Today we welcome Sarah Jean Horwitz, whose debut middle grade novel, The Wingsnatchers: Carmer and Grit Book One, comes out April 25th from Algonquin Young Readers.
The Wingsnatchers: Carmer and Grit Book One is a stunning debut about a magician’s apprentice and a one-winged princess who must vanquish the mechanical monsters that stalk the streets and threaten the faerie kingdom.
Aspiring inventor and magician’s apprentice Felix Carmer III would rather be tinkering with his latest experiments than sawing girls in half on stage, but with Antoine the Amazifier’s show a tomato’s throw away from going under, Carmer is determined to win the cash prize in the biggest magic competition in Skemantis. When fate throws Carmer across the path of fiery, flightless faerie princess Grit (do not call her Grettifrida), they strike a deal. If Carmer will help Grit investigate a string of faerie disappearances, she’ll use her very real magic to give his mechanical illusions a much-needed boost against the competition. But Carmer and Grit soon discover they’re not the only duo trying to pair magic with machine – and the combination can be deadly.
The Wingsnatchers is such a wonderful middle grade read. What are your favorite things about middle-grade fiction (as a reader and as a writer)?
One of the things I love about middle grade fiction – and fantasy in particular – is the unadulterated sense of magic and wonder. I don’t mean to say that the middle grade fictional universe is an uncomplicated one; on the contrary, this is the age when most kids are getting quite acquainted with the complexity of their own worlds, and the best stories know this. But there is an absence of outright cynicism, and that’s always a refreshing pond to dive into for a little while – both as a reader and a writer.
What inspired you to write The Wingsnatchers?
I knew for some time that I wanted to write a faerie-centric urban fantasy, but I never really had an idea with teeth to it until one day – as early as 2011, I think – a very specific image fell into my head: a boy in a shabby top hat and a faerie with a mechanical wing sitting on the brim. I was still in school at the time and working on other projects, so I put the two of them on the back burner, but I think I knew, even then, that this was the story to stick with. I just had to know more about them.
One of the things I love most about The Wingsnatchers is the world-building. Both the steampunk world of Carmer and the fairy kingdom of Grit come to life on the page in vivid detail. Can you tell us a little bit about your process in creating such a colorful and lively fantasy world?
Despite how integral the steampunk aesthetic is to the book now, it happened mostly by accident! The story is set (super!) roughly in an alternate 1880’s-1890’s, but that wasn’t always the case. When I started, it was way earlier – think mid-to-late 1700’s – and that wasn’t sitting quite right. Then, when my research into the Industrial Revolution went a bit too far down the rabbit hole and well into the 1800’s, I came across the early history of electric lighting – which, of course, became a central element of the plot and the story world. Building a Victorian-inspired setting from there, especially with a focus on the stage magic and vaudeville scenes, was just plain fun.
I was also, obviously, heavily inspired by Boston and its public parks. My personal map of the Oldtown Arboretum in the book is literally a traced-over and heavily rearranged version of the Arnold Arboretum in Jamaica Plain in Boston. I would walk by the Boston Public Garden at night and imagine the globes of the streetlamps powered by faerie lights. I love this city and its unique blend of old and new so much. I hope the fictional Skemantis is a fitting tribute.
Also, some of the coolest elements of the story world actually exist! The Moto-Manse, for example, is based on a Burning Man exhibition I found on Pinterest called the Neverwas Haul. It’s a thing!
Carmer and Grit are such wonderful heroes – and so perfect together. What drew you to writing these characters and what are your favorite things about each of them?
Thank you! Carmer and Grit were inspired by some of my favorite mystery-solving duos – all the way back from the original Holmes and Watson to today’s Joan and Sherlock on the show Elementary, Sam and Dean Winchester from Supernatural, and even Hiccup and Toothless from How to Train Your Dragon. I’m a firm believer in “platonic soulmates” – the one person out there who gets you, man, even if on paper, you may not have much in common. Carmer and Grit literally come from different worlds, but that doesn’t stop them from being a great team. In fact, it makes them better! I wanted to write a story about friends whose differences bring out the best in each other.
I love Carmer’s wry sense of humor and his determination to do the right thing, even if it’s uncomfortable or disadvantageous to him personally. I love Grit’s passion and impulsiveness – even when it gets her into trouble – and her frankness. I wish I could be as no-nonsense as she is!
There are so many interesting secondary characters in the book – from automata cats, to talking puppets, to the wonderful Antoine the Amazifier. Do you have a favorite?
The cats are my favorite, because my best friend hates them. Ha! Okay, let me explain: I was always convinced they were fun and creepy and different, even if they were pretty ridiculous, and she was like, “No, girl, just no,” but I kept them anyway. And I trust her opinion more than anyone’s in the world, but I kept them in anyway. And then not only did the book get published, but those creepy cats made it all the way to the cover! So that will be forever entertaining to me.
Your steampunk world is full of magic and science. Did you do any research while writing The Wingsnatchers? If so, what did you learn?
I did quite a bit of research! And then a lot of it got chucked out the window in service of the story, because magic is cool and I wanted to let magic be cool. Carmer would most definitely not approve. My major areas of research were the history of electric light and Victorian era stage magic and magicians. I obviously wasn’t concerned with writing a true historical fantasy, but I did try to play off the general “look and feel” and some of the driving social anxieties of the time.
The Wingsnatchers is Book One in the Carmer and Grit series. Can you give us any hints about what’s coming next and do you have any book recommendations for fans while we wait impatiently for the book two?
Well, I joked in my debut author group the other day that I was torn between two titles for book two: “Youths Flying Airships and Making Questionable Decisions” or “Everyone is a Little Bit Traumatized From the Events of Book One.” Does that count as a hint?
If you haven’t read it already, I highly recommend the wonderful The Girl Who Drank the Moon by Kelly Barnhill, which just won the Newbery Medal. It is the perfect blend of magical and honest and complex-but-not-cynical.
Sarah Jean Horwitz is the author of the middle grade fantasy novel CARMER AND GRIT, BOOK ONE: THE WINGSNATCHERS and a member of the Boston Teen Author Festival organizing team. She loves storytelling in all its forms and holds a B.A. in Visual & Media Arts with a concentration in screenwriting from Emerson College. You can find her reading, writing, and occasionally dancing around like a loon throughout the Boston, MA area.
You can reach Sarah through her website or at one of these social media links:
Website: www.sarahjeanhorwitz.com
Sarah is giving away one Advanced Reader Copy of The Wingsnatchers: Carmer and Grit Book One (US entries only, please).
Patricia Bailey is the author of the middle-grade historical novel The Tragically True Adventures of Kit Donovan (April 2017). She blogs here and at her website patriciabaileyauthorcom.
The overarching conflict in Lois Lowry’s Number the Stars: How can Annemarie help to keep her friend Ellen safe in situations of increasing danger? When the overarching conflict helps align the MC’s objectives scene to scene, it’s easier to see how the internal conflict (Annemarie’s struggle with bravery) and the external conflict (Nazi occupation and oppression of the Jews in Denmark) exist in a two-way, fluid relationship, each affecting the other (instead of one driving another). This overarching conflict also helps bring together other conflicts (the death of Annemarie’s sister; trusted adults lying) that might at first seem disconnected, but prove by the book’s conclusion to be important parts of Annemarie’s attempt to help her friend.
The overarching conflict in Christopher Paul Curtis’s Bud, Not Buddy: How can Bud find not just a home, but his home? In this excellent quest adventure, individual conflicts arise one after another as Bud makes his way toward the home he hopes will welcome him. His mini-conflicts (the Amos family, the mission, Hooverville, Lefty Lewis) are resolved each in turn as he proceeds, each in some way giving him a piece of knowledge or inspiration moving forward, until he finally has the chance to solve his overarching struggle.
The overarching conflict in Robert Beatty’s Serafina and the Black Cloak: How can Serafina learn more about her past while living hidden from the world? As the external conflict with the man in the Black Cloak and his evil crimes intensifies, Serafina seeks answers about her mother, her background, and her own mysterious talents. Disagreements with her father and her new friend Braedyn create additional conflict layers. The author skillfully brings together the resolutions of Serafina’s external, internal, and layered conflicts in an exciting battle scene, and all work together to supply an answer to the overarching conflict.