One of These Things Is Not Like the Other


Remember the old Sesame Street song, “One of These Things”? If you aren’t, check this out.

The other week I headed to GameStop to pick up Pokémon HeartGold. While I waited in line, the guy at the counter talked to an eager Fortnite player. If you’re not sure what Fornite is, click here.

  

Now, when you think of the average Fortnite player, what demographic comes to mind? If you have no idea, click here to view a chart on the average Fortnite player. A guy in the line behind me fit that exact profile.

But the person who talked to the store clerk didn’t. At all. Picture a grandmotherly type with white hair, a soft smile, and an equally soft voice. Someone who might read a picture book to sick toddler. Someone you might find behind the checkout desk of the library. Now picture her mowing down husks (zombie-like creatures) or other players in the game, Hunger Games-style. It almost breaks your brain, doesn’t it?

One of these things is not like the other. . . .

But there’s something about that image that delights me. Oh not necessarily the zombie destruction, though I have destroyed many a zombie in the video game, Plants versus Zombies, but the fact that it goes against what’s expected. I think that woman would make a great character in a book. I wish I’d talked to her, and asked her questions to learn more about her.

A character who surprises a reader in a good way is a delight to discover. I especially love quirky characters who are just being themselves. They aren’t shouting from the rooftops, “I’m quirky! Look at meeeeeeee!” They’re just quietly going about their business, like the woman at GameStop.

Who was the last person (a book character or a person in real life) who surprised and delighted you?

While you consider that, here is the moment you also may have been waiting for: the announcement of the winner of The Way the Light Bends by Cordelia Jensen. (See interview here.)

   

The winner of The Way the Light Bends is . . .

Is . . .

Is . . .

Is . . .

Is . . .

Is . . .

Nicki Chen of Behind the Story!

Nicki, please confirm below. Thank you to all who commented.

Black Panther figure by Funko. Shopkins Cutie Car Perfume Le Zoom by Moose Toys. Shuri action figure by Hasbro. Photo by L. Marie. The Sesame Street song lyrics can be found here. Pokémon Heart Gold image from pokemon.wikia.com. Author photo courtesy of Cordelia Jensen. Plants versus Zombies image from somewhere on Pinterest.

Check This Out: The Way the Light Bends

Before I continue with today’s post, let me first say that thoughts and prayers are with those who live in the areas affected by Hurricane Florence. Florence, you have outstayed your welcome. Go away!

Now, please join me in welcoming back to the blog the awesome Cordelia Jensen. She was here not long ago with Laurie Morrison to talk about their middle grade novel, Every Shiny Thing. (Click here for that interview.) Today, she’s here to talk about her young adult verse novel, The Way the Light Bends, which was published by Philomel Books earlier this year.

      

Cordelia is represented by Sara Crowe. Okay, let’s strap on our gab bag and talk to Cordelia!

El Space: Four quick facts about yourself?
Cordelia: (1) I grew up in Manhattan where Skyscraping and The Way the Light Bends take place.
(2) Currently, I live in a neighborhood in Northwest Philadelphia where Every Shiny Thing, the MG book I co-authored with my friend Laurie Morrison, takes place.


(3) I’m the mom of boy-girl twins. They just started seventh grade! Eep!
(4) Along with an MFA in Writing for Children & Young Adults, I have a MEd in School Counseling and a certificate in Family Therapy. Although I don’t actively use my counseling degree, I do think it comes in handy as an author!

El Space: You are having a busy year, with the release of Every Shiny Thing, and The Way the Light Bends. What, if anything, did you find most challenging in the writing of your verse novel?
Cordelia: The book was sold on proposal and I had never done that before. So, it went through a lot of different drafts and stages. At one point, which you know already since you read it at that stage, the book was actually a dual POV between the two sisters, Linc and Holly. Probably the hardest part of the process was writing Holly’s POV and then cutting it. But, in the end, it helped me get to know her so much better and I hope the book reads more authentically from me having spent that much time getting to know Holly’s journey.

El Space: Linc and Holly’s relationship as sisters is very poignant, as is Linc’s relationship with their mom. Please tell us how you came to write about these relationships and their conflicts.
Cordelia: The idea for the book first came to me from hearing a story on NPR about Seneca Village. When I heard the story, I immediately saw two sisters—one white, one black; one biological, one adopted—wandering Central Park. I knew they used to be close but were very disconnected and that part of the work of the story would be them finding each other again.

When my twins were little, I used to write articles for a publication about multiples and once I interviewed “virtual twins” for one of these articles. That idea of kids being just a few months a part but raised in the same home as twins, always stayed with me as a really fascinating family dynamic. Competition is often an issue in a twin dynamic and I guess I think that can often be encouraged or discouraged due to parental style. In this case, I wanted to write about a parent who favored one girl so much over another that she was doing serious damage to virtually everyone in the family. The mom is clearly the antagonist in The Way the Light Bends, although it feels to Linc sometimes that Holly is I think. The reasons behind the mom’s behavior though wasn’t clear to me from the beginning. I had to write myself into a place of understanding her and her behavior.

This story is about sisters but, in a way, it is almost as much about how parents can impact the self-esteem of their children.

El Space: Linc is a photographer. I loved the photography imagery you used in the titles of the poems and elsewhere in the book. Why did you choose that art form for Linc?
Cordelia: Thanks! It was fun to learn more about photography, as my mom is a professional photographer, but I didn’t know a lot about the technicalities of the art before writing The Way the Light Bends. Honestly, it didn’t feel like I chose it. When her character came with me, her camera came too!

El Space: When we talked about your other novel in verse, Skyscraping (click here for that interview), you mentioned that astronomy was a theme, and that playing with space in poetry is important. What was important to you theme-wise in this book? Why?
Cordelia: It was very important in this book that the verse reflected Linc’s imaginative and artistic personality and viewpoint. So, I played with white space even more than I normally do and saw some of the image construction as actually the way she sees the world—if that makes sense. Like, there is less metaphor, though there is some, and more of a fantastical way of actually seeing the world. Sort of like La La Land, where it is harder to distinguish what is happening and what is in the character’s imagination. I also played around more with fonts!

El Space: You teach creative writing. What to you are the ingredients of a great verse novel? Or are those easy to pinpoint? Why or why not?
Cordelia: I think any verse novel needs to use poetic elements to create an overall narrative to be considered one. I think a great verse novel has to play with white space, play with language, and use imagery, while having a strong handle on plot, setting, character development, etc.

El Space: Who are some authors who inspire you?
Cordelia: I guess my favorite authors write lyrical, coming-of-age stories that are both beautiful and sad. So, I love writers like An Na and Jandy Nelson. I also have really enjoyed Celeste Ng’s books, though she technically writes for adults.

   

El Space: What will you work on next?
Cordelia: I have started a middle grade book, a young adult book, and a picture book—all in verse! And Laurie and I are also working on collaborating on a project again.

Thank you, Cordelia, for being my guest.

Looking for Cordelia? You can find her at her website, Twitter, Instagram.

The Way the Light Bends can be found at your local bookstore, Amazon, Barnes and Noble, and Big Blue Marble Bookstore. But one of you will be given a copy of this verse novel just for commenting. I will say it in rhyme!

One of you will win this book.
Leave a comment that’s worth a look.
Come on the twenty-fourth, and you will see
who the winner of the book will be.

Author photo courtesy of Cordelia Jensen. Book covers from Goodreads. Camera image from cliparting.com. lifeasahuman.com. Seneca Village images from roadtrippers.com and Pinterest.com. La La Land movie poster from backstageol.com.

Check This Out: The Book Passage Children’s Writer’s Conference

I don’t think I have ever talked about conferences for writers on the blog, let alone had someone on who coordinates one. But with me on the blog is the fabulous Pamela Livingston, who roomed with me during grad school. She’s here to talk about the Book Passage Children’s Writer’s Conference in Corte Madera, California.

  

El Space: Four quick facts about yourself?
Pamela: 1. I was the Macy’s Easter Bunny.
2. I am the proud owner of both a VCFA MFA in Writing for Children & Young Adults degree plus a Picture Book Certificate which I may have illustrated before finally finding space on a wall.
3. My newest aka is “Mama Goose” of Goosebottom Books since purchasing this award-winning publishing house from its founder, Shirin Bridges.
4. I’ve been a circus star stage mom.

El Space: Tell us about Book Passage. What is it? What is your role in this conference?
Pamela: Book Passage is one of the greatest indie bookstores in the world, having survived and thrived for forty-one years and counting under the eagle eye of Elaine Petrocelli, the voice of indies for NPR and other media outlets. I’ve been the conference director since 2016, although it feels more like a curatorial position, developing a potent experience for our participants. Over fifty percent of our attendees return year after year—this was the first writing conference I attended over ten years ago. Since I also head Book Passage’s Path to Publishing program, this conference provides me with an opportunity to mix in all of the components for children’s writers and illustrators.

El Space: How long is the conference? How many years has the conference been held?
Pamela: This conference is a three-day, Friday morning through Sunday afternoon, festival which includes meals with our faculty under a northern California sky. For almost twenty years we’ve held it at our Corte Madera store, just north of the Golden Gate Bridge. It was the first children’s writers and illustrators conference in the San Francisco Bay Area.

El Space: What challenges do you face setting up a conference like this? What do you find most enjoyable?
Pamela: Embracing all of our children’s literary community is my highest priority while providing educational excellence. To that end, our faculty represents members of SCBWI, VCFA’s Writing for Children and Young Adults program, award winners from a wide range of genres, diversity in all sectors, experts in the business of books, plus dedicated editors and agents who can move our participants’ work to the next level.

I thoroughly enjoy every aspect of this process, from coordinating with the authors, editors, and agents whom I’ve long admired, to hanging out with the conference’s attendees. It’s as if a wand was waived by the Fairy Queen of Books to create a dream weekend for my favorite people in the world. When I take into account faculty such as Elizabeth Partridge, Ellen Klages, Gennifer Choldenko, Tim McCanna, and Ying Compestine; plus Creston Books’ legendary founder Marissa Moss; Jennifer de Chiara’s venerable agent Stephen Fraser and representatives from West Coast agencies; editors from Bloomsbury and Cameron Kids—all in one place—I know I’m in for three days nestled in the Land of Enchantment.

El Space: I’m especially stoked that Betsy Patridge (photo at the right) will be there, since she was one of my lovely advisors. Why is a conference like this important for a writer? What makes this conference unique?
Pamela: Conferences are the best way for a new writer to learn if this is a world they want to be in, what it will take, plus pick up the tools and network they need to get them there. As this conference is held at the most lauded independent bookstore in America, we are able to pull back the curtain on the business of books. My journey began as a storyteller, but I knew nothing about the mechanisms behind the business of bringing those stories from the page to the patron. Even my two graduate degrees in writing were light on the business end of this process. It wasn’t until I managed a bookstore and bought a micro-publishing house that I developed a clear picture of this process. This conference not only focuses on the craft of writing, it provides the creators of children’s stories with an understanding of the business of books.

El Space: What can a writer expect at a conference like this?
Pamela: Our conference is both intimate and active, with options for participants to choose their educational opportunities along with a comfortable bookstore setting and café to meet, chat and get to know the faculty and each other. At last year’s conference, I was as impressed with the participants as I was with the faculty, since our attendees included a multi-Grammy award winner, adult genre-published authors changing to the children’s market, author networking leaders, teachers, librarians, etc. And did I mention the food? Let’s just say that one of the best restaurants in the county caters dinner!

El Space: Who should people contact for more information?
Pamela: For more information, folks will want to check-out our website where updates are posted, along with our Book Passage Conferences Facebook page.

El Space: What are you working on?
Pamela: Besides the conference, finding the perfect illustrator for a Goosebottom Book on Marco Polo, learning Quark, and praying that a particularly wonderful editor flips over one of my circus picture books.

El Space: Thanks for being my guest, Pamela!

Photos of the conference crowd scenes by Ying Chang Compestine. Conference logo designed by Mary Osborn. Pamela Livingston photo by Valerie Kippen. Elizabeth Partridge photo from her website.

Write to Please or Write with Ease (i.e., What I Really Want to Write)?

Hope you had a splendid Easter. I had an Easter meal at the home of some friends and came away with a ton of leftovers, including the Peeps in the photo below that my friend Carrie decorated. I’m useless at this type of thing by the way.

Before church, I watched a behind-the-scenes video by a music artist I love, which was about the making of a video for one of the songs on her latest album. During this video, she talked about how she was finally at a point where she was no longer desperate to please people. She didn’t say that as if to imply that she no longer cared if anyone bought her music. The songs she’d written for the album came from a place of confidence and joy, because she was finally free to be who she was.

Kirstea feels free to be who she is. But she hopes she won’t become a free meal for the giant owl standing near her.

I love that sense of coming to a place where you create the way you want to create. Yes, there are risks involved. You put your stuff out there and people might hate it. Or they might love your vision.

That video came at an interesting time. I’d recently had a conversation with a grad school classmate who asked me if I felt pressured to write a certain kind of story (i.e., contemporary realistic issue-based or something based on the mythology of my culture). Please do not misunderstand me. I love both kinds of stories. I’ve actually had a contemporary realistic novella published under a different name. But honestly, I gravitate to fantasy stories based on the mythology to which I am most familiar. I told my classmate that I don’t like to be pigeonholed. I write the stories based on characters who deeply interest me, regardless of whether they look like me or not.

I seldom lean in the direction that well-meaning people steer me. In college when people told me I needed to major in something “useful” (like biology, poli sci, or physics) rather than continue in the writing program (part of the English department), I continued in the writing program. Though they didn’t see the “use” of such a program, I found it very useful when I had to write books.

To be fair, under contract I’ve written books that other people had suggested I write based on a need (like a picture book for an ESL program). Some were ghostwritten, others as work for hire under my name. (L. Marie is a pen name, as many of you know.) Pleasing the client (usually a publisher or a famous person contracted by the publisher) was paramount.

But creating a world like Terry Pratchett’s Discworld, J. K. Rowling’s Wizarding World, or Charles Yallowitz’s Windemere has been my desire since I was eight years old. That was back when cuneiform was all the rage. I’m very influenced by writers like J. R. R. Tolkien, C. S. Lewis, Sheila Turnage, Juliet Marillier, Robin McKinley, N. K. Jemison, Neil Gaiman, Gail Carson Levine, Shannon Hale, Holly Black, and many others.

Sir Terry Pratchett, N. K. Jemisin

Still, I know several people who would never willingly read a story I’ve written because they don’t like fantasy stories. It would please them greatly if I returned to contemporary realistic fiction. I won’t say never, if a character comes my way whose story is compelling to me. But I won’t say yes just to please someone.

How about you? Is the freedom to create what you want to create something you desire? What do you think about pleasing others? Is that good, bad, or something you’re indifferent to? Feel free to share. (If you are curious about the video I mentioned earlier, you can find it here.)

Having escaped from the owl, Kirstea has resumed being free to be who she is. But now she wishes she was tall enough to carry off one of the Peeps.

Terry Pratchett photo from Wikipedia. N. K. Jemisin photo from Wired.com. Other photos by L. Marie. Kirstea Shoppie is a product by Moose Toys.

Color Grading Your Story

Happy Good Friday/Regular Friday (if the celebration of Good Friday is not your thing).

Days ago, I watched a YouTube video on the digital color grading for Peter Jackson’s Lord of the Rings movie trilogy (2001-2003). I know. Random. The following is not the video I watched that day. But it provides a really good explanation about digital color grading for film.

Lest you’re sitting there, unable to muster concern about the subject, let me just say there’s been a lot of talk of movie color palettes. While some praised the Lord of the Rings movies for their color palette, others denounced Jackson’s The Hobbit (2012) for being “too crisp and bright.” And while some Marvel’s movie palettes have been praised for their brightness, some DC movie palettes have been criticized as too murky. Even when DC tried to brighten things up with Justice League (2017), some people still criticized them. Movie fans can be fickle, I guess.

       

In an article by David Geffin, “The Power Of Color Grading And The Benefit It Can Have On Your Work Summarized In Two Minutes” (and yes, all of those articles and prepositions were capitalized by this author, so please don’t feel the need to point out capitalization errors in the comments), we find this truth:

Color is so important because, like lighting, it affects a mood and feel of a piece, and therefore how we interpret the final image.

Geffin includes the two-minute video mentioned in the title that you can check out if you click here.

I’m a big fan of color to enhance mood. But what can you do in a book where the imagination is the only screen you have to work with?

I like to use thematic colors in narration. In my young adult novel with three protagonists, I have a fire wielder, a plant wielder, and one person in between who is neutral. (While he does not wield an element, he has the ability to block magic.)

Let’s say Rosie Bloom (left) is my fire wielder while Macy Macaron (right) is my plant wielder. (Okay, the fact that Rosie has roses kind of messes up the analogy, but work with me here.) Shuri (middle) is my neutral person.

My plant wielder might be dressed in natural colors on the cooler side of the spectrum (green and blue) to make you think of a forest or a river flowing by trees. Emotionally, she’s a bit down also, so the blue palette does double duty for her.

My fire wielder was trickier. As an assassin, I couldn’t put him in warm, fiery colors, because he’d stand out. He prefers the shadows. So, I had to use color in a different way—to highlight his emotion, i.e., through phrases like “the red blaze of his anger.”

My neutral dude was a lot easier. He wears a lot of gray, because some of his actions fall into a gray area morally at times.

Another way to color grade a story is to make sure the colors that emphasize mood are the ones emphasized on a page.

19063In this passage from The Book Thief by Markus Zusak, what do you see? (SPOILER ALERT. Look away if you don’t want to know something that could possibly spoil a plot point in the book or the movie. I will tell you when to look.)

   There were shocked pajamas and torn faces. It was the boy’s hair she saw first.

Rudy?

She did more than mouth the word now. “Rudy?”

He lay with his yellow hair and closed eyes, and the book thief ran toward him and fell down. She dropped the black book. (Zusak, 535)

In this aftermath of a bombing, I see two colors: yellow and black. This scene involves Liesel Meminger who makes a grisly discover concerning her friend, Rudy Steiner. Zusak mentioned two colors that enhance mood: the bright yellow of Rudy’s hair, which shows the brightness of a life tragically ending in death—reminiscent of the black book Liesel drops. Ending with the black book after the yellow hair is like watching a solar eclipse. (END SPOILER)

In what ways have you seen colors used effectively to enhance mood? Perhaps you’ve seen filters and other highlights done well on Instagram or Facebook. Do tell!

Zusak, Markus. The Book Thief. New York: Alfred A. Knopf, 2006. Print.

Color grade image from fstoppers.com. Book cover from Goodreads. Justice League movie poster from fanpop.com. The Hobbit movie poster from flicks.co.nz. Rose Bloom and Macy Macaron are Shoppie dolls made by Moose Toys. Shuri, from the movie Black Panther, was made by Hasbro. Photo by L. Marie.

How Do You Know You’re in the Flow?

Ever have a time when you were writing or doing something else creative, and you just couldn’t stop? Words or ideas poured out of you, and you had to implement them. We call this a state of flow. (And yes, I wrote a post about this five years ago. I’m taking a different angle on it this time.)

According to Wikipedia,

[F]low, also known as the zone, is the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity.

Mihaly Csikszentmihalyi, formerly the head of psychology at the University of Chicago and currently the Distinguished Professor of Psychology and Management at Claremont Graduate University, is known for his study on flow. Flow, according to Dr. Csikszentmihalyi, is also known as ecstasy. And no, I’m not talking about drugs here, though in his 2004 TED Talk, Csikszentmihalyi explained that “ecstasy is essentially a stepping into an alternative reality.” You’re so in the zone, it’s like you’re watching yourself create. You don’t notice anything else—hunger, weariness, etc. Csikszentmihalyi added, “[T]his automatic, spontaneous process . . . can only happen to someone who is very well trained and who has developed technique.”

I asked several writers how they know they’re in a state of flow.

Steve Bramucci, author of The Danger Gang and the Pirates of Borneo! (look for his next book this October) and managing editor over at Uproxx, said,

I recognize flow when I start to think, “This is brilliant! Have I accidentally stolen it from someone else? It’s too good of an idea NOT to have been written already! I must’ve stolen it! I’m such a hack!” At which point I google the idea furiously and, when I find it’s not stolen, I get this excited/thrilled buzzy feeling. Something akin to double fisting caffeine and green juice after a 6 am surf. I get tingly and overly emotional and write and write and write—only taking breaks to text my wife things like, “I really think I was destined to be a writer! I believe in my stories! I promise you this project will bring us financial security!” etc. If that all sounds insufferable, I’m sure it is. But it’s my process. It’s not what ends up on the page; insufferable processes can often lead to positive results.

Lyn Miller-Lachmann, author of novels for young adults and adults, said,

It’s when I feel that I’m in the time and place along with my characters, hearing them speak, feeling the same things they do, following them as they move.

Laura Sibson, a young adult and middle grade author (look for her young adult novel debut in 2019), had this to say:

When drafting, I know that I’m in a state of flow when I’m not tempted to look at the clock or check email or social media. My environment drops away in the sense that I’m not super-aware of what’s happening around me. In those moments, I’m fully immersed in my story world and it feels like the real world. I can see it as clearly as I see the scenery outside my window.

S. K. Van Zandt, another middle grade and young adult author, said,

For me, it’s the unstuck feeling. It’s picturing a scene in my mind, the “what happens next,” and the words are just there, as opposed to seeing the scene and staring at the computer. I think the ability to get (and stay) “in the zone” has everything to do with knowing your characters and story well.

Jill Weatherholt, author of Second Chance Romance (look for her next book this July) and romance short stories, said this:

When I feel what’s happening to my characters so deeply that I’m moved emotionally and I become completely oblivious to my surroundings, I know I’m in a state of flow.

Charles Yallowitz, author of Warlord of the Forgotten Age and other books in the Legends of Windemere series, put it this way:

I never really thought about being in a state of flow. I’m usually just writing along until I stop. So it’s almost like a trance.

How do you know you’re going with the flow when you work?

If you want to check out Mihaly Csikszentmihalyi’s TED Talk:

Kirstea, frazzled as always lately, took flow to a whole different level when she allowed her teacup to overflow.

My Little Pony Pinkie Pie and chicken figures by Hasbro. Kirstea Shoppie doll by Moose Toys. Photos by L. Marie.

Check This Out: Maud—A Novel Inspired by the Life of L.M. Montgomery

With me on the blog today is the awesome Melanie Fishbane! She’s here to talk about her novel, Maud: A Novel Inspired by the Life of L. M. Montgomery. Yes, that Lucy Maud Montgomery of Anne of Green Gables and Emily of New Moon fame. Maud was published by Penguin Random House on April 25, 2017.

    

If you follow my blog, you know the drill. I’ll discuss a giveaway at the end of the interview. If you’re new to the blog, well, the same information is appropriate. Now, let’s talk to Melanie!

El Space: What made you decide to write a novel based on the life of Lucy Maud Montgomery?
Melanie: I’ve been reading L. M. Montgomery for most of my life. I first read her when I was about 11 and was enamored by the woman behind the books. I’ve also always wanted to write historical fiction for kids and teens. It was one of the reasons I did my first M. A. and studied biographies for children—in that case it was Joan of Arc—so when this opportunity presented itself, I couldn’t say, “No.” It was the perfect symmetry of everything I loved coming together. Maud’s teen years are also something rarely explored, so it felt like I would be telling a new story. This story has never been told, and it felt important to show a side of Montgomery that many people had not seen. Essentially, the portrait of an artist as a young woman.

L. M. Montgomery

El Space: What was your process for researching this project?
Melanie: It was important to me that I visit where the novel took place, so I spent about a week in Prince Albert, Saskatchewan and returned often to Prince Edward Island to do research. In fact, I travelled to all the places Maud lived, including Leaskdale, Norval and Toronto, Ontario.

I also interviewed as many people as I could. In Cavendish and Park Corner, PEI, I interviewed Maud’s relatives and in Prince Albert, I spoke to the archivist at the Prince Albert Historical Society, as well as a local volunteer who drove me around and showed me where things once were.

There were also many hours in the various archives that included Montgomery’s journals, book collection, and other artefacts, such the L. M. Montgomery Institute, and L. M. Montgomery Collection Archives and Special Collection at the University of Guelph. Then I went to the secondary sources and her times, including the history of PEI, a local history of Prince Albert, and Saskatchewan, as well as a book on indigenous peoples in Saskatchewan. I also used websites with old newspapers, such as Island newspapers and Peel’s Prairie Provinces.

Prince Edward Island

I included a selected list of these books and the websites at the back of Maud and in my References and Resources section on my website.

El Space: I love Anne of Green Gables, Anne of Avonlea, and other books. Anne was irrepressible. Was L. M. Montgomery anything like Anne or like Emily Starr, or another of her heroines? Why or why not?
Melanie: Montgomery encouraged a connection between herself and her characters and the world she built. In her autobiography, The Alpine Path, she shows particular places in Cavendish, such as the Haunted Woods and Lover’s Lane, that appear in the Anne series. Avonlea is inspired by the village that Maud grew up in. Anne’s situation, being an orphan and her imagination, is reflective of Maud’s experience. Maud felt like she was. Her mother died when she was 21 months old and she used her writing as a way to channel these feelings. Montgomery, however, said that it was Emily Starr, the character in the Emily series, she was probably most like, and that the series would be the most autobiographical, because it was the story of a young writer.

     

El Space: What did you learn about yourself as a writer as you worked on this novel?
Melanie: I have so much to learn. 🙂 Seriously, I discovered a lot about how much I enjoyed the revision process. While some writers might like the first draft, I found that it was getting into the weeds of the revision process where I could really find my story—Maud’s story. I also see how close I can become to things, and the importance of the editor in the process. My editor was amazing in pushing me to the next level, and gave me room to make mistakes. And there were many. . . .

El Space: What writing advice do you have for authors who want to write novels based on real people?
Melanie: Depending upon who you might be writing about, people have particular ideas about who that person is. Having some compassion too—that is important, but it is also important to allow your character to emerge. Be true to the story you need to tell, that your character is inspiring you to. I would also say that it should be realistic.

One of the things that I had to realize is that the real Montgomery was quietly subversive, mostly in her writing. She never stood up and marched or was an activist in our contemporary understanding of what that might mean. She was a product of her times and Victorian codes of behavior, and that meant that she wouldn’t necessarily be overtly “feminist.” She didn’t even call herself a suffragette. But her books are feminist. At this point she would have to learn how to navigate these constricting spaces and that meant being true to this. As much as modern Mel would have liked Maud to stand up for certain injustices she saw or fight for things in the way we would like to today, it wouldn’t have been true to her character. So, I stayed true to that. I got out of my own way. Be true to the character, his/hers/their times and story.

El Space: What will you work on next?
Melanie: Currently, I have two essays due at the end of the month. So I’ll be working on that. 🙂 In terms of fiction, there are two novels that are whispering to me. We’ll see which one will win this summer.

Thanks, Melanie, for being my guest!

Looking for Melanie? Check out her website, Twitter, and Facebook.

You can find Maud: A Novel Inspired by the Life of L.M. Montgomery at Amazon, Barnes and Noble, and Indiebound. But stop the presses! One of you will get a copy sent to your address! Comment below to be entered in the drawing. Winner to be announced on May 29.

The girls wonder when Melanie will write a series about them, since they’re irrepressible too.

Author photo by Ayelet Tsabari. L. M. Montgomery photo from freeclassicebooks.com. Book covers from Goodreads. Map of Canada from commercialpropertycashflow.com. Prince Edward Island map from commons.wikimedia.org. Writer thinking image from clker.com. Stick figures from clipartpanda.com. Rosie Bloom, Kirstea, and Lippy Lulu by Moose Toys. Photo by L. Marie.