution, she tries to make amends.

Where do you find inspiration and motivation as a writer? What and/or whom are your “rocks” in your writing life?

I read as a way of staying motivated, and my friends constantly inspire me and motivate me.  Seriously, I don’t know what I’d do without PJ Hoover, Jo Whittemore, Kari Holt, E. Kristin Anderson, Stephanie Pellegrin, Jeanette Larson, and the entire Austin SCBWI chapter!  My husband, Michael, is an incredible “rock”—I can't say enough about how lucky I am to have such amazing support!   

Jessica is also part of the Texas Sweethearts & Scoundrels seven authors and illustrators who write for children and teens.

What are you working on now? Eager fans want to know!

I’ve been working on a middle grade novel called Finding Bigfoot.  Everdil Jackson thinks she can repair her parent’s broken relationship and grow closer to her friends by proving Bigfoot’s existence after an unexpected encounter. Everdil ends up proving more than she bargained for, including her inner strength and ability to adapt.

You’re so sweet, Carmen!  Thanks for your time and thoughtfulness!

Thank you, Jessica!!!

To read additional interviews with Jessica visit Cynthia Leitich Smith's blog Cynsations on Trudy or her Guest Blog post with PJ Hoover.on Cynsations. She also has several others listed on her website.

Five on a Friday

It's the last Friday of the summer before the kids go back to school. Hubby has taken the day off from work and we're going to take the kids ice skating. I know ice skating in the summer sounds crazy, but it's been soooo hot here in Austin that you need to find indoor activities or risk melting. Literally. Applying make-up is sometimes useless because if you're outside for more than 5 seconds, it runs right off your face.

So before we venture out the door for our play date, I thought I'd leave you with "Five on a Friday." Here we go!

1.  Check out this amazing silent auction that BEYOND LUCKY author Sarah Aronson is hosting at her Beyond Revision blog.  There's a full novel critique with Sarah Aronson, a nonfiction critique with Tanya Lee Stone, a conversation with literary agent Sarah Davies, a critique with Dial executive editor Liz Waniewski, and so much more!!

2.  If you haven't participated in the 2011 WRITEONCON conference held from Aug 16-18 then head over to their blog and read some of the posts. And if you like what you see consider a small donation! It allows them to keep organizing these amazing events. 

3. If you haven't signed up the Austin SCBWI symposium/workshop Storytelling in the Digital Age than do so today! Seriously. How can you navigate the world of children's literature without staying on the cutting edge of technology and the new doors springing open for children's writers and illustrators. Embrace the change people!

4.  You must check out New York Times bestselling author Cynthia Leitich Smith's weekly round-up at her blog Cynsations. It's a wrap-up of some of the best interviews and posts in the cyber kidlit world not to mention all her links to Giveaways!!

5.  And above all as you embark on your weekend don't forget to carve out some time and write. Even if it's in 10 minute spurts or chunks. Do it! Write and listen to your muse. It's what sustains us people. Even when what we write sometimes sucks. Young Adult novelist Libba Bray said at the SCBWI 2011 Summer Conference, "Embrace the Suck...We have to get it wrong before we can get it right!" 

Author Interview Tricia Springstubb Part II

Last month, we met author Tricia Springstubb and talked to her about her writing process and her book What Happened on Fox Street (Balzer & Bray, 2010). Click on Part I to view our interview here if you happened to miss it. Today, she joins us for part II of our interview. Welcome back, Tricia!!

Congratulations on the upcoming release of Mo Wren Lost and Found (Balzer & Bray, Aug 23, 2011)! What can readers expect from Mo Wren in this adventure?

So many readers asked me what happened after Fox Street, and this is that story.  You can expect to see all the Wrens, including Mr. Wren, change, and for a new member to join the family!

What are the challenges in writing a sequel?

The challenges were much bigger than I expected.  For one, I wanted to make the second book a stand-alone, but not disappoint readers who knew all the characters from FOX STREET.  As always when writing for children, I didn't want too much backstory, but I also needed to convey all that Mo was giving up by leaving her home.  It was a real balancing act--and that's not even mentioning the surprises my characters threw at me along the way!

Like in the first book, you’ve created a strong sense of place in LOST AND FOUND with “Wren House” and “Soap Opera.” What were the inspirations behind these places? Did they come from your past? Were they fictional? Did you do any research?  

Thank you, thank you!  Sense of place is very important to me.  It was harder to evoke in LOST AND FOUND, since Mo's new world is so much wider than back on Fox Street.  I was thinking of a neighborhood on Cleveland's east side when I wrote, but all the places are fictional.  My husband and I rented for many years before we bought our house, so I've spent plenty of time in laundromats.  And Cleveland has lots of cozy, neighborhood holes-in-the-wall where people nurse a beer and commiserate over how badly the Indians or Brown are playing.

One of the things I admire about Mo Wren is her independence? Were you independent as a child? What was your childhood like and did that inform this character?

I was never as independent as Mo.  She's based more on kids I knew when I worked in a public library children's room, kids with responsibilities beyond their years--babysitting siblings, making meals, keeping a lot of things together.  That said, I did grow up back in the day, when children were supervised far less than now.  Summer mornings we'd "go out to play" and not come in again till supper.  My fiction is really all about what kids are capable of, how brave and resilient they often have to be, like it or not.

I was laughing out loud in various scenes especially the driving scene with Mo’s father. Does writing humor come naturally to you? Do you have any suggestions for how writers can interject more humor into their stories?

I come from a big Irish family that highly values a sense of humor.  Shakespeare said it was sleep that knits up the raveled sleeve of care, but for us it has always been laughter.  So thank you again--making other people laugh is one of my life's greatest pleasures!  I'm not sure it's something that can be taught, but being careful never to take yourself or your characters too seriously is a good start.  Life is full of absurdity--be on the look-out for it.

There were moments in the story when Mo second-guessed her decision or action and felt responsible for the outcome. Were these scenes hard to write? Has this ever happened to you before?

Mo is a thinker, and has always had an active conscience.  She feels responsible for her father and for Dottie and now for Carmella, the laundromat lady. But in this second book she also feels the tug to lead her own life.  She begins to feel some resentment over how many things seem to be her fault, and how unfair that is.  Writing some of those scenes surprised me--I realized Mo was growing up.  She even hates her hair now!

Did you know the ending when you started writing LOST AND FOUND? Or were you surprised in the journey of writing it?

I always knew Mo was going to find a home by the end of the book.  How that home was defined changed a number of times.  At first, the Wrens lost the Wren House due to poor Mr. Wren's incompetence!  In another version, Mr. Wren found a girlfriend.   Again, poor Mr. Wren--my editor Donna Bray thought the family should find its way without someone from the outside solving their problems, and she was right. (But readers will guess who that girlfriend was supposed to be--and I still believe she and Mr. Wren get together after the book ends!) 

Do you ever get stuck in the writing process? If so, what do you do to push forward? Do you advance to a different scene? Eat 4lbs of chocolate? Drive around aimlessly at 2am?

Stuck?  I get mired!  It happens with every book, and every time I'm sure it has never been this bad before.  I have a few techniques that help.  I give myself permission to write really terrible, this-will-never-see-the-light-of-day first drafts.  Because plot is so hard for me, I work till I have at least an armature I can twist and bend.  Then I revise and revise and revise.  When I get stuck in a section, it can help to go back a couple of chapters and re-read--often the clue I need is hiding there in plain sight.  And then there are the eternal questions: what does my character want?  What is standing in her way?  What am I trying to do in this scene and does it advance the plot?  When I'm really at a loss--when I just keep making characters walk in and out of rooms for no discernible reason--it's time for a clear-the-head walk, always with a notepad in my pocket.    

When I create my characters, they usually have several foods they love and hate? Can you list a couple of things Mo loves to eat? Can’t stand? What about Tricia Sprinstubb?

Mo loves everything her dad cooks, with the notable exception of meatloaf.  I hated meatloaf as a child and still do!  I have to say I'm an obnoxiously healthy eater who loves all vegetables except lima beans. I really don't know who decided lima beans are edible.

What can eager fans look forward to next?

I'm working on a new middle grade novel for HarperCollins, a sort of mystery set on an island in Lake Erie. I've also just finished the first book in a series for younger readers.  It's about a very, very helpful girl named Cody and her big brother Wyatt, whose special talent is the Houdini headlock.  Candlewick will publish it, along with my new picture book PHOEBE AND DIGGER. 

Thanks so much for the Texas hospitality here, Carmen!  Readers can visit or contact me at www.triciaspringstubb.com 

Thanks, Tricia!! We look forward to reading your upcoming new titles!