Writing

Interview and Giveaway with Sarah Jean Horwitz – Author of The Wingsnatchers: Carmer and Grit Book One

By on April 7, 2017   /   Author Interviews, For Librarians, For Parents, For Teachers, For Writers, Giveaways, Writing  

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 Horowitz author of The Wingsnatchers: Carmer and Grit Book OneSarah 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:

Twitter: @sunshinejhwitz

Instagram: @sunshinejh

Facebook: sarahjeanbooks

Website: www.sarahjeanhorwitz.com

Sarah is giving away one Advanced Reader Copy of The Wingsnatchers:  Carmer and Grit Book One (US entries only, please).

a Rafflecopter giveaway

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.

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Life and Art and Patterns and Mess

By on April 5, 2017   /   For Teachers, For Writers, Op-Ed, Writing  

I read an article I read on the Publishers Weekly website called “Why Life and Writing are Inseparable” by Amie Barrodale, and I wanted to share some thoughts.

The thing that struck me first and drew me in was that the article opens with a discussion of writing, drops a rambling sentence of personal bombshells into the narrative, and then picks up the writing topic again without missing a beat. The result is jarringly familiar to anyone who has ever tried to combine life and writing, or life and illustrating, or life and any other creative endeavor. And especially so as I write this toward the end of a school year, which combines the chaos of life with the artistry of teaching.

Barrodale conveys the life/art balance through the structure of her story more effectively than if she’d used words alone, and at the same time establishes the importance of structure and subtext in her writing.

The article goes on to describe Barrodale’s early writing as having a focus on craft, until she found herself shifting to stories from her own life for the larger part of her career. We then find ourselves shifting from this brief focus on craft to a story from Barrodale’s life that takes up most of the remaining bulk of the piece.

And once again, in an entirely different way, I was struck by the author’s remarkable use of structure to support her theme. Much like concrete poetry, in which a poem about a fish might be shaped like a fish, Barrodale’s story about her life was actually shaped like her life—and can there be any better way to show the inseparability of life and creativity?

The story part of the article tells of Barrodale’s experiences carrying bowls around a Tibetan cave during a meditation retreat. She focuses on rules and norms, and how it felt to be in disagreement or conflict with other practitioners of the bowl-carrying arts.

via GIPHY

Like most readers of the article, I’ve never been on a meditation retreat to a Tibetan cave, so I have no personal stake in the theory or politics Barrodale is describing. Readers can approach this story without the baggage we’d bring to a similar story about writing, or illustrating, or whatever creative endeavor we’re most experienced with and passionate about.

Which seems to be entirely the point.

A story about bowl-carrying techniques among cave-dwelling meditation practitioners can serve as an effective metaphor for any artists fumbling in the dark with the traditions and strictures of their craft. So what seems at first to be a tangent away from writing actually becomes the meat of Barrodale’s thesis about writing. Yet again, she uses structure rather than words to support the idea that writing and life are inseparable.

I thought the resulting essay was by far the most carefully, deliberately, and effectively structured article I’d ever read. But as a counterpoint, an irate reader in the comments section berated the author, editor, and publisher alike for releasing what she saw as an entirely unstructured article that “reads like someone journaling.”

Althrough we read all the same words, we read two very different articles.

From my perspective, the comment writer missed the most important aspects of the piece, as if looking at a fish-shaped poem and seeing only a random jumble of words. And from her perspective, she might say that I imposed an imagined structure on the article where none was actually intended.

Where I saw a pattern, the comment writer saw a mess.

Thinking about how the same article can be read and interpreted so differently by different people revealed the final puzzle piece in my quest to understand the connection between life and art.

Life is messy, but human beings are wired to extract patterns of meaning and importance from that mess. As creators, we seed our work with those same patterns and hope for the best. When a pattern resonates with a reader’s messy life experience, it feels true and a powerful connection is made. But a reader who does not connect with that pattern, no matter how artfully arranged, will only see the mess.

We may think we’re building stories with characters and plot, lines and color, structure and theme, but on the most basic level it’s all just patterns and mess.

Just like life.

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Take an Umbrella, It’s Raining – The Overarching Conflict in MG

By on March 24, 2017   /   For Librarians, For Parents, For Teachers, For Writers, Writing  

Whether we’re reading, writing, or recommending a middle grade story, conflict typically comes in at or near the top of the Important Elements list. But with regard to the specifics of conflict in MG — Single conflict or layered? Internal or external? How much is too much? — there’s a lot of different advice out there. Click five results after Googling, and you’ll get five different takes on middle grade conflict. For example:

  • One source might recommend a single line of conflict with only minimal subplot problems; another will say middle grade audiences can absolutely handle “richly layered” multiple struggles.
  • Some in the publishing industry define middle grade by not only protagonist age and content, but also by the conflict, which (they say) should be external (outside things cause trouble with which the MG main character must deal). However, others say MG characters can certainly be roiled by internal conflicts appropriate to their age, and that these internal conflicts drive actions, thereby sparking the external conflict.
  • Depth of recommended conflict depends greatly on maturity of intended audience…and calendar age of a child doesn’t always match developmental age. So one fifth grader may have a high degree of comprehension for and interest in a classroom bully story, but may or may not be quite ready for a book set during the Holocaust, like her friend in the same class.

So…it’s probably safe to say that, as with many topics in middle grade literature, there is no formula, no simple categorization system. There’s just no easy answer on conflict, in other words.

To me, this is a beautiful thing. The MG writer is free to let his or her particular story vision grow and change through different styles and intensities of conflict. And the MG reader is free to enjoy an amazing variety of stories, made inherently different by their conflicts.

But for the purpose of writing, teaching, or sharing thoughts on a middle grade novel, another way to talk about the character’s struggles might be helpful: the overarching conflict.

The notion of overarching conflict helps me understand theme and purpose in MG books that I’ve taught, and has helped me through the latest revision of my middle grade historical. An overarching conflict is like an umbrella that covers all other conflicts in the book—big, little, internal, external, resolved, unresolved. They’re all under there because, in some connected way, every smaller problem turns out to be a part of the bigger overarching problem.

This idea of overarching conflict is easiest to see with some series. Harry’s overarching conflict with Voldemort carries through all seven novels that comprise his overall story. So while each book’s plot offers its own main conflict plus multiple sub-conflicts, we also see Harry’s escalating succession of wins and losses against his biggest enemy as series-long conflict building blocks, culminating in the final epic battle that resolves the overarching conflict.

You can apply this overarching conflict idea to a stand-alone MG work, too. There are many ways to state an overarching conflict for a book; this is what I came up with for a few examples:

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.

In these examples, articulating the overarching conflict can help connect all the struggles for the MG main character, and it can demonstrate his or her constant, steady objective through a sequence of other misadventures. Indeed, maybe the greatest benefits of the overarching conflict are the depth acquired in the story without muddying the plot, and the invisible cohesion it provides.

Thanks for reading! Glad to be a new part of this great group, and eager to hear your thoughts on conflict in MG.

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