MG author Rebecca Stead needs no introduction.
We’ve all read, and reread, and re-reread her Newbery-winning classic When You Reach Me—which was published in 2009 and has sold 1.5 million copies—as well as her bestselling booksLiar & Spy, First Light, Goodbye Stranger, and The List of Things That Will Not Change. The two novels she co-authored with Wendy Maas, Bob, and The Lost Library, are familiar favorites as well.
Rebecca’s books—which have been lauded as “mesmerizing” (The New York Times), “incandescent” (The Washington Post), and “superb” (The Wall Street Journal)—have been awarded the Newbery Medal, the Boston Globe–Horn Book Fiction Award and Fiction Honor, and the Guardian Children’s Fiction Prize; shortlisted for the Carnegie Medal, Waterstones Book Prize, Barnes & Noble Children’s Book Award; and named New York Times Notable Books for Children, NPR’s Books We Love, and a Time Top Ten of the Year.
Today, Rebecca stops by to chat about her long and storied career, her writing life, and When You Reach Me’s sparkly new cover (below), which was released on July 1 by Random House Children’s Books to commemorate the novel’s 16th year in print.
Rebecca Stead!
MR: Welcome to the Mixed-Up Files, Rebecca! I am beyond excited to have you here today and I know our readers are, too. Now, before we dive in, I want to congratulate you on When You Reach Me’s gorgeous new cover. Can you believe it’s been sixteen years since the book came out? (Rhetorical question, I know.) What prompted your publisher’s decision to update the cover?
RS: It’s wonderful to be here – thanks for the invitation. Ah, this new cover from R. Kikuo Johnson is such a delight. Covers are a real puzzle. I’m still in love with the original (by Sophie Blackall), but I think the blue and yellow font-driven paperback was a dish with too many cooks (I was one of them, and definitely throwing elbows.) One day, Barbara Marcus (formerly head of Random House Children’s Books) said she’d been thinking for a while about something different, and this time the process was magically easy. Everything felt right. The new cover has “story energy” and it’s so appealing. I love covers that yield more as you read the story. This one does that, too.
MR: Since time travel plays an essential role in When You Reach Me, I thought we could do some time travel of our own; specifically, looking back on your impressive career, starting with the publication of your first novel, First Light (2008). How has your writing—and your life as a writer—changed since then? What’s stayed the same?
RS: What’s different: I have more writing friends and publishing-world knowledge. Writing a first book without book community can be a good thing – I was alone with my story for a long time, and oblivious to the publishing world in helpful ways. I didn’t know about “buzz” or starred reviews. I told my editor, Wendy Lamb, that I’d be coming to ALA in DC without realizing that I was supposed to be invited! (She was gracious, met me for coffee, and let me come to a party I wasn’t supposed to be at.)
What’s not different: Writing. It’s not easier, and I expected it to be. I have absolutely learned things, and those things help in small ways: I no longer feel compelled to explain that my characters grab doorknobs before they leave rooms. But the big picture is the same – gathering material, shaping it over time and hoping it amounts to something.
When You Reach Me: A Modern Classic
MR: As stated in the intro, When You Reach Me has received countless accolades and is considered a modern classic. Without making you blush or think I’m fawning (which I probably am), how does it feel to have written a book that’s so beloved by middle-grade readers? It must be pretty mind-blowing.
RS: It still feels surreal that a lot of people have read the book. Despite the time travel, When You Reach Me is a personal story, and so when someone tells me they connected with the book it feels like acceptance. I’ll never stop feeling grateful that it came together the way it did. I could easily have swerved or doubted, but I had genuine support from my agent, Faye Bender, from my editors, and from my other readers, my family and friends. So much support.
MR: Along these lines, I’m sure your fans have been begging for a sequel since the book was released. You must have considered it, right?
RS: I actually haven’t considered. I know when to leave something alone. (In fact, I have never written a sequel. And I did try, once, for another book.) The most common thing I hear is that I should re-tell the story from Marcus’s point of view, which is fun to think about, but the truth is that I’m not as smart as Marcus is.
Readers of the World: Unite!
MR: Like you, I grew up in New York and attended an elementary school where I was lucky enough to sit on the windowsill, or under a table, with good book. What were your favorites in addition to A Wrinkle in Time? Also, how did your experience as a book-loving child impact your decision to become a writer?
RS: For me, there is no writing without reading. If I’m not reading, the desire to write abandons me within about eight hours. As a kid, I loved science fiction (Robert Heinlein’s Red Planet and Stranger in a Strange Land, Ursula LeGuin’s A Wizard of Earthsea, Ray Bradbury’s stories, Anne McCaffrey’s Pern books, and all the L’Engle, of course.) I loved contemporary stories that felt emotionally honest (too many to list! Judy Blume, Norma Klein, Louise Fitzhugh, Paula Danziger, Louise Meriwether); I loved stories about siblings (Half Magic, The Bobbsey Twins); I liked biographies (Maya Angelou’s I Know Why the Caged Bird Sings) but often lost interest after the “childhood” part. All of this reading kindled a secret longing to write, but a writer wasn’t what I “wanted to be” until I was in my thirties.
Story of Her Life
MR: As a follow-up, your first published story appeared in the P.S. 75 magazine, The Spicy Meatball. Do you remember what it was about? (As a frame of reference, my first story, “Behind the Lily Pond,” appeared in the City & Country School magazine and started: “Anna didn’t have a mother. Well, she did… before she died.”)
RS: That’s a great start! I do remember my story (title: “The Story”), which was about a girl who finds candy in the woods that allows her to understand what animals are saying. Coincidentally, my first book was about a girl who can understand what dogs are saying. The Spicy Meatball felt very special, thanks to our teachers at P.S. 75 and Teachers & Writers Collaborative, a group that really transformed my elementary school experience, along with a lot of other peoples’.
Easy Writer
MR: In one of your many (many!) glowing book reviews—this one in the Guardian, for Liar & Spy—you are praised for making writing look “easy.” What’s the secret to making writing seem effortless when in reality it’s hard, painstaking work?
RS: I don’t know why people say that about my writing – maybe it’s because I write short books? I do try to eliminate a lot of words while I revise. I’ll have my list of things to fix and also try to cut maybe 500 words a day. You can get a lot done with nothing but the delete key. I’m not a big “word count” person, but counting down is somehow satisfying.
Rebecca’s Writing Routine
MR: While we’re on the subject of writing, what does your writing routine look like? Do have a specific time of day set aside for writing? Also, are you a plotter or a pantser?
RS: Ahem. I prefer “plunger” to pantser, it sounds more dignified. What I am not is a plotter.
I have a process but I wouldn’t call it a routine because my days vary and I (very) often don’t write at all. Mornings are definitely better. My first draft is pencil and paper, and it’s really more of an exploration of territory than a story. It’s a collection of scenes that are often repetitive. When I feel TOO repetitive and there’s no forward motion whatsoever, I type up what I have. Then I draw a map of whatever is in there, just notes in little squares that summarize each scene. While I’m doing that I take notes and make little to-do lists, nothing too intimidating. I make those changes, moving things and doing bits of writing here and there. Then I made a new map. This goes on for a long time.
Advice, Please
MR: One more writing question: what’s the best piece of advice you’d give to writers—aspiring and well-seasoned alike? Also, do you remember any of the writing advice you received from Frank McCourt when he was your creative writing teacher at Stuyvesant High School?
RS: I hope someone corrects me, but I don’t remember Frank McCourt teaching us anything about writing. What I remember is that he read to us, and what he read was very, very good. It was teaching by example, maybe. He wanted us to read our work aloud, but I couldn’t bear to do it and I wildly admired everyone who could. If no one wanted to read, he would quietly chant the word “Warriner’s” in a sing-song way (“Warriner’s Warriner’s, Warriner’s Warriner’s . . .”) which was a threat. If no one stood up, he would have to teach us grammar. Warriner’s was the name of our textbook. He once wrote at the end of a story I wrote that I had talent, and I definitely never forgot that. Ever. That’s mostly what you need to become a writer – a word of encouragement.
My best advice is to treat writing as a discovery of your own process. Try different things and figure out what works for you. Always write toward yourself – what you know, or what you love, what makes you curious. Don’t reach for some idea that you hope others will approve of. Every one of us has memories, fantasies, and questions. Use those.
Anything Is Possible
MR: Changing gears, you’ve recently released your first picture book—Anything, illustrated by Gracey Zhang, about a father and daughter who move into a new home. What was it like for you to explore a new genre?
RS: It was great. I love new experiences. Picture books are different – there’s nowhere to hide. The editorial relationship is key here (and I had two wonderful editors, Melissa Manlove and Ariel Richardson), and revision was satisfying in a brand new way. The art (by Gracey Zhang) felt like a giant gift. I’d like to write more picture books, but it’s not something I can force. I have to start with a whole idea, rather than just a beginning.
The Experiment: A Sneak Peak
MR: Your latest novel, The Experiment, which releases on September 16th, is about a sixth grader whose family is from another planet. Can you give Mixed-Up Files readers a sneak peek?
RS: It’s about a kid who grows a tail, which is terrifying because he can no longer pass for human. His family gets called back to the mothership, where he discovers that his family’s “noble explorer” story might be a lie and that his crush likes someone else now. Meanwhile, his tail is growing a personality. I just said yes to plot for this one. And it’s also about a kid who lets go of the story that keeps his parents afloat. Which is hard because they’re good folks and he never stops loving them.
MR: What are you working on now, Rebecca? Enquiring minds want to know…
RS: I’m doing a picture book workshop next month at Milkwood, Sophie Blackall’s retreat for people devoted to books for young people. High hopes!
Lightning Round!
MR: And finally, no MUF interview is complete without a lightning round, so…
Preferred writing snack? Hmm. Last time I was asked this I said pretzels and tzatziki, so this time I’ll say dried apricots (or dried mango, new fave).
Coffee or tea? Coffee.
Superpower? Expert healer.
Time travel: fact or fiction? Fiction, and more please.
Favorite place on earth? New York City.
If you were stranded on a desert island with only three things, what would they be? Can I pick people? If not, I’ll take a powerful motorboat, sunscreen and a nav system. I don’t love being alone.
MR: Thank you for chatting with me, Rebecca—and happy 16th birthday to When You Reach Me!
RS: Thank you!!!! This was so great.
Today, let’s give a hearty Mixed-Up Files welcome to Katie Kirby, the author/illustrator of 
Lynne: It’s been in the works for a long time. Parts of it I wrote 10 years ago. The setting is made up from different coastal towns in Texas, including Indianola. That town was pummeled by two hurricanes in the late 1800’s and is now a ghost town. Much of the old town is now underwater. In the book, the main character, Max, is a sweet compassionate kid, but his father is an overbearing politician and car salesman. They also look alike. So when Max travels to the beach with his mother, it’s a welcome change from the pressures of trying to fulfill what others have planned for him – like being a football star.
Lynne: I watched documentaries, then got to meet octopuses at various aquariums, including Houston Zoo. At the zoo, I did a behind-the-scenes tour where I could meet them. In one instance, one of my hands was being pulled into a tank by an octopus while my other hand took pictures. The ones I met were Giant Pacific. They’re the ones most people think of even though it’s not the one in the book. They are huge. At the Houston Zoo, the octopus didn’t have a name so I named her Ursula. I used the same name in my book. Max thinks the octopus he finds looks like a deflated volleyball, so it’s smaller than the ones most people see in public aquariums.
Lynne: I’d written about mammals before but octopuses are so different. They’re good puzzle solvers. I was reading about their brains. It’s almost as if they have nine brains. There is a central brain, and each arm has its own brain. They can hunt for food with one arm while punching an animal with the other. They don’t have long lives. They live about 3 years. And they don’t grow up with examples, so their behavior has to be instinctual. Their fathers die after mating. Their mothers watch over the eggs then dies when they hatch.
Lynne: Max hangs out at the center. He’d grabbed post-storm debris for a makeshift tank while he searched for help. He meets Emmett, who suggests they take her to a beach house, which is the wildlife care center. Inside they see injured animals such as sea gulls, pelicans, and a sea turtle with a cracked shell. The center names the animals after book characters. They have a tank big enough to care for the octopus until she’ll be strong enough release back to the environment. Octopuses have escaped, so they have to weigh down the lid. They also have a lot of hatchlings. Some have hundreds, others have tens of thousands. Most will not make it which may be why octopuses have so many eggs.
