Author Interviews

Jabberwocky Time Warp Tour

Today we welcome not one, not two, but three talented middle grade writers to From the Mixed-Up Files… . Authors Eric PierpointJ.B. Cheaney, and Stephanie Bearce are helping us turn back the clock by answering the question: How does writing and researching historical fiction or non-fiction for middle-grade readers differ from writing for adults and how do these writers strive to  bring history to life for young readers? 

Time Warp Tour

 

 

 

 

Eric Pierpoint (The Secret Mission of William Tuck)

The Secret Mission of William TuckTo me, writing historical fiction for younger readers means creating more action and adventure around the facts. What appeals to adults may be boring to middle-graders, so whatever goes into the book must be done in a balanced way that keeps the level of excitement going. There are times where I like to really press on the gas, and then slow it down to make certain points in a different rhythm. I was once told that reading my books was sort of like watching a movie, that they are cinematic. They’re right! I never want to preach history and give too much of a lesson. I’d rather make that history come alive through the eyes of a young person who is caught up in the action of the story. For example, my main character could be in the middle of a scene where our founding fathers are discussing an important topic like prisoner exchange during the Revolutionary War. Rather than explain in long passages to the adult reader the history of prison ships, for a younger audience, my young character would be captured and taken aboard the infamous HMS Jersey and have to figure out a way off. I think it is better to increase excitement while using historical fact rather than spend too much time writing long explanations.

J.B. Cheaney (I Don’t Know How the Story Ends)

I Don't Know How the Story EndsIt doesn’t, much; you just leave out the more lurid details. Researching historical fiction is not just about getting the background facts right; it’s also getting a sense of the people who lived and though in ways we can’t fathom. What was important to them? What did they do for fun? What do we dismiss that they considered of first importance? I think it’s just as important to get those things right for children as it is for adults, because traveling to another time is as mind-expanding as traveling to another country. Kids need to have their minds expanded!

On a more practical level, research is vital for plot development. When the idea for a historical novel is conceived in the author’s fertile brain, she already has a basic idea of the history arc and can match it to her story arc. In 1918, where I set I Don’t Know How the Story Ends, Isobel’s father is serving in France during WWI. I already knew that America officially entered that war in 1917, but didn’t know about the Hollywood war bond rallies (where Isobel impersonates a boy scout), or Charlie Chaplin’s wandering eye (which makes Isobel so nervous about her mother), or D. W. Griffith’s decision to leave Hollywood (which will shift the purpose of Ranger’s film project). Those bits of information added texture and distinctiveness, not to mention important plot developments.

Stephanie Bearce (Top Secret Files)

The Cold WarI love this question because as a teacher it is something I have really worked hard to understand. Teaching or writing about history for children is very different than it is for adults. While an adult may be able to remember different decades, and the styles or fads of each one, a child has a much shorter time perspective. A decade may be longer than their entire life.

Dates and numbers don’t give children any clue as to what was happening at that time period. As adults we read the date 1776 and we can immediately picture men wearing knee breeches and white wigs. Mention Rome in 100B.C. and a grownup knows it’s the time of togas and Roman baths. But those numbers all have to be given context for children.

It’s important to describe what technology was and was not available during the time period. Writers and teachers need to help them understand that during World War One the radio was a brand new invention and airplanes had only been invented a few years earlier. Details about how people lived and how it is different from other time periods are important to give children a sense of the changes that have happened over time. It means telling every story with the idea of how it is different from the modern world of the child.

It’s a challenge, but it’s a fun one!

Want to win a #TimeWarpReads Prize Pack featuring titles from Eric Pierpoint, J.B. Cheaney, and Stephanie Bearce? Enter now!

Interview with Jonathan Bernstein, author of Bridget Wilder: Spy-in-Training

We’re excited to feature an interview with Jonathan Bernstein, author of Bridget Wilder: Spy-in-Training. In Bridget Wilder, middle school meets Mission Impossible in this hilarious spy series for fans of Chris Rylander, Stuart Gibbs, and Ally Carter about a girl whose life is turned upside down when she discovers her father is a superspy.

Mixed-Up Files: How did you come up with the idea for Bridget Wilder: Spy-in-Training?
Jonathan Bernstein: The teen/ tween spy genre is fairly crowded, but the story most commonly told is about the kid with incredible skills who lacks direction in life, and the mysterious spy academy that recruits him/ her and trains him/ her to become an international super spy. I wanted to go in a slightly different direction. Bridget Wilder has no particular skills, and she’s practically invisible both at home and at school, but she’s recruited by a covert department of the CIA because it turns out her biological father is a legendary spy who wants to get to know her better. What happens when someone no one notices becomes a spy and also—no spoilers!— are all these unexpected things that are suddenly happening to Bridget REALLY happening to her? Or is something else going on?

MUF: Are you a fan of spy novels and films? Which ones?
JB: No surprises here: I’m a loyal patron of the Bond and Bourne movies. Mission Impossible is one of the few franchises that actually improves with each passing film. The first two seasons of Alias were a big influence on Bridget Wilder. I heard there were vague plans to reboot that show, which I’d be all in favor of. Also, someone should look into finding a way to bring Chuck back in some capacity. There was an incredibly dark British spy show called Callan which should also be revived. You know what else I like, the post-Bond semi-parody movies from the mid-sixties: the Matt Helm films with Dean Martin and the Derek Flint series with James Coburn. Both very big with middle-grade audiences.

Bridget Wilder: Spy-in-Training

MUF: Are there books for middle schoolers that inspired you when you were writing this?
JB: I’d read a couple of Ally Carter’s Gallagher Girls books— do they qualify as middle grade?— but, for me, it’s best to stay away from anything that could be construed as comparable subject matter because i find I’m very easily influenced, even if it’s in a subliminal way.

MUF: What were you hoping readers would take away from the experience of reading this book?
JB: That they found Bridget Wilder relatable and human, even though she was involved in heightened, fantastical situations. That they might want to spend more time in her world.

MUF: Is this your first MG novel? Was it hard after so many years of doing non-fiction reporting to jump into the mind of a 13 year old girl?
JB: I’ve written two YA superhero novels, Hottie, and it’s sequel Burning Ambition—never heard of them? You’re not alone— plus another couple of books that may/may not see the light of day at some point. I don’t know what it says about me, but no, it didn’t seem to be that difficult to assume the identity of a 13 year-old girl. But real middle-graders will be the ultimate judge of whether I actually succeeded or not.

MUF: You’re not a spy, are you? What do you do with your time when you’re not writing MG fiction?
JB: Apart from spying, you mean? Which I don’t do, obviously, because I’m not a spy. But then, that’s the sort of thing a spy would say. In non-spying mode, I write reviews and interviews for two British newspapers, the Telegraph and the Guardian. I once had a screenwriting career of no great distinction, and am currently making attempts to revive it. I am a prodigious podcast listener, and pop culture consumer. And, um, I like to take long walks on the beach?

MUF: What’s next for Bridget? Can you tell us anything without ruining the ending of book one? How many more books are currently planned?
JB: There will definitely be two more. Bridget Wilder: Spy To The Rescue—I wanted to call it Spy 2 The Rescue, because more sequally— comes out next spring and, if you liked the first one, you will REALLY like this one. The trilogy concludes in 2017 with Bridget Wilder: Live Free, Spy Hard which, if you liked the first two, you will REALLY REALLY like (and which features a boy band from my home town of Glasgow). What’s next is bigger action, higher stakes, different locations, scarier viliains, more shocking twists, and at least one love triangle.

Photo credit: Jonathan Bernstein

Photo credit: Jonathan Bernstein

MUF: If there’s anything you would like to add here, feel free to do so!
JB: Thanks for giving me the opportunity to talk to your audience. Check out my website www.jonathanbernsteinwrites.com. Follow me on Twitter @jbpeevish, and Instagram at Peevishjb

 

 

Andrea Pyros is the author of My Year of Epic Rock, a middle grade novel about friends, crushes, food allergies, and a rock band named The EpiPens

 

Two Are Better Than One

I’ve always wanted to try collaborating with another author. First of all, I think it would be a lot of FUN (and if you’re not having at least a little bit of fun when you’re writing, you’re not doing it right!). But beyond that, I like the idea of working with someone else who is as invested in a project as I am, working together to create  something that is bigger than either of us could have created on our own. Or at least DIFFERENT than it would have been had either of us attempted the same basic premise on our own.

Joan Holub GG

Joan Holub

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Suzanne Williams

Joan Holub and Suzanne Williams are both successful children’s book authors who have published many books on their own. But for the last seven years they’ve also been writing together. As collaborators, they’ve published 34 books in three different series: Goddess Girls (Ages 8-12, Simon & Schuster), Grimmtastic Girls (Ages 8-12, Scholastic), and Heroes-in-Training (Ages 7-10, Simon & Schuster). And they’ve got at least 12 more books coming!

I’m fascinated by how their partnership works, so I decided to interview them for this post. Thanks, Joan and Suzanne, for agreeing to answer all my questions, both online and in real life.

THE BEGINNING…

I know you guys met through SCBWI-Western Washington and you used to meet for dinner now and then to talk about your writing. But the initial idea to collaborate was Joan’s, correct?

Joan: That’s right.

Me: Which came first? The idea to write with someone else or the idea for Goddess Girls?

Joan: Goddess Girls started with a title and a series hook, born from my interest in mythology. The hook was to set the series in Mount Olympus Academy and base each book on a middle-school-age goddess’s myth, giving it a modern twist.

Me: I know Suzanne is great, but I want to know what is it about her that made you approach her about writing this together?

Joan: I had always wanted to write a series with a partner. Suzanne is organized, smart, sane, talented, and fun to hang out with. Plus she already had some great series under her author belt. So I popped the question about writing together. Thank Zeus she agreed! We developed the series as a team and every book is a collaborative effort.

Me: Suzanne, what was your initial response when Joan brought it up?

Suzanne: I was surprised at the offer. I’d never thought about writing with a co-author before. It didn’t take me more than a few minutes to say “yes,” though. From our long dinner conversations about our various writing projects, I knew Joan was both brilliant and hardworking. I felt certain we’d make a good team. We’d both had experience writing middle grade fiction series, liked writing for that age group, and had similar senses of humor.

Me: I understand you each sort of “take charge” of every other book. So, you start by discussing what the book is going to be about (by phone or Skype since you don’t live in the same area anymore). How long are these conversations?

Joan: An hour or more. Then if it’s Suzanne’s book, she’ll begin writing a long synopsis/outline. Including research notes, Suzanne’s latest outline (for Goddess Girls #20: Calliope the Muse, out August 2016) was twenty-eight pages long. Mine are usually about half that. We are usually writing two books at a time, so while Suzanne is writing her outline, I’m writing the outline for the next book. Then we trade and critique each other’s outlines.

Me: When you started writing together, could either of you have predicted you’d do THIS many books together?

Suzanne: Not a chance. J We feel incredibly lucky that our three series together have done so well.

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ON THEIR PARTNERSHIP…

Me: What is the most interesting and/or surprising thing to have happened as a result of your working together?

Suzanne: Before we teamed up we’d both written solo middle grade fiction series. But none of those series had continued past the initial four to eight books contracted. So we didn’t anticipate our joint series would do so much better than our solo series or that we’d be working together for as many years as we have on so many books. Though we occasionally wish our schedule weren’t quite so hectic (okay, more than just “occasionally”), we are very grateful for how well our joint series have done. Some highs include the dozen or so foreign translations of Goddess Girls, and, recently, seeing an eight-book boxed set of Goddess Girls 91YDg8o0dmLand a 4-books-in-one hardcover of the first four Heroes in Training in Costco. Oh yes. And the one Thanksgiving when a fan alerted us to a video clip that showed President Obama buying two of our Goddess Girls books (among several other books) as Christmas gifts!

Me: That is VERY cool! Congratulations!  What do you know now that you wish you’d known when you started working together?

Suzanne: Hmm. Not sure. It’s been rather fun to just go with the flow as the books in our co-written series have increased from contract to contract. Life is meant to have some mystery. Makes things more exciting!

Me: Very true. Can you both say something about how your partnership has allowed you to grow as individuals and/or as writers?

Suzanne: I think we’ve learned a lot from each other over the years we’ve been writing together. Joan says I taught her to outline, for example. Maybe I did…initially…but Joan has improved on the way we outline a story many times over. When I write now there’s a little voice in the back of my head reminding me of things Joan would suggest to make a story better. I try to pay attention to that voice!

Joan: I think it has helped me to narrow the focus of a plot more quickly. Because I know I’ll need to explain all aspects of a planned story to Suzanne–such as the major characters’ internal and external goals, motivations, etc.–before beginning a first draft, I’d better figure all that out before she and I talk. (And, yes, Suzanne did teach me the value of an outline in series writing, and I learned how to write them from reading hers. She could teach a class in outlining!)

Suzanne and Joan live clear across the country from one another. This summer they finally got to spend a little time together in person.

Suzanne and Joan live clear across the country from one another. This summer they finally got to spend a little time together in person.

Me: One final question: What is the secret to your successful partnership?

Suzanne: From the start we were determined to keep our egos out of our writing as much as possible and concentrate on doing what was best for each story. We’ve come to trust and value each other’s writing expertise more and more over the years. And while we’ve had a few tense moments (particularly when facing especially short deadlines) we’ve weathered the occasional storm just like you do in a good marriage. We’ve also kept our writing process fluid enough that it could evolve over the years, and we’ve become more efficient. We try to divide work as evenly as possible between us, but we don’t “keep score.”

Joan: We are similar enough that our writing blends well, but different enough to each bring something to the table. Brainstorming together feels effortless and always yields results. We’re equally invested in the characters, stories, and meeting deadlines. And while respectful of each other’s work, we’re frank when we see a problem. Our ultimate, all-important goal is always a great book. (Here’s a quick tip for anyone starting a partnership: Try to remember to use the words “we” and “our” instead of “my” when you discuss your work.)

 Joan and Suzanne celebrate the release of two more books this month:

(Goddess Girls #17)

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(Heroes in Training #10)

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And…Joan has two new books of her own this month, too:

salem The Knights Before Christmas Joan Holub Scott Magoon

 

 

 

 

 

Thanks, Ladies, for a fun interview!

-Dori Hillestad Butler is the author of more than 40 books for children, including The Buddy Files series, the Haunted Library series, and the forthcoming King and Kayla series.