My friend Aud recently shared this splendid news: her novel Frama-12 is going to be published by The Wild Rose Press!
I have read Aud’s draft of this novel and I loved it. The characters Winnie, Mickey, and Kip made me laugh, warmed my heart, aggravated me, and made me tense with worry during their exploits in a wild, wacky world. I can’t wait to see their story shine out from the covers of a book!
Aud talked about this book in our joint blog about the writing conferences we took part in. And you can read about her process of getting Frama-12 out into the world on her blog, where she’s in the midst of chronicling the journey.
GEMMA: So Aud, did you have any specific ideas or suggestions from these conferences that were especially helpful for your writing?
AUD: Yes. This was from PennWriters. I really needed that reminder about word counts and other characteristics distinguishing a Middle Grade novel from a Young Adult. I was pleasantly surprised to hear about the in-between category, although it’s not accepted by many publishers yet. I also thought the pre-conference workshops from the Christian Writer Conference were helpful. They were about creating a one-sheet and how to boil a novel to the essence of the story in 20 words or less. Those exercises were so agonizing I wrote a blog post about them. But doing all that work before going into a pitch session certainly lowered stress levels. That happened after the PennWriters conference. Oh man, the day before my appointments at the PennWriters conference, I was panic-stricken because I couldn’t think of a novel I could compare to my novel, Frama-12. They call them “comps” and I didn’t have one!
GEMMA: That would stress me out, too!
AUD: Fortunately, it came to me the morning of the session: Alice in Wonderland on steroids. And, to complicate things, I went in there, still thinking my novel was Middle Grade and the company only published YA and above. The workshop by Heidi Ruby Miller that described Middle Grade and YA novels didn’t go on until the very last day of the conference. Anyway, I went in there and said, “I know you don’t publish Middle Grade fiction. Can I just practice my pitch on you?” She asked for a sample! It made me think agents and editors ask for samples from anybody who goes to a pitch session at a conference.
GEMMA: I just want to interject – in some conferences I’ve attended in the past, not everyone got asked for samples! That may have changed, I suppose. But I still think it says good things about your stories and pitches!
AUD: Thanks. Both the agent and the editor that I spoke to told me to send sample chapters. The editor was so nice about it. When I said I wasn’t sure if my novel was YA or Middle Grade, she said, “Don’t worry about it. Send the sample. I’ll give it to the fantasy department and let them figure it out.” That was quite a relief, especially considering the comments I got at the critiquing night. That was another thing I liked about PennWriters, having a critique night, even though the feedback was weird. The agent who read my piece said, “That’s not middle grade!” He never said what he thought it was. The published author who commented on it said it sounded like literary fiction. And the publisher at critique night said my sample reminded her of the opening to a movie.
GEMMA: Frama-12 would make a great movie. And it sounds like literary fiction? Woo hoo!
AUD: Well, here’s the thing, and I cut it out before I submitted it to the agent and the editor. The opening was a description of the rising time-tear on the beach.
GEMMA: Oh yeah. I remember that.
AUD: It was kind of literary the way I described it. I cut that altogether. Now nobody will think it’s literary fiction. I emailed a synopsis and the first three chapters of Frama-12 to the editor. She wrote back and said, “I got it. You’ll probably hear from us in 60 days.” The exciting news is it wasn’t a week before I got an email from the fantasy editor asking for the whole manuscript.
Gemma: That is so exciting!
Aud: Thanks. When she wrote, acknowledging she got it, she said it could be a 90-day wait to hear back. It probably will take that long because if she likes it, she’ll have to talk to the bean counters to see if they’re interested in paying for it. The other thing is, this publisher specializes in romance. When the fantasy editor wrote back acknowledging receipt of the manuscript, she asked, “Is there romance in this?” I wrote back that there was, but it was very subtle in the first book. In the second book, I’ll punch up the part about Winnie having crushes on Kip and the boy they meet in the alternate world.
GEMMA: I think, having read both, out of order, I would say there is a hint in the first book, but it grows. The romance definitely heightens.
AUD: By book three, it’s really going to heighten. I’ve been working on that in the back of my head, and I’m writing notes.
GEMMA: I love both books, and I can’t wait to read the third! I’m sure you told the publisher this is part of a series.
AUD: Oh yeah, they know it’s a trilogy.
GEMMA: Because that’s a selling point. Publishers want to know that you’re good for more than just one book.
AUD: In PennWriters, an editor, Lawrence, said that too. They don’t want a writer who doesn’t have more than one book in them. If readers like how you write, they’re going to want to read more stuff that you’ve written.
GEMMA: And a publisher doesn’t want to invest all that time and money for the author to say, “Well, that’s it, I’m a one-book author.”
AUD: It turned out that way for me with I Almost Love You, Eddie Clegg, and Peachtree. After they published “Eddie,” all I had was Frama-12, and they don’t publish fantasy. Now I’m glad they didn’t take “Frama.” It’s so much better now, and that’s thanks to our critiquing group. PennWriters mentioned that quite a bit in the different workshops, encouraging writers to get in a writer’s group.
GEMMA: I absolutely agree – critique groups have made my writing so much better. And this is where I’m going to segue into one of the things that really struck me and was helpful with my own writing. One of my favorite authors, Nancy Springer, presented “The Muddle in the Middle.”
AUD: I liked that one, too.
GEMMA: One of the things Nancy said was to forget about “the middle.” Just keep having beginnings all the way through. Which made sense to me. I mean, you’re not starting from square one, but you’re doing new things all along the way. Keep that excitement going for you, as the author, and for the reader. She also said, start the novel as late in the plot as you can. This advice ties directly into what you told me. You said, “I think it would be awesome if you start your novel when Perylan’s trying out to join the Roving Guard.” I sat in our critique group thinking, “Uh-huh…Yeah, I’m not gonna do that.” [Laughter] And later, I realized, “Wow, I should do that.”
AUD: I love your Perylan fantasy! In Nancy’s workshop, she also said sprinkle the story with little things about your character. Don’t give the reader everything at once, and I love that. In our critique group, sometimes somebody will say, “Wait. What’s that mean?” Good, I’m glad you’re asking! You’re supposed to be asking, but I’m not going to tell you yet. You have to keep reading to find out. [Laughter]
GEMMA: Yes, and you’re good at that! This is a big challenge for me, but it is a good challenge to think, okay, a little bit here and a little bit there. It’s a little challenging with “Perylan,” but I see how I can do that. Don’t reveal all the secrets too soon.
AUD: I love the idea that we won’t know certain things from your Perylan novel until later. They should stay a secret. Then when it’s all revealed, the reader will go, “Holy crap!” We don’t have to know right away why certain things are important to your character. I love not knowing. It keeps the curiosity factor going.
GEMMA: What Nancy said struck home with me. It’s changing how I’m going about things now. That was a big concrete challenge. How about you, Aud? What was challenging?
AUD: Like I said, it was challenging to boil down my story into a nugget.
GEMMA: Oh my gosh, yes.
AUD: Yeah, it’s like you’re taking a piece of coal and turning it into a diamond. Or, maybe it was more like being an oyster and making a pearl. The process felt gritty and irritating, but in the end, I really loved how it finally came together.
GEMMA: [Laughter] Good analogy! I’m still struggling with how I would begin to do that. One of the workshops was how to write a query and the exercise: “When your character first discovers “X,” they know they must do “Y” within a specific time period or else.”
AUD: Yeah, when I heard that I worried because my “Nickie” novel doesn’t follow that formula.
GEMMA: Well, no, I would agree, it doesn’t work for “Nickie,” but it does for Frama-12.
AUD: I guess that’s true.
GEMMA: Without giving anything away, there definitely is a catalyst/revelation in Frama-12, oh yeah! And stakes and a time limit. I think for “Perylan,” that format works really well, and I would mention that in a synopsis for an agent or an editor.
AUD: Exactly. And it’s time-consuming to create a query and a synopsis. That’s why it took almost a month between the conference and submitting Frama-12 to the editor I met at PennWriters. Now, I’m freaking out about the “Nickie” submission for the editor I met at the Christian Writer Conference. I’m still rewriting the novel. Oh, man! I got it down to 69,144 words! It was 77K.
AUD: I want to get it down to 63. The publisher wants between 50 and 60 thousand words. If it’s 63, I don’t know if they’ll ask me to cut the extra three or let it go because it’s not that much over.
GEMMA: You can do it.
AUD: A lot of exciting things are happening with the edits to the “Nickie” story. At the FGC conference, I told them the story feels spiritually inspired. I can’t even take credit for it because it’s like these ideas are coming out of the air, and they’re so beautiful. I’ll be walking outside, writing notes on a little notepad, and start to cry. It’s so touching. The story also makes me laugh. But I don’t have a big enough platform. I worry nobody’s ever going to read this book. That’s so heartbreaking to me.
GEMMA: Don’t think about it that way. Your passion will come through, and that’ll help you find people to get it out there.
AUD: I’m still struggling over the synopsis. It’s hard to figure out what to put in there.
GEMMA: Oh yeah. I suggest you get it down on paper, do the whole thing. Don’t defeat yourself before you finish it. Then say, okay, what are the crucial parts? What are the parts that I really want to get across? It’s hard for me, too.
AUD: And getting help with that is one of the reasons we go to writer conferences.
GEMMA: Absolutely! Another workshop I remember was Hilary Hauck’s on “The All is Lost Moment.” That moment is critical for our characters because it leads to the next big change. Hilary was very sweet and compassionate when she said, “It’s very hard for us to do this to our characters because we care about them. I want you to write down the five worst things that could happen to your character and then choose the worst. I know what you’re thinking, ‘I’ll choose the second-worst.’ Really, choose the very worst.”
AUD: Hilary’s right. It’s hard to throw metaphorical rocks at characters we love. Have you tried that exercise yet?
GEMMA: I have not, per se. But I’ve decided if I’m going to write “Perylan” as two books, it can’t just be sliced in half. The first book has to have an arc, and it has to have the worst thing. And I know that’s what I’ve got to do. It’s not the climax. It’s the “Oh no!” moment.
AUD: I’m thinking about that for the third book in my “Frama” trilogy. A lot of crap is hitting the fan in book three! It’s exciting to have these things in the back of my mind while working on “Nickie.”
GEMMA: Oh yeah! I will also say I was excited by that last workshop about Middle Grade, Young Adult, or In-Betweener books. I remember thinking, “In-Betweener is what Aud’s writing!”
AUD: I am! I totally am! I also think I’m writing kid books for adults. That’s why, when that agent for kid books looks at my stuff and says, “No. This is not a kid book.” He’s partially correct. But why can’t we have a genre for the young at heart? Like they said at the conference, a lot of adults are reading YA.
GEMMA: Yeah. Absolutely!
AUD: Gemma, something you had in your notes scared me to pieces. It said, 14-year-olds today aren’t the same as how 14-year-olds were when we were that age. But I’m still writing like they are.
GEMMA: You have to write the truth as you know it.
AUD: And hope it’s authentic enough to speak to the reader.
GEMMA: I think you just have to go with writing to the truth of the story, not to the trends. Because trends change.
GEMMA: I understand that the world that 14-year-olds are in now is not the world it was when we were that age.
AUD: That’s why everybody’s writing fantasies! Then you don’t have to worry about Instagram and cell phones being in the plot. [Laughter]
GEMMA: This is a quote* which I love and applies to this situation. C. S. Lewis, possibly my favorite author of all time, said, “No book is really worth reading at the age of 10 which is not equally or far more worth reading at the age of 50 and beyond.” Ta-da! You can write it with multiple layers. Some layers will appeal to the kids, and some will appeal to the young at heart.
AUD: I love that quote, and that’s my hope.
GEMMA: It appeals to kids going through these times of change but also to older people who can go, “Oh man, I remember going through that.”
AUD: In another pre-conference thing for the Christian Writer Conference, we got to practice our pitch with a published author. In my practice, I called the “Nickie” story YA. When I mentioned the main character was 14, the author suggested I change her age to 16 to appeal to a wider audience since kids read “up.” I can see Nickie doing the things she’s doing as a 14-year-old, but not 16. I almost tried to justify her age but ended up saying, “I’ll think about that.” The author said, “That’s all I’m asking.” Okay, I thought about it. She’s 14.
GEMMA: [Laughter] I’d like to finish with a quote* from Stephanie Keyes. She said, “I’m creating characters that are confused about what they want and where they’re going next.” That appeals to me. Those are the characters I want to read: characters in transition. That’s why I like reading YA books: coming of age books. But not only young adults are going through transitions.
AUD: So true. When you really think about it, every phase of life is a transition. That’s probably why I write: to make sense out of those phases.
GEMMA: Well put, Aud! Thanks for joining me to talk about conferences and writing. To read more about our experiences with these conferences, be sure to check out Aud’s blog!
*I encountered these great quotes in Heidi Ruby Miller’s workshop.
Aud Supplee, my critique group friend and Running Wild Press colleague, has recently been published in the Friends Journal. This is a monthly international journal of the Quakers, and Aud writes about her faith with humor, warmth, and spirituality. Her article appeared in both the online and print versions of the journal. You can read it free here.
I’m equally pleased to report that another writing friend and RWP colleague, VT Dorchester, will be published online in the Winter Solstice edition of All Worlds Wayfarer. This is a quarterly speculative fiction literary magazine; I’ve peeked at a couple of stories and found them so excellent I was immediately sucked in. As VT says, “If you pre-order, the issue should be delivered to your Kindle on Dec. 21 and Kindle editions will include a bonus story. The issue will also become available on the All World’s Wayfarer website for free in December.” You can preorder the full baker’s dozen of stories for just $2.99! I just did, and I was pleasantly surprised by the low price.
Happy reading! And well done, VT and Aud! I can’t wait to read what each of you has in store for us in the months to come.
Writers Aud and Gemma have two things in common: they attend the same critique group and both have short stories in Running Wild Anthology of Stories, Volume 3. (Available at independent bookstores, through Bookshop.org, and from Barnes and Noble and Amazon.) They are also good friends who, during the pandemic, came together via Zoom to talk about writing and to share their creative plans for the future.
Gemma: So, Aud, it tickled me that our short stories were next to each other. And you have a story in Running Wild’s thirdNovellaAnthology, too!
Aud: First, me too! I’m excited that we’re not only both in the short story anthology, but my story comes directly after yours!
G: So tell a little bit about both of your stories.
A: My short story in Running Wild Anthology of Stories, Volume 3, “Monkey in the Middle” is about a marriage falling apart as seen through the eyes of the couple’s young daughter, who has no clue what’s going on. My novella in the Novella Anthology volume 3, book 1 is called “Broken Soul to Broken Soul,” about two characters, suffering from separate traumas, who come together to form an unorthodox friendship that might lead toward healing.
G: I love both of those stories – in different ways because they’re so different. My piece in the Anthology of Stories, “The One that Got Away,” catches a group of fishermen in the middle of swapping tall tales. The one my story’s about is the tallest one of all!
A: I reread your short story and liked it even more this time around. It is so well done and with such a short number of words!
G: Thanks, Aud!
A: I don’t know if I ever told you this, but your blog inspired me to start one. I had one years ago, but not about writing. Can you talk a little about your blog?
G: Wow, I didn’t know my blog inspired you to start yours – I’m glad you did. My blog’s focus is reading and writing, and also my love of words. That’s why I subtitled it “Writer and Word Explorer” – also ’cause it’s a fun sorta-pun. I love words. I haven’t explored that facet as much as I want to on my blog, things like word origins.
A: You’ve done some of those. I remember some of those, yeah.
G. It’s one of the things I love. And highlighting other authors, giving them one more opportunity to be out there. It’s a nice way of networking and I get exposed to new things that way, too. And I can’t wait to start posting character interviews. Including one of yours! How about you, Aud? What’s your blog’s focus?
A: The writing process and how to get there, namely through living, reading and writing, which is what it’s called, “Live, Read, Write.” That’s my process; have experiences, read early and often and after that’s all done, digest it, and spit it out in the form of fiction.
G: [Laughter] So what are you currently reading?
A: I am currently reading a travel memoir by an English guy named Tony James Slater and it’s called Kamikaze Kangaroos! It’s about his year traveling through Australia with his sister and his sister’s Australian girlfriend. I’m almost finished that one, so on deck is a cozy mystery that takes place on a Caribbean cruise ship. I never heard of the author, but I like cozy mysteries, I like Caribbean cruises and I like 99¢ for eBooks on Kindle.
A: And, there’s a reason that I like 99¢ eBooks – they’re not always good. I learn more from the bad stuff than the classics.
G: That is an excellent point. I think you have a lot of patience because I want to get lost in the books I read. I don’t want to be critiquing them.
A: Well, I’m not really critiquing them either, but I’ll read something and think, “Aww! I wish that person had a critiquing group because they wouldn’t have done that!” But it doesn’t stop me from enjoying the story. And I read so fast, that I just zip right through them. [Editor’s note: Aud has already read 12 more books since this joint interview. She is currently rereading Judy Blume’s classic middle grade novel, Are You There God? It’s Me, Margaret. ]
G: You’re a fast reader. I know there have been some books I’ve read where I thought, “Oh man! My critique group wouldn’t let that fly!”
A: That’s exactly it, yeah! I know you’re also a big reader, Gemma. What book is on your nightstand right now?
G: I’m not nearly as fast as you, though! Right now I’m savoring Circe, by Madeline Miller. It’s the story of the nymph Circe from The Odyssey. She welcomed Odysseus and his crew to her island and gave them a feast. Because the men acted like pigs, they were turned into pigs. That’s the myth, and we’re seeing her from her birth. She’s just a minor nymph at the beginning and she’s not loved by her parents. The gods and Titans are very human in some sense – they squabble – but they’re also bigger than life. I’m really enjoying it. It’s an interesting view of mythological things. It’s well written, detailed but not too detailed. She captures the scene with just a few words and I love that. I’m trying to learn from that. [Editor’s note: since this interview, Gemma has finished Circe, still loves it, and is now reading The World of Odysseus by M. Finley.] So, tell us a little bit about what you’re writing.
A: I am editing the never-ending upper middle grade novel, This Way/That Way about a girl drummer who learns about love and acceptance after befriending a schoolmate whose father is suffering from cancer. I might change the title because during this latest edit, it seems to be heading toward the spiritual. I’m wondering if I can make a cross-over story. I don’t want it to be 100% Christian, but God will have a cameo. What are you currently working on?
G: I am working on a novel that the idea for came to me decades ago. It’s about a girl who finds out, when she’s a teenager, that there’s a prophesy that she will become so beautiful that people will wage war, there will be battle and bloodshed and death over her. And she’s horrified. She thinks, “No! I’m not going to be responsible for the ruin of my people. I’m going to do everything I can to prevent that.” To do that, she has to become a warrior. That’s where I am in the story right now. I have the general course of the story planned out. And I know how it’s going to end, but between here and there a lot will happen.
A: Do you know, This Way/That Way is over 80,000 words long right now?
A: I can’t have that for middle grade or upper middle grade. No way. I’ve gotta cut some of that back. There’s a question they ask in the Quaker Sunday school after they tell a Bible story: “What can we take away from this story and still have everything we need?” That’s a really good question that I want to answer while editing.
G: Yes. I’m telling myself that now as I’m writing a scene. “Do I need that?” Nope. It can go. That’s the challenging thing. But you’re the one who told me this — you don’t know what you need until you get to the end.
A: That segues us to the benefits of a critique group. I’m impressed that you’re able to be in two critique groups. You read everybody’s pieces, comment on the pieces, write your own piece, plus do your blog! I don’t know how the heck you find time to do all of that!
G: It’s challenging sometimes. I used to take people’s pieces out to Starbucks or the library or a bookstore and enjoy reading them over a coffee. I miss that.
A: Do you think there’s a time when a critique group gets too comfortable since we’ve known each other so long? I wonder if we ever let each other sort of get away with stuff because we know the story. Like if we’ll read one of the pieces and fill in blanks that aren’t technically there.
G: That can be a good thing, because you’re supposed to trust your reader and let them fill in the blanks. But it can also be a troublesome thing. In our own group I think we do cut each other some slack. We have faith in each other. But on the other hand, we don’t necessarily let each other get away with stuff. Like you guys will call me on things. It’s not just typos, it’s like, “Wait. Don’t you remember this?” or “Would somebody really say that?” or “Wouldn’t somebody ask this?” So, I think we can get too comfortable sometimes, but we can remind ourselves, “Okay, I’m coming to this as a reader.”
A: The bottom line is, you as the author, have to decide what’s right for the story. Sometimes our group says majority rules but maybe not. It might be the one person is correct and the other two are not quite right.
G: Once it was told to me by a wise person, “A tie goes to the author,” so if you’ve got opposing opinions, go with yours. There can be times where someone makes a really valid point, or somebody comes up with a cool idea. And I think, “Yeah, that would be cool, but that’s not the story I’m telling.”
A: Sometimes when a critiquer asks, “What’s the person thinking here?” There isn’t really an answer. Sometimes, the character doesn’t have time to think, she’s just acting.
G: And that’s tricky to bring the reader along with that. There was a PennWriters session once where an author was saying, “Don’t overuse emotional words, but in the first draft use them all you want.” Then, when you’re rewriting it, try to bring the reader with you so the reader doesn’t need to be told the character is heartbroken, the reader is heartbroken with the character. But not in the first draft, because that’ll just paralyze you.
A: Right. Make it authentic. For me, the first draft is the hardest thing to write. My work around is I’ll use present tense. I’ll write, “Nickie looks up and asks if classrooms are up there.” When my inner editor sees that it thinks, “Oh, we’re not serious because we’re not in past tense.” That’s how I get past the inner critic.
G: That is so tough.
A: How do you handle your first draft? Your blank page as it were.
G: I guess I try to write when the inner editor’s not looking. [Laughter] “You go do something else. Your turn will come when I revise.” Sometimes I hear – I’m not proud of this – but I’ll hear the voice, “Well, Aud would catch this,” and “Steve would catch that, and Laura would say this.”
A: That’s what I do! Yup, I’m doing the same thing. [Laughter]
G: And I have to say, “They don’t always. I may be wrong.” I find first drafts easiest if I’m not thinking about all the revisions I’m going to have to make. [Laughter]
A: That makes me feel better, knowing I can fix it if it’s not quite right. [Laughter]
G: There’s that too, there really is. What does your writing schedule look like right now?
A: I’m out of school for the summer, so I take early morning walks. I keep a pen and little notepad in my pocket. As I walk, I think about the story. Whenever I hear dialog or description in my head, I’ll stop cold and start writing. Sometimes I don’t even stop. I walk and write.
A: I try to type my notes as soon as I get back because writing while walking isn’t always legible. Then I try to work on my computer outside until it gets too hot. I try to work until lunch and then I read in the afternoon. Sometimes when I’m just not feeling it, I don’t write at all. Which I know isn’t good. You have to make yourself sit in front of the computer. It’s been said before: Just put your butt in the chair and work. One thing I love is my laptop can read to me. When I hear back what I wrote the day before, it gets me in the mood to write. But even with that, I don’t think I’m as productive as I should be.
G: It goes both ways. Sometimes you have to sit down and do it. I’ve told myself, “Oh, I never got anything written today, but I don’t write after dinner.” I remember one day I just sat down after dinner and wrote. “What do you know? I can do it.” But generally I’m kind of a morning person. It often works well if I get up early and go for a walk and think about what I want to write next. I’ll often rehearse scenes in my head. On a good day, once I’m home I’ll sit down and write it. Revising usually happens after my second group has met. I’ll go through and think, “these are the little things I can do right now.” But for big things, I have a file of notes to revise – “Think about this in the future.” If I can’t decide if I want to go this way or that way – no pun intended – I will make notes about it, or if it’s too big of a change and I can’t face it right now – “Let’s not and pretend I did.” [Laughter] So, it’s a lengthy process but that’s sort of what mine is like right now.
A: Have you ever gotten inspiration in the middle of the night?
G: Not so much in the middle of the night, but sometimes when I’m getting ready for bed, or reading before bedtime. I do have a pen and a pad of paper next to me so I can scribble it down. More than one time, I looked at it the next morning and thought, “Oh what the heck was that?”
G: I must have been half asleep when I wrote that.
A: I’ve got a clipboard and a pen on the floor beside the bed. In the middle of the night I’ll write it down but can’t always read what I wrote. For some reason, when I get a magnifying glass and look through it, sometimes I can figure out what the letters are and then it’ll click. “Oh, right, that’s what I meant!” Or I’ll get inspiration in the night and some of the times you’re thinking, “This is genius!” Then the next morning go, “This isn’t genius at all. This is stupid.”
A: I’ll write it down any way, just in case.
G: You never know. It might be good.
A: So here we are, stuck at home. How has covid19 affected your writing?
G: It’s been hard sometimes, admittedly. It’s just because it’s so overwhelming. On the other hand, sometimes writing’s been a real welcome release. I can make happen in a fictional world whatever I want – I can tell myself that it doesn’t even have to be good. I can see that justice prevails in my story. Things will be done right in my story. And that’s helped. But sometimes I’ll have to go off and read something totally unrelated to world events and to my own writing. How about you?
A: I would say Covid gave me some writer’s block. What saved me from that was when a local theater group, the People’s Light, offered prompts for people to write about what they were experiencing. Later, the actors acted them out on Zoom. The prompts they suggested were things that I never in a million years would have thought to write about. I really liked that it got me writing again.
G: That was wonderful, and I’m so glad it helped with your writer’s block. What would you like to do differently in your writing life going forward? For me, I want to get back to taking morning walks and writing. I want to get more into the part of the story that matters. And to have a sense of urgency about it so it doesn’t take me another twenty-five years to finish it! How about you?
A: I want to be more productive than I am right now. When I start school in the fall, I’m going to look back and think, “Look at all these full days I had where I could have spent all this time writing and didn’t.” I have a tablet with sound effects. So, I’ll sit outside under my umbrella with my ice tea and my laptop with ocean waves playing in the background while I write. Boy oh boy, that’s fun! It got a little hot yesterday. I had some water and I doused my head and pretended I went swimming. [Laughter]
G: [Laughter] That’s cool. I used to go to Starbucks, especially when I was writing Green Midnight, I had earphones and I would play forest soundscape while I was writing. It put me in the mood.
A: Yeah. That’s cool. Anything that can get the creative juices flowing. Speaking of that, we better stop and get back to work! Happy writing!
G: Thanks for this chance to chat together, Aud! Happy writing to you, too!
P.S. from Gemma: check out this interview on Aud’s blog – she’s got fun audio snippets! And you can read a transcript of Aud’s piece, and the others, on People’s Light here.
Today is the day – our book is released into the wild!
I have read all the stories (benefits of getting an author’s copy), and I am truly honored that my story is amidst such excellent writing. And such an eclectic mix. There are stories with an eerie or supernatural bent; there is suspense and horror; humor from the whimsical to the macabre; love lost and reclaimed.
You can order our book in trade paperback from your local bookstore, or find it at Barnesand Noble and Amazon (print and e-book)* and Kobo (e-book).*
Kudos to my fellow authors! I look forward to seeing what you write next.