Sarah Beth Durst - Author of "Into the Wild" & "Out of the Wild"

Welcome to “Up Close & Personal.” For every interview I will be introducing a literary personality discussing her views and insights, as well as upcoming literary events around the world.

Today’s interview is with Sarah Beth Durst. She's the author of Into the Wild a great twisty ride novel through fairy tale. A twelve-years old Julie has a secret under her bed, and has grown up hearing about The Wild, the dangerous world of fairy tales, from which her mother, Rapunzel, escaped. Into the Wild is a fun read. A twisty ride through fairytale.

"Out of the Wild" is sequel to "Into the Wild" coming June of 2008

Into the Wild is available now from Razorbill / Penguin Young Readers

EI: Would you share some early insight into who you were as a teenager with your readers? What were you like as a teen? Please tell us more about Sarah Beth Durst -- the woman behind the author.

SBD: As a teen, I was shy, insecure, and my hair looked like a poodle. (I mean, my haircut looked like a poodle's haircut. It wasn't actually in the shape of a dog. That would be odd.) But other than basic hair issues, I was happy. I was (and am) a rather fiercely determined optimist. So I skipped the whole teenage-rebellion thing and actually had a rather good time in high school. (No one likes middle school, of course. I don't trust anyone who liked middle school.)

EI: Do you express your inner self in your writing or do the personas you create exist only in your imagination?

SBD: Little bits of me leak into all my characters, I'm sure, but by the end of a few drafts, the characters begin to feel more like very close friends rather than aspects of me.

In terms of actual personality, the character from INTO THE WILD who I think I am most like is the protagonist's best friend Gillian. When Gillian is told that a deep, dark fairy-tale forest has spread over her hometown, she doesn't think, "Oh, no, what a disaster. Life as we know it is over." She thinks, "That's awesome!!!" I would definitely react like that. And then I'd probably get eaten by Little Red Riding Hood's wolf or something.

EI: What is your response to the public perception that writers’ creative insight and energy is frequently the product of personal conflict?

SBD: I don't think you need to have a Dickensian childhood or an angst-ridden adult life to be a writer. Everyone has issues and obsessions that show up in their stories, of course, but I don't think writers need to be or have been miserable in order to be productive. For me, the happier I am, the more I write (and the converse is also true: the more I write, the happier I am). I think writing is more about joy than pain.

EI: What would you like to say to writers who are reading this interview and wondering if they can keep creating, if they are good enough, if their voices and visions matter enough to share?

SBD: Of course you're good enough. Of course your voice and vision matter! Shut off that voice in your brain (I recommend loud music or a nice pep talk) and go write. The more you write, the better you'll get at it. It's like any other art -- the more you practice playing the piano, the happier people will be to hear you play.

And if, still, no one wants to hear you play, there's value in continuing anyway. Writing is good for the soul. Better than chicken soup.

EI: Many writers describe themselves as "character" or "plot" writers. Which are you? And what do you find to be the hardest part of writing?

SBD: I think character and plot come at the same time for me. I start with a person in a particular situation, and what they choose to do both defines who they are as a character and what the plot of the story is. I can't separate out Julie (from INTO THE WILD) as a character from her plot choice to brave the fairy tale to rescue her mom.

As far as the hardest part of writing... absolutely the first draft. I find first drafts to be very, very painful because they can never be as good as what you picture in your head. After the first draft, subsequent drafts are much better because the story feels like it's improving, but that first draft... I try to slog through it as quickly as possible, which leads to scenes with phrases like "and then something cool happens." After I'm done with the first draft, then the real writing can begin.

EI: Are you armed with notebook and pen at all the times? Do you always carry your laptop or PDA with you to write?

SBD: Yep, I always have a notebook in my purse. Or at least a stray scrap of paper. I don't carry my laptop everywhere because I honestly write best at my own desk with all my papers and books and everything around me. I always wish I were one of those writers who could hop from cafe to cafe... I'm not a cafe-writer, though. I eavesdrop way too much for that. I sit there wondering about strangers’ lives instead of working on my story.

EI: Do you let anyone read your manuscript, before you send it to your editor or agent?

SBD: Only my husband and a few very close friends.

I trick myself into writing first drafts by promising myself that no one will ever see a word of it. It's only when I reach the final draft that I feel ready to share it.

EI: Was there anyone who really influenced you to become a writer?

SBD: Every book that I've ever read and loved has influenced me. Every time I close a good book, I think, "I want to do that." Some books that inspired me (and continue to do so) are ALANNA by Tamora Pierce, DEEP WIZARDRY by Diane Duane, JACK THE GIANT-KILLER by Charles de Lint, and BEAUTY as well as THE BLUE SWORD by Robin McKinley.

EI: Now let’s shift gears here for a second... Can you share with us some of the challenges you faced to publish your first novel “ Into the Wild?” Is there anything about you that you would do differently, knowing what you do now?

SBD: One of the hardest parts about the road to publication is that there isn't a very clearly marked road. It's not like other careers where first you are a assistant then you're promoted up through the ranks to senior whatever. You have to find (or make through sheer stubbornness) your own road, and that can be both difficult and stressful. I am not sure what I wish I'd done differently, but I can tell you one thing that helped: asking questions, doing research, attending book signings and events and talking to authors... basically learning as much about the business as I could.

EI: What was the inspiration for your novel ? What is your response to the public perception about your creative insight with your book?

SBD: I have always loved fairy tales. Back in high school, I had the idea: wouldn't it be cool if fairy-tale characters were walking around right here and now? What would they do? What would they be like? I was pretty sure that Rapunzel would own a hair salon, and that idea lingered until I started writing INTO THE WILD.

Public response has been wonderful. It's been so fun getting emails from people and talking to people who read it. (If you're curious, you can see some of the official responses on the Reviews page of my website: www.sarahbethdurst.com/reviews.htm)

EI: How much of Julie Marchen & her mother is planned out in your head? How do you know where you will go next with their characters? What was your biggest challenge in creating them? 12. How did you develop these characters? Did you work them out in advance, or did they evolve as you wrote the story?

EI: It would be nice if characters sprung out of my head full-blown like Athena from Zeus's head... On the other hand, that always sounded kind of painful. Seriously, though, Julie, Zel, Boots, Gillian... all of them evolved over the course of many, many revisions.

SBD: What is a typical work day schedule when you are in full writing mode? Would you tell us a little about your process for editing, revising, and novel development? How long did it take you to write ‘Into the Wild’ including the time it took to research the book?

I try to write every day including weekends. It's not necessarily the same time every day or even the same length of time, but daily is key. If I don't write for a couple days, I find it very slow and difficult to start back up again.

I started INTO THE WILD in 2000. I worked on other things as well, of course, but I really believed in this novel so I kept coming back to it.

EI: What about writing for young adult appealed to you?

SBD: It's what I love to read. I read much more middle-grade (MG) and young adult (YA) fiction these days than I do adult fiction. I like the worldview. I like the optimism. I like the themes of coming-of-age and underdog-triumphing-against-tremendous-odds that are prevalent in this age range. I like that you can have humor, adventure, and depth all in the same novel.

EI: Do you feel more pressure, feel insecurities or are you able to separate all that from your own creative process?

SBD: Every story I write, I always hit a point where I think it's doomed, I'm doomed, we're all doomed, doomed, and doomed. And my husband always gives me a wonderful pep talk, and then I sit back down at the computer and in a little while, everything's fine and sunshiny again. Sometimes we joke that he should simply record his pep talk so I can play it back whenever I need it.

I don't think I'll ever be able to fully separate out those feelings. I care too much about writing to not feel anxious about it. I want desperately to tell great, exciting, fun, rich, wonderful stories, and I think you always feel anxious whenever you want anything desperately.

EI: What's next for your fans?

SBD: The next book will be a sequel to INTO THE WILD. It will be coming out next summer from Razorbill / Penguin Young Readers. I'm really, really excited about it.

EI: Ms. Durst, thank you for contributing to my blog. It has been a pleasure for me to get to know you, and your work a little better. Would you like to end your interview with a writing tip or advice for young aspiring writers?

SBD: Write what you love, and don't give up. Also, take all advice with a grain of salt. No one really knows what they're talking about. Myself included.

Thanks for interviewing me!

To learn more about Sarah Beth Durst, please visit her at:
http://www.sarahbethdurst.com/
http://sarahbethdurst.blogspot.com/
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=123798284
http://classof2k7.com/authors/sarah_beth_durst.php

Upcoming Author Events: Watch My Video Central....... Coming soon!

Marley Gibson - Author of Sorority 101

Welcome to “Up Close & Personal.” For every interview I will be introducing a literary personality discussing her views and insights, as well as upcoming literary events around the world.

Today’s interview is with Marley Gibson, writing as Kate Harmon. She's the author of "Sorority 101" a must-read book for everyone who dreams to be in the sorority. "Sorority 101" is about three girls with true friendship and their bond of sisterhood.

EI: Would you share some early insight into who you were as a teenager with your readers? What were you like as a teen? Please tell us more about Marley Gibson -- the woman behind the author.

M. GIBSON: Wow. . . as a teenager, I was a northern-born girl growing up in the deep south. I was your typical band geek, and then, eventually a varsity cheerleader. I was in the Honor Society and Who’s Who and all of that, but I was really into school spirit and participation, event planning and being in every club imaginable. In the summer between my freshman and sophomore year, I was diagnosed with bone cancer, which I was treated for and beat. It certainly changed my outlook on life. . .not that I didn’t appreciate things, but fighting a disease that could possible leave you with only one leg is a lot more eye-opening than who’s dating who and who’s not speaking to what person.

EI: Do you express your inner self in your writing or do the personas you create exist only in your imagination?

M. GIBSON: Good question. The answer is both. That’s not a cop-out, but how can you not express your inner self when you’re opening up emotions and pouring words onto a page? But I do love creating characters and deciding what they’re like, what their challenges are, what they look like, etc. I wrote eleven (11) manuscripts before my sorority series sold and a lot of those characters are very real and 3D to me. I tend to put expressions of myself into my stories, like what I like to eat, drink, music I listen to, etc. Write what you know, right?

EI: What is your response to the public perception that writers’ creative insight and energy is frequently the product of personal conflict?

M. GIBSON: I haven’t really experienced that perception yet, but I do know of other writer friends who have run into that. You know, life is full of personal conflict and conflict is what fuels fiction. So, if people want to bring their insight and energies into their writing, I have no problem with it. It’s all in the execution. As a fan of reading, I’m just looking for a compelling story that keeps me turning the pages.

EI: What would you like to say to writers who are reading this interview and wondering if they can keep creating, if they are good enough, if their voices and visions matter enough to share?

M. GIBSON: Well, I say. . . anyone who wants to write and feels they have characters in their head and a story to tell. . . quit talking about it and thinking about it and just sit down and do it! You never know what you’re capable of until you try it. Everyone has a voice and a vision. Some people just express it in writing. Others through song, or dance, or painting, or in working with old people, or taking care of little animals. I believe we’re all creative and have the ability within us. It’s honing so much about honing your craft and practicing and just doing it!

EI: Many writers describe themselves as "character" or "plot" writers. Which are you? And what do you find to be the hardest part of writing?

M. GIBSON: I am a plotter allllllllllll the way. I can’t start writing a story until I can see it in my head, from start to finish, like a movie – from opening to closing credits, complete with full orchestration and soundtrack. Seriously. At that point, I write an outline or synopsis and then just start writing. I type about 100 words per minute, so once I can fully visualize my story, I just get it out of my head as fast as I can and then go back and polish, straighten and tighten to make it better. The hardest part of writing? Well, I think for a lot of people, it’s just giving yourself permission to sit at the computer and do it. I know too many people who are hesitant to write—although they have stories—because they’re afraid of what other people will think. Who cares?! Write for yourself. Write for the pure enjoyment of it. Write because if you don’t, you’ll explode. For me, the hardest part of writing is believing that my ideas are sellable. But then, I plow forward on them anyway.

EI: Are you armed with notebook and pen at all the times? Do you always carry your laptop or PDA with you to write?

M. GIBSON: Oh, you know it! I have about three notebooks of various shapes that I keep with me at all times. When I’m working on a story, I keep my AlphaSmart Neo with me. I have a flash drive that I carry with me everywhere that has everything I’ve ever written on it. You never know when you can pull a scene from a five year old manuscript, spruce it up, and add it to the work in progress. I have to say that I’m constantly thinking of ideas, directions, new characters and am always testing out dialogue in my head. I know. . . I sound like a crazy person!

EI: Do you let anyone read your manuscript, before you send it to your editor or agent?

M. GIBSON: Sure. . . I think you have to. I have a very solid, trustworthy critique partner, whom I’ve known since 2002. We started out on this whole writer’s journey at the same time and experienced some of the same pitfalls and successes. She sold her series a year before I did, but I was just as happy for her than had I sold. And the same thing for her when I sold. We have similar voices and the same warped sense of humor, so we’re able to help each other out. I also have some trusted readers who’ll just read through and give me their overall impressions and not a line-by-line critique. When you work on a manuscript, your eye can become married to it and you can skip over typos, grammatical errors, and missed words. I think it’s essential to have fresh set of eyes on it – especially before submitting to an agent or editor.

EI: Was there anyone who really influenced you to become a writer?

M. GIBSON: I would say my parents encouraged me to be creative. Whether that was playing the piano or trumpet as a teenager or doing advertising campaigns in college or writing marketing and public relation pieces in my professional career, they always stressed that I use the talents given to me to the best of my ability. I always excelled in English and Writing classes, so I think it’s only natural that I fell into writing as a beloved hobby.

EI: Now let’s shift gears here for a second... . tell us what is the premise of your book ‘Sorority Rush Begins?’ which I understand will be published by Puffin Books in summer of 2008? Can you give us a sneak peek?

M. GIBSON: Just a correction on the title. . . “Sorority Rush Begins. . .” is my marketing line for the series. The first four books in The Sisterhood Series are Rush, Pledge Class, Greek Week, and Spring Formal – all with A Sisterhood Novel after the title. The books are set on a fictional college campus in central Florida, steeped in rich, Southern tradition, and are centered on three very different heroines, each going through Sorority Rush for different reasons. Rush and Pledge Class will be released simultaneously in May 2008 in a push for the series.

EI: Can you share with us some of the challenges you faced to publish this first novel ‘Sorority Rush Begins ?” Is there anything about you that you would do differently, knowing what you do now?

M. GIBSON: My challenges in getting published were before this series idea. I had come close with a couple of chick lit manuscripts and then a romance I had written, but lines went under and it just wasn’t in the cards. Also, I was with my first literary agent and two and a half years into trying to sell. I felt I needed to shake things up a bit, so I signed on with a new agent who thought I should take a stab at the Young Adult market. Again, we came close with a manuscript, but it didn’t sell. In January 2006, a publisher came to my agent (because of her reputation in selling YA) and asked if she had a writer who could write a proposal for them based on three heroines all going through Sorority Rush. My agent knew me and my voice well enough to know that 1) I was in a sorority in college and 2) I could do this quickly and get it back to the editor. I came up with a three-book idea with three heroines and submitted it in early February. By March 16th, we had the deal. What I know now that I’d do differently? I wouldn’t have wasted so much time with an agent relationship that wasn’t working for me. But then again, everything happens for a reason, right?

EI: What was the inspiration for your novel? What is your response to the public perception about your creative insight with your book?

M. GIBSON: As I said, the original concept for the series was my publisher’s. Both of my editors were/are sorority girls and they really wanted something that focused on the sisterhood and philanthropy that the national sororities provide. I, of course, drew upon my own college experiences, but then again, that was a thousand years ago (LOL!), so I talked to some friends who were just out of college and studies their sorority experiences. I hope that I’ve weaved the two together nicely in the books.

EI: How much of your characters is planned out in your head? How do you know where you will go next with them? What was your biggest challenge in creating them?

M. GIBSON: These are common questions, yet not easily answered as it will vary from writer to write and even from story to story. I like to see my characters as 3D figments in my imagination before I start writing. However, as I begin writing, sometimes a character will decide “hey, I want to do fill-in-the-blank” and I realize that might be best for the story. Other times, I know exactly the journey I will take them on. As for how I know where they’ll go next? Let’s just say I have an overactive imagination and love playing “what if.” I’ve always been the type of person that people watches and tries to come up with a back story. Like, the other day, my husband and I were sitting in traffic and this woman walked by us with the gargantuan bucket. The rest of the way home, I had come up with not only what she had in the bucket, but why she had it, where she’d gotten it, where she was going with it and how much she paid for it. Nonsense? Perhaps, but a lot of fun. I honestly have to say I have never had a problem creating characters.

EI: How did you develop these characters? Did you work them out in advance, or did they evolve as you wrote the story?

M. GIBSON: In developing the characters, I knew the publisher wanted three heroines and I thought it would be more realistic to have them from very separate backgrounds. The first girl, Roni, is a Boston Brahman who escapes her Beacon Hill, Harvard-bound life to go to a state school fifteen hundred miles from her hands-off, aristocratic parents. The second girl, Jenna, is a bubbly, fun, cute girl from Atlanta, who grew up in a house full of kids, but she is battling a disease that makes fitting in sometimes difficult. Then, there’s Lora-Leigh, a native of Latimer (my fictitious town), who wants nothing more than to get away to NYC or LA for fashion design school, but because her father is Dean of Students at Latimer, she can’t escape the city limits just yet. I planned these girls out in advance, but, of course, as I’ve been writing, they are evolving. . . just like people evolve as they get older. It’s a lot of fun to see what each girl is going to pull on me! LOL!

EI: What is a typical work day schedule when you are in full writing mode? Would you tell us a little about your process for editing, revising, and novel development? How long did it take you to write ‘Sorority Rush Begins’ including the time it took to research the book?

M. GIBSON: First of all, I have a full-time, 8 a.m. to 5 p.m. job. When I’m working on a story, I will bring my AlphaSmart with me and work over my lunch hour and then I’ll go to work in my writing room at home after work. Because of my speed in typing, I can get about 1,500 words done in an hour. So, when I’m in the blood fever of writing, if I can get 1,000 words per day done, then I’m golden. To me, it’s all about staying on schedule and getting things to your publisher (or agent) in a timely manner and when they ask for it. As for writing Rush, I did an initial draft, then a re-write and a round of copyedits. I started working on Rush last year and it took about eight months from first draft to final copyedits. I don’t know if this is typical or not because this is the first book in the series and we really worked hard to make sure it had the right feel and tone to it. Also, it was my first time working with an editor. I researched pretty quickly, but it was mainly reading back copies of my sorority alumnae magazine and talking to my friends fresh out of college. The research on this one really is an example of write what you know. People who went to The University of Alabama (like I did) will definitely recognize the layout of the campus of Latimer University.

EI: What about writing for young adult & teens appealed to you?

M. GIBSON: I think there are a lot of opportunities in writing for teens that you don’t necessarily have when you’re writing for adults. Teens are growing and developing and always learning, so it’s easier to have a naïve character that needs to go on a personal journey towards a particular goal. Not that you don’t do that in adult writing, but I find the innocence of my YA characters to be a lot more fun and challenging in terms of crafting and forming them. I still read and write adult stuff and would love—one day—to publish some of my adult fiction. We’ll see!

EI: Do you feel more pressure, feel insecurities or are you able to separate all that from your own creative process?

M. GIBSON: I’ve never really felt pressure in my writing. From day one of writing, I put myself on a very strict schedule, always giving myself a “deadline,” so that when that magical day came that I got an editor, I would be able to produce on time for them. The only pressure I have is on me to get it done. I believe every writing goes through insecure phases, especially when you’ve been through a few years of knocks, pings, and rejection from the publishing industry. But you have to remind yourself that it’s a business and it’s not against you personally. You have to get back on that horse and go to the next project. Insecurities will creep into you head if you allow the elves of self doubt to tell you stupid crap and you listen to them. That’s why you have your close circle of trusted friends you can go to when those insecurities hit. You share them with those people, let them build you back up, and hand you tissues to dry your tears. You don’t blog about it or shout it out to the universe. . . you just deal with and then get back to work. It’s like that in any career you have, especially where you’re putting yourself out there in such a creative manner.

EI: What's next for your fans?

M. GIBSON: Oooo. . . I have fans? Exccccccccccellllllllllent!!! In 2008, there are four books in The Sisterhood Series. I hope people who read the first couple will not only love them, but will buy the following ones and then request more books in the series from my publisher. I would love to be able to write these characters all the way through their college graduation. How fun would that be?!?! People are welcome to visit me online at my website at http://www.marleygibson.com, where they can e-mail me, or visit my group blog that I do with six other amazingly talented YA authors, http://www.booksboysbuzz.com.

EI: Ms. Gibson, thank you for contributing to my blog. It has been a pleasure for me to get to know you, and your work a little better. Would you like to end your interview with a writing tip or advice for young aspiring writers?

M. GIBSON: My tip is if you really want to write and create and express yourself, then don’t talk about it, do it! Thanks for letting me do this! 

http://www.marleygibson.com/
http://www.marleygibson.com/home.htm

S. A. Harazin - Author Of "BLOOD BROTHERS"

In lieu of a personal photo, S.A. Harazin has supplied us the book cover of “Blood Brother” instead.

Welcome to “Up Close & Personal.” For every interview I will be introducing a literary personality discussing his views and insights, as well as upcoming literary events around the world.

Today’s interview is with S.A. Harazin, author of Blood Brothers. The author lives in Georgia and worked as a nurse in a hospital for many years. S.A. Harazin has written a page turner novel of friendship, family and the world of teenage parties and drug use. It is a compelling stories told in diary entries.

EI: Would you share some early insight into who you were as a teenager with your readers? What were you like as a teen? Please tell us more about S.A. HARAZIN -- the woman behind the author.

S.A. Harazin: I was assistant editor for the school newspaper, and the historian for the Future Teachers of America. I had an after school job at the hospital as a nursing assistant. If I had time during breaks, I would do my homework. My grades were average. I did not read much. I did not have time between working and school.

EI: Do you express your inner self in your writing or do the personas you create exist only in your imagination?

S.A. Harazin: The personas I create exist mostly in my imagination, but a small part of them comes from my inner self. My main character, Clay, in ‘Blood Brothers,’ works as an orderly in a hospital and does things I would never have done—like sneak into a treatment room to see what is going on or pretend to be a doctor so he can get lab results. Of course, the stakes are high for him so he has the motivation to do these things.

EI: What is your response to the public perception that writers’ creative insight and energy is frequently the product of personal conflict?

S.A. Harazin: I think this is true for me. I write about subjects I care about and from life experience.

EI: What would you like to say to writers who are reading this interview and wondering if they can keep creating, if they are good enough, if their voices and visions matter enough to share?

S.A. Harazin: If you keep writing, you get better and better. You develop a voice and a style. You can get into the writing zone and sound fresh and unique. It takes time for most of us to develop our craft and our voices.

EI: Many writers describe themselves as "character" or "plot" writers. Which are you? And what do you find to be the hardest part of writing?

S.A. Harazin: I am character driven. In the first draft of Blood Brothers, my two characters were entirely different but became best friends because they loved to bike and were planning a cross-country trip. The plot developed as the characters made their choices.

The hardest part of writing for me is facing the blank page—getting the first draft written. I also have a problem with focusing. I easily get off track with a story and write in the wrong direction.

EI: Are you armed with notebook and pen at all the times? Do you always carry your laptop or PDA with you to write?

S.A. Harazin: I have a paper and pen with me at all times. I do not carry my laptop with me.

EI: Do you let anyone read your manuscript, before you send it to your editor or agent?

S.A. Harazin: I share a manuscript with two or three trusted writer friends before I submit it to my agent.

EI: Was there anyone who really influenced you to become a writer?

S.A. Harazin: Writing is part of who I am—even though I spent years and years in another career. A writer friend, Ronder Thomas Young, actually convinced me to submit my first novel manuscript when she referred me to an editor. I probably would never have submitted without the push.

EI: Now let’s shift gears here for a second... . tell us what is the premise of your book ‘Blood Brothers?’

S.A. Harazin: After a hard day at the hospital, Clay goes to Joey’s house and finds him hallucinating. They fight, and Joey hits his head. Joey is admitted to the hospital, and it seems as if he is all right until he lapses into a coma twenty-four hours later—before he has a chance to tell what happened before Clay arrived. Clay tries to find answers.

EI: Can you share with us some of the challenges you faced to publish this first ‘Blood Brother?” Is there anything about you that you would do differently, knowing what you do now?

S.A. Harazin: The challenges were mostly with the revisions—trying to find the emotional core of the story and understanding why characters acted the way they did.

I am not sure what I could have done differently. I needed time for the story to grow, and I think I needed more life experience. I do wish I had more formal training as a writer.

EI: What was the inspiration for your novel? What is your response to the public perception about your creative insight with your book?

S.A. Harazin: My initial inspiration came many years before I wrote the first word. I was at work one night in ICU taking care of a kid who was in very critical condition. I would watch his family and friends visit. I never knew anything about the kid, but I could feel the pain of his parents and friends. I never forgot.

Blood Brothers started as a short story told from the viewpoint of the nurse. This was published in Mediphors, A Journal of Health Care Professionals. Later, I rewrote the short story as a novel and told the story from the viewpoint of a seventeen year old.

I have been happy with reviewers’ response to the book. I hope that teens will relate to the characters.

EI: How much of Clay & Joey is planned out in your head? How do you know where you will go next with their characters? What was your biggest challenge in creating them?

S.A. Harazin: I knew their main characteristics, but I did not really know them until I had written a couple of drafts. I never knew where I was going next with the characters—they took over the story. There were scenes I did not want to write. There were things I did not want my characters to do or say, but I finally gave in.
The biggest challenge was understanding the female character, Michelle. I did not really like her. It took me a while to develop her. Originally, I tried to keep her off stage for most of the novel, but that was not working. She was needed.

EI: How did you develop these characters? Did you work them out in advance, or did they evolve as you wrote the story?

S.A. Harazin: They evolved as I wrote the story.

EI: What is a typical work day schedule when you are in full writing mode? Would you tell us a little about your process for editing, revising, and novel development? How long did it take you to write ‘Blood Brothers?’ including the time it took to research the book?

S.A. Harazin: I write everyday whenever I have a chance and late at night. During the day, I help my husband run his business.

I wrote the first draft of ‘Blood Brothers’ in fourteen days during the summer of 1999. It took me years to revise the novel. I would some times put the novel away for a while and work on something else. I did not need to research, but I verified some things with medical and police experts.

I received an offer on the book in June of 2005. I did two large revisions for the editor and three more minor ones. Most of these revisions involved clarifying the plot and developing some of the secondary characters through the flashbacks.

EI: What about writing for young adult & teens appealed to you?

S.A. Harazin: I love reading young adult books , and I am around teens a lot. It feels natural to write for teens.

EI: Do you feel more pressure, feel insecurities or are you able to separate all that from your own creative process?

S.A. Harazin: I feel pressure because I am a slow writer. I wish I could create faster.

EI: What's next for your fans?

S.A. Harazin: I have another novel under contract from Delacorte. It is still in the first draft stage.

EI: Thank you for contributing to my blog. It has been a pleasure for me to get to know you, and your work a little better. Would you like to end your interview with a writing tip or advice for young aspiring writers?

S.A. Harazin: Thank you!

My advice is to keep reading, writing, and rewriting. Take the time to develop your voice and style. Write something unique, something you feel passionate about. Write something only you could write.

To learn more about S.A. Harazin, please visit:
http://www.saharazin.com/
http://classof2k7
.com/authors/sa_harazin.php
http://classof2k7.com/interviews/authors/sa_harazin/
http://medwriter.livejournal.com/

Update: I am Back!

Since my last entry in August and being offline for several months I have received numerous emails from readers and authors who wondered if I dropped of the face of the planet or... if I had given up on my commitment to my readers.

Well... It is always good to be missed! Thank you all for your kind words of encouragement, and for taking such an interest. Knowing that what I do matters to someone else is important to me.

A lot of things took place when I was offline. Now... I still got tons of emails to read and comments to moderate and I have not even started.

Well... at the risk of sounding cliché the business of life sometimes interferes with the pursuit of living! But I am back now. Truthfully, I get a jolt from being a conduit for authors’ to express themselves through media more freely and unfiltered than a critic might be able to do. I’d like to give my authors the opportunity to connect more directly to their audience which makes a difference.

Hopefully this approach offers a different and maybe fresher perspective. I sincerely hope that my recent sabbatical has not disrupted that evolving process. I truly want my readers to know that I do value their participation, and that I eager to reestablishing contact.

At the end of the day the reader wants to know more about the person being interviewed, and less about a critic’s opinion. These days everyone thinks he’s a critic with something to say…

To all of you, who have been engaged in the process -- thank you. It has been a pleasure to have exchanged ideas with you. You have been a great source of inspiration. My sabbatical has given me newfound enthusiasm and commitment for broadcasting your creative accomplishments and insights. Going forward I am determined to see Myspace.com/eijohnson, Up Close & Personal, Totally YA and A View from the Top continue to evolve. I like to think that it serves our community of authors and readers in a unique way

Please check in to see the next installment of my interviews, which will be posted starting November 5th, 2007.

Alex McAulay - His Book "Bad Girls" Was Optioned For Film By MTV

Welcome to “Up Close & Personal.” For every interview I will be introducing a literary personality discussing his views and insights, as well as upcoming literary events around the world.

Today’s interview is with Alex McAulay, author of Bad Girls and Lost Summer. 'Bad Girls' was optioned for film by MTV.

EI: Would you share some early insight into who you were as a teenager? What were you like? Please tell us more about Alex McAulay -- the man behind the author.


A. McAulay: As a teenager, I was primarily interested in playing in a rock band. I formed a band with some friends from high school (we were called Vegetarian Meat--which was truly the worst band name we could think of). We got a record contract with a label in New York City when I was 17, and throughout college, we continued to release albums and tour.

EI: Do you enjoy writing? What is it about this art form that enchants you the most? Why have you chosen to write in the genre in which you write?

A. McAulay: I love writing, because I'm able to tell different stories and inhabit different worlds. Writing a book for me is like entering into some kind of dream or sustained hallucination.

EI: Could you describe your path that leads you to publication--any stumble along the way? Is there anything about you that you would do differently, knowing what you do now?

A. McAulay: I got very lucky when it came to getting my first novel published. I had no contacts or connections, and no clue where to send the manuscript once it was completed. I wrote a letter to a local author who had written a novel that I liked. He was generous enough to agree to read part of manuscript, and submit it to his agent. His agent liked it, signed me as a client, and sold the novel a few weeks later.

EI: Was there a central theme that you wanted readers to grasp?

A. McAulay: That the world can be harsh, and beautiful. And that there are no easy answers or solutions. Right and wrong are just illusions.

EI: Are there any kid or teen books rocked your world while growing up? And why?

A. McAulay: Lord of the Flies, Catcher in the Rye, Ender's Game, House of Stairs, Carrie, Pet Semetary, The Stand, The Talisman, among many others.

EI: How do you imagine audience as you are writing? Do you try to do character development, chapter outlines, various novel-related brainstorming? Do you have sheets of newsprint covered in a story boards all over your walls?

A. McAulay: It depends on the book. For my first novel, Bad Girls, I had no outline or synopsis--I just wrote a couple pages every day and let the book guide me. For my second novel, Lost Summer, and my third novel, Oblivion Road, I worked off a brief 8 page outline that was little more than a general plot summary. The books are like experiments, or journeys for me, so it's fun to just go with the flow. My goal is to entertain and challenge both my audience and myself.

EI: Let’s shift gears here for a second... let’s talk about 'Caitlin Ross' the protagonist in your novel ‘Lost Summer.’ How much of Caitlin planned out in your head? How do you know where you will go next with her character?

A. McAulay: Caitlin is based on a girl my wife and I observed when we were camping on Ocracoke Island in the Outer Banks of North Carolina. I had a glimpse of her for perhaps thirty seconds, but that was enough. I immediately began constructing an entire "reality" and story for her. The book was finished six months later.

EI: What was your biggest challenge and obstacle while writing and creating 'Caitlin and Luke?' Did you work them out in advance, or did they evolve as you wrote the story? Are any of the characters in the story actually based on real people in your life?

A. McAulay: Caitlin and her brother Luke felt very "real" to me. It was as though I was overhearing their dialogue and transcribing it. It felt like I was decribing a movie I had seen, or some strange dream I had once had. They seemed to naturally evolve as I wrote the story.

EI: How did you develop or come up with the idea of 'Bad Girls?' What inspired you to write this book? What about writing for teens appealed to you?

A. McAulay: I wrote Bad Girls because I thought it would be interesting to write an all-girl version of Lord of the Flies (which is a book with no female characters in it). I was also interested in the idea of these "teen boot camps" for troubled kids, which really just seemed to be places that wealthy parents sent their problem children to get rid of them. So I just fused the ideas together, and wrote about a teen girl boot camp in the wilderness.

EI: If you were allowed total control of the Hollywood version of 'Lost Summer' who would be in it? And in your opinion who do you think should direct?

A. McAulay: I admire edgy actors who take challenging roles, such as Jena Malone, Amber Heard, and Evan Rachel Wood. I would love to cast Henry Rollins as Adler, the sadistic male guard who runs the wilderness camp. In terms of directors, I would vote for Jonathan Levine, who directed a brilliant and unusual thriller for The Weinstein Company called "All the Boys Love Mandy Lane" (it hasn't been released yet, but I was lucky enough to see it through a friend of mine who works at a talent agency--it's excellent).

EI: What is a typical work day schedule when you are in full writing mode? Would you tell us a little about your process for editing, revising, and novel development? How long did it take you to write ‘Bad Grils’ including the time it took to research the book?

A. McAulay: I only write very late at night (between 10pm-3am). When I'm writing a book, I write every day until the book is done, and then I take a break. Bad Girls took about 3 months of writing, and then 3 months of editing.

EI: As a first time fiction writer, do you feel more pressure, feel insecurities fade away or are you able to separate all that from your own creative process?

A. McAulay: I feel very, very lucky to be able to write full-time. I feel a constant sense of pressure to keep up the level of quality and inventiveness in the books, but I think that pressure and stress can be very positive motivators.

EI: What's up next? Is there another book in the works? What can you share with us?

A. McAulay: My third novel, OBLIVION ROAD, is being released Nov. 13 of this year by MTV/Pocket Books. I am also working on a screenplay, because I recently moved to Los Angeles, and it seems like the thing to do.

EI: Mr. McAulay , thank you for contributing to my blog. It has been a pleasure for me to get to know you, and your work a little better. Would you like to end your interview with a writing tip or advice for young aspiring writers?

A. McAulay: My only advice is to read as many good books as possible. Some of my current favorites are: The Sheltering Sky by Paul Bowles, The Beach by Alex Garland, The Magus by John Fowles, and The Road by Cormac McCarthy.

To learn more about Alex McAulay, please visit him at:
http://www.alexmcaulay.com/
http://alexmcaulay.livejournal.com/
http://www.myspace.com/alexmcaulay

Photo of Mr. McAulay (BW) By Elizabeth McAulay, Los Angeles, CA.

Neal Shusterman - Award-Winning Author, Screenwriter & Television Writer For X-File

Welcome to “Up Close & Personal.” For every interview I will be introducing a literary personality discussing his views and insights, as well as upcoming literary events around the world.

Today’s interview is with Neal Shusterman. His book ‘Everlost’ is currently being adapted for a feature film by UNIVERSAL STUDIOS. His bestseller book ‘The Schwa Was Here’ is being made into a DISNEY CHANNEL MOVIE. Mr. Shusterman has also written episodes of the popular Goosebumps television series as well as Nickelodeon series, Animorph.

EI: Would you share some early insight into who you were as a teenager with your fans? What were you like as a teen? Please tell us more about Neal Shusterman -- the man behind the author.

NS: I guess I was a pretty typical teenager. As a student, I was kind of a self-sabotaging over-achiever. I always did good work – but always managed to turn it in a day late – or write everything but the writing prompt. I did well in classes where I liked the teacher, and poorly in ones that I didn’t regardless of the subject. I was always into creative things – art, writing, music, acting. Athletically, I kind of missed the boat when it came to most team sports, but excelled at tennis, and swimming. I went on to swim in college. It was during college that I really got interested in writing stories for teenagers, because I worked at a summer camp each summer, and got to be known as the camp storyteller. I had to come up with stories, and I really enjoyed it.

EI: When you look back on your enormously successful career, is there anything you would've done differently? If so, what and why? If not, how do you manage to move forward without regrets?

NS: No one who is successful thinks they’re successful ENOUGH. I know I laughed when you wrote “enormously successful career.” Who me?

Things I would have done differently? Very difficult to say, because who knows what lies down the road not taken. If I put more time into film, would I be a big-time film director? If I wrote adult, would I have a larger audience? If I forced myself to stick to a single genre, would I be better known, with more bookstore shelf space if somewhat limited in scope and style? I suppose rather than regrets, I have frustrations. I get frustrated when a project doesn’t sell, or doesn’t do as well as I would like it to. I get frustrated when I look back on the day, and feel as if I’ve wasted time that could have been better spent. But that’s all a part of life!

EI: What would you like to say to writers who are reading this interview and wondering if they can keep creating, if they are good enough, if their voices and visions matter enough to share?

NS: You’ll never know unless you try. For me what got me writing was that I simply loved it. I couldn’t NOT write – even if nothing ever sold, it’s just a part of who I am. If it’s inside you like that, it doesn’t matter what the world thinks – you’ll do it anyway – you have to. And if the world “gets it,” all the better!

EI: Do you express your inner self in your writing or do the personas you create exist only in your imagination?

NS: When you’re a writer, the characters come from you, so I think it would be foolish to think that they’re not a part of you. The things my characters think about, I’ve thought about. The way they grapple with a situation is exactly the way I would, if I were that person, in that specific circumstance. Even if I’m writing a villainous character like Cedrick in Red Rider’s Hood or Cassandra, in Full Tilt, I put myself in their shoes, try to see the world the way they see it, and then make their choices as if I were them. That’s particularly evident than in the character of Mary in Everlost – who justifies everything she does so well, you can ALMOST side with her... With my heroic characters, it’s really wish fulfillment. “If I were him or her, this is how I’d rise above adversity, and triumph.” It’s all about BEING your characters, so you can’t help but put yourself into them, and take a bit of them with you when you’re done.

EI: Many writers describe themselves as "character" or "plot" writers. Which are you? And what do you find to be the hardest part of writing?

NS: I think I’m more of a “Theme” writer. I say that because, I might have a fun character I wan’t to write about, like The Schwa in “The Schwa Was Here,” or I might have a really exciting idea, as in my upcoming novel “Unwind,” but it’s not the plot or the characters that motivate me to write the book. What motivates me is the underlying question – the underlying idea that I’m exploring. I say question, not “message” because I don’t like to give messages. The way I see it, the only questions worth asking don’t have simple answers, and I don’t want to pretend to have all the answers. I do like to pose unique, and thought-provoking questions, though.

EI: Are you armed with notebook and pen at all the times? Do you always carry your laptop or PDA with you to write?

NS: I always have my notebook, I always have my laptop, and always have a micro-cassette recorder, so if I’m stuck in traffic, I can dictate into it, then transcribe it later. I usually write long-hand, mainly because it forces me to have to rewrite it as I’m typing it into the computer.

EI: You are well known in the writing community as an award-winning author, a successful screenwriter, and television writer. Your books have received many awards from the International Reading Association, and American Library Association. One of your recent books has been sold to Universal Studios to be made as a feature film. Do you ever feel pressure or insecure, or are you able to separate all that from your own creative process?

NS: Every writer has a level of insecurity. That little voice inside that says “What if this is the book that nobody likes?” But you just deal with it, and get over it. You can’t let that insecurity stop you. As for pressure, the pressure is constant – mainly because I always bite off more than I can chew – but I guess it’s better to be busy than not.

As for separating business from creativity, that’s very difficult, and I find myself constantly struggling to find time to write, as the “business” end of things can take up 110% of your time, leaving you with no time to write, (and 10% of the business work that didn’t get done on top of it!) For me, my best writing gets done when I go on writing retreats, and can get away from everything that would otherwise take my attention.

EI: Has there ever been a character in one of your novels that people clamored to see again, but you just didn't want to bring back? If so, which character?

NS: There are a lot of those. People want to see the Schwa again – but even though I’m writing “Antsy Does Time,” which is a sequel, the Schwa’s not in it – it’s another story told by Antsy. People want to see the characters in Full Tilt again. The thing is, in most of my stories, the main characters have gone through the big live-changing event that will change them forever. Once they’ve gone through that, there’s not much more to tell about them. No story will ever live up to the original, and I don’t want to write a sequel just for the sake of writing a sequel. If I write one, I have to be as passionate about it as I was when I wrote the original.

EI: Who is your favorite character to write about? Who is your creepiest?

NS: Antsy, from The Schwa was Here my favorite character to write. He has such a fun, quirky voice. He’s also one of the hardest to write, as well, because he’s always so unintentionally funny. It’s hard to do that! Creepiest, I would say Mary and the McGill in Everlost, and Okoya in Thief of Souls. The whole “Star Shard” trilogy (Scorpion Shards, Thief of Souls, and Shattered Sky), have some of my deepest, and most troubled characters – and yet some of my most heroic characters as well.

EI: When you look back at your work, do you have a favorite lines or sections in each of the books?

NS: Yes, there are quite a few favorites. In Downsiders, my favorite is the opening of the chapter “The left half of Memory,” which begins with an omniscient aside – sort of a mini-essay about the nature of cultures, and conquest. In Full Tilt, the chapter where Blake must relive the bus accident over and over, until he can remember how he survived. In Everlost, the opening of the chapter “The Forever Places,” which is also an omniscient aside, that, with great respect and reverence, tells of places that have left such a mark on our memories, and are so beloved, that they can never truly be lost – like the World Trade Center. That’s just a few.

EI: Would you describe yourself as a confident writer, always ready to face the next new challenge? Or do you have to psyche yourself up to try different venues?

NS: Trying something new is what excites me, and part of what motivates me. If I have to do something that is NOT fresh, that’s when I get worried, because I find it harder to motivate myself if the prospect of uncharted territory is not part of the equation. For that reason sequels are very difficult for me. Even though the characters and relationships are already in place, my own enthusiasm is often less than if it were something totally new, so it’s harder to write. On top of it, I will never be satisfied with a sequel, unless I feel it is equal to, or better than the original, so it’s even more daunting a task.

EI: How do you choose which chapter or pages to read from your book when you do a book appearances?

NS: Easy: I always read my favorites!

EI: Now let’s shift gears for a second....What was the inspiration for your novel ‘ Everlost?’ What is your response to the public perception about your creative insight with your book?

NS: My initial inspiration was the simple concept of two kids bumping into each other on their way to “the light” at the moment they die. That led to the idea of a “world between life and death.” It was very compelling for me, because in this particular world, there were no adults, no fear of dying, and you can’t feel physical pain. With the “rules of existence” changed like that, I was really intrigued as to what I could do within those parameters. It was an idea I had for a while, but the heart and soul of the story came when I realized that The World Trade Center would be in Everlost, and there, the towers would stand forever, and nothing will ever bring them down. That’s when I knew I had to write it.

EI: How much of Nick & Allie is planned out in your head? How do you know where you will go next with their characters? What was your biggest challenge in creating them?

NS: My biggest challenge in creating Nick and Allie was to keep them pro-active, rather than reacting to the events around them. Nick was a bit harder than Allie, because, between the two, Allie is more of a leader. The biggest challenge in the book, however, was reigning in the rules of this world, and making them clear. When you create a “natural law” within a fantasy world, it impacts everything. For instance, in Everlost, the characters, who are basically ghosts in our world, sink into the earth if they stand in the same place. Even a rule as simple as that opens up a can of worms: Your characters have to keep moving. They can’t drop things, or they sink as well. What happens to kids who DO sink? Could other characters push you down? Are there certain places where they won’t sink? Do you sink faster into wood than you would into a steel floor? What would happen if you tried to cross a bridge? If you sink in “solid” ground, how fast would you sink in water? Would the whole idea of sinking be a pivotal issue for one, or more of the characters? With every single rule, you have to deal with dozens of ramifications, you have to make them all work, you have to be consistent, AND you have to make it look easy.

EI: How did you develop these characters? Did you work them out in advance, or did they evolve as you wrote the story?

NS: They always evolve. All I knew when first began conceiving of the story, is that I’d have a girl and a boy from modern times, and a slightly younger boy, who was an innocent, from a hundred years ago, who never left his forest. I also knew I’d have a monster. Once I set the “sinking” rule, I decided the monster would be a kid who sank to the center of the earth, and clawed his way back to the surface. Then I needed a know-it-all, who could help explain the rules of Everlost. That became Mary, but as she developed, I realize that she was the character around which everything else revolved. I also knew that she and the monster had to have some history. Discovering the characters as you go along is one of the most exciting parts of writing.

EI: How do you imagine your audience as you are writing?

NS: First and foremost I write a story that excites me, and that I feel needs to be told. I try to pretend that the book is somehow “important” in the grand scheme of things. I know it’s just a book – but when you’re a writer, if you can convince yourself that your work is somehow meaningful, you rise to the occasion, and maybe it becomes meaningful in its own small way. On the other hand, if you tell yourself “I’m just going to write junk so I can pay the bills,” then junk is exactly what it’s going to be. My goal is to write a story that works on many levels. Younger kids can appreciate it, as well as teenagers, and adults. I want the stories to resonate within every reader, regardless of their age. I often have adults come up to me and say “if this is a young-adult novel, then I must be a young-adult.” I only wish that more adults could realize the books speak to them, not just to kids.

EI: You also wrote under the pseudonym name ‘Easton Royce’ when you wrote your X-File books which you collaborated it with Eric Elfman and Michelle Knowlden. Could you share with us about your other pen names?

NS: I came up with Easton Royce as a name to use when I was collaborating, or if I was working on a project that was not original – such as writing novelizations of episodes of the X—Files TV show. The idea was to create a “mass market” persona for writing stuff that was less literary. The “pay the bills” stuff that would go directly to paperback, and not get reviewed. I haven’t used the name much. I guess I like being myself a whole lot better!

EI: Who are some of the authors you keep returning to as a reader because of their ability to create vivid, three-dimensional characters?

NS: Orson Scott Card, Jerry Spinelli, John Irving, to name a few. There are very few “best sellers” that I like to read anymore. Of course I used to when I was growing up, but I’ve become a very impatient and unforgiving reader. If the book follows a familiar formula, and the characters and style feel too similar to other books I’ve read, I lose interest very quickly. The only books and authors that excite me are the ones that leave me saying “Wow! I wish I had thought of that!” I tend to find myself reading authors I’d never heard of before, rather than ones I’m familiar with. I’m excited by new voices – or at least voices I’ve never heard before!

EI: What would you tell those authors considering applying to an M.F.A. program? In your opinion how important is it for a writer to have a writing degree?

NS: I don’t have a writing degree - but I did study with Oakley Hall, who ran the MFA writing program at UC Irvine – but I was an undergraduate majoring in theater and psychology. Basically I took every creative writing course the school offered, and when there weren’t any more to take, did independent study with Oakley. I’ve heard both good and bad things about MFA writing programs. The pitfall can be a tendency toward being so esoteric and so literary that it becomes pretentious. On the other hand, MFA programs have turned out some of the finest contemporary writers in the world. The way I see it – anything that gets you writing, and teaches you the art of critiquing, and ACCEPTING criticism is time well spent. Anything that exposes you to a vast variety of writing styles, and ideas is also time well spent. Whatever your life experiences are, those will flavor your subject matter, and your treatment of it. There’s no one path to becoming a writer – but an MFA program is definitely an option that will lead you in the right direction.

EI: Mr. Shusterman, thank you for contributing to my blog. It has been a pleasure for me to get to know you, and your work a little better. Would you like to end your interview with a writing tip or advice for young aspiring writers?

NS: Four things I always tell aspiring writers:

1) Write. You can’t get better unless you do it, and do it a lot. In fact, it needs to be a part of your life that you can’t live without. If you want to be a writer, but don’t find yourself filling up page after page after page, then maybe you like the IDEA of being a writer more than you really want to be one.

2) Rewrite. Nothing is ever done the first time you write it, or the second, or the third. You have to learn the skill of listening to constructive criticism, and using that criticism to improve your work. This is the most important part of the writing process. Show me a writer who “gets it right” the first time, and I’ll show you a writer who threw away the opportunity to make their work as good as it could be.

3) Read. You can’t be a writer unless you’re an avid reader. Like anything else in life, we learn by imitation, and by seeing how others do it. We learn how to evoke emotions, how to balance action, dialogue, description, and introspection, through reading how others do it. We develop our own styles by internalizing the styles of authors we’ve read, and synthesizing something new, that ultimately becomes our own.

4) Persevere. There are many talented writers out there. The ones who become successful are the ones who are relentless in pursuing their craft, in spite of disappointment, and things that might otherwise discourage them.

To learn more about Neal Shusterman, please visit him at:
http://www.storyman.com/
http://www.myspace.com/nealshusterman

Photo of Mr. Shusterman (Color) By Scott Hensley, Henderson, NV.