I am thrilled to welcome Caroline Carlson to the Mixed Up Files blog. We met years ago when she mentored a group of writers in a Story Guild meeting. I was immediately struck with her generous nature and ability to create plots arcs and shape distinct characters. It is no surprise that this middle grade author crafted a brilliant new novel which is both heartfelt and thrilling.
ABOUT THE AUTHOR
Caroline Carlson is the author of funny and fantastical books for young readers, including The Very Nearly Honorable League of Pirates trilogy, The World’s Greatest Detective, The Door at the End of the World, and Wicked Marigold. Her novels have won accolades from the New York Times, the American Booksellers Association, Bank Street College of Education, the American Library Association, and Junior Library Guild, among others. She is the children’s book columnist for the website Literary Hub.
Caroline holds a BA from Swarthmore College and an MFA in Writing for Children from Vermont College of Fine Arts. She grew up in Massachusetts and now lives in Pittsburgh, Pennsylvania with her family.
SUMMARY OF THE TINKERERS
When Peter leads two Tinkerers to his family’s inn in Stargazers Valley, he imagines they’re like other astromancers, researchers from the Imperial College who study starstuff. The valley is a special place, where the magical aurora called the Skeins appear in the sky and starstuff falls in their wake, as thin and wispy as fluff from a seed pod. But starstuff is powerful, and astromancers are the only people allowed to handle it—a law enforced by the strict and stealthy Outbounder Task Force. When Peter discovers the Tinkerers have used starstuff to invent an incredible not-a-clock that can turn back time for a few minutes, he realizes it’s his
chance to undo his mistakes: if he can go back and put away his new boots, he doesn’t need to add their destruction by falcons to his list of ten worst mistakes (#7: stepping on a star-eating newt). But while using the not-a-clock is easy, stopping using it is hard. And maybe not everything that feels like a mistake at the time actually is.
In a starred review, The Horn Book describes The Tinkerers as “a brilliant synthesis of plot,
theme, and good-natured chaos.”
INSPIRATION
Jen Kraar: Tell me about the seed that sparked The Tinkerers. Was it character, plot or setting?
Caroline Carlson: The Tinkerers was the first story I’ve ever written, published or unpublished, that didn’t start with a seed of character, plot, or setting. The seed of this story was actually theme—an element
that usually comes much later in the writing process for me. I had been thinking about my own
perfectionistic tendencies and my own almost magical belief that if I could somehow get
through life without making any mistakes, nothing bad would happen to me or the people I
loved. I recognized, of course, that that was a ridiculous thing to believe. “Even if you never
made any mistakes,” I told myself, “terrible things could still happen.” And then I ran to my
desk and wrote that sentence down, because I could tell there was a good story hiding inside it.
Jen: Did you draw on your own life to tell this story?
Caroline: Since The Tinkerers is a fantasy novel set in a world apart from our own, its plot doesn’t borrow
many elements from my actual life. I’ve never found a magical device that could turn back time,
uncovered a spy network, or tried to pull the aurora down from the sky (although, like Peter,
my protagonist, I am pretty bad at hiking). But all of the emotions on the page are
real—particularly Peter’s anxiety and his struggle to figure out the “right” way to act in a world
that’s more complex and messy than he’d previously realized.
WRITING PROCESS
Jen: How did your story change as you revised it? What was something that surprised you as you wrote this story?
Caroline: I’m usually a writer who focuses on plot and worldbuilding before character, so when I finished
the first draft of The Tinkerers, I was surprised to realize that my characters and their emotions
were already working in the way I’d hoped they would. It often takes me several drafts to get
my characters to feel things, so this writing experience was a happy anomaly! The tradeoff, of
course, was that while my characters’ emotional arcs were strong, my worldbuilding needed
some help. When I revised my first draft with my editor, I added almost 20,000 words of
material to give readers more context and explanation for the events of the story.
STARGAZING
Peter lives in a country governed by an authoritarian empress, and a group of lawbreaking“outbounders” has been challenging the empress’s control over both the land and the magical
starstuff that falls from the sky. The broad outlines of this conflict are crucial to the events of the story, but since twelve-year-old Peter isn’t directly involved in the conflict, it mostly
happens off the page while readers are experiencing Peter’s daily life at home, at school, and in his community. My first draft focused on the story events that happen directly to Peter, while
my major revisions focused more on explaining and clarifying the events in Peter’s larger world. I hope that the final version of The Tinkerers feels like a fully formed world that you might really be able to visit—at least in your imagination.
CRAFTING
Jen: You tell your story in a unique way. How did the structure of your story come about? Were you inspired by any other multi-modal books?
Caroline: I love writing stories told in collections of documents, and this isn’t the first time I’ve done it.
My entire Very Nearly Honorable League of Pirates trilogy is also written partly in letters,
newspaper clippings, and a mishmash of other formats. One reason why I decided to return to
this form in The Tinkerers was that it’s a lot of fun. My brain really thrives on a good structural
writing challenge. (In college, I wrote a lot of formal poetry—things like sestinas and
triolets—and I loved trying to make my words follow the rules of each form.) Figuring out which
parts of a novel can be told in different media and how all those pieces might fit together into
an understandable narrative is a tricky puzzle, but it’s also immensely satisfying. And I don’t
want to write a book that bores me! I’d never get through the first draft!
The other reason why I like writing multi-modal books is that it allows me to share multiple
perspectives with readers. I’m not entirely limited by my protagonist’s viewpoint; I’m able to
give readers crucial pieces of information that my protagonist will never have. In a book like The
Tinkerers that contains a few different mysteries to solve, those crucial pieces of information let
readers start to see how the mysteries are unfolding a little bit before Peter does.
As for other multi-modal books, my all-time favorites are by Australian novelist Jaclyn Moriarty.
Her books are much more ambitious in form than mine, and I’m completely in awe of her
talent.
Jen: How was this novel different than your other novels?
Caroline: The Tinkerers is stylistically pretty different from my previous books. It’s still a fantasy novel,
but its setting has a contemporary feel, while my other work has more of an old-fashioned or“storybook” vibe. The other stylistic difference is that when I wrote The Tinkerers, I wasn’t consciously trying to be funny (although early reviewers have mentioned the book’s humor, so some of that must have seeped through the cracks!). There’s still magic in this book, as there is in most of my other novels, but the magic here is a little more subtle, and in many ways the fantastic elements of the book take a backseat to the friendships and relationships that are at the heart of the story.
Jen: Which scene was your favorite to write? Hardest to write?
Caroline: Toward the end of the book, there’s a climactic scene in the school gym that I’d been picturing
in my head for years before I got to write it, so I was really satisfied when I reached that point
of the story and it actually worked out the way I’d hoped. That doesn’t always happen with
scenes you’ve been imagining for years! I also loved writing the star tales, which are folktales or
myths that I created for the world of the story. I’d been listening to a lot of real folktales on
public radio’s Circle Round podcast with my kids, and the rhythms of those old stories had
worked their way into my head, so I found it really satisfying to create my own tapestry of
mythic figures and pseudo-ancient legends.
The hardest scenes to write were actually ones that I ended up cutting from the book entirely.
Over the years, I’ve learned that when a scene is very difficult for me to write, that’s a red flag
that the scene is not working properly and needs to be re-evaluated, re-imagined, or set aside
for good. It can be tough to remove a scene you’ve spent so much time working on, but now
that the book is finished, I’m so relieved those scenes are gone!
AUTHOR LIFE
Jen: Have you always been a writer?
Caroline: I’ve always been a reader, but it took me many years of wanting to be a writer before I had
enough bravery and discipline to sit down and write a story from beginning to end. Even now,
with seven published novels behind me, I think writing is often ridiculously hard work. But all of
the imagining and plotting and world-dreaming that goes into the creation of a new story? All
of the joke-crafting and word-fussing and structure-building, all of the fiddling with every single
syllable on every single page until it sounds just so? I really do love that, and I think I always
will.
Jen: What keeps you writing?
Caroline: Hearing from readers whose lives have been touched by my work is the most tremendous
motivation to keep telling stories. I hope I’m able to continue writing for as long as I have
something I want to say to the world, and for as long as I want to laugh.
Jen: What draws you to writing fantasy?
Caroline: I think I’m supposed to say something about how the fantastic uses metaphor to illuminate the
challenges of our own world, and I know that’s true—but honestly, I just like having the chance
to escape into another world for a while. And if readers want to come along, too, I’m glad for
them to join me!
Thank you for joining us here at the Mixed up Files blog to share the story behind the story of The Tinkerers. I also found the craft details you included in your newsletter, The Scuttlebutt, to be intriguing and helpful for my own writing.
If you are a writer, I encourage you to subscribe:
https://carolinecarlson.substack.com/
Connect with Caroline Carlson
Website: https://carolinecarlsonbooks.com/
Facebook: https://www.facebook.com/carolinecarlsonbooks
Instagram: https://www.instagram.com/carolinecarlsonbooks
Bluesky: https://carolinecarlson.bsky.social
Threads: https://www.threads.com/@carolinecarlsonbooks
GIVEAWAY
For a chance to win a copy of THE TINKERERS, signed by the author, leave a comment on this interview post. Giveaway ends November 6, 2025, MIDNIGHT EST. U.S. only, please.
Kim: Absolutely! It wasn’t until March 2025 (MARCH 2025!!!) that scientists captured the very first image of a colossal squid in its natural habitat! And it was such a baby! I can’t wait for pics of a full-size colossal squid. There is so much more of the ocean to explore. We haven’t scratched the surface. For land animals, drones make it so much easier to explore hard-to-reach places. And as airborne DNA collection advances, we’ll be able to identify species without even seeing them. That’s huge. Right now, so much is based on eyesight and catching a glimpse, but environmental DNA and airborne DNA open the door to discover where super secretive animals may be hiding.
says they saw a dog running down the street, there’s no reason to question their opinion. But if someone says they saw a 6-foot bird screeching at them, our eyebrows raise. So, if we assume the person saw something, let’s take a look at what factors might be affecting their opinion, and then we can get into the traditional wildlife science of habitat and what technologies can help figure out what that something is.
Kim: When I was a kid, I loved animals and science and the only job I heard about was a veterinarian, which didn’t interest me. I want kids to know that there are tons of fields related to wildlife research, and not all jobs require higher education. Perhaps a kid who’s into computers never thought wildlife coding or programming was an option and will be thrilled to discover that these opportunities exist.
Emily Starr: Kids love dinosaurs! That means there are a lot of dinosaur books. What made you want to create a dinosaur book, and how did you convince editors your book was different? (As if your incredible illustrations and focus on geological time don’t speak for themselves!)
Emily Starr: It can be difficult even for adults to wrap their minds around the length of time represented by billions of years. Do you have any tips for helping children to understand vast timescales?
Emily Starr: In your acknowledgements you mention your husband organized trips to museums and dig sites. What were some of your favorites? Were there specific details you learned during an in-person trip that you didn’t know from previous research?
