Fiction Writer
So honored to be included on this distinguished list of authors! Books make great gifts.
Rhino in the Room makes an ideal holiday present for:
My review of Chevy Steven’s Still Missing can be found on page 10 and the flyer on the So You Want to Write a Book event where I’ll be serving as a panelist is on page 6. I hope local aspiring novelists will come out to this event on Saturday, September 23rd at 1:30 at the San Ramon Library.
Note: Amanda will be presenting a workshop on what voice can do for your writing at the Mount Diablo California Writer’s Club on October 11th 2014 from 9:00 to 1:00 p.m. at Zio Fraedo’s Italian Restaurant 611 Gregory Lane, Pleasant Hill, CA at ($35 members; $45 nonmembers and includes breakfast). RSVP is required. Contact Robin at ragig@aol.com (please respond by October 8th). Sign-in begins at 8:30 a.m., breakfast at 9:00 a.m. We hope to see you there!!
1. In one paragraph, summarize your book Going to Solace.
My debut novel, Going to Solace, offers stories to live by—literally. It’s Thanksgiving week, 1989. We’re in the Pineys, two hollows just outside Garnet in the Blue Ridge Mountains. Life may be going along for some, but for others, somebody’s sick, real sick, dying sick. Through interwoven narratives, we track a handful of characters whose paths cross at a local hospice called Solace. Some are country people. Some are far-flung, fancy people. All are helpers—resourceful family members, improvising professionals—each one determined to beat back death, or hurry him on about his business. In the end, they must find a way to stand up from the bedside and walk back into life after the dying is done. Neither grim nor roseate, it’s a book whose tone is bracing: often funny, sometimes wrenching, ultimately comforting.
2. What advice do you have for aspiring writers?
What matters to me is that we all keep at it with gusto, with more joy than pain. I’m all for prying those two words apart, “aspiring” and “writer.” By saying, “I aspire to write,” I’m already telling the story of someone who’s not writing when, in fact, we can always choose to write. Hey, I’m someone who squeezed her writing in over decades of paying the rent and taking care of loved ones. I’m not saying it’s easy, but I am saying it’s simple. I don’t aspire to write, I write. It’s on my calendar. Fifteen minutes a week or fifteen hours a day. Two words on the page or two thousand or none, zero. Those days count too. I chalk that silence up to the percolating we need before words appear. Bottom line, writing is a Just-Do-It opportunity we all share. The great news? The astonishing news? Guaranteed, if we keep at it, the work accrues. It takes shape. Eventually, we get good at it.
And then there’s aspiration, but it’s usually not writing to which we aspire (even when—especially when—we’re avoiding it!). For most of us, aspiration has to do with other things. Publication or adoring readers. The imprimatur of a hot agent or a mega-bucks movie deal. Or maybe we dream of creating a classic that lives on for centuries. We need our aspirations. They provide jet-fuel to our daily practice of writing. But we mustn’t confuse putting gas in the tank with the adventure of travel itself. The writing is the point. For me, that’s both an accurate and sustaining truth. To keep going, I have to love keeping going, even through the wanderings-in-the-wilderness of hollow drafts and demoralized edits. I aspire on walks, in the shower, as I drift off to sleep. But when it’s time to write, I just write.
3. What authors have most influenced your writing?
Oh, my goodness, the flood your question triggers. There are some writers whose work so slays me that I’ve found myself closing a book or finishing a story or poem with a deep conviction that there’s no reason for me to write another word. I’m a Southern gal. The deities to whom return are Cormac McCarthy, Flannery O’Connor, Eudora Welty and William Faulkner. I bow to Mark Twain and Anton Chekhov. And then there’s my man, Shakespeare. As Woody Allen says (in Annie Hall? Manhattan?), “Well, I’ve got to model myself on someone…” More recently, I’m knocked out by the work of all kinds of contemporary writers: Elizabeth McCracken, Frederick Busch, George Saunders, Michael Ondaatje, Karen Russell, to name way too few. I’m a slow reader. I like tale tellers. I also like writerly writers whose stories sing through exquisite language.
4. What has been the biggest challenge on your path to publication?
The only important challenge has been and continues to be writing work that is so damn good it makes your teeth hurt. The rest of it is dogged determination. I’m a thin-skinned person who taught herself to go for the long haul, to submit and submit, weathering the endless No’s for that eventual Yes. It’s also been hard for me to find my editor(s), that is to say, professional readers who both resonate to what I’m up to and have an ability to send me farther, faster. That’s an ongoing search.
5. What is your writing routine?
Writing is my favorite thing to do, even on bad days. It took me years to realize this, to drop my fear of inadequacy enough to feel that pull toward the page. I write pretty much daily. I’m a morning person. My husband and I get up early and read the papers—you know, real newspapers that smell of ink and ink your hands—big photos, gorgeous, large type. Old-school stuff. Then he’s off to work and I’m upstairs “in harness.” These days I have to set a timer reminding me get out of the chair and onto the treadmill. That’s not to say it’s all one happy flow; it’s not. But here’s a tip: before I abandon the desk each night, I leave myself a task, written on a Post It. I set it right here on my keyboard for the morning, so I won’t have any blank-page paralysis. If I’m in the middle of drafting, I leave myself a prompt. If I’m editing, I leave a next step or focus for the coming session. That helps enormously.
6. Your range of writing is amazing – playwright, short stories, novels, and children books. What is your favorite form?
At the moment, prose fiction, long or short, feels wonderful in comparison to writing for performance. On stage, the rich world I’m imagining can only be hinted at through dialogue. What a pleasure to be free to capture any and everything running through me more fully. It’s daunting but liberating.
7. If you were to describe yourself as a children’s book character who would that be?
Aspirationally? Wilbur. I’d love for someone to weave over my head “SOME PIG.” More seriously—well, Scout lives in my mind. That’s an adult book about a girl, but her relationship with Atticus—I love the way she loves her daddy. Oh, and one more. This one for little kids. I really love Little Bear in A Kiss for Little Bear, a book that serves as my model for the perfect picaresque story.
8. What is your greatest writing weakness?
No question, it’s the weakness I can’t see yet. It’s the flaw in the writing I can’t recognize because I don’t know enough. I hate that moment (and it happens all the time) when I’m reading stuff back and I see a blunder, a hole, a stretch of boring or confusing or just plain unreadable junk. It’s suddenly so obvious. It’s been there all along. Why didn’t I see it before? Those are not good moments. But, of course, that’s the literal experience of learning.
9. Tell us about your DreamTime series.
I haven’t thought about that in a while. Thanks for asking. The material for DreamTime grew out of a musical project. I had written the text for a children’s cantata with a composer I often work with, Jeff Langley. At the same time, I was considering migrating from the stage to the page. Going to Solace was in draft. So it occurred to me to adapt the cantata into a children’s book and self publish it in order to learn about publishing from the ground up. That’s so me. I come from DIY stock. It was one of the great decisions of my life. I taught myself book design. I studied the publishing business. I partnered with my niece; her childhood drawings became the illustrations (after much adjusting through Photoshop). Then I registered as a publisher with Lightning Source and learned the whole distribution and marketing routine. Phew.
I learned a lot in ways that have stood me in good stead with traditional publishers. Meanwhile, those books live in my heart. They present bedtime as an adventure—great for boys, for rambunctious kids and for children who are afraid of the dark. I published different read-out-loud versions customized for different kinds of caretakers, all with a sensitivity to the needs of same-sex parents, and an awareness that families come in all shapes and sizes.
10. How do you balance writing with life?
You know what? I don’t. At this age, with my stepson all grown up and a husband who loves to work as much as I do, I get to go overboard. What a privilege. As long as I have a little brain power left and the sheer good fortune of relative health, it’s all about go-go-go on the page. I find that very happy-making.
I hope you’ve enjoyed learning about Amanda McTigue. To learn more, visit her website at www.amandamctigue.com. Ask your local bookstore to order Going to Solace for you or order it online at Amazon. It’s available in hardcover, paperback and all e-book formats.
In one paragraph, tell us about your new book, Palisades Park.
Like my novels Moloka’i and Honolulu, Palisades Park tells the “history behind the history” of this renowned amusement park, as seen by young Toni Stopka, daughter of concessionaires, who dreams of becoming a daredevil high diver. Performers, pitchmen, the civil rights demonstrators picketing the gates, the underworld bosses meeting in secret across the street…all their stories are intertwined in a narrative that spans the Great Depression, World War II, the Korean War, up to the park’s closure in 1971.
What was your favorite novel or screenplay to write?
I enjoyed writing Palisades Park, but the novel I enjoyed most was Moloka’i. I got up every day excited to begin work on that book, because I was writing about a place that I loved—Hawai’i—and a little-known part of history that no one else had approached in quite this way. I did my research in the morning, wrote in the afternoon until dinnertime, and often went back to my computer in the evening if I had a problem that still had to be resolved or a if a new idea had occurred to me that I wanted to get down.
What do you see as the biggest difference between writing a novel and a screenplay?
A screenplay is a blueprint for a film, and my job as a screenwriter is to tell the story through action, dialog, and minimal scene description. But when I’m writing a novel I’m not just the writer, I’m the director, the actors, the location scout, the set dresser, the wardrobe supervisor—I have to create the entire world of the story in words. Each medium has its own challenges and its own rewards.
Tell us about winning an Emmy for your work on the television show, L.A. Law, in 1991. Did you get more satisfaction for this achievement, for the People’s Choice Award, or for winning the Nebula Award for “Ma Qui”?
The Emmy was something I had dreamed about winning since I was a kid—literally. Growing up, my idols were writers like Rod Serling, Paddy Chayefsky, Ernest Kinoy, James Costigan—the men behind the “golden age of television” of the 1950s (most of which I didn’t experience firsthand, being a bit too young, but discovered through reruns and movies). So it was quite a rush being up on stage at the Pasadena Civic Auditorium when L.A. Law won for Best Drama Series. But I’m very proud of my Nebula Award as well, since that was a validation of, and my first award for, my literary work.
What authors or people have most influenced your writing career?
It’s an eclectic mix: authors like F. Scott Fitzgerald, Nathanael West, Jonathan Strong and Ray Bradbury; playwrights like Robert Anderson and Thornton Wilder; and the aforementioned Serling, Costigan, et al. I’ve gone on to write in all those media—books, a play, film—and I like to think I continue to be influenced by good work in each field. (Moloka’i, as I’ve said elsewhere, was inspired by a fine novel called Consider This, Señora by Harriet Doerr, Honolulu shows influences of the work of Arthur Golden and Lisa See, and Palisades Park owes something to Larry McMurtry’s The Desert Rose).
I understand that you are transforming one of your first novels, Time and Chance, into a screenplay. As you revisit this work, where do you see your biggest improvement as a writer over time? Is reworking this novel like visiting an old friend?
I had the opportunity to bring Time and Chance back into print a few years ago, and in the process I found myself doing a fairly heavy polish on it. I didn’t change anything in the story, just polished or simplified the prose where it seemed too flowery or where the syntax was a bit rococo. I performed what I like to call a “semi-colonectomy,” deleting vast numbers of unnecessary commas, semi-colons, dashes, and ellipses that I would not use when writing a novel today. It made me realize that my prose style has evolved since 1990 (when Time and Chance was published)—it’s cleaner, leaner, smoother.
Do you enjoy book tours or writing more?
I’m essentially an introvert who can be extroverted when the occasion demands (you have to be to work in Hollywood, where you collaborate daily with so many people). So although I do enjoy book tours and meeting readers, I’m at heart happiest when sitting in a room writing.
I hope you’ve enjoyed hearing about Alan Brennert. To learn more, visit his website (http://www.alanbrennert.com).
I have been doing blog interviews as part of my critique group blog: writers on the journey and am reposting some of them on my personal blog. Here is meteorologist Steve Paulson’s interview:
In one paragraph, tell us about your new multi-media photo eBook, What’s Up Bangkok.
It’s an interactive multimedia eBook with pictures, video, maps, audio, external and internal links highlighting International Photographer and good friend, Daniel Herron. He’s from the Bay Area, Mountain View, but is now based in Bangkok. He takes great photos so I suggested we do an eBook showcasing his work with a focus on travel to Thailand through interactivity.
What do you think are the advantages of multi-media books and what genre do you think best suites this format?
You can do some much more through interactivity. With an iPad, enhanced features such as video and even audio can take the reader on a journey which isn’t available in print. Many magazines are now taking this path. “Entertainment Weekly” is cutting edge by offering a download of their weekly publication. Movie Trailers, additional video of movie star interviews plus direct links to Musical artists where you can buy one of their songs online are all possible through interactivity. Can’t do it in print. Best genres are Cookbooks, Children’s Books, Travel and believe it or not, Japanese Anime. Comic books are going through the roof as eBooks.
What should an author that is planning on using multi-media consider before taking the plunge?
Either Doing It Yourself (DIY) or farming it out. Some eBook building platforms aren’t that difficult to learn but like anything new, they take time. Do you want to build an eBook or an App? There’s a huge difference. If you farm your work out, make sure you have deep pockets. How much interactivity are you considering? Only pictures? Not that difficult. Adding any audio or video? Not you’re talking work. Our eBook completely taxed the platform we used. We made them better but not before a lot of frustration. I can’t tell you how the littlest things stopped me cold. Usually, I figured it out but sometimes, I had to ask for help.
What have been the biggest challenges in tackling this media and would you do it again?
Biggest challenge was having interactivity work not only on my computer but transferring it “clean” to an iPad Took two months for our eBook to playback the way I wanted it on an iPad. A lot of platforms say they’re interactive but most are vanilla. Yes, I would definitely do it again and already have two new projects in the pipeline. Here are two cool examples but trust me, this took a lot of work:
http://www.youtube.com/watch?v=B9fJ52i4h6I
What platforms exist and do you recommend any of them for authors that want to make their novels multimedia? Would you have a different recommendation for nonfiction?
If you use an iMac, then I would recommend iAuthor. Most authors use WORD for print and that’s fine but if you’re considering multimedia or interactivity, many Platforms won’t work on a PC. Your best bet by a mile is a new iMac desktop with iMovie, iPhoto and Garageband. You’ll have to teach yourself how to use those but workshops plus One-on-One help is available at Apple. For our book, we used “Aerbook.” Located in San Francisco. Excellent customer service for code issues or help in understanding how to build something. I think they’re a great first eBook option if you want to build a children’s book or quick travel book. Other Platforms include “Inkling”, “Bookbaby” and “Vook”. Fiction or nonfiction would both work. If you really want to go all out, learn or pay someone who knows Adobe InDesign CS6. Probably the slickest option available but it’ll cost you some serious bank.
Did your background in television help you?
No, not really. I’m a visual person anyway so this was all in the same vein if you will. We did have access to our Audio Booth so we had a great option for sound quality.
What can an author expect financially if they do the work themselves before and after their book is published?
Try and do it yourself because you’ll save a ton of money. The sweat and frustration equity takes a toll but I was quoted $5000 to build our book and I did for just under $1000. Don’t expect to get rich. 10 months of work and we listed our eBook at $3.99. Most readers/viewers simply won’t pay too much online. For the amount of time and effort I put into building our eBook, it should be listed at $19.99 but I doubt we’d sell too many. Don’t forget, Apple iBooks takes 30% then your Distribution source (ours is Aerbook and we use their Retail Store) or Payment Channel, will take anywhere from an additional 5% to 12%. That doesn’t leave much left for you.
How long does adding multimedia content typically take?
Took me about 10 months. Do a rough draft on time then double it. For a basic picture book with only a little bit of interactivity, I would think two to four months.
What about copyright concerns?
This is a great question and big concern. We had to completely revamp our eBook on the day of publication due to the owner of Aerbook saying there were copyright issues. Dropped all copyrighted music and went back in and built everything using royalty free music. Royalty free music (on iTunes) or original songs are your best friend!
Can you provide some useful links?
Aerbook: http://aerbook.com/site
iAuthor: http://www.apple.com/ibooks-author/
Inkling: https://www.inkling.com
Bookbaby: http://www.bookbaby.com
Heavy hitters called Aptara: http://www.aptaracorp.com
Payment System you link directly into your eBook—Gumroad: https://gumroad.com
Carla King, eBook author/Self-Publishing Bootcamps: http://www.carlaking.com/book
At the beginning of March, I attended the Golden Gate Society for Children’s Book Writers and Illustrators (SCBWI) at the Asilomar in Pacific Grove, California. I went knowing that I would not be pitching my work since I had recently acquired an agent for Between Shadow’s Eyes.
I have attended SCBWI events in the past with the goal of meeting an agent or editor, but this time I had no agenda. It was great to sit back and listen to the speakers and absorb knowledge without the distraction of a scheduled critique or pitching session. I was free to take notes or browse the grounds if I wasn’t interested in a topic, whatever my heart desired.
On the last day of the conference, the editors in attendance announced what kind of books they were seeking. To my surprise, one of the editors seemed like a good match for my novel. A quick email to my agent, and viola! a query letter was submitted. Another fun outcome of the conference included a sidebar conversation with agent Josh Adams on blogging. His advice- don’t blog if it takes you away from other writing projects.
Jill Hedgecock will give a presentation on rhino conservation and the birds of Southern Africa followed by a book signing for Rhino in the Room in Pleasant Hill, CA. Please come join me from 11 am to noon on 1/5/19 692 Contra Costa Blvd.
Author Jill Hedgecock will read from her coming-of-age suspense novel, Rhino in the Room, on Sunday 12/16 at 4:00 pm at Flashlight Books at 1537 N Main St, Walnut Creek. Come check out her muse board and learn about her writing process. Her book was inspired by her 2015 visit to South Africa when she learned that 3 […]