The Girl in the Photo, A Novel (September 2013 NEW BOOK Recommendation)

A few years ago, I did an interview with Wally Wood, author of Getting Oriented: A Novel About Japan. I’m pleased to announce that Mr. Wood has a second novel out now, called The Girl in the Photo. I’m pleased for two reasons. One, he’s a good friend, and it’s always such fun to have a friend be successful in publishing.  And the the second reason is that it is a damn good book. I wish I could write like him.

The subject matter is one close to my heart, having lost a mother some years ago and recently losing a mother-in-law, both of whom I adored. The book asks the question: do we really know our parents? They had lives before us and also after we move away to live on our own. Mr. Wood explores this in depth when a sister and brother discover after their father’s death a photo of an unknown Japanese woman.  Mourning for their father, they are surprised by the depths of their emotions when they begin uncovering his secrets from decades before they were even born.  While they are making this unexpected journey together, their already shaky relationship is stretched to the limit.

I’ll admit it, I teared up at the end of reading The Girl in the Photo. It’s one of those intimate reads that leaves you sad, happy and satisfied.  Which is why I’m giving it my September 2013 NEW BOOK Recommendation.

Check it out for the paperback at Barnes and Noble website or Amazon.Com ( for paperback and Kindle version)

A Writing Primate’s Interview with Wally Wood – 2011

The Simplicity of Elmore Leonard

We all have styles of writing that we favor, or wish to emulate.  I, myself, have never been a fan of the elaborate, fancy writing of say an author like Anne Rice.  I don’t want to get caught up in the writing itself, but in the story. A good story should stand on its own with a simplicity of strong writing. Which brings me to one of my favorite authors who has recently died: Elmore Leonard, author of such books as Get Shorty, Fifty-Two Pickup and many, many other novels in the crime genre.

Good writers live on, even when they die, as evidenced by Hemingway or Fitzgerald. They’re still read widely today, despite the many years since their deaths.  I think that Elmore Leonard will follow in their footsteps. One of the reasons for this is because of hia spare writing style. His characters live in our imagination because he gives just enough information to fertilize our mind’s eye image of them.

Leonard gave good advice in a New York Times article, titled WRITERS ON WRITING; Easy on the Adverbs, Exclamation Points and Especially Hooptedoodle. He talked about 10 rules for writing. I suggest you click on this LINK to read it.

The first rule is my favorite because it’s light-hearted. It says, never start with the weather. Ah, shades of Snoopy and his novel : It was a dark and stormy night.

There are others that stick in my mind.

Never stick an adverb on to the word, said.  Your character warns of impending doom, but let his words do it.  “Watch out,” he said. That’s enough, and adding …he said sternly, or he said loudly, or whatever…it’s just not needed. I believe that avoiding adverbs (in general) is what kept Leonard’s dialog natural to the reader.

Although it’s not in the New York Times article, Leonard  elaborated on this advice elsewhere.

• “You have to listen to your characters.”

• “Don’t worry about what your mother thinks of your language.”

• “Try to get a rhythm.”

Elmore Leonard was 87 years old when he died on August 20, 2013. He started off writing Westerns, than after a five year break from writing fiction, he published his first non-Western novel: The Big Bounce. From there he wrote many novels, and we’ve enjoyed reading them, or seeing them on the big screen. Elmore Leonard lived in Bloomfield Village, Michigan.  He had five children, twelve grandchildren and five great grandchildren.

I’ve saved the best Leonard writing tip for last, and it’s one  most aspiring writers should heed:

“If it sounds like writing,” Elmore Leonard said,  “I rewrite it.”

A thank you to Mr. Leonard for his writing advice, and for giving us the pleasure of reading his books and short stories.

Elmore Leonard Website

Elmore Leonard Novels

 

 

 

Joshilyn Jackson, Author

Joshilyn Jackson, Novelist

Titles and Book Covers. They go together like bearded ladies and clowns at a crowded circus. It’s what catches your eye when you’re browsing through the library and Barnes & Noble or scrolling on Amazon and Kobo. It’s what first caught my eye when I came across gods of Alabama by Joshilyn Jackson. Don’t you just love that title (with the small g for gods), and the cover, which showed a retro photo of a woman driving down the road in a convertible.

gods of Alabama

But, the writing in-between the covers is what made me a fan of this author. It soon becomes obvious to the reader that this is a writer who enjoys her own stories!

Joshilyn Jackson is a New York Times bestselling novelist of five books, and gods of Alabama was her first. According to the Library Journal in their starred review of her first book: “Forget steel magnolias—meet titanium blossoms in Jackson’s debut novel, a potent mix of humor, murder, and a dysfunctional Southern family.”

But, she didn’t stop there, and she has kept on producing novels that exhibit wit, warmth, stories of love and betrayal. Everything you want in a book. Her latest is A Grown-Up Kind of Pretty (pub. 2012), which has recently come out in paperback.  The Atlanta Magazine  calls it… “her latest Southern Gothic joyride, Joshilyn Jackson creates an unforgettable story…brilliant.”

A Grown-up Kind Of Pretty

Her books have been translated into a dozen languages, won SIBA’s novel of the year, twice been a #1 Book Sense Pick, and twice been shortlisted for the Townsend prize.

Below is the interview.

1) You were on the February 2011 cover of Vanity Fair with other Southern authors such as Kathryn Stockett (The Help), Susan Rebecca White (Bound South), Karin Slaughter (Best selling Crime writer), and Natasha Trethewey, the 2007 Pulitzer Prize winner for poetry, as well as others. What do you believe sets this group apart as a literary group? Do you feel there is an influence from previous Southern writers like Katherine Porter, Shirley Jackson, Eudora Welty, Alice Walker?

I’m not sure we are a literary group. I mean, you’re looking at the Poet Laureate of the United Freakin’ States right there. And, you know, me. So. That’s quite a spectrum already when you look at just TWO of us.

I think it’s a hugely diverse group, and the ONLY thing that makes us a group is location. We all have our own IT we need to say, and we are trying to say our it in exactly our own ways. But, yeah, Atlanta is chock full of talented women doing a vast array of fascinating things with words right now. That’s  true in music and visual arts, too—-Atlanta has a pulsing, living, visceral female art scene. I don’t say this to discount major talents like David Bottoms or Joseph Skibell just because they have outies instead of innies. But Atlanta is FAT AND GLORIOUS with women  writers who are blowing my mind in a variety of ways—I think the point of the Vanity Fair piece was to show a small selection of us that represented the broadness of female interests, styles, themes, and voices happening right here, right now.

As for the history of Southern women writers—well that’s a rich, loamy patch of earth to come of age in, for all of us.


2) Do your books come out the way you intended them?  Or do they get away from you during the creative process the character goes one way when you thought they should have gone the other way?

They never come out as I intend. That illusion happens, yes, where I feel the book has its own life and is now haring off in new direction without bothering to inform me first so I could pack the proper footwear for the climate… I’m a straight up organic writer, and it is an inefficient and ridiculous way to try and make a book. It’s also the only that works for me.



3) You’ve indicated your first novel is still under your bed, and never to be published. How do you think working your way through that unpublished work led you to your first published book, gods in Alabama?

Two of ‘em, actually. I may at some point make them available for DL on my website, if people are interested. I don’t want to take a year or two to revise them into something more like what I write now—I have too many books I want to write to go backwards and try to re-care about these. They are what they are. They are not perfect, but I love them, and I am grateful to them. Writing them let me learn how to write a book. The only way to learn to write a book is to read a million of them and then sit down and write one. But the learning curve is big. It takes years. Some people write and rewrite the same book for five or ten years and at the end of that time, they know how. I chose to write one book after another, and it took the same amount of time.


4) Writing dialogue is hard enough for writers, but you manage to get that “Southern” voice into your characters so well. Do you have suggestions to others on how to do this in their writing (whether Southern, Northern or Japanese, Cuban, etc) ?

Read aloud! I read everything aloud multiple times. If you want to catch your own regional voice, listen to yourself reading it. Some people can’t hear themselves, so if it doesn’t work for you,  get someone ELSE to read it to you. If you are writing in your native tongue, you can hear where it goes wrong much more quickly than you can see it.



5) Your characters are quirky, likable, intelligent and usually go against the norm of society. When you are starting out on an idea for a book, do you come up with a character first, or the idea of a plot?   For instance,  the character, Ro Grandee in Backseat Saints was a minor character in gods in Alabama so how did Ro come about as a fully developed person hightailing it out of Texas with her trusty dog, Fat Gretel? (Loved that cover btw!)

Oh thank you — That’s so kind. Rose was a pushy little object from the very beginning. When I was first writing gods in Alabama, I planned her as “Jim’s Girlfriend” and felt she would be a very minor character. She did not appear in the draft until chapter 6, but as I wrote what I thought would be her single scene, it kept streeeeetching until the whole chapter was riddled with her. She is such an instigator! Big Trouble loves Rose and Rose loves Big Trouble right back. I realized I needed her energy and drive to start off the action in chapter 1; I went back and revised to make Rose Mae be the push that sends Arlene careening home to Alabama.
 
By the time I finished gods, Rose had insinuated herself all through the book, and I suspected even then that I wasn’t finished with her—or perhaps she wasn’t finished with me. About two years before I wrote BACKSEAT SAINTS, I woke up in the middle of the night. I had been dreaming about her. I shook my sleeping husband and said, “Honey! I just realized, everything Rose Mae Lolley says in gods in Alabama is a lie, and now I know why she is really looking for Jim Beverly.” He said, “Hi! It is 3 AM!” He passed out again, but I stayed up the rest of the night writing little snatches of what would become this book, trying to catch her voice.

6) Do you think your background in theater was an influence on your writing style, and if so, how?

I think my acting background has had a huge effect on my writing. The only thing that has influenced my writing more was becoming a mother. I think the most important tool actors and novelists share is a facility for empathy. Some people are born with a huge facility for empathy, but I was not. I learned it, working as an actor, and I learned it more deeply when I had babies.



7) Your most recent book, A Grown Up Kind Of Pretty, is a mystery with the discovery of a backyard burial and involves the complex relationship of a family of women, the Slocumbs. How do see yourself as evolving as a writer with this fifth book? Does writing get any easier for you?

No, never. It gets harder, in fact, as I want to make sure I am not obsessing and worry warting my same tropes into nubs. Of course, as a writer, I have areas that continue to interest me thematically—redemption, motherhood, brokenness, the mechanics of grace…These are the things I explore, but I want to make sure it is progressive. The questions I try to explore with story have to be the ones driving me now, not the ones that drove me five years ago.

I tell you what, I am more interested in MEN all of a sudden. I have been writing about women, mostly female characters, female relationships, for 5 books now. The last male narrator I wrote was in one of my “under the bed” books.

But in A GROWN UP KIND OF PRETTY there is a male/female best friendship between a weedy little big-headed kid named Roger and the youngest Slocumb, Mosey. I got so obsessed with them. I LOVE all their scenes together, all their dialogue and their interplay makes me SO happy. They crack me up and they break my heart. I think I wrote the whole book, in some ways, for a scene near the end involving Roger and Mosey’s left booby. If you read the book, you know the line I mean. I wrote more than 94 thousand words to get to write that line, writing toward it, waiting for it, hoping it would happen. I still shamelessly adore it.

8: What are you working on now?

The book I am writing now has two narrators who meet when they are caught in a hostage situation. Both are inside a Circle K when a man comes in to rob it. One is a 21 year old college student raising a three year old son; she has experienced a Virgin birth. The other is 30 something geneticist who recently lost his family. He emphatically does not believe in miracles. The girl, Shandi, begins their story, by saying, “I fell in love with William Ashe at gunpoint, in a Circle K.”

Now, each of them has a close friend. Shandi’s is a poet named Walcott. William’s is a divorce attorney named Paula. In a lot of ways, the Shandi/ Walcott, and William/ Paula relationships grew OUT of Mosey and Roger, because I was not finished exploring the mechanics of this kind of friendship. They are possible versions of Mosey and Roger, one pair in their twenties, one pair in their thirties. So this book came out of that book, but A GROWN UP KIND OF PRETTY is really about the search for identity, which is something I have not really looked at since BETWEEN. Meanwhile, this new book, SOMEONE ELSE’S LOVE STORY is about the nature of faith. But the relationships definitely came out of PRETTY, in a “next step” way.




9) What was the best advice you ever got on your writing?  The worst advice?

BICHOC is the best advice. Butt in Chair, Hands on keyboard. This is how books happen. By writing them.

The worst advice I ever heard, and I have heard it MULTIPLE times! “Oh, writers should not READ! If I READ I could have VOICE LEAK and be INFLUENCED!” My answer: Go read Flannery O’Connor and PRAY TO GOD that she influences you. You should BE so lucky.

Every writer I know who is producing interesting things, they are all huge huge huge readers. Addicts. Real writers read. The end.




10) Please give us an Eight Word Description of Your Life.

YARRRRRRRG This is nearly impossible. Everything I write sounds flippant or pretentious or both. I think this is the kind of question only a poet can answer. Lord, but I SUCK at poetry. BUT OKAY! Here we go:
God, kids, husband, dogs, write, yoga, eat. Repeat.

Check out Joshilyn Jackson’s website HERE.   

Her funny blog, Faster Than Kudzu.  and Facebook Page

gods in Alabama

Between Georgia

The Girl Who Stopped Swimming

Backseat Saints

A Grown-up Kind Of Pretty

A Good Author is Never Hard to Find

I have a gift for you.  One of Flannery O’Connor’s more famous short stories was A Good Man is Hard to Find, written in 1953. It’s about a selfish woman – a grandmother – who finds redemption at the hands of a killer, known at The Misfit, just at the point where he shoots her in the chest. Like most of O’Connor’s writings, there is a moral magnitude to the message, somewhere within the violence. It’s a vivid read.

My favorite line in the story was of course, this one:
“She would of been a good woman,” The Misfit said, “if it had been somebody there to shoot her every minute of her life.”

Oh yes, that gift I mentioned earlier? It’s a 1959 audio mp3 of Flannery O’Connor herself reading  A Good Man is Hard to Find.  Click on this LINK to go to the site.

In April of 1959–five years before her death at the age of 39 from lupus–O’Connor ventured away from her secluded family farm in Milledgeville, Georgia, to give a reading at Vanderbilt University. It gave me goosebumps to hear her voice telling the story of a family’s trip that ends in disaster and redemption.

Thank you to the OPEN CULTURE website, where I found this nugget. I suggest you check them out, because they have such interesting stuff, like William Faulkner reading his Nobel Prize speech,  or a video clip of Louis Armstrong on The Johnny Cash Show (yes, Johnny Cash hosted a musical variety show from 1969 to 1971!)

And to close out, here are some quotes from Flannery O’Connor:

• I am a writer because writing is the thing I do best.
• All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
• I find that most people know what a story is until they sit down to write one.
• When a book leaves your hands, it belongs to God. He may use it to save a few souls or to try a few others, but I think that for the writer to worry is to take over God’s business
• The beginning of human knowledge is through the senses, and the fiction writer begins where human perception begins. He appeals through the senses, and you cannot appeal to the senses with abstractions.

Making the Reader Drunk on Words

“My arms ached, my back was cramped and I was trembling with the prolonged terror of a fall. Besides this, the unbroken darkness had had a distressing effect upon my eyes. The air was full of the throb and hum of machinery pumping air down the shaft.”
THE TIME MACHINE – H.G. Wells

In March, 2012, there was an article in The New York Times – Sunday Review by Anne Murphy Paul, titled, Your Brain on Fiction.  Now, isn’t that a great suggestive title? Fiction as a mind-enhancing drug, one that evokes images of the brain drunk on words. So, what does it mean? Well, I recommend you read the whole article, because it is not only fascinating information (and Knowledge is Power), but to a writer, it can also be used as a guide to improving your own writing. (Click Here for Link to Article)

The excerpt above of The Time Machine by H.G. Wells (which I recently re-read and was delighted to see it still held my interest) gives us a example of how to stimulate the reader’s brain with its emotional “actions.”

There is a feeling of movement to the words, texture and emotions of terror.

Ms. Paul’s article talks about research by a team out of Emory University about how the reader’s brain actively reacts to descriptions with textures, touch, a sense of movement and smells. We can truly live vicariously through fictional characters and their longings, frustrations and trials and tribulations. As writers, we need to remember to be conscious of this fact when we are “moving” our characters through the interweaving fabric of our stories.

According to the Ms. Paul’s article, a team of Emory University researchers also reports that …metaphors like “The singer had a velvet voice” and “He had leathery hands” roused the sensory cortex while phrases matched for meaning, like “The singer had a pleasing voice” and “He had strong hands,” did not.

Which brings me to one of my favorite use of a metaphor by an author. It comes from a John Irving’s book, Prayers for Owen Meany. Read it and weep all you writers, for this has to send your sensory cortex into overdrive!

“You’ve seen the mice caught in the mousetraps?” she asked me. “I mean caught – their little necks broken – I mean absolutely dead,” Grandmother said. “Well, that boy’s voice,“ my grandmother told me, “that boy’s voice could bring those mice back to life!”

Obviously, there is only one H.G. Wells, and one John Irving, but we can tear a page from their fiction on how it should be done. I will leave you with an excerpt of a story I’m working on currently. I can only hope it tickles your brain, too.

Big Doofus is usually right, since his coon dog’s snout knows what curdled fear smells like, and surely those escapees stink from it as they push through the brambles, crawl over rocks, twist an ankle in shallow holes and get bitch-slapped by low-slung tree limbs. They always lose their sense of direction, all the time going deeper and deeper into Catalysta Woods. Wheezing hard and bloodied from their efforts, the prey arrives at the Clearing. There is no getting out of the woods.

If you want, please use the comment section to give me a brief example of your own efforts to engage the reader’s imagination.

Writing Advice from Stephen King and Oscar Wilde

Imagine being in a writing class with Stephen King and Oscar Wilde. What a class that would be….  To get the unique flavor of this unprecedented class, here are some quotes from these authors.

“Fiction is the truth inside the lie.”
― Stephen King

“The pure and simple truth is rarely pure and never simple.”
― Oscar Wilde

_____________________________

“The road to hell is paved with adverbs.”
― Stephen King, On Writing

“This morning, I took out a comma and this afternoon I put it back in again.”
― Oscar Wilde

_____________________________

“Books are a uniquely portable magic.”
― Stephen King

“If one cannot enjoy reading a book over and over again, there is no use in reading it at all.”
― Oscar Wilde

_____________________________

“Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule.”
― Stephen King

“I put all my genius into my life; I put only my talent into my works.”
― Oscar Wilde

_____________________________

“His style is chaos illumined by flashes of lightning. As a writer he has mastered everything except language.”
― Oscar Wilde

“I am the literary equivalent of a Big Mac and fries.”
― Stephen King

_____________________________

“If you don’t have the time to read, you don’t have the time or the tools to write.”
― Stephen King

“One must have a heart of stone to read the death of Little Nell without laughing.”
― Oscar Wilde

Prototypes and Tributes

Prototypes for fictional characters come to a writer in many ways. The man who became the basis for Sherlock Holmes was Dr. Joseph Bell, a distinguished Scotch surgeon. Sir Arthur Doyle was a student of Dr. Bell’s at the Edinburgh University school. It was there that he became impressed by Dr. Bell’s remarkable powers of observation and deduction, through which he could diagnose illness almost on sight. Sir Arthur transferred these same abilities to Sherlock Holmes when it came to solving crimes.

We bring all this up because back in December, we did an interview with Naomi Hirahara, author of the Mas Arai series. (click Here for interview) 

The character, Mas was based on her father, who was a gardener, like Mas, (and in fact, his name is her father’s spelled backwards).  Isamu (“Sam”) Hirahara sounds like a remarkable man. He was born in California, but taken to Hiroshima, Japan as an infant. He was only miles away from the epicenter of the atomic-bombing in 1945, yet survived. Shortly after the end of WWII, her father returned to the States, where he went into the gardening and landscaping business in Los Angeles area.

Sam Hirahara knew his daughter had based a character on him. Recently, he passed away peacefully on January 18, 2012 after an prolonged illness at the age of eighty-two in his home.  But thanks to his daughter, he will live on through his daughter’s tribute to him, in Mas Arai, a character who exhibits quiet strength and grace.

Be sure to check out the Mas Arai Facebook page, as we extend our sympathy to Naomi and her family on their loss.

Nancy Ellen Dodd: author of The Writer’s Compass

A scene has to have a rhythm of its own, a structure of its own.
Michelangelo Antonioni

Lazy minds are like Jello, they need a mold for structure and to avoid brain spillage on the floor.
A Writing Primate

_________________________________________________________________________

In a few days, the New Year will be upon us: 2012. This is the time for resolutions, right? So, here is an interview to help you with your creative efforts. I’ve asked Ms. Dodd for the interview, because structure has always been a elusive goal for many writers, including myself. Structure as in discipline (write, write, and write), and structure as in building upon an idea into a complete story.

Nancy Ellen Dodd is a writer, university instructor,and an editor with two master’s degrees in writing from the University of Southern California. She currently teaches screenwriting at Pepperdine University and has studied with a number of award-winning authors. Back in May, 2011, she did an interview with Writer’s Digest Magazine. (Click here).

She is the author of The Writer’s Compass: From Story Map to Finished Draft in 7 Stages, which gives ideas/insight on mapping your novel from idea to final draft.

Nancy Dodd

Tell us what you mean by developing a “mind-set” for writing, and how important is it to the creative process?

Sometimes it’s difficult to shut out the rest of the world. The problem for too many of us is that we let too many other things interfere with our writing. Without a discipline or a mindset, we find that day after day goes by and we aren’t accomplishing what we wanted to in our writing because we haven’t prepared ourselves to see it as important as other things that we allow to interrupt us. 

Getting into a creative writing space, or really any type of writing space, usually means preparing yourself, your mind, to sit down and start working. For many of us just saying it’s time to write, then doing it, isn’t how it works; we have to prepare our “mindset.”

One of the ways to do this is to have a consistent time to write so that your mind and body rhythm knows that every day, or whatever days you choose, at this time you will write. Another way is to have a certain place you write or certain music you write to or certain writing implements just for this type of writing. Again, when you get into that place or use those implements, your mind knows that it’s time to be creative. The more disciplined you are about writing, the more your mind will know when it’s time to focus on just writing and to let everything else wait.

You equate story-telling with building a house: foundation, adding structure of walls and roof, the flooring, painting and adding designer touches. Elaborate for us the use of the 7 stage process described in your book which maps out the writing of a story with beginning, middle and end.

Through years of studying writing I found that there were many questions a writer should ask themselves to help them develop ideas, character, structure, and so forth. I began to organize these questions and tools into stages that would help to build a story organically and more efficiently, much like a house, and in ways that you see the details as you need them.

I recently watched a show in which the contractor finished the walls in the kitchen and was getting ready to put in the cabinets when he realized he had overlooked allowing for the electrical and venting components of the range hood—something he should have done before dry walling. His comment was that even the most experienced sometimes overlook an important detail. The same is true for writing, when you work in stages it can be much more effective, and helps you not to overlook so many details. I suggest the following stages:

Stage 1 – Developing Ideas
Stage 2 – Building a Strong Structure
Stage 3 – Creating Vibrant Characters
Stage 4 – Structuring Scenes, Sequences, and Transitions
Stage 5 – Increasing Tension and Adjusting Pacing
Stage 6 – Enriching Language and Dialogue
Stage 7 – Editing the Hard Copy and Submitting

As you develop your story, in some ways you will be working on these simultaneously throughout the process, you create and introduce new ideas and you work on language. However, by focusing on what a particular stage requires, you address the particular issues for that stage. How I do this is when I feel I have enough ideas for a story in Stage 1, I create a story map and then I work on structure, going from the beginning to the end of the material I have.

During that stage I’m adding more material and ideas to develop the structure of Stage 2. Once I’ve gone through all the work I have, answering the questions and filling out the story, I then go to Stage 3 and work on developing my characters, getting to know them, again filling out the story with more details that focus on characterization.

When in Stage 4, I tear apart the story and develop each scene, determine where I have left out scenes that would add to the story and condensing what I thought was a scene, but really doesn’t have all the components of one, and I make sure all of my transitions are clear and won’t lose the reader. Then by State 5, I go back through the story and I look at tension and pacing and increase it or slow it down as needed.

Now I’m ready to do work on the language and dialogue and by the time I’ve gotten to Stage 6, my story should be well-developed and nearly complete. Finally it’s a matter of printing out the hard copy and editing, then submitting or prepping for publication Stage 7.

What recommendations can you give to a writer who is blocked about writing a certain idea, but can’t seem to get a handle on it?

Understanding what you are writing about, what the theme and/or dramatic question of your story is, can help with getting a handle on an idea. Having a clear theme really helps in making decisions about the story and can help to overcome being blocked.

Along completely different lines, finding what inspires you to write the story, what event, idea, activity, image, music, or whatever stimulated writing this story, then going back to that source, can help get the writer back into the story.

Another method would be to ask yourself, “What if it didn’t happen that way, what if it happened this way?” and seeing if changing direction can get you excited again.

What if you already have a rough draft or even a completed manuscript, how can your book, The Writer’s Compass help the writer?

Having a rough draft or completed manuscript means that you can skim through the questions to see what you may have missed or what you can add to further develop the story. The questions will help you to see where you might have problems you can fix. Using the story map at this stage is a tool that helps you to see where there might be holes in your story. I create a new one after every stage to see what I should change to make the story more dynamic or if I can’t answer a particular element on the story map, then I know precisely where I have a weak spot or a hole.

Building tension is important to any story line. What tools/ideas would you recommend on how to do this naturally in developing this sense of urgency?

People often confuse tension and pacing. Pacing is created by moving things quickly, putting in fewer details, making dialogue shorter, using less narrative. However, this may or may not increase the tension. Sometimes tension is better served by adding details and slowing down the pace. Which is more frightening: running through a haunted mansion, or going slow and being forced to see every shadow, hear every creak. In my book I give an example of a knife fight and how by showing each individual’s movements versus, just getting stabbed increases the tension in the scene. It also helps when the reader is going to guess the outcome. If the reader knows you probably aren’t going to kill off your protagonist halfway through the book, then showing how the protagonist feels and his or her fears, helps draw the reader into the tension of the moment. When you shorten it to something like, “…then he stabbed him.” The sentence goes by so quickly the reader may not catch the significance of what just happened.

Tell us a little about what you are currently working on?

I always have too many projects I’m working on. Three of the areas I’m pursuing include: how using storytelling tools to create ideas helps businesspeople to develop business ideas; how ministers can use storytelling tools in developing sermons; and using story telling techniques to develop case studies.
In my creative writing I’m working on prepping a screenplay for pre-production about a minister whose son is murdered, forcing him to reconcile his own past as a boxer who killed a man in a prize fight; the screenplay has already received awards. I’m also doing a final draft on a play about a clueless father whose wife leaves him and he has to raise their autistic child alone. I’m also trying to finish the final draft of a coming of age manuscript called “Wake-Up! Henny.” And I’m working on a creative nonfiction story on how my friend had to be smuggled out of the mid-east to escape execution for a crime he didn’t commit.

Please give us an eight-word description of your life.
God, family, writing, surviving, and learning to live.

Nancy Ellen Dodd / Facebook Page

Check out 1st 50 pages of

The Writer's Compass

Santa

Happy Holiday to all !

Naomi Hirahara, Author

“What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions.”
Margaret Atwood – The Handmaiden’s Tale

Naomi Hirahara, Author of Mas Arai Mystery Series

Naomi Hirahara is the author of a popular mystery series involving a complex and wonderfully human character named Mas Arai. Mas was “born” out of the author’s desire to “shed light on is Japanese American culture and history”, and is based on her own father, who survived the atomic bomb in Hiroshema in the basement of a train station. Her father Sam, is also a gardener like Mas Arai. What makes these mysteries go beyond the genre is the perspective they are told from: an older gentleman who has gone through much in his life and yet, still has an active curiosity about his surroundings. The writing is well-crafted and takes you into a Japanese-American culture which looks to its past and present to shape a future.

Naomi was a reporter, and has written non-fiction books before venturing into the world of fiction.  Summer of the Big Bachi (Bantam/Delta, March 30, 2004) is Naomi’s first mystery. The book, a finalist for Barbara Kingsolver’s Bellwether Prize, was also nominated for a Macavity mystery award. Gasa-Gasa Girl, the second Mas Arai mystery, received a starred review from Booklist and was on the Southern California Booksellers’ Association bestseller list for two weeks in 2005. Most recently Snakeskin Shamisen, the third in the series, was released in May 2006. In April 2007 it won an Edgar Allan Poe award in the category of Best Paperback Original.

She has short stories published in a number of anthologies, including Los Angeles Noir (Akashic, May 2007), A Hell of a Woman: An Anthology of Female Noir (Busted Flush Press, December 2007), and The Darker Mask (TOR, January 2008). In the summer of 2008 her first middle-grade book, 1001 Cranes, was released by Random House’s Delacorte imprint in hardback and came out as a Yearling trade paperback in June 2009.

Naomi Hirahara’s latest novel in the Mas Arai series, Blood Hina, was published by St. Martin’s/Thomas Dunne Books. Mas’ best friend Haruo is getting married and Mas has grudgingly agreed to serve as best man. But then an ancient Japanese doll display of Haruo’s fiancee goes missing, and the wedding is called off with fingers pointed at Haruo. To clear his friend’s name, Mas must first uncover a world of heartbreaking memories, deception, and murder. You can read an excerpt here.

Below is an interview with Naomi Hirahara.

I know you were quite close to your father with the character of Mas being based on him (Mas is your father’s name spelled backwards). Did he  get to read any of your series, and if so, what did he think of them? If not, what do you believe would have been his reaction?

When two of my novels were finally translated into Japanese (a direct result of the Edgar nomination), my father finally had an opportunity to find out who Mas was. “Hey,” he said after he had read the books, “you wrote about me!”  “But Dad,” I explained, “you knew that the main character was based on you.”  He had, after all, taken me to places that gardeners had frequented in past (like the racetrack during the rainy season!).  He followed me out to the porch when I was leaving my parents’ house.  “Hey,” he called out to me, “my friends are waiting for the next book.”  That’s the biggest and perhaps best endorsement from my parents — that their friends like them.

A number of the characters in the book speak a mixture of Japanese and English, and you do a beautiful job of capturing this without it being distracting. Do you make a conscious effort to balance the accents/and or Japanese words as you write? Can you suggest ways of doing this to help other writers who would like to emphasize another language and culture?

This is perhaps the most “controversial” aspect of my series — the use of dialect or vernacular.  It’s taken me a while to understand what I’ve been trying to do.  First of all, I’ve been impacted by dialect since I was a small child.  I was a huge Lois Lenski fan and if you look at her children’s books today, such as her Newbery Award-winning STRAWBERRY GIRL, it’s filled with strong Southern dialect.  I love that.  Being from a bilingual household and as a result, serving as an interpreter of the outside society for my parents, I understood from a young age what is being said in certain homes does NOT sound like the standard English dialogue on the page.  If Mas or his other peers suddenly speaking in standard English, it would be absolutely bizarre.  Language serves as an integral part of them as characters.

That said, dialect is sometimes a barrier for certain readers.  One group of female readers said that they thought it was disrespectful that I had my elderly characters speak in dialect.  So interesting!  I guess some folks believe that accented English is evidence of a lack of intelligence.  My intention was quite the opposite: that having an accent is absolutely not a reflection of how smart someone is.

In terms of writing in dialect/vernacular, I would not recommend that writers use it unless they are very familiar of how the intonation/language sounds.  There’s a wonderful literary anthology called ROTTEN ENGLISH, edited Dohra Ahmad.  She explains that vernacular (her favored term) is spoken, so transferring it to written form immediately changes it use/purpose.  In a sense, when you write dialect, you are in essence creating your own language, kind of like that movie AVATAR.  It’s not just mimicking sounds, but making decisions on what kinds of words/sentence structure to use.  Of course, I’m not only using dialect but actually foreign words.  What helps is that Japanese, like Spanish, usually has a consonant-vowel-consonant-vowel word structure and American English readers can somehow get the general gist of how something may sound.  Tonal languages like Chinese is quite a different story.

Sorry that this answer is so long, but it is one of my passions.

Mari, who is Mas’ daughter, is a Gasa Gasa Girl (which happens to be the name of your second book). This means she is a restless person, not one to stand still for very long before moving on. Do you see yourself as a gasa gasa personality? How did you fill out her personality in the book to make her what I call, “a touchable character,” someone we can believe in? Do you think hard about your characters before you write them, or do they evolve as you write the book?

There’s another Japanese word, “guzu-guzu,” which means lazy, laid-back person.  My husband says “guzu-guzu” fits me more than “gasa-gasa.”  Actually I’m very “guzu-guzu” about household chores, but more “gasa-gasa” when it comes to meeting friends, participating in events and travelling.  My goal is to go to all 50 states and I think I’m at least up to almost 35 states.

In terms of building characters, I need to figure out the character’s name before I can get that deep in who they are.  I’m currently developing a new mystery series and I’ve thought long and hard about what to name her.  Figuring out a series character’s name is crucial.

Developing Mari was not that difficult because I knew who she was in reference to her father, Mas.  I know that Mas had not been an emotionally available father and as a result, she was scarred and jaded.  I will say that I’m not Mari and my father is not Mas in terms of their emotional development.

I don’t need to know all the facts about a character before I start writing, but I need to know some basics facts about them.  Most important, perhaps, is their outlook on life, because that would determine the tone or voice of the book.  Voice is really everything.  You can have the best plotted book in the world, but if you don’t have the voice down, forget it.

In Snakeskin Shamisen, you emphasize relationships between men: brothers, father and son, etc. Did you find it hard to write in the male perspective? What helps you to keep focused from a male’s POV?

I really adore men.  I played organized sports as a young age, and appreciate some the rules and behaviors of men in group contexts.  I’m old enough to have worked in a once male-dominated profession (journalism), and I’ve spent a lot of time with men.

I actually had problems writing from a female perspective (I have issues!).  I attempted to write parts of GASA-GASA GIRL from Mari’s perspective, in fact, and it just didn’t work.

Writing a middle-grade book from a 12-year-old girl’s perspective (1001 CRANES) was actually extremely helpful for me creatively.  Around the same time I wrote three short stories from a female POV.  My new series will most likely be from a female POV and so will be next middle grade book.  As I get older, I really appreciate women.  I don’t think women reveal their secrets as readily as men.  In some ways, they are an enigma, but I think that I’m slowly figuring them out!

 Do you outline your books before you write them? Has your background in writing non-fiction books been helpful or a hindrance to you in writing fiction?

Lately because of the more competition nature of the publishing business, I’ve had to write outlines, at least for my Mas books.  For other projects, I prefer not to write outlines and let the story organically lead me to where it wants to go.  Writing nonfiction has helped in that I steal research from myself constantly.  I think at times you can get buried in research and forget what you are trying to write.  Journalism is good in that you learn to adhere to deadlines and be very self-motivating.  It’s not good in that all that so-called objectivity needs to be shed.  Fiction is all about being subjective.

How do you know when the rewrite is done?

When you can’t make the book or short story any better.  I’ve a big believer that an author can over-rewrite.  The initial energy of a piece can get snuffed out by a writer pushing their material too hard.  Writing a book is a delicate business.

What tools do you use for research? I understand you are researching for you next book, could you give us an idea of that process? (Also, any hints on what the new book will be about?)

In terms of research, some of it has to be experiential.  For me, something magical happens when I’m actually standing in the place where my characters are standing.  Photographs and site visits are important.  I try to be open to new experiences, even those that don’t seem like they will help me.  Of course, I also use Google maps and the all the resources the Internet provides!  Academic papers available on Google books and other sites are helpful, too.

And in terms of the next Mas book, it will be on strawberries!  I’ve actually worked on a nonfiction book on strawberries, so, again, I’ll be stealing from myself.  I also have that middle-grade project–steampunk set in California–and a new series that I’m still developing.  I’m very excited about that project.

 Please give us an eight-word description of your life.
pnuema
shedding of old skin, every seven years

Blood Hina

Links

Naomi Hirahara Website

Non Fiction Books

Mas Arai Facebook Fan Page