Tuesday, June 11, 2013

Kelly: Origins / 45 POUNDS (MORE OR LESS)

45 POUNDS (MORE OR LESS) essentially evolved from a character. I imagined a girl who struggled with her weight and her place in the world. She’s from a typical American family, and by typical I mean atypical. Families today are likely to include step-parents and single parents and gay parents, so I wanted my character’s family to reflect that, too. I envisioned the mother/daughter dynamic to be one of the central conflicts. However, I wanted the main conflict to be within the girl herself. Probably because growing up, most of my conflict was internal.

Here’s where the evolution begins: I have this character, and I feel connected to her. I know her. I've seen her in my classroom, in the park, and in the mirror. But when I started the book around 2005, technology was quite different. In my first draft, my main character spends time in a chat room. (Groan, I know, but hey, it was 2005.) The title of the book was actually her user name: ANN_ONYMOUS. At the time, I thought I was being clever. She felt invisible, and her name, I discovered, was Ann.

My beloved grandmother had recently died, and I’d witnessed her decline from strong matriarch to frail patient needing around-the-clock care. What better way to process those feelings than to have my main character experience them, too? So, in my first draft, Ann’s grandmother suffers a stroke in chapter one, and by chapter three, she’s moved in with the family. It was a chubby-girl-takes-care-of-elderly-grandma story. The more I wrote, the more I fell in love with the characters.

Then I got feedback. A paid critique from an editor at a SCBWI conference commented, “Why should we care about this grandmother who had a stroke? We need to see her first so we can feel Ann’s devastation.” So I start writing back story with Ann and her Gram to get to know them myself. A few years later, I went to Vermont College of Fine Arts, and I got more feedback in workshop. “Does the grandma have to have a stroke? Please don’t tell me she’s going to die. Hasn't that been done already—a lot?” (Keep mind, the feedback isn't verbatim, but that was the gist.) My brilliant advisor, Martine Leavitt, challenged me to ask Ann what she wants. Martine had me write a letter from Ann to her exploring both concrete and abstract desires. That forced me to re-vision the focus of the story.

I spent my second semester at VCFA weeding out old technology, resurrecting a sick grandma, and mining for the heart of the story. The only things that didn’t change were the basic characters. (Well, except for Gram—she got a make-over and a new lease on life.) I revised the manuscript for fourth semester as my creative thesis, and Sara sold it later that year.


Exactly one month from today—on July 11—45 POUNDS (MORE OR LESS) releases from Viking Children’s (Penguin). I can’t wait to introduce you to Ann and her wacky, yet normal, family. I hope you love them as much as I do.  

Wednesday, June 5, 2013

Betsy: The Isles of Shoals (Where TIDES Lives)

This is where my imaginary friends live.
No—real people live here, actually, in the real house on White Island, at the Isles of Shoals off the coast of Maine and New Hampshire.  But this house, and this lighthouse, are where the main characters in my first novel, Tides (click the link!), live, too.
I grew up in coastal New Hampshire, and I regularly went fishing and duck hunting at the Shoals with my dad, his best friend, Mike, and Mike’s son Corey (to whom Tides is dedicated).  Then, a few summers ago, I got a job on a tour boat that goes through Portsmouth Harbor to the Isles of Shoals twice a day.
Three-hour tours.  The uniform was a red polo shirt and khakis.  I was basically Gilligan.
My job was actually giving the tour: I would yammer into a microphone about the lighthouses and forts and whatnot in Portsmouth, the history of the area, and I’d tell stories about the many eccentric residents the Shoals have seen over the years.  (Notably: the poet Celia Thaxter and the pirate Blackbeard.  No kidding.)
This is the Oceanic Hotel on Star Island.  Lots of shenanigans in the book take place here, notably a dance put on by the hotel staff for all the islands’ residents.   (Tragically, I don’t think this is a real thing.)  Until recently, you had to be participating in a conference or retreat to stay at the Oceanic, but now I believe they take individual reservations.  Who wants to take me there?
The tower toward the left of this photo belongs to the Shoals Marine Lab on Appledore Island, just across Gosport Harbor from Star.  I always tell people that if I weren’t a writer, I would be a marine biologist or an oceanographer, and I have long wished I had the kind of credentials to get an internship here.  (I don’t think they take creative writers.)  A fictionalized version of the lab is very important in Tides, and that’s all I’m going to say about that.
Of course, Tides is really about selkies, and there are real ones at the Shoals.
Well, real harbor seals.  I suppose whether they’re really selkies is up for debate.  But I like to think so.
Can you see them in this picture?  We couldn’t get any closer to the island because of the underwater rocks (or shoals, hey now!  You may have just learned a new word!), so they are small here.
And just for good measure, another picture of Noah’s grandmother’s house and the White Island light.  Every time I’m away from the Shoals for a while, I start getting afraid that I’ve misremembered everything, that it’s not quite as beautiful as the way I see it in my head.  But it is.  I really do love the Shoals, and one of the things I most wish for Tides is that it will help other people love them, too.  But I’ll have to wait and see what you think about that.



Tuesday, March 19, 2013

Katie: The Story Behind A Girl Called Problem

I moved to Tanzania, East Africa, a few months after I graduated from college.

Tanzania's there in dark orange--just below the equator.

On paper, my job was to teach writing and English to journalism students at a newly-formed university. The reality was that I did a little bit of teaching and a lot of learning during those two years. I was schooled in the many arts of basic living: washing clothes by hand, carrying water in a bucket on my head, and pounding rice in a giant mortar and pestle. 


Me pounding rice. Yes, I know the glasses look a little silly--it was the 1990s.
I learned what it felt like to have malaria, typhoid and ecoli, and to value life in a place where almost everyone I knew had lost a sibling during childhood to a tropical disease. The most enjoyable lesson came in the form of informal, daily Swahili tutorials on my front porch with Tanzanian kids who congregated to play in the shade of a nearby flamboyant tree.

Within a few months I grew particularly close to one such kid. Like many Tanzanians, Modesta didn’t know her age, but she was probably about twelve when I met her. Every day after school, she scaled papaya and mango trees and sold fruit door to door to help out her mom. 

Modesta in 1999.
Modesta wasn’t afraid to correct my Swahili, and her laughter filled my home. We started spending so much time together, villagers called me “Mama Modesta,” or Modesta’s mother.

The only problem was my visa ran out after two short years. I had to leave Tanzania and, worse, Modesta. She was just graduating from primary school and, because her family was poor, early marriage was a more likely prospect than continued education. As a result, Modesta and I found a private boarding school for her to attend and I arranged to pay for her school fees, but I still moved away broken hearted. 

A picture of Modesta a friend gave me on the day I left Tanzania.
That first year back in the U.S.,  I spent evenings after work reading and writing about life in Tanzania. A couple themes emerged. Modesta, of course, was primary in my mind. I also thought about the unique resilience of the women and girls I met in Tanzania: burdened with hours of house chores, girls sacrificed sleep to study by kerosene lanterns at night; female students at my university courageously banded together and wrote a letter condemning the behavior of a male lecturer who had threatened to fail them unless they slept with him; Modesta’s older sisters dodged marriage proposals so they could continue to work and control their own finances to pay for their younger sisters’ education; and students of mine wrote articles questioning the commonly-held, local belief that poor widows were prone to witchcraft and responsible for societal woes. The determination of these women and girls to improve their quality of life was inspiring. 

One of the many hard-working girls I met in Tanzania.
That first year back, I also did a lot of reading about Tanzania's founding father, Julius Nyerere. The list of corrupt rulers African countries have suffered under is long, but Nyerere’s name belongs on an entirely different list: that of the truly principled. He increased literacy and life expectancy rates in his country; he gave Tanzania a sense of national, rather than tribal, identity (no small feat when you consider its many neighbors who have suffered civil war or conflict between tribes); he attempted bringing his own brand of African socialism to his citizens; and when he retired, he moved back to his rural village to farm, occasionally taking trips to broker major peace deals. 

Nyerere in his home village.
Without realizing it, I was carving out the components of a book: a story set in historic Tanzania during the early presidency of Nyerere about a strong Tanzanian girl, who would face some prejudice but who, through sheer resilience, would not only prevail but would ultimately empower her village by empowering herself. That’s the essence of A Girl Called Problem


Oh, and for the real and far more important story, if you are wondering about Modesta, she’s thriving. Modesta went on to spend high school at an international school in India where my husband and I taught.
Me and Modesta in India--note the glasses upgrade.
After that, she did a gap year volunteering in Tanzania, completed a university degree in Uganda, and now works for an awesome organization called Media for Development International, which makes popular television shows and movies with imbedded development messages, like how to prevent malaria. Modesta has also helped out a lot with my book, providing research support, photographs for the glossary, and footage for this video supplement we made to go with the book. 


Naturally, A Girl Called Problem is dedicated to Modesta. Thanks for reading. If you'd like to learn more about the book, please visit katie-quirk.com.

Tuesday, March 12, 2013

Erin: Origins / TAKEN

As TAKEN's release date approaches (just barely a month now!), I'm answering the So what's your book about? question more and more often. (Thank goodness for one line pitches.) The ever-popular follow-up question--How did you come up with that idea?--is a bit harder for me to address.

Some stories are born from what if scenarios, while others are sparked by dreams. Some are retellings or re-imaginings of existing literature. And then there are the stories that just seem to fall from the sky, directly into your lap.

TAKEN was one of those stories.

To be honest, the story didn't fall into my lap so much as TAKEN's protagonist, Gray, did. One moment I was revising a separate manuscript, and the next this boy was wandering around my head, fearing his eighteenth birthday for reasons I didn't understand. (Not yet, at least.)

I kept trying to ignore him. I was supposed to be revising. I had a huge list of edits and absolutely no time for distractions. Especially not from a boy who wasn't exactly nice. He wasn't downright mean either, but he was stubborn and impulsive and he kept storming around my head, glaring.

I plowed on with my WIP. He kept lurking. Impatient, relentless. When I paused long enough to listen to him, I realized his harsh edges were the product of a pretty grim situation. He had a huge heart beneath the hostility. He loved his older brother and felt like the lesser of two men beside him because his brother was everything he was not--patient, kind, accommodating. Worse still, it was his brother's eighteenth birthday.

How's that a bad thing?
I'd asked Gray.

He told me no boy in his town made it a day beyond eighteen. They all vanished. Gone in a burst brilliant light. The Heist.

Why? was my next question.

He told me he didn't know. But he wanted to find out.

Suddenly, I wanted the same.

I tried to fight it. Really, I did. I viewed setting aside my nearly complete manuscript to mess around with something new--no matter how tempting and shiny--as procrastination.

Against my better judgment, I opened a new document. After writing a single chapter, I knew I was a goner. Gray's story was my new project. Revisions would have to wait.

With TAKEN, I was incredibly lucky to have Gray walk into my head so fully formed. His voice was crystal clear, and seeing as the novel is written in first person and I'm (shocker) not a boy, this was tremendously helpful in nailing his narration. Gray showed me everything he knew about his world and then I filled in all the pieces he wondered about. We worked to pull back the mysteries surrounding his town together.

I fear I'm starting to sound like a crazy person, referring to Gray as though he's real. But that's the thing about crafting a novel: writers can't help but end up in these intense, intimate relationships with their characters. By the end of a draft our fictional creations feel incredibly realized. We have conversations with them as though they are sitting beside us. We know their deepest fears and greatest dreams. Sometimes I feel like I know Gray better than I know myself. (Which makes zero sense. We are nothing alike.)

Still, I'm glad he started talking to me. I'm even more glad I listened to what he had to say.

Above all, I'm incredibly excited for you to meet him next month. I'd say he's excited as well, but it's not really true. He's got a lot on his plate at the moment. And, well, you'll see...

Thursday, February 28, 2013

Frances: Writing a Novel One Bite at a Time



            For as long as I can remember, I wanted to be a novelist.  I wrote my first real short story in third grade:  In my mind’s eye, I can still see the kitchen table where I wrote it, page after page of laborious cursive that miraculously brought my ideas to life.  I wrote a novel as my college thesis, and after college, I got an MFA in fiction writing.  For many years, I wrote nearly every day. 
            And then in my mid-thirties, I got lost.  I had two small children, and I was determined to be the best mother possible.  I was working part-time as an editor; I had a sick family member to take care of; I had a marriage that was slowly starting to fall apart.  Writing got further and further away from me.  And as my friends published award-winning books, won prestigious fellowships, and got impressive teaching jobs, I felt more and more like a failure, which made it increasingly hard to sit down to write.
            Here’s the story of how that changed.  It’s all because I bought yoga lessons at my son’s preschool’s annual auction.
            I bought the yoga lessons because (a) nobody had bid on them; (b) I wanted to support our school financially; and (c) I thought that doing yoga would be a good way to start taking care of myself after years of taking care of other people.  This hypothetically sounded like a good idea—except that when the school auction rolled around again a year later, I still hadn’t used the yoga lessons.  Taking care of myself?  Are you kidding?  I had no idea how to do that.
            So I called the yoga teacher to see if I could give the lessons back to the preschool to be auctioned off again.  She said that she would be happy to donate new lessons to the school, but that she’d love to have me use what I’d bought the year before.  Only she suggested that instead of yoga, I try a new service she was offering:  wellness coaching.  She was very nice on the phone, and I agreed mostly because I didn’t want to be rude and say no.  We scheduled a time to talk about my goals for my life and come up with a plan for me to reach those goals.
            Here’s a short version of the beginning of that conversation:
            Her:  “So Frances, what do you want for yourself long term?  Say, over the next five years?”  (Note:  I’m pretty sure she expected me to say I wanted to exercise more, improve my diet, something like this—I realized later that these were the sorts of issues her clients usually brought to the table.)
            Me:  “Well, I want to publish a book.”
            Her:  “Oh.  Okay.  It’s usually helpful to try to visualize what you want.  Can you tell me what it might look like if you publish a book?”
            Me (trying desperately to think of what it might look like):  “Uhh…”
            Her:  “What does the book look like in your head?”
            Me:  “It’s, umm, green.”  (Yes. This is literally what I said.  This was the ONLY detail I could imagine at that particular moment.)
            It was an inauspicious beginning.  But it turned out that although the wellness coach didn’t know much about writing, she knew everything about how to set goals that you can actually reach.  This was the point she hammered home to me over and over in that initial conversation.  For years, I had been setting goals for myself:  Write every day.  Get an agent.  Publish a book.  Quit my day job.  Heck, why not win some big awards at the same time?  But I didn’t realize how crippling it can be to set big goals that you don’t yet know how to achieve—goals that overwhelm you and inherently reinforce your sense of your own failure.         
            Instead, the wellness coach asked me to set a goal for six months in the future.  “I want to have written a hundred pages of my book,” I said.
            Her:  “Okay, now set a goal for three months from now.”
            Me:  “I want to know what my novel will be about.  I want to have forty pages written.”
            Her:  “Now set a goal for one month from now.”
            Me:  “I want to have fifteen pages written.  I want to be writing on regular basis every week.”
            Her:  “Okay, now, what sort of realistic goals can you set for this week in order to meet that one-month goal?”
            Me:  “Well, I could try to have five pages written.”
            Her:  “So what would it take for you to do that?” 
            Me:  “I’d have to write maybe three times this week.  For at least an hour each time.”
            Her:  “What sort of obstacles might keep you from doing that?”
            I listed the obstacles.  There were a lot.  I remember that one was that my desk chair hurt my back—so she suggested that getting a new chair might be one of my goals for the week.  I also said that I was spending way too much time reading the news.  So we decided that for some very specific parts of the week—one day and two evenings, I think—I wouldn’t allow myself to go online.  By the end of the session, I had a list of my goals, a list of the potential obstacles, and a list of my strategies for overcoming those obstacles.  I also had an appointment to talk to her again the following week.
            And within a year, I had completed a draft of the The Misadventures of the Magician’s Dog, which will be coming out this fall from Holiday House.
            I wanted to share this story because I think too often we make the mistake of setting goals for ourselves that we can’t realistically achieve.  We read about a writer who produces 5000 words a day, and think:  I should be able to do that!  A friend tells us she’s publishing her fifth book in five years, and we think:  I could have done that if I’d just worked harder! 
            It may be helpful to dream big, but to reach those big dreams, we often have to think small, setting goals for today and tomorrow, and recognizing the often prosaic or mundane barriers that may stop us from getting what we want.  For instance, when I was working with my wellness coach, I realized that one of the things stopping me from finishing my novel was the self-critical voice in my head that belittled my efforts when I sat down to write.  I was comparing my first draft to all the wonderful children’s books I’d ever read and thinking mine was never going to be that good.  I needed a strategy to deal with that self-criticism, and I came up with one.  I decided that it was my job to love my book, imperfections and all, just like I loved my children even when their diapers were dirty or they were crying in the middle of the night.  And just saying this to myself every time I sat down to write helped turn off that self-critical voice long enough that I could move forward.
            So the following is my advice to writers who are struggling to reach their visions:
1.      Know what you want.  Figure out your “dream” as clearly as you can. The more you can see where you’re headed, the more likely you are to get there.
2.      Set goals based on reasonable time increments.  Figure out what you want to have accomplished in six months, three months, and one month.  Then figure out what you want to accomplish this week in order to move toward those goals.
3.      Be specific and realistic.  Maybe your goal is to write for ten minutes a day for three days this week.  Maybe your goal is to write for an hour on Sunday.  If you know you’re struggling to make yourself write at all, don’t start off planning to write for three hours a day every day.
4.      Figure out the obstacles that may stop you.  Come up with strategies to overcome these obstacles.  And if you don’t meet your goals at the end the week, don’t beat yourself up.  Figure out what stopped you and come up with new strategies.
5.      Be proud of reaching your own goals.  Don’t compare yourself to everybody else.  Maybe you have three pages and somebody else has a six-figure advance.  It doesn’t matter.  You’re on your own path:  you’ve figured out what you want to achieve, and when you do it, congratulate yourself.  Few of us are lucky enough to have others who will cheerlead our daily efforts and spur us on.  So learn to be your own cheerleader, noting when you’ve created small changes in your life, because large changes are always born of the small ones.  That six-figure advance?  Well, that writer started with three pages too.
And here’s one more thing: ask for help without shame.  Set up a writing group if you can, structuring it in the way that will best enable you reach your goals.  Maybe you need to turn in pages to others to read on a regular basis.  Maybe you need weekly writing dates at a café or library.  Or maybe you just need to report back to someone on your progress, so that you feel accountable for actually doing what you’ve said you want to do.  For instance, when I decided I was ready to start writing every day, I found two other writers who had the same goal.  We set it up that each evening we would email each other how much we’d written that day.  Now I write every day without this sort of support, but I needed it when I was changing habits.  If you can’t find a writing group, or if having a writing group isn’t helping you enough, consider hiring someone like a wellness coach. 
Seizing control of your writing—and your life—is never easy, but breaking your goals into small steps can make change more manageable.  When I think about writing, I often think about the old saying:
Question:  How do you eat an elephant? 
Answer:  One bite at a time.
No one knows who first said that quote, but I’m convinced it must have been a novelist.

Thursday, February 21, 2013

Sara: WriteOnCon's Perfect Your Pitch workshop: The Short Synopsis


The most important part of a query is the book pitch.  I tend to skip over any biographical information until I have read the short synopsis.  When I read a query I want to know quickly if I want to read the book.  That is it.  I will look at your credits/ MFA/ hobbies, if I like your pitch. Here are my thoughts on what you need to do to with your pitch to get a request:

WHAT YOUR SYNOPSIS SHOULD DO:

1. SET UP THE STORY/ GIVE US THE HOOK
Setting up the story will mean revealing much of the plot—but not every single thing that happens on every page. (And, please do not reveal the entire plot in the email subject heading which is alarming.)

The hook gets to the heart of the book.  It is what makes me want to pick up a book and what keep me reading. What will connect me to this story.

People often think of hooks as gimmicks—but a gimmick won’t keep a story together, won’t make someone keep reading.

2. INTRODUCE THE CHARACTER/S/ CONFLICT
Who is this story about? What is his or her conflict? What is the main conflict of the book?

If a pitch is all about the character or all about the set up/ world, but not about what happens to the character in that world, it is not telling us enough to keep reading.

3. ESTABLISH GENRE/ SETTING/ TONE/ VOICE
Often queries get very specific about the genre and audience, and this is fine, as long as you do not veer into marketing or get too specific, such as all 13 year old swimmers will want to read this or picking an age range that does not make sense for a market such as 2nd grade- 12th grade.

If there is a Sci-fi twist or it is dystopian or a fantasy, I think it can work well to set that up for the reader upfront.

I do want to know the age of the character, as in both MG and YA this is hugely important for the markets, and I want to know that you know your audience.

TONE and VOICE are extras, but are usually present in the best queries. If I can get a sense of the tone of the book and the voice from description, that is a plus.  That is not to say queries for humorous books should be funny, but I hope for a line or two in there that shows me that the book is funny.

WHAT YOUR SYNOPSIS MUST DO WHILE DOING THE ABOVE:

1. MAKE SENSE
Reread your query, get others to read it (especially people who have not yet read your book), read it out loud.  I am reading at least 30 queries a day, like most agents, and if I have to reread a sentence more than once, I get frustrated and I get disinterested.  Many do not make any sense at all.

It has taken me years to be able to truly write a pitch well.  Practice! I do not think writing a great query letter correlates to being a great writer.

Bad queries are for the most part the companions to bad books.  They are for books that are too long for a human to want to read, 600k words or so, are for the first book in a series of 20 volumes, are for a picture book about cocaine use, stories for all ages, etc.

The tragedy is bad queries for good books: queries that are confusing and sell a great book short because an agent tunes out. 

2. SHOW ME WHY YOUR STORY IS UNIQUE
This is not easy.  But even if your story is about a vampire or zombie or fairy and the market feels flooded with those stories, you have to fight for your book.  This does not mean telling me how much better your story is than the bestselling series about the above. This means writing a synopsis that will show me that this character and this world are different than what I have seen before.

3. MAKE ME WANT TO READ YOUR BOOK
This is about bringing all the above elements together.  The best pitches are short and sweet. They tell me the most important details about a character to make me want to know more, introduce the main conflict right off the bat, have a unique hook.

You want to tell me enough about the book that I have a sense of what it is, but you also want to leave me wanting more.  Check out book jackets, these are slightly different than pitches, but are a great learning tool.


And it is worth saying again, if query letters and synopses are not your strong point, that is OK. It is a learned skill for most of us.  If you struggle with it, keep practicing, and keep it simple. 

Thursday, February 14, 2013

Evan: Origins/DR. BIRD'S ADVICE FOR SAD POETS

I'll admit it: my book's got some odd things going on. My main character, James, quotes Walt Whitman to cheer himself up. He hugs trees, literally. And not because he's environmentally minded. He also talks to an imaginary pigeon therapist.
Named Dr. Bird.
Yes, it's not just some cool name for a DJ or a birdwatching forum username. Dr. Bird is a pigeon, in James's head. A pigeon that James knows is just part of his own mind, but one that still provides wisdom and perspective. It's the one aspect of my book that gets the most bird-like reaction from people. (You can already see it, that little "Oh really?" head tilt.)
An imaginary pigeon therapist? Oh really?

You might think the story, the crisis, would be the best allure. But no, a character that talks to a pigeon to deal with anxiety and depression becomes immediately more fascinating.
Writing a novel about a kid suffering suffering from mental health issues was not something I expected to do. But then I struck up a profound friendship with author Matthew Quick (The Silver Linings Playbook, Sorta Like a Rock Star, Boy21, and Forgive Me, Leonard Peacock). We lived in the same town and began having coffee once a week. Eventually, we started planning a novel with interwoven narratives. The goal: give readers a great, emotional story that shows how things can be better even when they are awful now. This was a big promise to make, especially since things can be awful for teenagers suffering from mental health issues or environmental issues like abuse; but Matt and I both believe that a book can put a hand out and pull a person through a bad day.
A variety of things prevented Matt and I from getting far beyond the initial first chapters, but I'd been struck by all the possibilities of a character named James who recites Whitman and talks to an imaginary pigeon to help cope.
I became absorbed. I had to write a book that made me laugh, and one that let other people laugh and feel a little bit better about the possibilities of the world. I didn't want to write about a character who was caught in muck on page one and only frees himself from the sludge late in the book. Mainly because I would not enjoy writing a book with such a grim density. I wanted to show the highs and lows of life, how one day we can be joyful and miserable. I wanted to spend time with a character that found things -- Whitman, Dr. Bird, poetry, photography -- that helped him get through a rough time of his life.
When I finished the novel after three months of intense writing, I feared showing it to anyone. I didn't think it was a project I was meant to publish. I didn't even show Matt the manuscript.
Yawp!
Worse, that autumn I fell into an extended depression that affected a my home life and my friendships. Due to poor communication and self-isolation, Matt and I didn't speak for just over a year.
I didn't hang out with my book, either. I let Dr. Bird sit for a year; then I re-read it and found James and Dr. Bird and Jorie were characters that I could share with others. They were sufferers and survivors. They were funny and real. They could reach out and pull someone through one bad day.
I worked hard to get the novel ready and when Sara found the perfect editor for it, I was elated. More importantly, a few months later, Matt and I reconnected and repaired our friendship. We acknowledged the things we'd done poorly and how our mutual acquaintance, depression, exacerbated issues. We acknowledged the importance of communication and of having friends that understand how it can be difficult to be a good friend sometimes.
During our time apart, we both wrote books that sprang from our initial joint project. Dr. Bird will be released in about two weeks. Matt's Forgive Me, Leonard Peacock releases in August. They are different books, but threads still unite them.
And my goal has become clear: tell great, funny, emotional, profound stories that hold out a hand (or wing).