Tag Archives: Leslie Lindsay

Wednesdays with Writers: Poetic and lyrical Rene Denfeld on our fascination with lost children, memory, imagination, the Oregon wilderness, and so much more in THE CHILD FINDER

Standard

By Leslie Lindsay 

An exquisitely written tale of s little girl lost, her striking imagination and how we often have to be lost in order to be found. 

The Child Finder hc c (002)
I found THE CHILD FINDER to be disturbing and haunting and I was absolutely spell-bound, not wanting to sit the book down. In fact, I didn’t; I read THE CHILD FINDER in one day. While the story is ultimately bleak (there’s hope, though), it’s dazzlingly written. It’s lush, melodic, while at the same time, stark.

A bit about the plot: Maddie Culver goes missing in the Oregon wilderness while her family is cutting down their Christmas tree. It’s been three years. Her parents are beside themselves and insist she’s still alive. But three years is a long time. The Culvers turn to Naomi, a private investigator with an uncanny ability to find lost children.

Diving into the icy, remote Skookum Forest, Naomi attempts to uncover all possibilities, unearthing old mines, digging up old homesteads, and stalking out the corner grocery. 

And then another–unrelated case–presents itself. Naomi doesn’t like taking two cases at once, but she’s drawn to the circumstances.

Yet, there’s something mysterious about Naomi herself–something tugging at her and making us as readers feel her urgency. Who is Naomi and what does her past hold?

Please join me in welcoming Rene to the blog couch:

Leslie Lindsay: Rene, I devoured THE CHILD FINDER. I know you have a background in journalism, but also investigator work and you’re a foster parent. Was it all of those things that inspired THE CHILD FINDER, or was it something else?

Rene Denfeld: Thank you for having me! THE CHILD FINDER was inspired by my investigative work—I’ve been a licensed investigator now for over a decade. I’ve worked hundreds of cases, including missing persons. It was also inspired by my amazing kids. I adopted three kids from foster care and have fostered others. I think both experiences came together in this novel, along with my love of poetry.

L.L.: I have to say, I haven’t read many books set in Oregon, but now I’m seeking them out. My family and I visited Oregon for the first time this past summer. It’s a beautiful state! And haunting, too…the geological formations, the way one can go from forest to desert to mountains and sea in a matter of hours. I found THE CHILD FINDER to be so atmospheric. Are you an Oregon native? What more can you tell us about the location of the Skookum National Forest?

Rene Denfeld: I grew up here in Oregon. It is such a beautiful state! You can go from the beach to snowy mountains to flinty desert reservations here in a day. Growing up here I also learned about our heritage, which comes through in the novel. I populated
the novel with real Oregonians, from city folk to rural farmers to those who live the same lives their ancestors did hundreds of years ago.
But as beautiful our wildernesses, Oregon can also be dangerous. Every year dozens of people go missing in our endless forests. For that reason I named the remote snowy mountain region in the novel after a native word for “dangerous place.” That’s what Skookum means, and the region is modeled after our real mountains ranges.oregon_hike.jpg

L.L.: Madison Culver has such a rich imagination. She loves fairy tales and has a colorful interior world. I think there’s a place in the book that talks about her ability to cope to be extreme. Can you talk about how creativity and imagination lead to resilience?

Rene Denfeld: I love this subject. You know, I’ve written about how I survived extreme abuse and poverty as a child. My sanctuary was the local library, where I lost myself in the world of books. Stories saved my life—literally. I learned to imagine myself into a different world. Doing the work I do, and being a therapeutic foster parent, I believe the key to survival is in power of our imaginations. Think about it. If you have an imagination, you can imagine yourself in a different future.
You can imagine the steps it would take to go to college, or be a better parent than the one you had. This is why it is so important that we teach imagination, and literacy. Once a child has an imagination the future is limitless. They can make claim to their own story, their right to exist in this world. They can create a sense of self.

_85168779_thinkstockphotos-122423277.jpg

L.L.: Lost children seem to be a tormented fascination of mine. I think I’m in good company, because there are plenty of books surrounding this theme. Yet, they are all unique. Why do you think readers are so fascinated with this topic? Why are you?

Rene Denfeld: That’s such a good question. I think it goes layers deep. There is the fear losing something  precious to us—the thought strikes terror into any parent. Then there is the fear of being lost ourselves, of not being able to be found. One reason I think readers are fascinated with the topic is because there are so many times in life we all feel lost or trapped. Right now a lot of people in our country feel lost and trapped. We want to know a way out of the wilderness. We are desperate to find the path home. Much of THE CHILD FINDER is about that journey. It is about our capacity to find each other, even in the worst circumstances when everyone is telling us it is too late. At heart it is a story of hope. It is about courage, faith and redemption. As the novel says, it is never too late to be found.

L.L.: Do you have any writing rituals or routines? About how long does it take you to get a first draft of a manuscript written? Are you a pantser or plotter?

Rene Denfeld: I am a poetic pantser! Once I hear the voice of a character the story comes pouring out. For me writing is pure deliciousness. It is like falling down the rabbit hole and waking up in a new world. I get so absorbed that my kids can walk in the room and wave their hands in my face and I am just…gone. That said it isn’t all easy. The hard work for me is after that first draft pours out. That’s when I have to take a more sensitive editorial role, guiding the story, which by then feels and is real people to me. It usually takes me about a year to write a novel.

L.L.: I’ve been thinking a lot about my childhood. I just completed writing a memoir. There were so many things I had to look up on Google. Toys I played with, books I read, clothes I wore. I wanted to make sure I got it right. Do you think we can accurately recall our childhoods? What, if anything from your childhood do you still yearn for, even a little?

Rene Denfeld: That’s such a wise point. I’m fascinated with memory. I had a therapist tell me once, “it is the feeling that matters.” We approach memory like a court of law, wanting every fact to be right. Of course if it is about a court of law and there is an accusation, that is the way to go! But when it comes to our daily lives I think its okay to let some of our memories be dreams, colored by time and want and desire or sadness. I admire you for writing a memoir. It frustrates me when I see memoirists get criticized for not getting some fact perfect. You can have five people in a family and all will have different memories of the same event, even if they were all there. That’s part of the beauty of humanity to me.

childhood-memories1.jpg

L.L.: Rene, it’s been a pleasure! Is there anything I forgot to ask, but should have?

Rene Denfeld: It’s been wonderful! The only thing I can think of is great books I’ve read lately. I love to share with readers! Some great books out now include Andrea Jarrell’s memoir I’M THE ONE WHO GOT AWAY, Alice Anderson’s memoir SOME BRIGHT MORNING I’LL FLY AWAY, Jacqueline Woodson’s ANOTHER BROOKLYN, and Gayle Brandies THE ART OF MISDIAGNOSIS.

For more information about the book, to connect with Rene via social media, or to order a copy of THE CHILD FINDER, please see:

Rene Denfeld author photo 1 (002).jpg

ABOUT THE AUTHOR: Rene is the author of the acclaimed novels The Child Finder and THE ENCHANTED, as well as essays in publications such as the New York Times. Rene’s new literary thriller, THE CHILD FINDER, explores themes of survival, resiliency and redemption  It has received much acclaim, including a starred Library Journal review, major press, and an Indie Next pick. Landing as  the #1 fiction bestseller at Powell’s within its first week, THE CHILD FINDER became a top #10 bestseller in Canada and a bestseller in the United States.

Rene’s lyrical, beautiful writing is inspired by her work with sex trafficking victims and innocents in prison. Rene was the Chief Investigator at a public defender’s office and has worked hundreds of cases. In addition to her advocacy work, Rene has been a foster adoptive parent for twenty years. She will be awarded the Break The Silence Award at the 24th Annual Knock Out Abuse Gala in Washington, DC on November 2, 2017, in recognition for her advocacy and social justice work.

The child of a difficult history herself, Rene is an accomplished speaker who loves connecting with others. Rene lives in Portland, Oregon, where she is the happy mom of three kids adopted from foster care.

You can connect with me, Leslie Lindsay, through this social media platforms:

LOVE IT? SHARE IT!

WP_20171003_11_24_58_Rich_LI (6)

[Cover and author image courtesy of HarperCollins and used with permission Image of Oregon forest retrieved from,. Girl in library from bbc.com, childhood memories from; all retrieved on 10.30.17. Fall Wreath from L.Lindsay’s personal archives]. 

Wednesdays with Writers: Fiona Davis on several of my favorite topics–psychiatry, journalism, architecture & design; oh and The Dakota, NYC, and her stunning new historical novel, THE ADDRESS and how she was once a very horse-crazy girl

Standard

By Leslie Lindsay 

Fiona Davis’s brilliant new book, THE ADDRESS, takes readers on a journey to historical NYC and into the famed Dakota Apartment building. 

9781524741990-fullsize-rgb
With 2016’s debut of THE DOLLHOUSE, Fiona Davis made one of the most stunning entrances as an author who knows her way around historical fiction. I was mesmerized and couldn’t wait to get my hands on THE ADDRESS. Rest assured, this is no sophomore slump; I adored it.

The Dakota. You may know it as the apartment building where ROSEMARY’S BABY was filmed, or perhaps where John Lennon died, or maybe you just think of it as a Bavarian monstrosity on the Upper West End where may playwrights, actors, writers, musicians live.

THE ADDRESS is constructed in dual-time periods, 1884 and 1985 respectively, which draws a natural suspense. The writing is evocative, historically rich, and mysterious.Beginning in London, we meet Sara Smythe, a housekeeper at the Langham and follow her on a journey across the Atlantic where she lands in the outskirts of a developing NYC. 250px-Dakota_Building

Sara is to be the new managerette of the soon-to-be opened The Dakota. She’s aghast at the primitive location–farmland and empty lots, unpaved streets. Still, she’s alone and unwilling to run home. I found Sara to be extremely likable, sympathetic, relatable, and quite strong. She’s not your typical kowtowing woman of the Victorian Era.

One hundred years later, in 1985 NYC, Bailey Camden is an interior designer charged with renovating The Dakota. But she’s not impressed with the design ideas which would trump the original design aesthetics of the historic building.

Oh but there’s more–and to say too much would be giving it all away–let’s just say there’s love and loss, success and ruin, mystery, poor decisions, passion and madness that drive the plotI absolutely loved the clear sense of place in THE ADDRESS, the vivid details and found it to be a very engaging piece of historical fiction.

Slide over on that silk settee and join me in conversation with Fiona Davis.

Leslie Lindsay: Fiona, it’s a pleasure to welcome you back to the blog couch. I was so taken with THE ADDRESS mainly because it combines several of my passions: architecture, interior design, and madness. I know THE ADDRESS was inspired, in part by your work on THE DOLLHOUSE, but what more can you tell us about the origins of this tale?

Fiona Davis: I am so glad you enjoyed it! I’ve lived on the Upper West Side for twenty-five years, and had walked by the Dakota hundreds of times, staring up at those enormous windows, wondering what it was like to live there. I realized that setting a book there would give me the perfect excuse to get inside (and was eventually able to do that, through roundabout connections to a couple of very generous tenants). As I dug deeper into its history, I knew it was the perfect choice for a dual-narrative historical fiction novel. The building had undergone many changes since it opened in 1884 on the edge of Central Park, back when the neighborhood was described by one newspaper as full of “rocks, swamps, goats, and shanties.” By the 1980s, a couple of tenants had torn down the period details from their apartments and replaced them with shag carpets and wall-to-ceiling mirrors. It was the perfect way to compare and contrast two “gilded ages,” as well as the way women’s roles and voices have changed over a century.

L.L.: So I have to know: which characters were ‘real’ and which were from your imagination? I am guessing Sara Smythe was a composite character…but what about Theodore Camden? Henry Hardenbergh? Oh, and Nellie Brown had to have been Nellie Bly?

Fiona Davis: Sara Smythe and Theodore Camden are fictional characters. I knew I wanted to have an architect in the 1880s time line, so that he and Sara Smythe could team up to get the building ready for opening day. Henry Hardenbergh was the actual architect for the Dakota (and the Plaza Hotel and a number of other fabulous buildings), so I didn’t mind having him make a cameo, but I didn’t want to try to fit his life into my story. That’s where Theo came in – he’s in charge of the interiors for the building and I could make him do my bidding without any constraints.

Nellie Bly, a journalist for the New York World during the 1880s, actually went by the name Nellie Brown when she went undercover to expose the injustices at Blackwell’s Island Asylum. She’s the real deal in the book.

L.L.: In my former career, I was a child/adolescent psych R.N. To say I am fascinated in psychiatry—especially historical psychiatry—is a bit of an understatement. I couldn’t get over the harsh conditions you depicted on Blackwell Island in the book. In fact, I’ve been searching for Nellie Bly’s TEN DAYS IN A MADHOUSE for years! (I want it in hardback; it’s a challenging find).  Can you tell us a little about how that piece of the story came to be? What research did you do?

Fiona Davis: I had heard about Nellie Bly when I was studying for a master’s degree in journalism at Columbia, and I naturally gravitated to her first-hand account of life in an 1880’s women’s insane asylum during my initial research. After reading TEN DAYS IN A MADHOUSE, I took the tram over to what’s now called Roosevelt Island to visit the remaining structure, the Octagon, which today serves as the lobby to a condo. In my book, I hope the harrowing backdrop of the asylum makes an interesting counterpoint to luxuriousness of the Dakota.

L.L.: As with THE ADDRESS and THE DOLLHOUSE, where there any iconic sites you ‘visited’ in your research (or in the book) that will appear in a forthcoming book?

Fiona Davis: In addition to checking out the Octagon on Roosevelt Island, I modeled the library for the ball scene after the one at the Morgan Library & Museum, and used the Tenement Museum on Orchard Street as inspiration for Daisy’s family’s
apartment. Strawberry Fields, just across the street from the Dakota, is an important location in the book as well. The next book will be set at Grand Central Terminal – one of New York City’s most famous iconic buildings – and I’m having a blast working on it.

NATIONAL BESTSELLER
“A delicious tale of love, lies and madness.”
— People

L.L.: What do you find most rewarding about writing historical fiction? What are 2960-Central_Park-Strawberry_Fieldssome of the challenges?

Fiona Davis: I love the research phase, when anything is possible and the ideas are bubbling away. The challenge comes when you have to narrow down the plot and characters and come up with a story that accurately represents the time periods but also keeps the reader guessing. Another reward is hearing from readers. I’ve been doing a lot of author talks in bookstores and libraries and the response has been incredibly warm and enthusiastic.

L.L.: Childhood plays a prominent role in THE ADDRESS. What item(s) from your own childhood do you still, even occasionally, pine for? (an article of clothing, toy, book, something else?)

Fiona Davis: Back when I was around eight years old, I took a book out of my local library about a girl who’s horse crazy, and finally gets to ride a horse for an entire summer before realizing that taking care of it is a lot of hard work. It was my favorite book – I was horse crazy but deeply moved by the character’s insights and transformation – and I must’ve checked out the book dozens of times to re-read. But I can’t for the life of me remember the name. If anyone has read that book and remembers the title, please reach out to me! It was something like “Ride ‘Em, Sally.” But not that. I know, ridiculous, right?

L.L.: Fiona, it’s been a pleasure.  What might have I forgotten to ask about?

Fiona Davis: Not a thing – I loved these questions – thank you so much!

For more information, to connect with Fiona Davis via social media, or to purchase a copy of THE ADDRESS, please see:

FionaDavis_Credit KristenJensen.jpgABOUT THE AUTHOR: Fiona Davis was born in Canada and raised in New Jersey, Utah, and Texas. She began her career in New York City as an actress, where she worked on Broadway, off Broadway, and in regional theater. After ten years, she changed careers and began working as an editor and writer. Her historical fiction debut, The Dollhouse, was published in 2016. She’s a graduate of the College of William & Mary and the Columbia University Graduate School of Journalism and is based in New York City. You can find her at www.FionaDavis.net.

You can connect with me, Leslie Lindsay, via these on-line hangouts:

LOVE IT? SHARE IT!

WP_20171003_11_24_58_Rich_LI (6)

[Author and cover image courtesy of Dutton and used with permission. Image of The Dakota retrieved from Wikipedia, historical images of Nellie Bly (a.k.a. Elizabeth Cochran Seaman) and Henry Hardenberg from Wikipedia, as is octagon images of Roosevelt/Blackwell’s Island and Strawberry Fields memorial. Fall book wreath from L. Lindsay’s archives.] 

 

Wednesdays with Writers: Janelle Brown on salty snacks and trashy magazines, writing everyday while her kids are at school; identity, the dark side of motherhood, how the ending of WATCH ME DISAPPEAR was changed three times, & so much more

Standard

By Leslie Lindsay 

Tantalizing and twisty, this literary suspense is a clever meditation on what it means to be a family, to really know someone. 

Untitled-4
Billie (Sybilla) Flanagan, a beautiful, charismatic Berkeley mom goes on a solo hike in the Desolation Wilderness never to return. It’s been a year and…where is she? Picking up the pieces are her husband and 16 year-old daughter, Olive who are seeking a death certificate as she is now presumed dead (all that’s found of her is a lone hiking boot).

Olive and Jonathan do the best they can, but they are shattered, confused, broken. Jonathan is a writer attempting a loving memoir about his wife and death, Olive attends a prestigious all-girls prep school. But then Olive starts having visions/hallucinations/waking dreams of her mother. Jonathan’s concerned about her emotional stability and schleps her to doctors trying to find the source of the problem. But secrets from Billie’s past surface, leading both Jonathan and Olive the person they once shared a life with. 

Together–and somewhat reluctantly–Jonathan and Olive embark on a quest to discover the true Billie Flanagan, while at the same time, learning important truths about themselves.

I’m super jazzed to have Janelle Brown with us today to chat about her book and writing and everything in between.

Leslie Lindsay: Janelle, it’s great to have you. I find missing people stories so
fear-to-a-great-extent-is-born-of-a-story-we-tell-ourselvesfascinating. WATCH ME DISAPPEAR is such much more than ‘just another missing person.’ Can you tell us what you see as the overarching themes in this story?

Janelle Brown: This book is about the stories that we tell ourselves – about who we are, and about the people we love – and how those stories are so often subjective. We see what we want to see, and blind ourselves to things that are inconvenient to think about. It’s also a bit about the dark side of motherhood, as well as about the journey of losing and/or finding yourself. 

L.L.: How might the story have been different if it were Jonathan who went missing? Why do we have such a fascination with missing mothers and wives?

Janelle Brown:  I think our fascination with missing moms/wives has a lot to do with our notions of the mother – child bond: That it is so unbreakable, that a mother being separated from her child is so much worse than a father. (I personally don’t think this is necessarily true, but culturally that’s the common thinking.) There’s all kinds of gender norms about women being more vulnerable (both physically and emotionally) that supposedly makes it more alarming when a woman goes missing; which is part of why I wanted Billie to NOT be a vulnerable woman, but very much the author of her own fate.

It’s hard for me to imagine the story with Jonathan being missing because it would have been so different. He’s an utterly different kind of character than Billie so really it would have been an entirely new story.

L.L.: What kind of writer are you? How was this book conceived and narrated? Do you plot, outline, or let the muse guide you? Do you ever write yourself into corners and think, ‘what have I done?!’

Janelle Brown:  I let the story carry me where it wants to go. I’ll start out with an idea and a rough plot outline, and my characters. But as the characters come to life they start informing & changing the story. So I often end up in places that I didn’t necessarily intend to go, and end up reshaping the book to fit the new direction.

This book was reshaped and rewritten about four times, including some very radical changes. (The whole ending changed, three times!)

“Poignant and captivating…Brown deftly peels away the layers of a loving marriage to reveal a haunting mystery and a devastating truth: that no matter how much you love someone; you can never truly know them.”

–Award-winning author Laura McHugh

L.L.: I enjoyed Olive so much—especially her visions/seizures. And also your reference to Lois Duncan novels! In fact, I just dug my old Lois Duncan books out of their 30 year hiding place and presented them to my daughter.  She loves them! What kind of research—if any—did you do to make Olive’s visions so tangible?

Janelle Brown:  Well, a lifetime of fascination with stories of the paranormal helped. (I was a huge Lois Duncan fan as a kid, and it’s evolved from there.) I also did some reading – including books by Oliver Sacks about grief & hallucinations, a lot of reading on paranormal sites, etc. I wanted Olive’s visions to feel very loisduncan.pngdistinctive and grounded in the reality of her relationship with her mother; and also be experiences that could be explained in many different ways depending on what you want to see.

L.L.: I wanted to talk about the title a bit. WATCH ME DISAPPEAR can be applied to just about any character in the book: Billie, for obvious reasons but also Jonathan and Olive. I think the important thing here is that the characters somehow grow and change. Can you talk about that, please? And did the title stay from your working title to the final?

Janelle Brown: The title came after I’d already written half of the book (after a LOT of brainstorming), and it’s something that actually grew on me thematically as I was writing the second half of the book (and then rewriting it again). You’re right, the book is about not just the physical disappearance of Billie but also about both people disappearing emotionally – from their relationships with other people, and into themselves – as well as evolving into other people entirely and losing who they once thought they were.

L.L.: What is a fact few people know about you? Do you have any writing rituals or routines? Guilty pleasures? An obsession?  

Janelle Brown:  Writing routines: I go to an office that I share with a bunch of other writers in Silver Lake (Los Angeles, where I live).  We have a great little community. I try to sit down and write every day, while my kids are in school; which isn’t always easy but I at least have my rear end in a chair and am staring at a screen.

Obsessions? Books. I read a ton. Probably too much, if that’s possible.

Guilty pleasures? Salty snacks. Trashy magazines.

L.L.: Janelle, it’s been a pleasure! Is there anything I’ve forgotten to ask about but should have?

Janelle Brown: Not at all, it’s been a pleasure! (Not a guilty one, either.)

For more information about the book, to connect with Janelle through social media, or to purchase a copy of WATCH ME DISAPPEAR, please see: 

janelle headshot small.jpg

ABOUT THE AUTHOR: Janelle Brown is the New York Times bestselling author of the novels Watch Me Disappear, All We Ever Wanted Was Everything, and This Is Where We Live. Her journalism and essays have appeared in The New York Times, Vogue, Elle, Wired, Self, The Los Angeles Times, and numerous other publications. Previously, she worked as a senior writer at Salon, and began her career as a staff writer at Wired during the dotcom boom years, working on seminal Web sites like HotWired and Wired News. A native of San Francisco and graduate of UC Berkeley, she has since defected to Los Angeles, where she lives with her husband Greg, their two children, and a geriatric lab mix named Guster.

You can connect with me, Leslie Lindsay, via these social media hangouts:

LOVE IT? SHARE IT!

[Cover and author image courtesy of Random House/Speigel & Grau and used with permission. Author image credit: Michael Smiy. Image of Lois Duncan novels retrieved from the New York Public Library website, Cheryl Strayed quote from on 10.16.17]

Wednesdays with Writers: Thriller/Action writer and creator of the RAMBO series, David Morrell talks about writing the story you were born to write, why psych suspense might be a dying trend, his fear of the marketplace being saturated with too many stories (including original scripted TV series), ROSEMARY’S BABY 50th anniversary & so much more

Standard

By Leslie Lindsay 

Rosemarys Baby-CB1r2b

It’s a dreary morning here in Chicagoland. The landscape is bathed in a white mist, and the trees are changing color, leaves dropping one by one. There’s a hush about the air, a tentative pull on the senses that makes us a little more alert, a little more intuitive.

So it might be time to settle in with a classic horror story.

Originally published in 1967, at a time when the ordinary became menacing, ROSEMARY’S BABY brought readers to the brink of what appeared to mundane details that might actually be hiding tragic truths.

Ira Levin, the author of seven books, ranging from horror to mystery to science fiction, among others received an Edgar in 1954 for A KISS BEFORE DYING (his Ira_Levin_novelist.pngfirst novel) and again in 1980 for his play, DEATHTRAP. He received the Bram Stoker Lifetime Achievement Award from the Horror Writers Association in 1996. Stephen King referred to Ira Levin as the “Swiss watchmaker of the suspense novel.” In 2003, he received yet another accolade: the Mystery Writers of America’s Grandmaster Award. ROSEMARY’S BABY sold millions after The Today Show interviewed him, surging the title onto the New York Times bestseller list.

Ira Levin passed in 2007 at the age of 78 in his Manhattan home. Despite the kind of works he’s famous for, Levin was considered mild-mannered and modest.

It would be in true horror fashion if I had Mr. Levin on my blog couch today. Alas, I do not live in a haunted manse shrouded in cobwebs and the wedding cake uneaten. But that’s another story for another time.

Please join me in welcoming David Morrell, who is just as decorated as Ira Levin—220px-Firstbloodbookperhaps more. He’s the author of FIRST BLOOD (from which “Rambo” was created), as well as numerous NYT bestsellers. He’s also the recipient of several major accolades, including the Thriller Master award from International Thriller Writers and three Bram Stoker awards from the Horror Writers Association.

Leslie Lindsay: David, it’s an honor. Thank you for popping by. What draws you to the thriller/horror genre?

David Morrell: I had a tough childhood. My father died in combat. My mother couldn’t take care of me and earn a living, so she put me in an orphanage when I was three. A year later, she remarried, but my stepfather didn’t like children, or maybe it was me in particular he didn’t like. They argued all the time. Lots of verbal violence and sometimes physical. Afraid, I slept under my bed, telling stories to myself in which I was a hero rescuing helpless people. Novelist Graham Greene believed that “an unhappy childhood is a goldmine for a writer.” You could say I was programmed for the thriller and horror genres.

L.L.: In your introduction to ROSEMARY’S BABY, you mention how Levin—and many of his predecessors—take the mundane and spin it into something dark and menacing. This tactic is hugely successful. Why is that?

David Morrell: Using familiar, mundane elements to make horror believable seems obvious, and yet it took a long time for the technique to emerge. In the 1950s, Richard Matheson (THE SHRINKING MAN), Robert Bloch (PSYCHO), and Jack Finney (THE BODY SNATCHERS) are generally credited with inventing it. I quote Douglas E. Winter about how these authors brought “fear from the Gothic landscapes of misty moors and haunted mansions, (inviting) terror into our shopping malls and peaceful neighborhoods—into the house next door.” A decade later, Ira Levin (ROSEMARY’S BABY), William Peter Blatty (THE EXORCIST), and Thomas Tryon (THE OTHER) further developed the technique. Then came the next stage of realistic horror with Stephen King and Peter Straub, etc. So, Levin is solidly in the middle of this trend. His mundane details—the best place to buy swordfish steaks in Manhattan, for example—made what Levin called his “unbelievables” believeable. It was a horror novel that didn’t feel like a genre novel.

L.L.: There is a good deal of religious references in ROSEMARY’S BABY. For one,A1Vmrrc2S+L._SY445_ (1).jpg the second half of her name—Mary. But also: “Oh God!” “hell” and “what the devil” in the dialogue. It’s all there, but one has to be an observant reader. What is your understanding about how Levin structured this tale? And what—if any—research did he do to get it “just right?”

David Morrell: Yes, most of the expletives in ROSEMARY’S BABY have a religious context, but they’re so carefully embedded that readers feel the implication more than notice it. Levin thought it would be interesting for Rosemary (you noted the irony of the second part of her name) to give birth to the Devil’s child on June 25, 1966—a date that’s a version of the sign of the Devil, 666, and that’s also the
calendar opposite of December 25, Christmas. He counted nine months backward and collected newspapers about all the important things that had happened in New York City around September and October of 1965. An electrical blackout, a New York Times strike, John Lindsay’s mayoral campaign, and especially a visit by Pope Paul VI who officiated at a mass in Yankee Stadium on October 5. All of these formed the realistic foundation for the novel. The implication is that Satan impregnated Rosemary during the Pope’s visit.

L.L.: I read, too that the movie adaptation of ROSEMARY’S BABY is “one of the most faithful ever” (I think Levin said that himself); whole pages of dialogue are in the movie, so too are specific colors. But it’s hardly the case that movie adaptations are as exact as the book.  Number one, why is that?  Two, what has been your experience of your book to movie adaptations—I’m especially thinking of RAMBO?

David Morrell: Director/screenwriter Roman Polanski was inexperienced with Hollywood’s ways and thought that a film necessarily had to be faithful to its source material. By the time he found out otherwise, he’d crafted a perfect distillation of the novel, quite an achievement given that the book is several hundred pages long while many screenplays are 110 pages long, with a lot of white space. Too often, directors and screenwriters change things to show how creative they are.51xanpEpeqL._SX342_

As for my experience with the film adaptation of my novel, FIRST BLOOD, there were 26 screenplays written for various studios that owned the movie rights at one time or another. Some of the screenplays were unintentionally funny, such as a character referring to Rambo as “the Bobby Riggs of guerrilla warfare.” The final result (released in 1982, ten years after my novel was published) is remarkably similar in terms of plot, but it interprets Rambo differently (as a victim rather than someone who’s furious about what the Vietnam War did to him). Because the character was softened, the ending was changed. Also the role of the police chief was diminished. Despite these differences, I like the film. It’s very well made, and the action scenes get better each year because the stunts are real, not computer generated. For the U.S. Blu-ray DVD of the film, I recorded a full-length audio commentary in which I compare the two.

L.L.: As for writing—what might be your best tips for writing thrillers and also today’s hot genre (domestic) psych suspense?

David Morrell: I teach writing at various conferences, and I always emphasize these two mantras. 1. Be a first-rate version of yourself and not a second-rate version of another author. 2. Don’t chase the market. You’ll always see its backside. These days, domestic psychological suspense is the hot subgenre. It can be summarized as “The person closest to you is your worst enemy.” It’s accompanied by the technique of the unreliable first person in which everyone is basically a liar. The subgenre started with Gillian Flynn’s GONE GIRL in 2012, and after only five years, every agent and editor I speak with complains that this is mostly what’s being 51-89vmRIiL._SX329_BO1,204,203,200_submitted [to them.] There are too many followers. You can’t have a long career unless you establish your own identity and make other people imitate you. I talk about this in my The Successful Novelist: A Lifetime of Lessons about Writing and Publishing.

L.L.: Of all your books and your multiple series, is there any one that stands out as something you are most proud of? I know, a bit like choosing your favorite child.

David Morrell: Over 45 years, there’ve been many books. But four of them stand out for me. FIRST BLOOD (1972), because that debut novel set everything in motion for me and has been called “the father of the modern action novel.” THE BROTHERHOOD OF THE ROSE (1984) made a difference also, because it was one of the first espionage novels to blend the British and American spy-novel traditions. The British had authentic spy tradecraft but almost no action. The Americans had plenty of action but laughable spy tactics. I thought it would be interesting to merge the strengths of the two. FIREFLIES (1988) is personally important to me because it’s a meditation about grief after my fifteen-year-old son, Matthew, died from a rare bone cancer, Ewing sarcoma. Finally, in response to another death, that of my 14-year-old granddaughter, Natalie, from the same disease, I escaped into 1850s London with three Victorian mystery/thrillers (MURDER AS A FINE ART, INSPECTOR OF THE DEAD, and RULER OF THE NIGHT). They feature a notorious real-life literary celebrity of the time, Thomas De Quincey, who invented the word “subconscious.” De Quincey’s daughter, Emily, is a strong character in these books and represents the 220px-Thomas_de_Quincey_by_Sir_John_Watson-Gordonindependent woman that I wanted my granddaughter to have the chance to become.

L.L.: Besides scary stories, what’s keeping you up at night? It doesn’t have to be literary.

David Morrell: For 7 years, while I wrote my Victorian novels, I convinced myself that I was on the gothic fogbound streets of 1850s London. When my imagination returned to the present, the hostile tone of the modern world bludgeoned me. FIRST BLOOD came out of the cultural violence of hundreds of riots in the late 1960s. I worry that we’re headed that way again.

L.L.: David, it’s been a pleasure. Is there anything I forgot to ask, but should have?

David Morrell: Just a thought about the almost 500 original scripted TV series that are currently being shown either on network TV, cable, or via streaming. No exaggeration. That’s how many there are. When I’m at social events, I don’t hear people talking about books as much as what they’re binge-watching on TV. Add to this the 800,000 self-published books that were released last year, and you have the most competitive [book/publishing] market I’ve ever seen. More and more, I advise beginning authors to write the book they were born to write rather than what’s currently hot, because trends are ever-changing. As I said earlier, if we chase the market, we’ll always see its backside.

For more information, to connect with David Morrell via social media, or to purchase the 50th anniversary edition of ROSEMARY’S BABY, please see: 

DavidMorrell_auphoto.jpegABOUT THE AUTHOR:  David Morrell is the author of First Blood, the acclaimed novel in which Rambo was created. He holds a PhD from Penn State and was a professor in the English department at the University of Iowa. His numerous New York Times bestsellers include The Brotherhood of the Rose, the basis for the only television miniseries to be broadcast after a Super Bowl. An Edgar, Anthony, and Arthur Ellis finalist, an Inkpot, Macavity, and Nero recipient, Morrell has three Bram Stoker awards from the Horror Writers Association and the Thriller Master award from International Thriller Writers. Bouchercon, the world’s largest conference for crime-fiction readers and author, gave him its Lifetime Achievement Award. Visit him at www.davidmorrell.net.

You can connect with me, Leslie Lindsay, via these social media sites:

LOVE IT? SHARE IT!

 

[Cover and author image courtesy of Pegasus Books and used with permission. Image of FIRST BLOOD original cover retrieved from Wikipedia, image of Ira Levin from Wikipedia, image of Blu-Ray RAMBO and SUCCESSFUL NOVELIST, and DVD cover of Rosemary’s Baby retrieved from Amazon, Thomas De Quincey from Wikipedia, all on 9.25.17] 

 

WeekEND Reading: Rachel Khong talks about how we’re all taking care of one another imperfectly, as best we can, memory, her fondness for random facts, how long drives feed her creativity well, and so much more in GOODBYE, VITAMIN

Standard

By Leslie Lindsay 

Off-beat, slightly quirky but oh-so well done tale of love, loss, fathers and daughters, and memory. 

download (1)Clever, tender and wry, GOODBYE, VITAMIN is a study of one family, their descent into decay and then back out again…maybe. It’s a poignant read that sneaks up on you and is filled with such beautiful vignettes of life, love, relationships (romantic, between siblings, father-daughter, mother-daughter). I laughed, I cried, I was reminded of my own childhood, sweet things my father did (Post-It notes every morning), and so much more.

Ruth is 30 years old and recently disengaged from her fiance, Joel when her father’s heath declines and she is ‘called home’ to San Francisco from the east coast to support her mother and mind her father. Her father was once a prominent history professor but now is doing odd, flaky things. Yet his love for his daughter is palpable. 

I’m so honored to welcome Rachel Khong to the blog. Pull up a chair and join us.

Leslie Lindsay: Rachel, it’s a pleasure to chat with you about your debut, GOODBYE, VITAMIN. As I was reading, I had to flip to the back jacket to make sure this wasn’t a memoir. It’s not—as far as I know. What prompted this story? Are there any parallels to your real-life?

Rachel Khong:  What prompted this story was the voice of the main character, Ruth. I wrote a short story in her voice and loved it so much I decided to keep doing it in novel format. This book was definitely inspired by my experience as a woman, thinking about the things that a lot of young women think about—namely, failed relationships and whether or not they “count” for something. And I was thinking a lot about memory, and the role that it plays in our relationships, whether with our friends or family, or with ourselves. Memory is so flawed, and yet it makes us who we are.

“A CATALOGUE OF DAYS, A LOVE SONG TO THEIR EPHEMERA, A COLLECTION OF SNAPSHOTS OF QUOTIDIAN CELEBRATIONS AND FAILURES. THE SUM OF THESE BEATS IS A BOOK THAT UNEXPECTEDLY STRIPS YOU DOWN AND LEAVES YOU FEELING MORE FORGIVING—AND FORGIVEN.”

—STEPHANIE DANLER, AUTHOR OF SWEETBITTER

L.L.: GOODBYE, VITAMIN is slightly unconventional in terms of storytelling. There are no chapters; instead, each section is a date over the course of a year; it’s book one could easily finish in a single sitting. But I am sure it took you at least a year to write. Can you tell us a little about your structure and also your time line for writing?

Rachel Khong: It took me more like six years, actually! I always intended to write a book that could be read in a single sitting, because I wanted to be a really 16906138immersive book— a book that would take you away from your real life, and into the lives of these characters, however briefly. I love when an author can get his or her rhythms lodged into your brain, and I wanted that to happen with this book. As for the structure itself, I really wanted it to mimic the day-to-day miscellany of life—for it to contain both the ups and the downs, and for it to be a reflection of those sometimes quieter moments that don’t make it into the grand story we tell ourselves about our lives. But because the book’s form isn’t a straightforward A to B, or particularly plot driven, the revision often wasn’t straightforward either: the process of writing it involved a lot of reflection and accumulation of small details that got layered into the book.

L.L.: I found that there are so many factoids in GOODBYE, VITAMIN that caught me by surprise—not just about Alzheimer’s but about not flushing your (presumed dead) goldfish down the toilet. (I actually had to look those images up on Google!) The origin of the word testify…only fresh materials on the floats in the Rose Bowl parade…I’m curious what—if any—research you did for this book?sZaypU6v

Rachel Khong: For me, writing fiction is a big tangled mess of autobiography, observation, imagination, and also research. You also asked about the writing process—sometimes, when you can’t do one kind of writing, or when your imagination well has run dry, you can at least draw from autobiography, or observation, or just straight-up reading. When I didn’t know what would happen next in the book, sometimes it was useful to do research on topics I was interested in. I did a lot of reading about Alzheimer’s caregivers on online forums, but it’s also true that I have a fondness for fun facts. Again, this is a book about memory, so I’m interested in what random things get lodged in our brains. All our brains are repositories for such strange things.

L.L.: Ruth is given this beautiful gift from her father—a notebook of musings and observations he kept of her younger days. How I love this (and wished I had done something similar for my girls—guess it’s not too late, they are 10 and 12). Is this something your dad has done for you? Mine left rhyming Post-It notes for me each morning which I still treasure.

Rachel Khong: Definitely not. My parents are both civil engineers and not big readers or writers—I’m a black sheep in that way. My dad did make me lunches throughout school—they were always the same: one or two slices of cold cut turkey and a thin layer of mayo, between wheat bread. Keeping a journal is something I hope to do for my kids if I ever have them, though!  Fresh lemons on the rustic tale

L.L.: I think GOODBYE, VITAMIN is a bit of that reversal we all experience in life. First our parents care for us and then we care for them. Was this your intention when you set out to write?

Rachel Khong: I didn’t have any clear-cut intentions when I set out to write, more questions than answers. I was interested in this idea that we are all sort of winging it through life. Your parents are winging it, even as they’re parenting you. We’re all taking care of one another imperfectly, as best we can. 

L.L.: What was the last thing you forgot to do? It doesn’t have to be literary.

Rachel Khong: This year has been so crazy (two books, lots of travel, I also got married) that I forgot to get a smog check for my car for, oh, six months? In that time, I’ve gotten two tickets for expired registration. I finally just got my smog check, so I hope the DMV sends me my sticker soon!

L.L.: Where do you draw your creative inspiration?

Rachel Khong: Good books! And good comedy. And long walks are helpful for shaking ideas loose. Also long drives.

L.L.: Rachel, it’s been a pleasure. Thanks so much for chatting with us today—and congrats on GOODBYE, VITAMIN. Is there anything else I should have asked?

Rachel Khong: It was my pleasure and honor! Thank you for having me!

For more information, to connect with Rachel via social media, or to purchase a copy of GOODBYE, VITAMIN, please see: 

200058641ABOUT THE AUTHOR: Rachel Khong grew up in Southern California, and holds degrees from Yale University and the University of Florida. From 2011 to 2016, she was the managing editor then executive editor of Lucky Peach magazine. Her fiction and nonfiction have appeared in JOYLAND, American Short Fiction, The San Francisco Chronicle, The Believer, and California Sunday. She lives in San Francisco. GOODBYE, VITAMIN is her first novel.

You can connect with me, Leslie Lindsay, via these social media hang-outs:

LOVE IT?! SHARE IT!

[Cover and author image courtesy of Henry Holt. Image of trivia brain from brainblasttrivia.com, rustic lemons from actively.com, day-at-a-glance image retrieved from target.com, all on 10.7.17]

 

Wednesdays with Writers: Abigail Lawless is ‘good company’ in brooding 1816 Dublin as she uncovers secrets of a Christian sect, mysterious deaths, and more in Andrew Hughes’ THE CORONER’S DAUGHTER, plus writing advice, real-crime TV binges, & a historical female hangwoman

Standard

By Leslie Lindsay 

Spunky and bright Abigail Lawless, uncovers evidence that a recent suicide may have been murder in 1816 Dublin. 

The Coroners Daughter-AD (1)

It’s October and that officially means all of us who love a tale of the gloomy and grisly can be at home reading. Even better if rain is drumming down your windows and a you live in a derelict country manor.

A young nursemaid has concealed a pregnancy and then murdered her newborn in the home a prominent family in a radical Christian sect known as the Brethren. Rumors swirl about the identity of the child’s father, but before an inquest can be made, the maid is found dead of an apparent suicide.

And so it begins, a lovely relationship between Abby Lawless and her father, the town’s coroner. Abby is a spunky, slightly quirky young woman with an adventuresome spirit; I was taken with her almost immediately. Plus, she loves science.

Ireland 2014 249But it’s 1816 in Dublin and young women just don’t run around with their academic fathers who teach at Trinity College dissecting the dead. At one point in the story, Abby says [and I’m paraphrasing]:

“Well, if I were a man and had this interest, it would be considered a fascination but I’m a woman and so it’s a macabre fixation.” 

There are a few twists and turns in THE CORONER’S DAUGHTER, some good action scenes, and a little romantic relief as well. Hughes does a considerable job of ‘laying the ground,’ and setting a compelling scene of brooding Irish landscape. His research is evident, too and accurately displays a historical tale of murder, suicide, and forensic science.

I am honored to welcome Andrew Hughes to the blog couch.

Leslie Lindsay: Lately, I’ve been interested in beginnings. THE CORONER’S DAUGHTER begins like this:

“For my eighteenth birthday, Father promised me the hand of a handsome young man, which he duly delivered mounted in a glass bell-jar.”

What instigated the beginning of this tale for you and what advice would you give to writers looking for a really fantastic ‘hook?’

Andrew Hughes: Thanks, Leslie. One of the challenges I had early on was to capture Abigail’s voice, her wit and her appreciation of the macabre, particularly as the story was told in the first person. I was imagining a Jane Austen type heroine loose in Regency Dublin, and was thinking about some of the tropes in period fiction when the line popped into my head. I liked it as well because it hints at the relationship she has with her father, his humor and his indulgence of her more morbid interests.

As for advice for writers, I’d say just concentrate on voice and character and don’t get bogged down. Get the plot started as quickly as possible and don’t look back.

L.L.: Andrew, you do a wonderful job depicting 1816 Dublin. The year is known as, “the year without summer.” Can you tell us a little about your research? 

Andrew Hughes: My first book was a social history of Dublin called LIVES LESS ORDINARY, which looked at all the people who lived in one of the city’s Georgian squares. I didn’t realize it at the time, but all that research was giving me a terrific yearwithoutsummersetting for historical fiction and a ready-made cast of characters.

I read about “the year without a summer” a while ago. A dust cloud from the eruption of Tambora in Indonesia settled over Western Europe, bringing frost to mid-July, crop failures and hardship. The sun turned blood-red, and black dots scattered about its disk became clear to the naked eye.

At the same time in Dublin there was a growing conflict between students of the Enlightenment and a burgeoning evangelical movement whose proselytizing would become known as the Second Reformation. For me, the eerie weather, religious fervor and rationalist zeal created a perfect tinder-box atmosphere for historical crime fiction.

In terms of specific research, I found newspaper transcripts of 19th Century inquests to be a great source. Each inquest was its own mini-drama – the description of the victim, particulars of the crime, the testimony of witnesses, often people from the poorest backgrounds whose voices would otherwise have gone unrecorded.

L.L.: I’ve always loved science, but forensics and forensic psychology really fascinate. In fact, I looked up some of the books you mention in the novel, Male’s EPITOME OF FORENSICS, for example. I didn’t find it. I imagine it’s likely in a special collection somewhere? Trinity College, perhaps?

Andrew Hughes: I used a slightly abridged title! In full it’s An Epitome of Juridical or Forensic Medicine; for the use of medical men, coroners, and barristers, and it’s available online here. 

It was published in 1816, which was perfectly timed for me. Male was a surgeon who had grown increasingly frustrated at the inability of coroners to identify cases of murder because of a lack of medical knowledge. He wrote a clear guide outlining the procedures for inspecting a body, the marks associated with violent deaths, the scientific tests to establish poisons, and so on. It became my textbook for Abigail and her forensic adventures.

L.L.: And Abigail Lawless! What a fun, quirky, adventuresome young woman. How did you dream up her character? Is she based off anyone you know?

Andrew Hughes: For me, Abigail was a reaction to my first novel, THE CONVICTIONS OF JOHN DELAHUNT, which was based on a true-life murderer and police informer in 1840s Dublin. That was a first-person narrative told from the murderer’s point of view, and while at times it was fun to inhabit his amoral head, I knew that for my next book I wanted the main character to be the hero. I also wanted to write about a young woman rather than a man, and since she would need plausible access to cases of murder and their investigations, the idea of the coroner’s daughter came to be.

I didn’t base her on anyone in particular. I imagined a modern Irish girl having to make her way in that society, the constraints and prejudices she would have to face. She’s headstrong and rebellious, but also a loving daughter, a kind friend. One of the reviewers over here [in Ireland] called her “great company”, which I liked.31b975f8b7633c47d7a1ba1d3a863ac8

L.L.: Also, I loved the derelict manor of Kilbride. There’s something brooding and intriguing about the obscure, bringing a sense of doom and tension to writing. Does the place exist and if not, what was your inspiration?

Andrew Hughes: Yes, Manor Kilbride is a village about an hour south of Dublin. I remember passing the church there once, St John’s, and being struck by the setting.
It’s a simple chapel perched on a hillside with listing headstones and dark woods surrounding – the perfect gothic location. Mr Darby’s ruined vicarage I just made up myself. I found out later that the village and church were used as sets in the Anne Hathaway film Becoming Jane. Their location scout obviously felt the same way I did.

L.L.: Can you talk a little about the Christian sect, the Brethren, mentioned in THE CORONER’S DAUGHTER? Was this purely fictional, or based in history?

Andrew Hughes: That came out of my LIVES LESS ORDINARY book. The Plymouth Brethren were an evangelical movement that first began meeting in Fitzwilliam Square in the 1820s. Their gatherings in England took place in Plymouth so that’s where they got the name. In a general sense, they were an inspiration for the sect in Plym.jpgTHE CORONER’S DAUGHTER, and their charismatic leader was also called Mr Darby. But in Ireland in the early 19th Century there was a growing evangelical reaction to revolutionary politics and the campaign for Catholic emancipation, not just confined to the Plymouth Brethren. Of course, any such conservative movement would find a natural antagonist in the curious, inconvenient, and intuitive Abigail.

L.L.: What’s keeping you up at night? It doesn’t have to be literary (and hopefully it’s not grave robbers)!

Andrew Hughes: Apart from worrying about the daily news, I’ve been catching up on a few true-crime series lately. I got through Making a Murderer and The Keepers on Netflix with unseemly haste. Also listened to the latest Serial podcast, S-Town. That was an excellent portrait of an intriguing man, but in the end I got tired of the hooks and cliffhangers that were never quite resolved. I’ve been writing a lot these past few months and have to catch up on my TBR pile, but I’ve started reading THE GINGER MAN again after the death of J.P. Donleavy.

L.L.: Andrew, it was a true joy. Thank you for chatting with us about THE CORONER’S DAUGHTER. Is there anything I forgot to ask, but should have?

Andrew Hughes: I’ve just finished a new novel, more Irish historical fiction, this time based on a real-life 18th Century character: Lady Betty, the merciless hangwoman of Roscommon! The ink is barely dry on that one, so I’ve not much more news, but keep an eye out for it in 2018.

 For more information, to connect with Andrew Hughes via social media, or to purchase a copy of THE CORONER’S DAUGHTER, please see: 

AndrewHughesABOUT THE AUTHOR: Andrew Hughes was born in Ireland and educated at Trinity College, Dublin. It was while researching his acclaimed social history of Fitzwilliam Square—Lives Less Ordinary: Dublin’s Fitzwilliam Square, 1798-1922—that he first came across the true story of John Delahunt that inspired his debut novel, The Convictions of John Delahunt. Andrew lives in Dublin.

You can connect with me, Leslie Lindsay, via these social media venues:

LOVE IT?! SHARE IT!

[Cover and author image courtesy of Pegasus Books and used with permission. Image of ‘the year without summer’ retrieved from The Paris Review, image of St. John’s Church/Kilbride retrieved from, image of The Plymouth Brethren retrieved from Wikipedia, all on 9.28.17. Trinity College library from L.Lindsay’s personal archives] 

Special Pub Day Edition: Debut author Bryn Greenwood talks about ALL THE UGLY AND WONDERFUL THINGS, how writing about the hard stuff is important, how this is NOT autobiographical, and more–now available in PAPERBACK!

Standard

By Leslie Lindsay 

ALL THE UGLY AND WONDERFUL THINGS is as raw as it is compassionate. A writer I know sometimes says, “I was brave on the page today,” and that’s exactly what I think of Wavonna (Wavy), the main character in this title, as well as the debut author Bryn Greenwood. She was brave on the page and there’s truth to it right here–she’s the daughter of a (mostly reformed) drug dealer just like Wavy, and she has a habit of falling in love with much older men, and perhaps she also not just brave on the page, but “writes what she knows.”

all-the-ugly-and-wonderful-things

This is a brave, insightful read from a very talented new writer and I thoroughly enjoyed the language and rhythm to the prose, however, I will say that this is not a book for everyone. It’s a bit like LOLITA meets…I’m not sure. Be prepared for some rawness and uncomfortable things going on in ALL THE UGLY AND WONDERFUL THINGS.

We first meet Wavy (short for Wavonna) when she is just 5 years old. She’s got a creepy-goofy mom whom she’s often scared of, especially when mom’s high. Her dad’s no better. Wavy keeps her mouth shut and stays out of sight. Selectively mute, she eats in secret, and finds many others hard to trust. That is until she meets Kellen (Also known as Jesse Joe Barfoot). Kellen is much older than Wavy (who is now 8 years old), yet they are in love. Or perhaps it’s more brotherly at first, him protecting her while she’s a vulnerable child and her parents are too strung out to parent. But then a love definitely develops.

Tragedy rips the family apart and well-meaning aunt steps in. There’s foster care, drugs, jail time, death/murder/suicide and so much more in this gorgeously told literary suspense ALL THE UGLY AND WONDERFUL THINGS.

So, grab your cup of coffee and join me as we get to know Bryn Greenwood.

Leslie Lindsay: Oh goodness, I just finished ALL THE UGLY AND WONDERFUL THINGS and I have to say, the title is quite fitting. Are you one of those writers who can’t set pen to paper before knowing a title, or does it develop organically?

Bryn Greenwood: It’s important for me to have a working title that resonates with me, but always with the awareness that it probably won’t end up being the title the book is published under. The working title for ALL THE UGLY AND WONDERFUL THINGS was rather unimpressively THIRTEEN, in reference to Wavy’s age when her life changes dramatically. It’s a good thing I don’t get too attached to my working titles, as this book actually went through three title changes on its road to publication. The line referencing “all the ugly and wonderful things” existed from the first draft, however, so it was fitting that it ended up being the title.

L.L.: So…”writing what you know,” I have to say, I also love memoir and as I’m reading, there’s so much truth and raw honesty with your characters and the situations they get themselves into, yet ALL THE UGLY AND WONDERFUL THINGS is not a memoir. Can you discuss your understanding of the difference between “writing what you know” and a full-fledged memoir?

Bryn Greenwood: Writing a memoir would require me to take careful stock of a lot of memories, and do a lot of research to fact check the events of my life. It would also require me to decide how many people I’m willing to be estranged from. Writing what I know, however, allows me to pick and choose from the things I remember vividly and fill in the blanks with people and events of my own imagination. Still, I feel that fiction calls upon the same level of introspection and emotional honesty as memoir. In terms of ALL THE UGLY AND WONDERFUL THINGS, is some of it true? Yes. My father was a drug dealer, and I’ve done and seen some pretty crazy things as a result. Do some of the characters resemble people I knew? Without a doubt. At the age of thirteen I started an intense love affair with a man more than twice my age. He and I are both in these pages in some very filtered form. Does it approach autobiography? Absolutely not.

L.L.: Many folks are comparing ALL THE UGLY AND WONDERFUL THINGS to LOLITA. Talk about a narrative with lots of uncomfortable situations! How do you respond to those comparisons?220px-lolita_1955

Bryn Greenwood: I’m a big fan of Nabokov, and I think LOLITA is an incredible novel, perhaps even one of the greatest novels of the twentieth century. Breaking it down to its bare bones, though, it doesn’t have anything in common with ALL THE UGLY AND
WONDERFUL THINGS. Humbert Humbert is a sexual predator who marries a single mother and, following her convenient death, kidnaps her daughter for what I can only describe as a cross-country pedophilic rape-fest. As a first person narration, we have only Humbert’s perspective on his relationship with Lolita, and I don’t trust him. ALL THE UGLY AND WONDERFUL THINGS has none of those plot elements, and the characters involved are quite different, as is the dynamic of their relationship. Yes, there’s an increasingly uncomfortable and inappropriate relationship between a young girl, Wavy, and Kellen, a man thirteen years her senior, but I do not consider Kellen a predator or a pedophile. Also it is my hope that the multiple narrative angles allow readers to see a much more balanced view of their relationship and come to their own conclusions.

“Greenwood’s powerful, provocative debut chronicles a desolate childhood and a discomfiting love affair… It’s no storybook romance, but the novel closes on a note of hard-won serenity, with people who deserve a second chance gathered together….Intelligent, honest, and unsentimental.”

~Kirkus Reviews (STARRED)

L.L.: What did you learn about yourself writing ALL THE UGLY AND WONDERFUL THINGS?

Bryn Greenwood: I learned that there are things I thought I’d let go of that still have their hooks in me. This was simultaneously a happy and a sad lesson, because some of the things that still have a hold on me are full of sorrow, while others are full of joy. Accessing some of those memories allowed me to release a lot of the shame that other people had pressed upon me. As a society, we have a few set narratives about certain things, like the way “inappropriate” relationships between young people and older people are viewed and discussed. The approved narrative is that the younger person is a victim. If you have an experience that doesn’t fit, or if you decline to identify with being a victim, people will try to shame you. If you won’t be a victim, then there must be something wrong with you seems to be the message. Writing this book, I was able to shrug off that shame for something more constructive.

I also learned that I’m more stubborn than I knew I was, and I thought I was pretty stubborn. I received a lot of rejections on this book, but at no point did I consider giving up.

L.L.: There are so many things going on in this story, but it’s all handled well. In some ways, it feels like a mystery/thriller and in other regards, it feels a bit like…well, a coming of age romance, though I cringe to liken it to romance, because it’s not really that. Plus, the writing is very lyrical, polished, and emotionally resonate. Perhaps it’s literary fiction. What genre do you feel ALL THE UGLY AND WONDERFUL THINGS is? And in the end, does genre matter?

Bryn Greenwood: I think of it primarily as literary/mainstream fiction. It obviously has many hallmarks of a coming of age story–for several of the characters–but there are a lot of other elements at play within the story, as you observe. Like you, I hesitate to think of it as romance, because romance novels tend to glorify and glamorize the love stories they tell. Although ALL THE UGLY AND WONDERFUL THINGS definitely contains a love story, it’s not particularly romantic. That said, I suspect genre only matters as much as we tell ourselves it does. I read across all genres, and I know from the contents of my inbox that readers of all kinds have connected with my book.

L.L.: What do you hope readers take away after reading ALL THE UGLY AND WONDERFUL THINGS?

Bryn Greenwood: I hope that most readers will simply spend some time thinking about the issues that surround the characters: drug abuse, neglect, family, love, loss, food. As much as we want life to be black and white, there’s a whole lot of gray. I think we get to that understanding, and to sympathy, by acknowledging the issues that inhabit that gray area.

For readers who find that the book makes them uncomfortable, I hope they will spend a little time thinking of other readers for whom this book is a mirror. Wavy and Kellen’s lives may seem alien or repulsive, but there are people who have lived or are living these lives. Those people deserve to see their stories told with sincerity just as much as anyone else.

“It’s a troubling tale, but the rich characterization makes it all but impossible to set aside.” 

~St. Louis Post-Dispatch, The Best Books of 2016

L.L.: I’m a bit curious about place and how that affects us as writers. Or, does it? I understand you’re a fourth generation Kansan. I’m at least a fifth generation Missourian. I’m drawn to raw, uncensored stories about family, love, and human behavior. Could just be me, but perhaps there’s some mid-America influence there. Can you share your thoughts on that?

Bryn Greenwood: Although I’ve written about other places, I feel like much of my writing is informed by my family connection to Kansas, and to the West. [See Bryn’s website to glimpse her other writing] Part of that is this sense of a massive, flat, open space, of being able to see not just the next town twenty miles away, but the actual curvature of the earth. I always feel like I’m trying to bring that breadth of vision to my writing. The other element of place that crops up in my work is this damned impenetrable stubbornness. During the Dust Bowl, when a 220px-dust-storm-texas-1935lot of people fled from Western Kansas, my family stayed, possibly out of pure bullheadedness. That bleeds through in how we feel about our relationships and our place in the world. We can be very insular, but are passionate and loyal. 

L.L.: In fact, as I’m reading ALL THE UGLY AND WONDERFUL THINGS, I’m reminded of several other titles that are written (and set) by Missouri authors (Laura McHugh’s THE WEIGHT OF BLOOD comes to mind as does Daniel Woodrell’s WINTER’S BONE). What stories, authors, and genres influence you? What ignites your creative spark?

Bryn Greenwood: I read all different genres, because I never know where I’ll stumble across the kinds of stories and characters I love. I enjoy sci fi and fantasy, often because I feel like the same thing that lets them cross the boundaries of our reality lets them access emotions and relationships that we don’t always find in contemporary fiction. (Some of my current recommendations are Sherri L. Smith, Holly Black, and always Ursula K. LeGuin.) I’m a big believer in reading work by women, because we’ve so often been silenced. Some of my favorites are Margaret Atwood, Louise Erdrich, Alice Walker, A.S. Byatt, Iris Murdoch, and Isabelle Allende.

L.L.: I understand you used to work with Planned Parenthood. Can you tell us a bit about that? This particular experience netted you a good number of publications.

Bryn Greenwood: In the 1990s I worked at Planned Parenthood of Kansas (Now PP Great Plains) as a sex educator. As is the nature of teaching, it was hugely educational for me. I did hundreds of presentations for high school students, social services clients, inmates at juvenile and adult facilities. I saw so much of humanity and heard so many stories that I was radically changed in my understanding of the world. I can’t help but feel a lot of that experience comes through in my writing as well. In terms of what I tweeted about in the aftermath of the Colorado Springs Planned Parenthood shootings last year, that whole experience is a great illustration about social media. You cannot control what catches people’s attention. It turned out that a lot of people wanted to know more about what I’d experienced as a Planned Parenthood employee.

L.L.: What question should I have asked but forgot?

 Bryn Greenwood: One of my favorite things to ask other writers is what newspapers, websites, etc. they like to read on a casual basis, because I’m interested in people’s daily mental perambulations. Of course, having mentioned this, I now have to admit that I love reading trashy tabloids online. I think it’s that underneath all the celebrity gossip and Florida crime reports, I know there are real stories. I like to imagine what has really happened behind all the sordid and sensationalist nonsense. Tabloids render it all as grotesque– “Famous Athlete Arrested in Altercation at Strip Club” or “Florida Woman Shoots Husband and His Lover, Her Own Mother” –but I enjoy trying to develop narratives for the headlines that reveal actual people having actual human emotions.

L.L.: Bryn, it’s been a pleasure! Thank you so much for chatting with us today.

Bryn Greenwood: Thank you for inviting me to talk about my book and all my random obsessions. It’s been wonderful, Leslie!

cbk

ALL THE UGLY AND BEAUTIFUL THINGS is now available in PAPERBACK. You can also find Bryn Greenwood ON TOUR this fall in the Midwest:

For more information on ALL THE UGLY AND BEAUTIFUL THINGS, or to connect with Bryn Greenwood via social media, please see: 

bryn-greenwood-credit-jennifer-stewart-newlinAuthor Bio: Bryn Greenwood is a fourth-generation Kansan, one of seven sisters, and the daughter of a mostly reformed drug dealer. She earned a MA in Creative Writing and continues to work in academia as an administrator. All the Ugly and Wonderful Things is her debut novel. She lives in Lawrence, Kansas, where she is married to an extensive home remodeling project, and is raising a small herd of boxers and hairless cats.

You can connect with me, Leslie Lindsay through these various social media channels:

GoodReads

Facebook: LeslieLindsayWriter

Twitter: @LeslieLindsay1

[Special thanks to K. Bassel at SMP. Author and cover images courtesy of SMP and used with permission. Lolita cover image retrieved from Wikipedia on 9.8.16, Dust Bowl image also retrieved from Wikipedia.] 007.JPG

Wednesdays with Writers: Veronica Henry talks about how books are really very comforting and nourishing, imagination, saving bookstores, the Cotswolds, and so much more in her recently-released-in-the-U.S. HOW TO FIND LOVE IN A BOOKSHOP

Standard

By Leslie Lindsay 

As an avid reader, there’s no feeling quite like exploring a beautiful old (or new) bookstore. In fact, many years ago before my husband was my husband, we were at the Grand Opening of a local Barnes & Noble, giddy and holding hands. It was an official date and solidified our love for books—and each other.

9780735223493

When I came upon Veronica Henry’s HOW TO FIND LOVE IN A BOOKSHOP, I knew it would bring the same sense of whimsy and wonderment as that bookstore date nearly eighteen years ago. There’s something magical about browsing the shelves, touching the spines, turning the pages, and getting lost in the imaginary worlds of beloved authors.

Emilia Nightingale is all grown up and grieving the loss of her father, who raised Emilia alone after her mother died during childbirth. Add in the charming English countryside town of Peasebrook, several long-held secrets, and it’s a haven for literary-minded locals and readers alike. HOW TO FIND LOVE IN A BOOKSHOP (Viking/Pamela Dorman Books, August 15 2017) is ultimately about its grieving owner, a literary community, and the extraordinary power of books to heal the heart. I absolutely loved this book.

I am thrilled to have Veronica Henry here to chat with us about the book, and all things literary. Please join us.

Leslie Lindsay: Veronica, it’s great to have you. I devoured this book, mostly because I so appreciate the hub of a great bookstore. But also because your characters were so relatable. Why this book, why now?

Veronica Henry: Firstly, thank you so much for having me on your blog and your questions are all fantastic! I wrote this book because a few years ago it seemed as if books were going to vanish, and along with them bookshops. But I noticed that after a couple of years’ excitement over digital books, people were really missing the person-reading-red-covered-book-near-grass.jpgcomfort and pleasure of holding a real book in their hands, and went back to buying them. And as a result bookshops had a renaissance. I wanted to reflect that
phenomenon. I also love to write books set in places where I know my readers will enjoy going – and pretty much everyone who reads books loves bookshops! They are my own safe place and comfort zone, so it felt very natural to set a book there.

L.L.: I adored all of these characters! HOW TO FIND LOVE IN A BOOKSHOP is not a banquet of ‘too many’ characters, name dropping, etc., but almost like reading several novellas. For each character’s story, we are drawn in, given a clear sense of their backstory and it makes me love them more. How did you decide on this structure? Did you have a particular character(s) who really spoke to you?

Veronica Henry: I used to be a script writer, and wrote for lots of British long running drama series, so I am used to juggling lots of stories and characters. So it comes very naturally to me to structure a book like that. I always decide on my setting first – a sense of place is the most important decision for me before I start – then I choose one character whose story will be the book’s spine. All the other characters have to fit in around them. This book is centered around Emilia, but 6fe1c589e796bff64c81da223cb0c48f_XLeveryone else gets their moment in the sun!

L.L.: I think at the heart of HOW TO FIND LOVE IN A BOOKSHOP is the community—the people who venture into Nightingale Books. Did you base this tale off any particular bookstore or town?

Veronica Henry: I worked in a couple of bookshops before I was a writer so I am familiar with what it’s like the other side of the counter, which helped with the story and Emilia’s dilemmas. One of the shops I worked in was the famous Foyles in Charing Cross Road, which was very eccentric. But Nightingale Books is a mixture of all the bookshops I’ve been into and come to love, mixed in with a bit of
imagination – Peasebrook is fictional, and is my ideal town. I adore the Cotswolds – they are so breathtakingly pretty and so atmospheric. The book is my fantasy life, really! My favourite book as a child was Henrietta’s House by Elizabeth Goudge, which had a glorious bookshop in it that was a big influence.

L.L.: I came upon a story today on the Internet about reading and why we should. The world is a messy place and when we get sick of it, go read. A proper book, not the news. Why, in your opinion, do we like to escape into a good book? [Here’s the article]

Veronica Henry: I think the wonderful thing about reading is that it engages your imagination. We are spoon-fed so much these days, but you have to work quite hard when you read a book, subconsciously, and I think that is immensely satisfying. It also means that your version of that book is very personal to you. So your vision of what Emilia looks like and how the shop is laid out will be very different from the next person’s. A good writer gives you an impressionistic sketch and you get to fill in the rest. So books are nourishing and satisfying in a way that other mediums aren’t.download (50)

L.L.: I have to say—I really ‘got’ Bea. She might have been my favorite character—mostly because she’s a mom and is dealing with expectancy violation. The country is just a little too bucolic, a little too saccharine for her. Motherhood is boring. She yearns for her old career at a glossy home décor magazine. I loved reading about her ideas to make Nightingale Books better. I think this excerpt summarizes my zest for her best:

“We’re creating…a complete experience. This won’t be just a bookshop. This will be…an emporium of delight. A feast for all the senses. A place of comfort. An escape.”

In fact, designing a bookstore would be the ultimate job! Can you talk more about her character and how she came to be?

Veronica Henry: I love Bea too – she doesn’t want to accept the stereotype and she’s a bit of a rebel and dares to do things other people might not. And she is prepared to admit she is not living the dream she thought she would – but is brave enough to figure out how to make it work. She’s creative and she wants to help other people make their dreams come true too. She’s a do-er. I love people who make things happen – I guess that’s where she came from – but I wanted to shock people too. We all have to pretend to be so perfect, but not everyone is, and I think Bea reflects that.

c998630281e1b2fe10ae13f45f42e330L.L.: Thomasina and Lauren are lovely chefs and caterers. From the potato gratin to the loin of venison coated in a mushroom duxelles and wrapped in puff pastry to the delicate pear mousse with a rich chocolate sauce right in the middle…well, let’s just say, I did a fair amount of snacking while reading. Are you a foodie yourself?

Veronica Henry: Oh yes … I am never happier than when reading about food, cooking food, eating other people’s food … Right now I am poaching a chicken and I’m going to try a new dish my friend told me about – a Greek soup with lemon and egg and rice – and I can’t wait. It brings me such pleasure. Food is a really important part of my writing. Mealtimes are perfect dramatic backdrops. They bring people together. Add in some wine and the drama begins! Thomasina is a great character – I love how she is so quiet yet brings people so much pleasure without showing off.

L.L.: Emilia often talks about her childhood living above Nightingale Books. Do you have anything from your childhood you wished you still had—a toy, book, item of clothing?

Veronica Henry: I’m really trying hard not to hold onto stuff anymore as I think it does hold you back and stop you growing as a person. Living in the past isn’t healthy, but it’s important to keep a few key pieces. I have a lot of my childhood books which bring me joy and I often re-read them. I also still have the teddy bear my father gave me for my first birthday – he died last year so that bear gives me a lot of comfort. It was weird – I wrote about Julius’ death just before my own father died (I didn’t know he was going to), and it was so odd re-reading the book afterwards as I felt so many of the things Emilia felt. 7484_picture_1f.png

L.L.: It’s been a pleasure, Veronica. Is there anything I should have asked, but may have forgotten?

Veronica Henry: It’s been a pleasure for me too – I just want to remind your readers to visit their local bookstore as often as they can. We must keep them alive. And you never know what you are going to come out with. Happy reading everyone!

For more information, to connect with Veronica Henry via social media, or to purchase a copy of HOW TO FIND LOVE IN A BOOKSHOP, please visit: 

Veronica Henry © Jenny Lewis.jpegABOUT THE AUHOR: Veronica Henry worked as a TV scriptwriter before turning to fiction. In 2014, she won the RNA’s Romantic Novel of the Year with A Night on the Orient Express. Henry lives by the sea in North Devon, U.K.

You can connect with me, Leslie Lindsay, via these social media links:

You can connect with me, Leslie Lindsay, via these venues:

 

LOVE IT? SHARE IT!

[Cover and author images courtesy of Viking/Pamela Dorman Books and used with permission. Cotswolds cottages retrieved from, reading outside from, Cotswolds bookstore retrieved from, collection of childhood books from, all retrieved on 9.25.17]

Wednesdays with Writers: A riveting new look at ‘the quest for rest,’ the mysteries of sleep, dreams, its tie to creativity; how structure for books is like the frame of a house; his worry about teen screen time, and so much more in Michael McGirr’s SNOOZE

Standard

By Leslie Lindsay 

A fascinating and insightful collection of essays and thoughts on sleep, why we do it and so much more. 

Snooze
I absolutely loved this book! 

SNOOZE: The Lost Art of Sleep is a great read and so very different from anything I’ve ever read on the subject.While it’s billed as non-fiction, it is not a textbook;  it’s not a how-to sleep hygiene book, either. One might call it part memoir, part essays on sleep-related topics, part survey in western civilization, and part pop psychology intermingled with a little hard scienceIn fact, SNOOZE is a bit like FREAKANOMICS, Sleep edition (if there were one) or Malcolm Gladwell meets Bill Bryson…on sleep.

Here’s a sampling of topics: Sleep disorders, beds (making those beds), staying in bed, medications designed to help induce sleep (and side-effects), philosophy, the demise of sleep in our fragmented world, famous people and their quirks (Flo Nightingale, Charles Dickens, Homer, Plato, Thomas Edison, Shakespeare, etc.), even the effect of war/PTSD on sleep. 

There were some laugh out loud moments as McGirr, a former Jesuit priest talks about his sermons, life as a priest, then parenting…not just *a* child, but a toddler and *then* a set of twins. Not to worry, the narrative doesn’t get bogged down with parenting asides; SNOOZE is very focused writing (and reading).

I found McGirr witty and delightful and kind of think this would make a great download (48)audio book read by the author. 

Oh, and he’s here today to chat with us about his book, what keeps him awake and so much more.

Leslie Lindsay: Michael, it’s a great pleasure. Thanks for popping by. Sleep is by far one of my favorite…uh…pastimes. Does that make me seem dull? Actually, I work and play hard, too. What prompted your interest in the subject?

Michael McGirr: Thanks Leslie for your great response to Snooze. I was delighted by your kind words. Sleep came at me from three directions. The first was my own struggle over many years with a couple of sleep disorders without realizing how serious they are. People laugh at snorers or are annoyed by them but don’t always understand they are engaged in a life and death battle to breathe. Next, I found myself in my early forties suddenly with 3 children under the age of two, including twins, and none of them understood the meaning of a decent night’s sleep. But most of all, the book came at me from a profound sense that we are living in a culture that is approaching exhaustion and its main response seems to be to keep people more and more tired. A city that never sleeps is one that is never fully awake.102150-The-City-That-Never-Sleeps.jpg

L.L.: I was fascinated by your sleep study. And I learned about sleep latency…that time period between lying down to go to sleep and falling asleep. [Hint: if it’s less than 10 minutes, you’re probably sleep deprived]. Can you walk us through the process?

Michael McGirr: You’ve explained it very well. At present, I am a school teacher doing marking [grading] late at night. I am asleep within seconds of my head hitting the pillow. This is not great. Nor is it great to be awake for an hour before you fall asleep. A good night’s sleep begins with a process known as fading. It actually starts before you get into bed: the brain responds well to rituals and pre-bed rituals can be a great help: brushing your teeth, hanging up your clothes, etc. in the same order every day and trying to go to bed at the same time. Ideally, this will allow you to gently fade into sleep once you are in bed.

[Leslie’s note: You may like these tips about establishing sleep rituals]

L.L.: I tend to fall asleep reading. (But certainly not SNOOZE!) In fact, last night, I sat down to read (not in bed).  It was only 8:14pm. “Wow…all kinds of glorious time to read,” I thought. “Maybe, I’ll finish this book!” Ah, such lofty aspirations. My lids grew heavy and my head started bopping. I was out. It wasn’t even 9:00pm [the time your research in SNOOZE says my body starts producing melanin in earnest].  And I happened to really like the book I was reading. What’s up with that?

Michael McGirr: It’s fine. Your brain and body have had enough of you for the day. They want you and your agenda out of the way so they can get on with their most important work, which happens when you are asleep. Sleep is the most creative part of the day because it is when our ego gets out of our way. You can get up early to keep reading. I love doing that. I love the half-hour before the next person in the house wakes up. But don’t forget there are millions of books. You are never going to read them all. Accept that there is only so much you can fit into a single day, not to mention a single lifetime, and you will rest in greater peace. Sleep means letting go. 

L.L.: The structure of SNOOZE is so clever, so fun. Its chapters are arranged in clock times when folks might be asleep. The first chapter, for example, begins at 8pm. Along with a time, a date is given. So Chapter One is 8pm and 1969. The narrative does not follow a linear time frame. Well, wait—it does. Can you talk about how you discovered this structure?

Michael McGirr: Thank you. Finding the structure of a book is always a big deal for me. It’s like building the frame of a house. Then you can start to sort out what will actually fit in the house. I always have more material than I can use and the amount available on sleep is endless. My book before this, called BYPASS, was about download (49)the Hume Highway which is the main road between Sydney and Melbourne, the two biggest cities in Australia. I found the structure for that book by riding a pushbike along the 900km of the road. In the case of SNOOZE, I tried several ideas. Finally, I settled on structuring it as a night’s sleep, choosing incidents from history, both recent and ancient, that can be associated with different times of the night. I liked it because it gave me an eclectic structure. The book is a bit of a salad with many different flavours!

L.L.: Here’s another thing I learned from SNOOZE: “the dreamer has the dream, or the dream has the dreamer.” I’m not sure who to attribute that quote to, but what more can you tell us? I am fascinated by dreams and find they definitely help with not just my self-awareness, but creativity, too. Can you tell us more, please?

Michael McGirr: I think I may have made up that phrase. Dreams are fascinating. But not as simple a guide to the unconscious as Freud may have thought. For example, you never dream as much in your life as when you are in the womb. This is when almost all your sleep is REM sleep, which is the phase in which dreams take place. The next dreamiest time is when you are a baby. The amount you dream decreases over a lifetime. 

[Consider]: If dreams at some level involve the processing of your waking experience, why do we dream most when we have least experience? Why do we dream least when we have most to deal with? I don’t know the answer. One theory is download (47)that dreaming is essential for testing synapses in the brain before we are born. We continue to dream because it is pleasurable, a bit like continuing to have sex after you’ve had your kids. But some dreams are not pleasurable. Post Traumatic Stress Disorder can be literally a nightmare of bad dreams. There is an awful lot to think about. The tendency to forget dreams is one of our major defense mechanisms.

L.L.: What kind of research did you do for SNOOZE? I see there is a very extensive “sources” section at the end of the book…but how much time did your research take, what aspect of sleep might you want to explore further?

Michael McGirr: I was lucky with this topic. Almost every major thinker in history has had things to say about sleep and I enjoyed jousting with a good number of them. This is because sleep is such a fundamental part of human being that you can hardly explore the human condition without coming across it. Someone’s attitude to sleep reveals their entire attitude to life; I found this to be the case with many philosophers and writers. In one sense, I spent my whole life researching this book because I have spent such a lot of my life reading. When I settled on this topic, I went back to writers and thinkers who have been my companions for years, from Plato to Dickens. I am not drawn to a project unless I think I am going to enjoy the research. It needs time.

L.L.: I think anyone who has parented young children, infants especially, know just what it’s like to be exhausted. We tried Ferberizing as well. Horrendous. But the kid sleeps like a log now. How are your twins, Clare and Jake? And Benny? (Just this morning, I smirked as I recalled his comment about making beds and, “If God made the world, why can’t he make my bed?”)

Michael McGirr: I told him God made the world so he might have a place in which to make his own bed.  I don’t think that is the only reason God made the world. The twins are now twelve and Benny is 14. They are an endless source of existential joy and financial grief. I am concerned about the intrusion of screens in their lives. Benny has his first speaking part in a play which starts at school tonight. Clare is learning bassoon. She is a force of nature. Jacob wants to be a high jumper and movie maker. We are working on an internet site for oldies. We are going to call it Thou Tube.

L.L.: What’s next for you? Are you working on another book.

Michael McGirr: I am writing a book about reading. It is called (at the moment) 52 THINGS TO READ BEFORE 25. It has my students in mind: it is a challenge to them to have crucial reading experiences in the years after they leave school when their brains are fresh and can bend to all the yoga postures of the mind that a rich reading life asks for. Young people will commit to the gym and their career. But they are much less likely to take the growth of their minds as seriously. So I want to stir them up.

L.L.: Michael, it’s been such fun. I could probably ask you questions all day…or night. What might I have forgotten to ask but should have?dsc_3626a2__880

Michael McGirr: I have loved your questions. This has been delightful. Thank you. SNOOZE is really a book about the quest for rest. That is broader than sleep, although sleep is a big part of it. The world is restless. It keeps screaming at us like an over-tired baby demanding attention. Tired people are vulnerable because they can’t think. They resort to clichés. They are comforted by meaningless platitudes. Sleep and rest are the wells of creativity.

[Leslie’s Note: Oh my gosh! You have got to visit this amazingly creative momma’s website, boredpanda.com. She’s turned her baby’s naptimes into clever dreamscapes]

For more information about SNOOZE, to connect with Michael McGirr through social media, or to purchase a copy, please see: 

MichaelMcGirr_auphoto_creditBill Spierings.jpegABOUT THE AUTHOR: Michael McGirr is an essayist, reviewer, prize-winning short-story writer and teacher. A former Jesuit priest, he is also the author of Things You Get For Free and Bypass: The Story of a Road. He lives in Melbourne with his wife, Jenny, and their three rapidly growing children.

You can connect with me, Leslie Lindsay, via these venues:

LOVE IT? SHARE IT!

[Cover and author image courtesy of Pegasus Books and used with permission. ‘City that Never Sleeps’ image retrieved from , sleep at night image from http://www.everydayhealth.com, sleeping baby from dailymail.uk.co, Sleeping baby with crane, from, which I highly recommend a visit to! All on 9.13.17]

WeekEND Reading: New York Times Bestselling Author Ken Follet talks about the third book in his Kingsbridge series, A COLUMN OF FIRE, how his wife’s characteristics sometimes appear in female characters, religious freedom, and kick-ass women of the 16th century

Standard

By Leslie Lindsay 

From the #1 New York Times bestselling author of THE PILLARS OF THE EARTH and WORLD WITHOUT END comes the next epic novel in the Kingsbridge series: A COLUMN OF FIRE. 

Column of Fire Cover FINAL (1).jpg

In 1989 Ken Follet published the historical epic THE PILLARS OF THE EARTH, a departure for the bestselling writer which stunned reader and critics alike with its ambitious scope and unforgettable cast of characters. That was nearly 30 years ago!. It reached #1 on bestsellers lists across the world, and since become Follet’s most popular novel. Ten years ago, Oprah selected THE PILLARS OF THE EARTH for her Book Club, and the second book in the series was published, WORLD WITHOUT END.

The saga continues with Follet’s new epic, A COLUMN OF FIRE (September 12, Viking). This one introduces a world of spies and secret agents in the 16th century, a time when Queen Elizabeth I ruled. Set during one of the most turbulent and revolutionary times in history, this novel is one of Follet’s most exciting and ambitious works yet. It’s perfect for longtime fans of the Kingsbridge series, but if you weren’t around 30 years ago, it works well as a stand-alone, too.

A COLUMN OF FIRE begins in 1558. The ancient stones of Kingsbridge Cathedral peer over a city torn to shreds by religious conflict. Power in England shifts precariously
between Catholics and Protestants, high principles clash with friendship, loyalty, and love.

I’m honored to welcome Ken Follet to the blog. 

L.L.: Ken, it’s a honor to chat with you. While A COLUMN OF FIRE is part of a series, it still needs to be something you are willing to spend a significant amount of time with. Where did the inspiration for A COLUMN OF FIRE come from?

Ken Follet: I read somewhere that Queen Elizabeth I started the first English secret service. That intrigued me, and I read several books about spies and secret agents in the 16th century. I felt sure this could be the basis of an exciting novel.

L.L.: Let’s talk titles for a moment. Why did you choose to call the book A COLUMN OF FIRE? It sounds quite ominous. 

Ken Follet: [It is]. It’s biblical, like THE PILLARS OF THE EARTH. Spies are sometimes referred to as a Fifth Column. And a lot of people were burned at the stake in the 16th century.

L.L.: So were you excited about returning to Kingsbridge? [There are numerous towns called Kingsbridge, but the one in Follet’s THE PILLARS OF THE EARTH is fictional]. 

Ken Follet: You bet. We’ve watched the place grow from an Anglo-Norman settlement to a thriving medieval town, and now we see it at the start of the English Renaissance. Kingsbridge is England in miniature. article-1331731-0C1D9C90000005DC-968_634x398

L.L.: We know that A COLUMN OF FIRE is about spies and secret agents in the 16th century. What other themes surround the book?

Ken Follet: Most of my recent books are about people struggling for freedom in one form or another: Welsh coal miners, Russian factory workers, Jews, African Americans. This is about religious freedom.

L.L.: Can you talk about how these themes relate to your own life?

Ken Follet: I’ve always hated people who assume they have authority over me. This made my schooldays a challenge, obviously. A bully makes me angry. I empathize with fictional characters who fight against tyranny.

L.L.: I can’t get over the historical scope of this book. Not to mention, it’s over 900 pages! What sort of research did you do for A COLUMN OF FIRE?

Ken Follet: There’s nobody left to interview, of course. As usual, most of my information comes from history books. I also visited houses and castles built in this period. I looked at 16th century clothing in the London Museum, and I went several times to the National Portrait Gallery to study the faces of Queen Elizabeth, Mary Queen of Scots, Francis Drake and many others.

L.L.: Did you visit the locations of the key events in A Column of Fire?

Ken Follet: Scotland for Loch Leven, the prison from which Mary Queen of Scots escaped; Belgium for Antwerp, then the banking centre of the western world; Spain for Seville, the richest city in Spain; Paris because it was the headquarters of those who conspired to assassinate Queen Elizabeth.300px-Lochleven_west_wall

L.L.: Plenty of historians have written about this era. Who among them do you particularly like or respect?

Ken Follet: Robert Hutchinson has written well about espionage at this time. Geoffrey Parker is the authority on the long and bloody war in the Netherlands. Perhaps the most useful book was Conyers Read’s three-volume biography MR. SECRETARY WALSINGHAM, about the man who was he Elizabethan equivalent of “M” in the James Bond stories.

L.L.: So, I have to ask, are any of your fictional characters based on real people?

Ken Follet: Not really. I might give a villain the hair style of someone I dislike, and of course the female heroes all have something in them of Barbara, my wife; but my fictional characters are never portraits of real people.

L.L.: A COLUMN OF FIRE  has a number of real historical characters, including several heads of state. Who did you particularly admire?

Ken Follet: Three great 16th century leaders understood the need for religious tolerance, and interestingly they were all women: our Queen Elizabeth I; Caterina dei Medici, who was queen of France and then Queen Mother; and Marguerite de Parme, governor of the Netherlands. In an age of relentless bigotry, each of them tried to persuade people of rival religions to live in peace. For that they were hated. Their efforts were only partly successful.220px-MargarethevonParma01

Each of them was undermined: Elizabeth by repeated plots to assassinate her, Caterina by the ruthless Guise family, and Marguerite by her half-brother King Felipe II of Spain. I admire their idealism, courage and persistence in the face of bloodthirsty opposition.

L.L.: You’ve had a long, illustrious career; what are you most proud of?

Ken Follet: It was a pretty good achievement to write a novel about the rather unpromising subject of building a cathedral in the Middle Ages and turning it into an international No.1. We’ve sold about twenty-six-million copies of THE PILLARS OF THE EARTH. That’s pretty good for a book a lot of people thought would be too dull.

L.L.: How long did it take you to write?

Ken Follet: The whole thing took three years and three months. After two years I only had about 200 pages, and I felt this was a crisis. And as a novelist the only thing you can do if you want to write faster is work more hours. So I started to work Saturdays and then Sundays as well. The difficulty is simply that you’ve got to keep on making up more and more stuff about the same people. If you write 100,000 words of a thriller, then it’s finished. But after 100,000 words of THE PILLARS OF THE EARTH that’s like that much. [He holds open first quarter of the book.] I had all that to go. [He holds open the final three-quarters.] That was the great difficulty. uk_the_pillars_of_the_earth

L.L.: Some writers dread of their books being turned into films or TV series. But have you enjoyed the experience?

Ken Follet: Seeing good actors giving good performances, bringing to life characters I’ve invented and speaking some of the lines I’ve written is a huge thrill. When it all goes well it’s great. When it goes badly you cringe when you see what’s on the screen, but you have to take that risk.

I’m pleased and proud that some of my stories have made good film and TV. It confirms the strength of the story that it can be transformed from one medium to another. And I’m also pleased that my stories have been turned into a stage musical, several board games, and a computer game.

L.L.: Wow! Do I dare ask what’s next?

Ken Follet: I’m working on a new story, but I’m not yet ready to talk about it—sorry!

For more information, to connect with Ken Follet via social media, or to purchase a copy of A COLUMN OF FIRE, please visit: 

Ken Follett.headshot credit Olivier Favre (1).JPGABOUT THE AUTHOR: Ken Follett is one of the world’s best-loved authors, selling more than 160 million copies of his thirty books. Follett’s first bestseller was Eye of the Needle, a spy story set in the Second World War. Follett lives in Hertfordshire, England, with his wife Barbara. Between them they have five children, six grandchildren, and three Labradors.

You can connect with me, Leslie Lindsay, via these websites:

Email: leslie_lindsay@hotmail.com

LOVE IT? SHARE IT!

[Cover and author image courtesy of Viking. Other images retrieved from Wikipedia, PILLARS OF THE EARTH television adaption image retrieved from Daily Mail, all on 8.26.17]