I Have Something for You

By the time I finish writing a novel, I have a very organized, fluid piece of work. Sometimes I forget that the process itself at one time included Post-It notes covering my desk or that I’d written a particular scene with absolutely no idea why.

You don’t yet have a copy of Slow Burn (believe me when I tell you I’m so ready to share that with you), but as I let the energy coalesce for the publication of that project, I’m getting deeper and deeper into my fourth book. I’m just 55,000 words in, far enough to have an idea of what’s going to happen, but not so far that I know all the details.

In a way, I feel a bit like a voyeur. Or perhaps just like you: a reader, not exactly sure what’s going to happen next.

In this fourth novel, Brice–who you’ll meet in Slow Burn–pays a visit to James. I had no intention of including Brice in this book, not even cursorily. I certainly didn’t expect him to make a trip to Chicago. Then one day when I was writing a totally different scene I found myself scribbling on a piece of paper, what if Brice came to Chicago? The thought felt impish. For weeks I smiled every time I stumbled across the note.

I’ve mentioned that I’m all over the place when I write. Sometimes the first scene I write comes at the end of the novel. Sometimes I write half a scene and leave it for months. If you scrolled through my current rough draft you’d be absolutely, thoroughly confused by the chronology. With this book, I don’t even have an idea of what I’m going to write until I open my laptop. In the past I’ve sat down with at least something in my head. Not this time.

Last week I glanced at my notes. What if Brice came to Chicago? That seemed like a fun, drama-ridden place to start for the day. So I wrote, delighting in the interaction between James and Brice until Brice said to James, “I have something for you.”

Um… what? What could Brice possibly have for James? I know the story, right? I’m the author! I was fascinated.

I played with that scene last week into yesterday, switching narrators at one point and getting Adam’s take, too. I still had no clue what Brice had for James.

In a yoga pose yesterday afternoon I got the answer, something so perfect I had to laugh. So that’s why I’d written those scenes last month about a stupid Facebook survey.

I’m being cryptic, but I assure you. This is all coming together more magically than I could ever orchestrate on my own. Joel and James and Adam don’t disappoint. I suppose that’s why I keep coming back to them.

Copyright © 2018 Jennifer Hritz All Rights Reserved

I’ll Take It Any Way I Can

Someone recently asked what inspires me, and I’ve been contemplating the question ever since. My answer is nothing grandiose. I might hear a story of great travail; I might bear witness to a friend’s evolution following a period of trauma and feel amazed. Those aren’t the moments that make me want to write.

InspirationWhen I first saw Katherine Torrini’s Narcissus, I knew I had to have the mixed media piece for myself. Her work inspired my first short story, and introduced me to James’s voice. Every time I see this piece–which hangs on my living room wall, across from my desk–I’m newly enthralled.

But I don’t need something visual to move me. A year ago I was talking to a friend of mine, who told me I didn’t need to get too entrenched in negotiations with the buyers of a property I was then leasing. “They’re just trying to sugar talk you,” my friend said in his perfect southern drawl. I immediately snagged on his words. Sugar talk? I’d heard of sweet talk, but never sugar talk. What a quintessentially Texan phrase, the sort of phrase James would use–and does, in the novel I’m currently writing.

Then there’s scent. Swing & SmokesA year or so ago, out with friends on a Friday night, we sat drinking wine at a local bar where porch swings hang from the trees. Porch swings, like the one that graces Joel’s house on Pearl Street in college. I was already intrigued, and of course my friend Amie, who knows me well, suggested we have a seat. As soon as I caught the scent of a freshly lit cigarette from a table nearby, I borrowed one for myself. I don’t smoke–ever–but the lure in the moment was too tempting. Someone snapped this photo at the perfect time.

I like the details. Jeans torn around the ankles, a smile like a fish hook, a scent so slight it’s almost imagined. I don’t want the story already told, however beautiful or transformative. I want the prompt, the promise of seduction. Make it subtle, so I can play.

Copyright © 2016 Jennifer Hritz All Rights Reserved

An Interview with Susan Michalski

Today I’m happy to introduce you to Susan Michalski, author of Safe Distances

Safe Distances

and the upcoming novel, Stellar Navigation. I met Susan through a mutual friend, and when I read her first novel I was struck by the similarities in our themes: trauma and repression, memory and betrayal. Though her fiction falls under the YA umbrella, she doesn’t shy away from adult content. Her upcoming novel, Stellar Navigation, is due out this summer.

1) Tell us how the idea for your Geodesy Series came to you. How long has this story been taking up your mental space?

I had this idea years ago, like in my thirties, about twins who had gone through an enormous tragedy that triggered psychic powers and they would go out on the astral plain and find others like themselves and lure them into this sort of messed up little commune. I actually wrote that book too, but it was horrible, and I knew that there was no saving it because the plot was so thin. Then years later the plot of SD came along with Sage, so I went back and stole the twins from that book, made them younger, and focused the story on surviving trauma rather than perpetuating it. I have always loved young adult fiction and since I am totally a young soul, that genre was the perfect fit. As far as mental space, I have been living with this story for a decade, but I didn’t get serious about researching PTSD and parapsychology experiments until maybe 2010. I started the character journals that summer too, so I could develop really distinct voices and personalities for each of them. The back stories of characters emerged from the journals. Essentially the characters told me their stories. Weird. I know.

2) Describe for us your relationship with your characters. What made you want to write more than one novel about them?

I love this question because I do have a relationship with each of them, just like the “real” people in my life. Sometimes I love them and root for them, and sometimes they tick me off and make me want to scream at them to wake up and smell the espresso! Sage is the character I most relate to. I think I kind of blow through my life, sucking the marrow out of every experience like she does. I never judge or let some societal norm keep me from being open to love on lots of levels. The downside is that, like Sage, my decisions aren’t always the wisest or the most thoughtful. I get Sage and I love her openness and hate her foolishness. Elena is like my best friend, the one who sees all the beauty in life even though her naiveté is maddening at times. She is like a luminescent moth in a pitch dark forest, real and ethereal in a way I wish I was, but can never be, so I just want to be near it to breathe it in. I will save the boys for the next question, but I have both maternal and sexual feelings for both of them. I just love guys and their otherness (I know you get this). They are like these miraculous, strong, gorgeous beings that have such an intense vulnerability that is so unlike feminine vulnerability. The cool thing about my characters is that they each represent an element. It wasn’t exactly planned, but once I noticed it, I brought it out as much as I dared. So Sage is Earth, Elena is Air, Finn is Fire, and Ethan is Water. Their relationships play out much the way the elements mix, too. Wild the way the subconscious contrives all that. That’s the magic of being a writer, just saying.

3) You know that I adore Finn, and Ethan makes me crazy. How have your other readers responded to your characters? Do you have a favorite?

I love that you love Finn and hate Ethan. In fact I channeled some of your hatred into Dr. Robineau in Stellar Navigation when she calls him spoiled and stubborn. As for others, I would say, to the person, every reader prefers one or the other, and the split is about 50/50. Oddly, it’s the mothers of boys who hate Ethan the most. I think that’s why I love him the most. He is my favorite character, though the hardest to write, probably because his story arc is the widest. He is the most damaged and therefore has the longest journey to take. Plus I just want to take care of him and make it all better. He won’t let me, luckily, because that would be a really boring story. Finn is the fave of all the single ladies. What can I say? He is HOT! What girl can resist the bad boy? Not me. That’s for sure. My male readers all want to BE Finn so they choose him over Ethan, too.

4) You write a damn good sex scene. Do they come easily to you? How have your readers responded?

For all the writers out there hoping to write a sizzling sex scene one day, listen up. This is THE secret. Have sex with lots of people: boys girls older younger gentle and rough. Then stop for a LONG TIME. The only way to write great sex is to know what it feels like and to feel like you will never have it again in the flesh. Too much detail, I’m sure, but detail is key. If you feel that depth of longing, you will experience (and write) every tactile, aural, visual, nasal, and (What is the adjective for taste?) taste detail that leaps vividly from your memory. One of my largest groups of readers is men between 30 and 60. I’m sure you can guess why they like the book so much.

5) We have some similar themes in our writing: trauma, memory and repression, to name a few. Why do you feel drawn to these topics?

Another great question. Trauma shapes us in ways that scientists are only beginning to understand. It changes the brain chemistry, altering the essence of who we are, for better or worse. Trauma gives us a choice: let it make me stronger or let it destroy me (though the choice may be programmed before we are even born). I think people who are made better, faster, stronger through trauma are ABOVE the rest of the population in some way. Something about earning stripes comes to mind. Memory is another one of those great unknowns. My interest in it stems from growing up with 7 siblings, and though we grew up in the same house and lived the same events, it never fails that we remember them in vastly different ways. Our minds are not video recorders that capture facts in the form of memory. Instead the mind is like a sculptor and the event is the clay. The memory molds and morphs the event to suit our needs and it never stops, so a memory of my 11th birthday today might be miles from what it will be when I am 70. And yet, memory to us is REAL and hard to the touch. We stake our lives on it quite literally sometimes, never grasping that memory is nothing more than smoke and mirrors. Repression is the sculptor turned magician, because he takes what is there and makes it seem to disappear, but it resides all along in the lining of the sleeve just waiting to fall out and reveal itself. The stuff of great stories real and imagined! Book four, Finn’s story, deals with that in spades.

6) How do you categorize your fiction? Do you consider yourself more of a Young Adult writer, an Emerging Adult writer? Who reads Safe Distances?

I categorically refuse to categorize my series! But I did ask a librarian to take a stab at it. Geodesy Series is NOT “Emerging Adult” or “New Adult” fiction largely because that very emerging genre space is occupied mainly by romances. And while Safe Distances has some romantic moments, the story is really a mystery of histories, and the other two installments are more action/adventure/mystery with very little romance. I don’t really fit well into the YA space either, which is becoming a landscape of post-apocalyptic revolutions, horror stories, and supernatural romances with a sad cancer story or two thrown in for good measure. Again my books are none of these, but the characters age from 17 to 21 in the series and the themes appeal to a similarly aged audience, I think. YA also has some really specific rules that I break, too: no sexual content beyond kissing and no swear words, but any amount of violence is AOK. (Meg Cabot breaks these rules too, so I am at least in good company). So the verdict is that the Geodesy Series is young adult fiction for older teens and above.

7) Tell us a little bit about your writing process. Do you furiously write for hours and then revise, or do you deliberate over every word? Do you prefer writing longhand or do you need your computer to really get in to your story? Do you write mostly at night or during the day? And (I always love this question) what do you snack on while you’re working?

Back in the day I needed an hour to get in the mood with candles and wine (like courting sex), but now I can do it on the fly for ten minutes while I’m waiting in the traffic line to pick up my kid from school or in my work cubicle at lunch time. (Like quicky, baby-making sex after 10 years of marriage – it gets the job done). I am only half-joking, really. So I spend a good deal of time at the front end getting to know my characters. The plot comes to me like a bolt of lightning all at once with a profound headache that follows. I take that and break it into “scenes” like it’s a movie in my mind. Then I jot down the director notes (dramatic goals for each scene: mood, plot, forward, character evolutions, funny moments) with an opening hook and a closing zinger for each chapter. (This changes a bit as I roll forward, but it gives me some rails to ride on). Then I just go chronologically. I live the events of the story in my mind while I’m walking, running, showering, cooking, driving, breathing (sometimes the events don’t make it into the novel but they happen anyway). Then as soon and as fast as I can I get that part of the story in writing. I move back and forth each time I sit down to write, honing a part I already wrote and writing new material too, even if I only have ten minutes and I only get one sentence written. The going back gets me back into the scene and the moving forward moves me forward. The bottom line is that because the movie is always playing, I am desperate to get it down on the page. It eats at me until I do. Also I NEVER EVER stop at the end of a chapter or book. I get at least a third of the way through the next chapter or book before I revise the one I finished. This is because of what I like to call the faucet principle. As long as the faucet is running (even if it is only at a ten minute trickle some days) then the pipes can’t freeze up. It’s all about inertia. A writer in motion tends to stay in motion; a writer at rest tends to get blocked and depressed. Revision has to wait because it exists in a different realm in my brain, and if I turn on the part that is good at revision, the part that is good at creating immediately turns off, and you know what happens to the flow then. I never eat when I write. It’s too intense for me. It would be like eating when I’m running. But I do drink, anything anyone else serves me. Getting up to get a drink is out of the question.

8) I know you’ve done some photo shoots of scenes from both Safe Distances and Stellar Navigation. What has that experience been like for you?

OMG! It has been like bringing the novel to life. I can only imagine the elation of having a novel brought to life in a movie or series. The kids who I found to become the characters are nothing short of perfect in so many ways, and my photographer (one of the first people who read my book) gets the vision in his soul. He is a real artist with all the emotion and sensitivity that this kind of project calls for. I also have a composer writing a score for the book trailers too. Lots of pieces to make come together, and even though it has been time consuming, it has inspired me in my writing in ways I never imagined. On kind of a crazy note though, I have a tough time sometimes when I’m interacting with the kids, separating the real person from the character. I might be having a conversation with Jeremy, the pedicab driver with a philosophy degree, but my heart is talking to Ethan. It freaks me out a little.

9) How soon will we have the next installment (and can you give us a teaser)?

My goal is to have Stellar Navigation out by my birthday at the end of June. I am past the halfway point, and I tend to write faster and faster as I get into a book. With Safe Distances I wrote the last 250 pages in less than 10 weeks, and I only have maybe 150 left to go on this book. As for a teaser, I will tell you that Stellar Navigation is Elena’s story and it is all about power and weakness and how they are ultimately illusions. Like SD, SN is a mystery of motivations. WHY? WHY? WHY? is what the reader will ask again and again. I have some amazing new characters to love. Cayde is a fourteen-year-old, hyperactive, telekinetic, black boy with a goofy sense of humor and the sunniest of outlooks in the face of great darkness. His foil is a nineteen-year-old girl named Jordan who is all about the dead, who she writes to on a black wall with an awl. The there’s Jamie, the mentor, who shows Elena her power despite his weaknesses. The crossing-character is Dr. Caroline Robineau. I’ll let you figure out if she is evil or good. The through theme from Safe Distances is the deep and dark secrets that all the characters keep and eventually reveal with devastating consequences. Maybe you will like Ethan a little more this time around, but he does take a dark turn. It was inevitable. Wasn’t it?

Copyright © 2014 Jennifer Hritz All Rights Reserved

Want a Taste of Joel?

Someone once told me after hearing me read from I, too, Have Suffered in the Garden that I became Adam as I read. You didn’t even need the book in front of you, she said, You knew the story by heart.

Well, yes. Adam has held me captive for years. I know his words, the cadence of his speech. I’m intimate with his every inflection. So the idea that I become him when I read his story aloud makes complete sense to me.

The same holds true when I read from the point of view of my other characters.

Back in May I participated in a group reading at BookWoman, and I chose to read this vignette, told from the perspective of a peripheral character in the fictional world I’ve created. I needed a moment that day, after I introduced myself, to take a breath and find Travis’ voice, but once I did I was inside of him. Travis has a bit of a drawl, and I heard that drawl come from my own mouth. I felt the desperation he’s feeling, standing there between his parents at his brother’s funeral, watching as Adam–a senior in high school at the time–approaches to offer his condolences. My voice shook a little describing those afternoons Travis and Adam spent behind a locked door, and steadied with resignation as I read the last two lines.

I love reading my work, and I’ve been told that it shows.

This Saturday, July 27th, I have another reading at BookWoman. This one’s solo, and I’m going to be reading mostly from I, too, Have Suffered in the Garden. I’m not yet certain which scenes I’ll read, but I’m excited by the deliberation. Maybe I’ll read from the novel’s first section, where Adam finds Bobby kneeling in the garden. Maybe I’ll read the scene where Adam takes over that babysitting gig from Joel–an epic fail. Or I’ll read about James’s arrival in Austin, and what Adam does that night to end up in jail. Oh, and the scene where Adam meets David, and suffers through that wonderful, terrible kiss? That’s one of my favorites.

I have so many choices.

I’ll also have another treat for those of you in attendance: I’m going to read a bit from The Crossing, coming out so soon my heart skips at the thought. Just a taste, mind you, but I’m really looking forward to slipping into Joel’s voice, right there in front of you.

BookWoman this Saturday, at 7 o’clock. I’d love to see you there.

p.s. Is there a scene you’d especially like to hear? Leave a comment below and tell me what you’re thinking.

Copyright © 2013 Jennifer Hritz All Rights Reserved