“Do you like your books more than any other book you’ve read?”

No. In fact I’m rather critical of my own work and often wish I could do a bit more editing. That’s not to say I dislike my own work. The opposite is true.

I selected this image to suggest that even though I’ve loved every one of my pets through the years, I’ve loved other people’s pets as well. The relationship is different with your own pet. You know that animal intimately, just as an author knows her/his own work intimately. But it doesn’t prevent you from admiring the beauty, grace, humor, and style that is another’s.

(This question came to me from Ancillae Assumpta Academy in Wyncote, Pennsylvania)

“How do you think of everything? Does it slowly emerge out of nowhere or do you brainstorm several different ways the story could go and choose the one that best fits?”

An excellent question. Thank you. In fact a story develops on multiple planes. Research helps shape it, current events help shape it, what is going on in my own life helps shape it. Every day, all day long, choices are being made during the writing and editing process. Dead ends are pursued and rejected. Seemingly dead ends open up and reveal a passage to the next part of the story. Eventually the story has its own unique shape and structure because of the choices I’ve made during those months of work. After a year of trying to bring my thoughts, ideas, characters, plot, setting, etc. into focus, the book arrives on my editor’s desk and shortly thereafter returns to me with questions, concerns, suggestions. And the process begins again. It’s fascinating to think of how many different books could have emerged during this process, books that were not written, sacrificed to this one story line that managed to dominate all the myriad options available to me as I wrote.

(This question came from East Prairie Public School in Skokie, Illinois.)

“Is A LIGHT IN THE STORM a true story?”

1872 Lighthouse on the Hudson River (photo taken August 2017)

Although A LIGHT IN THE STORM was inspired by the very real lighthouse keeper, Ida Lewis, the book is a work of fiction. I spent over a year researching the Civil War, the particular complexities of living along the Mason-Dixon Line, and the duties and responsibilities of lighthouse keepers during the 1800s. Many of the details in my book are drawn from newspapers of the period…perhaps that’s what gives A LIGHT IN THE STORM its air of reality.

What inspired you to write A LIGHT IN THE STORM?

A Light in the Storm

While researching in the 1911 New York Times, I came across a series of articles written about Ida Lewis as she lay dying. Ida Lewis had kept the Lime Rock Light burning off the coast of Newport, Rhode Island, during and after the Civil War, taking over her father’s duties when he became too ill to serve. Ida Lewis never hesitated to go to sea in a storm, placing her own life in peril numerous times to rescue those who would otherwise have perished. Her life was an inspiration. Amelia Martin was created in her image.

“What was the most surprising thing you learned in writing your books?”

That’s a difficult question to answer. Perhaps the most surprising thing I learned is that even after researching for a full year, after reading thousands of pages of material, both primary and secondary sources, I could never recreate an historical period with absolute confidence. I needed to make so many leaps of faith and asked the reader to leap with me. My respect for historians and journalists rocketed over the years as I realized how precise they have to be. At least, in writing fiction, the bar is not set quite so high for factual responsibility. I did my best in understanding the sensibilities of the time period and representing time and place with reasonable accuracy, but I fear I never rose as completely to the challenge in my two year writing process as a good journalist does in a week.

For additional information: http://www.childlitassn.org/phoenix-award

“Have you ever thought about writing a sequel?”

While researching a book I am insatiable. I want to know everything about my subject. I read thousands and thousands of pages. My brain crunches all of that research into a single story; details gleaned from my research rise up at just the right moment to illustrate the text. Of course, less than 2 percent of what I’ve read actually makes it into the finished book, but probably 80 percent of what I’ve learned is subtly woven into the story. When the book is finished I have no desire to return to that subject again.  I feel as if I have exhausted the topic and the topic has exhausted me. And, therefore, I have little or no interest in writing sequels.

“What impact are you trying to have on your readers?”

As a reader, I find certain books linger with me for months, for years, and occasionally for decades. Books have kept me afloat when I wondered how much longer I could hold on. They have taught me about decency and integrity. Books have shown me how survival is possible even when the odds suggest otherwise. Books have also taught me the elegance and beauty and power of language, not just for the message it contains but for the simple way it rolls off the tongue, the way it delights and excites every sense. Do I expect to have the same impact on my readers that certain writers have had on me? No. But I am grateful for every reader and for each opportunity to communicate and to share. If the reader feels less alone as he or she spends time inside one of my books, that’s enough for me.

“What draws you to historical fiction?”

If we study and learn from the way birds flock, or fish school, we glean so much about connection and instinct, direction and evolution, individual and group behavior. Life is filled with repeating patterns. Our brains are naturally drawn to them. If we study and learn from the way mankind has flocked and schooled in the past, we better our chances of survival into the distant future. That’s what draws me to historical fiction. 

“Where do ideas come from?”

Ideas come from so many places. Sometimes, when I’m reading the work of other writers, I feel a finger of inspiration tickle my brain. I’ve transformed magazine and newspaper articles into novels and picture books. Concerts, lectures, documentaries, television and radio interviews can also become story catalysts. Occasionally a fan letter will open up a possible avenue to a story, or an overheard conversation in the doctor’s office, or someone sitting across the aisle from me in the theater. I trawl my own life, both my childhood and my adult years, for story ideas, too. Not every experience leads directly to a book, but every experience holds that potential within it.

“How have your past experiences affected your writing?”

Every experience has an impact on my writing. From hours and hours of play with my childhood friends (see COME ON, RAIN! and LESTER’S DOG), to my fascination with Captain James Cook following a talk I attended at my local library (see STOWAWAY), from a documentary on the Spanish Influenza pandemic and my hospice volunteer work and walks in the snowy woods (see A TIME OF ANGELS), to an extended road trip through the heartland of the U.S. with my dear friend Liza Ketchum (see OUT OF THE DUST), I never know which experience I’ll draw on as I’m sitting at my desk. I simply search for a way to bring the story to life for my reader by going very still inside and sifting through a lifetime of experiences until I light on just the right memory to mold and weave into the story I’m telling.