Tag: interviews

Flux Friday with A.S. King

Welcome to the first installment of Flux Friday—a segment on this blog that will have all things Flux. I am very excited to launch with A.S. King, author of the intriguing and thought-provoking THE DUST OF 100 DOGS (Flux, February 2009). Visit Amy’s website www.as-king.com for all your unanswered questions.

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1. DUST OF 100 DOGS is nearing its 1 year birthday. What has this first year of publication been like? Highs/lows? Surprises? And will you be throwing D100D a birthday bash, perhaps getting Saffron a small gift?

You know, I never thought of it that way before. But yes, the book is having its 1st birthday on February 1st, 2010. I probably won’t throw it a party or buy it a gift, but I may shout “Hooray!” at it and have a beer, now that you’ve reminded me.

The first year has been great. Highs were many, lows were few. I travelled a lot and met so many interesting people. I’d always wondered if my shy side would be able to handle public speaking and I seemed to do just fine. People laughed at my jokes, and I found that I quite like interaction with an audience. A bit of a surprise for a woman who lives in a virtual cave and rarely leaves it. Outside of that, it was a busy year—about a month after D100D came out, I sold my next book, and the month after that, I started writing the next one.

2. Has your writing process changed at all since this book has been published? I struggled trying to think of a book two idea and then once I had the idea, went through some kind of writing-induced paralysis before finally putting words on paper. Did you experience anything like this? If so, how did you get through it? If not, what’s your secret? 🙂

The Dust of 100 Dogs was written quite a while back, so by the time it was published, I’d written three or four more books. But I did go through an interesting short phase of what-the-hell-am-I-doing? right after the book sold, and that phase started my series called “The Writer’s Middle Finger.” If you’re a bit stuck going for number two, you need to read this. Once you read it, you will understand my secret. (Hint: Stretch it.)

3. I liked what you said in an interview about YA books—how the genre is open to interpretation, how it need not be pigeonholed as one specific thing. That said, I think a big theme in YA is the search for identity. In D100D, I felt Saffron struggled with this more than most characters—on a literal and metaphorical level. Did you see this as a large theme in the novel and something to explore/focus on or is it something that emerged as you were writing?

I think Saffron was most concerned with escape or the physical maturity required for her escape (turning eighteen and graduating high school.) I think escape is a major theme in the book for many characters. Her identity is a more intricate study than most characters, because she is, essentially, one hundred brains in one. On the more metaphorical side—aren’t we all? Aren’t we all an amalgam of our experiences mixed with others we’ve watched throughout our lives, and their experiences? Perhaps Saffron exists as a metaphor for all of this, then—identity, escape and maturity.

4. And, continuing my train of thought from question three…. Do you think Saffron creates a whole new self in the end, maybe a combo of both Saffron and Emer, or do you see her shedding both identities and just living her new life wherever it takes her?

I’ve always seen these two women as two different women. I mean, logically, Emer was born and died in the 17th century and Saffron was born in the US in 1972. They both had a different set of parents. But they were nothing alike. Saffron wasn’t out to kill everyone she saw. Sure, she thought about it because Emer’s experience was in her brain and she was a frustrated 300-year-old in a world full of pointless noise, but she didn’t do it. Even in the end, Saffron was out of her element when she had to defend herself on a basic level. She’d grown too much in three hundred years to act like Emer had once acted. But, to answer the question. Who can shed their own identity? Saffron is Saffron. Once the final page turns, her life is still her life. Her mother and father are who they are. Her memories are a mix—the same as when she was born. The only thing she truly shed was the curse of greed she was born with. And now, she has to get on with her life, like any of us would. Lucky for her, she found something more valuable in the process.

5. Flux editor, Brian Farrey, has said that he’d love to package your marketing skills and sell them. What are some marketing tips you can give authors?

I think it’s funny that someone like me can reach out as much as I do. I live in semi-seclusion as I have for a long time. I don’t have any money to throw around, and I have little kids to raise and feed, so my every minute isn’t here at the desk. When I was a kid, I dreamed about things like videophones and computer modems. And now, here they are—all sorts of gadgets and services to allow someone like me to spread the word about my book to more people than I can count. When you stop to think about it, the internet is a mind-blowingly amazing thing. I’m not so sure I’ve got great marketing skills, but I know I’m a complete geek, and this stuff just comes naturally to me.

If I had tips, they’d read like this. #1. Use the internet as much as you can. It’s free. #2. Be yourself and don’t do anything that you hate doing (even if it interferes with tip #1.) #3. Be real. The internet is not a billboard. #4. Be nice. Nice matters.

6. Your next book will not be published by Flux, although I’m certain it’s great anyway. 🙂 Can you tell us a little about it and what lies ahead for you?

My next book comes out with Knopf in October 2010. It’s called PLEASE IGNORE VERA DIETZ and it’s about a girl who is trying to clear her dead (ex) best friend’s name. I’m about to unveil cover art any day now, so stay tuned. The next book is [presently] called EVERYBODY SEES THE ANTS, and if you’d all cross your fingers for me, we’ll see if we can get that one to you the following year.

7. Anything you always wished an interviewer would ask you? We ask all these pesky business and writing questions but I bet you’re dying to tell us why you love fluffernutter sandwiches, right ?

You know, I do love Fluffernutter sandwiches. I love them so much, that when I was expecting my first baby, my parents sent me a care package containing a case of peanut butter and a case of marshmallow crème, which I couldn’t get in Ireland. (That’s 12 jars each.) But that wasn’t the question was it? Hmm. How about this: Hey Amy, how long after receiving that care package did it take you to get completely sick of Fluffernutter sandwiches? Answer: About six months. I still can’t eat them.



Writing Wednesday: Meet Jay Asher


Today is Hump Day. Lots of people just call it Wednesday, but let’s admit we need something good to get us over this blah day in the middle of the week. Writing Wednesday is my little contribution to ending the midweek blahs. To kick it off, I have the fantastic Jay Asher, fellow ABLAer and author of THIRTEEN REASONS WHY, to help me out.

But what can I ask this guy who’s been asked EVERYTHING? That’s not a hyperbole either. I did my best, and while some questions are repeaters (but who doesn’t want to hear about his writing process?), I threw in a few original ones (or such is my opinion; Jay may think otherwise) into the mix. And if you still have unanswered questions, check out www.thirteenreasonswhy.com and www.jayasher.blogspot.com.

 

 

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1. Since I am a child of the 1980s, I love that Hannah Baker leaves her instructions in a series of cassette tapes. How did you come up with this idea, and were you concerned that today’s teens may not be able to relate?


I had the idea to use cassettes as a storytelling device back when cassettes were a tad more up-to-date than they are now.  When I finally found the right story to tell with an audiotour structure, I did wonder whether cassettes were still appropriate.  I liked the visuals of Clay flipping the cassettes over and watching the spools wind the tape, but that wasn’t why I chose to stay with cassettes.  If I chose the most modern form of recording, the terminology used by my characters would be slightly outdated the moment the book was published (and get even more outdated as time went on).  So I used an older form of recording, cassette tapes, and had Clay wonder if he even has a way to play them: “No one listens to tapes anymore.”  My readers end up having the same reaction as my character, which keeps the story current.  In the end, outdated gadgets will always be outdated!


2. This is a great point, especially now when new technology and social networking sites seem to appear daily. Will referring to things such as texts, Twitter, IMs, etc. be something you’ll be mindful of in your books? Do you suggest authors work around this or just sprinkle these things into their novels with caution?


There are a lot of teen novels meant to be very of-the-moment.  Techno-speak, pop culture references, and slang can be found on every page.  And we need those books because there are plenty of readers who want those books.  If a certain type of technology is needed to further a scene, I’ll use it.  If my character needs to pull an iPhone 3GS out of her pocket, then she will.  But if I can get away with having her pull “a phone” out of her pocket, that’s what I’ll say because story is much more important to me than anything else.  In most cases, readers will fill in the details appropriately.  If I’ve done a good job establishing my character, the reader will visualize the exact type of phone my character would use, or what type of car she drives, or which musician she’s listening to, and my story gets to stay current a little longer.

3. Do you carry around a voice recorder or notebook to keep track of your ideas?


After writing THIRTEEN REASONS WHY, in which a girl records the reasons why she decided to take her life, I think the sight of me walking around while talking into a voice recorder might be kind of…creepy.  Almost any time I leave my house, I have a notebook with me.  I mostly jot down ideas so I can stop obsessing about them, but I rarely return to those notes.  I think if a line of dialogue or a plot twist is meant to be included in a story, it’ll naturally be there when I sit down to write that scene.  If I try to force an idea into a manuscript simply because I once thought that idea was really creative, it probably won’t fit naturally with what I’ve already written.

4. Can you describe your writing process?


I’m still trying to find a process.  The only time I’ve ever truly become stuck while writing is when I tried working from an outline.  My process, I suppose, is to write whatever I’m excited about.  If that means I’m bouncing between three manuscripts at a time, then at least I know that each page I write is coming from a creative place and not from an attitude of forcing something just for the sake of writing.

5. Was having your book out in the world all you anticipated? What surprised you—for better or worse—about the publication process and beyond?


On the positive side, my book has sold beyond what I thought I could even cross my fingers and hope for.  I thought it had the potential to be a somewhat underground word-of-mouth success, but then it became a completely aboveground word-of-mouth success, spending over a year on the New York Times bestsellers list, being released in dozens of countries, and even becoming a high school play.  I didn’t think any of those things would happen.  The book has also personally meant more to people than I expected.  I expected to get letters saying the book made my readers want to treat each other with more respect, but I also have people tell me they wouldn’t be here had they not stumbled upon my story.  I feel truly blessed to hear both of those sentiments about something I wrote.

At the same time, certain types of criticism have been much harder to deal with than I expected.  I truly don’t mind if someone criticizes my writing or storytelling skills, but when they say my book is inappropriate for teens, it drives me crazy.  When I first began hearing the “inappropriate” word, it hurt me personally.  But now, it just upsets me for the sake of my readers.  I might get an e-mail from a teenager saying my book made them want to be a better person, or inspired them to ask for help, or to reach out to a hurting friend, and that same day I’ll read a review from an adult saying my book is totally inappropriate for teenagers.  I’ve come to realize that most people who say “inappropriate” actually mean “makes me uncomfortable to think that these things actually happen…so stop talking about it!”

6. The idea of one event changing the course of others or being the catalyst of something greater is something that has always resonated with me. For this reason, Butterfly Effect, is one of my favorite movies. Can you expand on that theme in THIRTEEN REASONS WHY—how it came to you? For example, did you know as you were writing that everything began with that first kiss, or is this something that came to you somewhere halfway in the story?


I didn’t think too much about that theme before I began writing the book. When the original concept came to me, Hannah was just going to talk about a bunch of things that happened to her.  I did make the decision at some point that there shouldn’t be one huge event that everyone (my readers or the characters in the book) could point to and say, “That’s why she did it.”  Making it a bunch of smaller events, where one event not occurring could’ve changed everything, highlights that butterfly effect the best.  And I loved that movie, too!

7. I read something disturbing about you on MySpace. It says—gulp—that you don’t like onions. True? Sweet ones and green ones alike?


Well, I guess I just learned something disturbing about you.  You like onions?  Gross!  And I have to correct something you said.  There’s no such thing as sweet onions, that’s a term made up by the onion lobbyists.  There’s only one type of onion currently available on the market: nasty onions.

8. What tips can you give writers, in general, and debut authors?


For beginning writers, your work will improve dramatically when you join a critique group.  Plus, it feels good to know that you’re helping writers improve their craft at the very same time that they’re helping you.  For any writer, beginning or professional, it’s always important to think about suspense.  Any book, no matter what genre, will be more intriguing with a little suspense.  For debut authors, keep your eyes open for creative opportunities to promote your book.  A book club in Alabama did some very creative things with their discussion of my book, and I then promoted those same ideas to other book clubs around the country.  Book clubs have been a huge factor in the success of THIRTEEN REASONS WHY.


9. What is ahead for you? What are you working on now? Can you tell us without having to kill us?


Actually, no.