And this book was awesome! I met Greg when I'd only gotten to page 60, and asked him for an autograph. He dutifully wrote, "Don't read past page 60. Greg Van Eekhout." But on Saturday night, I needed some me time, and I sat in the bar with the book, reading, trying to exude friendly, but really wanting alone. After a short time it didn't matter, because I was only thinking about the story. And then it was suddenly midnight.

So, I started paying attention to what Greg might be publishing, reading his blog. And next was Kid Vs Squid The title was so awesome. Couldn't say no to that. So...I read the first few pages. And I knew that this was one of those books Bryon and I would have to read to each other on the commute to work. It struck as as very much like those Scholastic adventure books we bought from a flier in school. It was a lot of fun. The Boy at the End of the World wasn't as much fun, but it was still good, and the hubs and I still talk about Protein as a suitable name for mammoths every time we see a walking with pre-historic beasts program.

So, I'm a fan, and I get a little shy around Greg because I am a fan. His wonderful humor keeps me reading, but at the same time he can contrast humor and drama really well. Another writer I'm a fan of, Jim Hines, does the same thing in a different ways. A writer could have worse role models for humor.

Thanks, Greg, for the interview.

***

Tamago: Do you have a regular drafting process, or does your drafting process vary from book to book? (If it varies, please keep one project in mind as you answer these questions.)

Greg: My drafting process is totally stupid. First I outline. Then I start writing. Then I decide my outline is stupid and I start ignoring it. Then I regret ignoring my outline and I dump a bunch of words and go back to adhering to my outline. Then I decide the entire enterprise of writing a novel is pointless and stupid and the only thing keeping me going is the fact that I've already spent my advance and can't afford to give my publisher their money back. Eventually I stumble my way to the end of the book and I brag on Twitter about how awesome I am for having written another book. I do not recommend my process to anyone. It's completely inefficient, frustrating, and ridiculous. The only thing I can say for it is that, eventually, the books get written, and I haven't missed a deadline yet.

Tamago: Are you a fast writer or a slow writer?

Greg: It always feels slow while it's happening, but I'm probably about average. What I am is a steady writer. I usually get 1000 - 1500 words a day, and I write most every day.

Tamago: In general, how many drafts does it take before you are satisfied with a novel?

Greg: I'm not sure satisfaction ever comes into it. I submit a final draft when I'm convinced that further work isn't going to make it any better, or I'm out of time. It usually takes somewhere between three and five drafts. And, of course, there's always another draft after my editor's read it and given me notes.

Tamago: Almost all of your novels I've had the opportunity to read have elements of humor. Does this come naturally to you, or do you have to work at it? How hard is it to write humor? When do you know if your humor works?

Greg: I don't set out to write humor, per se, in the vein of Douglas Adams or Terry Pratchett, but my books do tend to include characters who engage the world with humor. I like characters who face horror and hardship with a sardonic outlook. I like humor as a manifestation of defiance against villainy and misfortune. I like smart asses. In my current novel in progress, I wrote three chapters that were all strife and violence, and the lack of humor in those chapters told me that the book wasn't working. It was monotone, it was dreary, it was just no fun to write or to read. I much prefer chiaroscuro to simple light or dark.

You only know humor works when people laugh, but since I seldom watch someone read my work, all you can truly know is that it works for you. That's true of just about everything in writing.

Tamago: Are there any differences for you between writing a middle-grade book and writing a book for adults?

Greg: Not really. Every book has a different voice, a different set of problems, a different approach. The differences among my books probably have to do more with the fact that they're different stories about different people and they're slightly different genres. It has less to do with them being marketed at different ages.

I think, both in the case of books for adults and books for kids, I'm employing what I call the grown-up brain and the kid brain. The kid brain is responsible for fun and for sense of wonder. The grown-up brain is responsible for complexity and ambiguity. I try to use both brains in every book. When those two brains are working in collaboration, the writing seems most natural to me.

Tamago: Which part of writing--drafting, revising, critique from others--do you enjoy the most? Why? The least? Why?

Greg: The best part is brainstorming ideas and sort of planning out a book in broad strokes. At this point, it's all pristine, shiny fun. Once drafting starts, it becomes work and things get messy and ruined. Work is stupid.

Tamago: Do you discuss your initial ideas or drafts with others? Why or why not?

Greg: I do. I have a lot of brilliant, talented, generous friends who let me talk out ideas with them. When you have access to awesome friends, it seems foolish not to exploit them.

Tamago: Are you involved with a writing group, or do you get feedback on your drafts in another way?

Greg: Once a year I go to the Blue Heaven workshop. I haven't written a novel that hasn't been critiqued by Blue Heaven. They've been an important part of my evolution from a short-story writer trying to transition to novels, to a working novelist. I also have a smaller group of friends who are even more involved in my work and help me along the way. It's entirely possible to write a novel in isolation, and I understand why some writers prefer to work that way, but get a lot of benefit about being in the kind of writing community where I don't have to go it alone. Also, my agent is a former editor, and she plays an important role in helping me shape my books before my editors see them.

Tamago: What's been your favorite project so far? Why?

Greg: Kid vs. Squid was the most fun to write. More often than not, I felt I was in my comfort zone and that I knew what I was doing. Although, actually, even with Kid vs. Squid, there was a lot of messy drafting and chucking of words and re-writing. But my recollection of that book is mostly a lot of fun days at the keyboard.

Tamago: After the initial break-in moment (your first book, agent, or assignment), what are the moments/accomplishments that you feel define you as a writer?

Greg: Sending off a finished draft is always extraordinarily satisfying. First time seeing my book on a library shelf. First fan letter. First school visit, when kids treat you like a rock star even though you are nobody. Actually, I try to suck as much joy out of every good thing as possible. Any time I realize a story I told touched a reader in some small way, it's a total rocket engine. That may be corny, but it's true. More than particular moments or accomplishments, what defines me a writer is the daily, constant work. I define myself as a writer because, more days than not, I spend hours writing.

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So, today, I want to talk about my own struggles with anxiety and post traumatic stress disorder. Because until about four years ago, I was oblivious to the fact that I had anxiety and post traumatic stress disorder. How can that be so?

I am a survivor of childhood molestation. BTW, you need to see this. Project Unbreakable points out how widespread the problems of sexual abuse in this country are. I salute these very strong men and women for sharing their experiences and empowering themselves by speaking out. Go take a look.

***

There are many psychological ways that people cope with abuse. One of the aspects of abusive families is that in the dysfunction, children are assigned roles to compensate for the unstable nature of the family. I am the family hero. Unfortunately, this doesn't mean I get to hang out with Iron Man and Thor and have a cool costume. Well, I'll grant you, I did have a lot of cool costumes before. Anyway, what is a family hero?

This is the child who is "9 going on 40." This child takes over the parent role at a very young age, becoming very responsible and self-sufficient. They give the family self-worth because they look good on the outside. They are the good students, the sports stars, the prom queens. The parents look to this child to prove that they are good parents and good people.

As an adult the Family Hero is rigid, controlling, and extremely judgmental (although perhaps very subtle about it) - of others and secretly of themselves. They achieve "success" on the outside and get lots of positive attention but are cut off from their inner emotional life, from their True Self. They are compulsive and driven as adults because deep inside they feel inadequate and insecure.

The family hero, because of their "success" in conforming to dysfunctional cultural definitions of what constitutes doing life "right", is often the child in the family who as an adult has the hardest time even admitting that there is anything within themselves that needs to be healed.

Thanks to Robert Burney for that information. Burney also identifies other roles assigned to children in dysfunctional families. My brother Scott, now doing time for beating my mother, is our scapegoat. And my brother Ken is a classic mascot.

***

All my life, until recent years, my role was to be an incredible competence machine. Honor student, student drama awards, scholarships, undergrad in three years, always the dean's list, write books, get PhD, shine in pretty much every work environment, drive self to keep impossible schedule, president and officer in most organizations, responsible for organizing social lives of most friends.

What I was doing was two fold: I was trying to ignore myself and my pain from having been abused, and I was trying to prove my worth to the world (and regrettably for a long time, my family's worth.)

There was a definite dark side. I was hard on myself when I failed. I was hard on my friends when they didn't measure up to my crazy standards. I didn't feel secure in my own skin. I figured that people wouldn't like me if I wasn't the sum of my experiences and my parts. I was a workaholic. I kept wanting to do things, like write books, but there was never enough time, because I was often doing things that put me on the achievement train--too much work, getting a PhD, being involved in organizations that needed my skills. It is true that I was a bit exploited, but at the same time, I needed the achievement to prove to myself that I was better than where I came from.

***

Happily, I am a very introspective person, one of the benefits, I guess, of being a writer? Something didn't seem quite right, and I was dissatisfied. I found myself wrangling with the way I treated friends, or the amount of work I had to do. I sought out some counseling, and learned how to deal in more constructive ways with relationships. I learned how to respect boundaries, which is a common problem in dysfunctional kids who have no ideas what boundaries are. I learned not to pass judgment. (Okay, pass judgment less. ) While being a workaholic is a psychological disadvantage approved by your workplace, I even learned to stake out time for me. Counseling helped a lot. There was, and is, backsliding, sure, but on the whole, we move forward in the battle.

Still. Until 2008, my family was very much part of my life. There had been changes in the family dynamic. My abusive dad died in 1993, but his specter lingered. All 3 of we children had been molested, and when my younger brother came out to my mother about me and my dad before he died, there was not the outrage and indignation I naively expected from her, but rather a retrenching that not much had happened to me, my dad hadn't hurt me, and she still loved him. Ouch. You can see why someone wouldn't bounce back well from that.

But I hung in there. My family was psychologically ill and they needed me. Even though I resented them, they were my family. (I really didn't just resent them. I hated them, but more on that later.) They needed at least some peripheral care from me. My mother even had 5 pretty good years when my oldest brother was gone, and we just didn't talk about the past.

Two things happened in 2008. I hadn't seen my mother for a while, due to travel and schedule, and when I told her I was coming for a visit, she told me my brother had moved back in with her. She was sheltering a molester again. And my grandmother died that Christmas. These events combined to send me into a deep depression. Pills were considered, at least until the fog lifted.

***

Pills. I take Wellbutrin, a terribly mild anti-depressant. It was enough to relax me, to let me take things that used to bother me terribly in stride. Hey, the cushions on the couch are crooked! So they are. Hey, you aren't going to meet that deadline at work! No problem! Hey, you can think before you say the first thing that pops into your brain. Hey, you can think...about your emotional response.

Because of the pills, I had interior monologue. My theory is that I had been avoiding interior monologue. As soon as I started having it, I became angry. I am still angry about my past, and you know, like the eternal flame on Kennedy's grave, I'll be burning angry for a long time, because I waited 43 years to allow myself to be angry.

However, as David my counselor told me, it's constructive anger. I no longer take responsibility for the people who wronged me as a child. I am no longer the victim and the caretaker. How f**ked up was that, anyway? I could talk civilly to my mother, sure, should we ever engage in conversation again, but under no circumstances will I ever go back to where I was.

And here's something else about the pills and counseling. I have learned to celebrate my family, my real family, the family I have built. I am holding my fourth fake family reunion this summer, to celebrate people who care about me for none of my achievements, simply because I am who I am. It's humbling every time I think of that. It makes me tear up, because I have spent so much of my life trying to prove my self worth to myself, and in the end, I don't need to prove myself to anyone.

***

What's the take home in all of this? Well, healing isn't easy for a start, but if you've been in any kind of situation where you've been the victim, I urge you to consider three things:

1. See a counselor.
2. Get medication if you need it (and you probably do if counseling isn't enough to make a change in your anxiety or depression.)
3. Take legal action if you need to.

NEVER consider yourself the least important. Even if you are the hero of the family, ask yourself why you do the things you do. If it's not because you really want to do those things, but that you have something to prove to someone else, get yourself some help, especially if you come from an abusive background.

It's not been an easy journey. It never will be. But thanks to my friends and the medical professionals in my life, the journey has been made less difficult.

Catherine

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At some point last week, I'm pretty sure I crossed over into an alternate universe, a la E.C. Myers Fair Coin. In some other universe, Catherine became a dean because her hard work was rewarded by a higher salary. In yet another universe, she became a director because she never did conquer her workaholic tendencies, and/or didn't realize her self worth. In both of those universes, her writing takes a back seat to her other career. She squeaks out some time to write, but it's a struggle.

In the universe I find myself in, Catherine realizes that English Language Acquisition needs a full time administrator, but she's not going to do it, because the money to extra time ratio is not for her. She thinks, however, that she needs to find a way to make that happen for someone else.

So, she talks to her dean this morning about moving out of her coordinator position and going back to the currently open full time English (not ELA) teaching position that wasn't filled this year. And then, her current position would be used to hire a full time administrator. She suggests this for fall, 2013. The dean and she set up a strategy meeting for June 5th. Who knows what upper admin will say? But it seems to be the most elegant solution for all concerned.

And this feels good to her. She knows that teaching 5 classes is a load, but she also remembers fondly how much free time she had when she did that, compared to now. How flexible her schedule was. How much writing she could do. And she also feels like a good leader, like someone who can take themselves out of the equation of what is needed, and do the right thing. She's still a woman of vision.

Then she realizes she has found herself in an alternate reality she didn't think could exist any more. A door she thought sealed has opened again. She is actually downsizing her salary in exchange for time that will help her work on her other career and less time on the job. Still working at a good place, with the same good people, with the same good benefits. But with more time. And she feels so VERY liberated. Because while there are rewarding things about managing others, there are also things that are very challenging to an introvert.

***

On the other hand, in this reality, Catherine's computer died the death. It requires either a new processor, or a new "card that does all the other things in a MacAir" card. She gets an estimate today from Brent at Brent's Computer Repair. Well, she's gonna need it, because after next year she's gonna have all that extra writing time.

If she stays in this reality. Because Catherine could suddenly find herself transported to another reality unexpectedly. But it just goes to show you that you can't plan on nuthin'. Oh--and apparently I'm supposed to write books and teach. At least on Earth 2.

***

All right. I should do some work. But you know, Earth 2 feels so much more laid back. So, I'm not sure where to start.

Upcoming: Black Widow post. Some book reviews. Another author process interview. A progress report on my writing (which I get back to tonight after a week with an ear infection and a computer blow up. I'm a tad off schedule right now.)

Until then, may all your dimensional travels be happy ones.

Cath

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***

Julie Rose currently publishes indie. Many of her books have placed notably in literary contests, marching forward in Amazon's new novelist contest and the Faulkner awards. Recently, I finished Julie's newest book Oleanna. Oleanna is a literary historical about a dark time in the life of the title character during turn of the century Norway. The book is based on Julie's ancestors, and was begun in 2003 after the death of Julie's mother. It is a poignant dark book with a personalized journey that keeps you guessing what the character's choice will be right up to the end of the book. The historical research is accurate and the relationships ring true. I would recommend it.

***

Julie was kind enough to give us an interview about her writing process.

Tamago: Do you have a regular drafting process, or does your drafting process vary from book to book? (If it varies, please keep one project in mind as you answer these questions.)

Julie: In general, I write the shitty first draft and let it sit for a month or three, and come back to it with fresh eyes. Then I revise and revise, usually two or three drafts, after which I send it out for feedback. A few months later I'll incorporate the appropriate feedback, then another draft or two, and then a final polish.

Tamago: How long is a writing session for you? How many words do you write? Are you likely to keep most of those words?

Julie: A weekday writing session is 45-60 minutes, and generally speaking I'll get about 500 words, 1200 or so if I'm in the flow. On the weekend, I'll usually do 60-90 minutes. I do generally keep most of the words.

Tamago: How do you find time to write while holding down a very challenging day job?

Julie: It can be tough, can't it? I get up at 4:30 a.m. so I can get my writing time (and workout time) in before I start work at a Large Computer Networking Company.

Life has become more complicated now that I have two books out there—I have to add book promotion time to the morning mix as well. Then it's a full day, and after work, attempting to have a life with husband, friends, and family. Then falling into bed, reading for 30 minutes, and passing out at 8:30 so I can start all over the next day. So while that schedule is the goal, it doesn't always work out. And sometimes, to keep my sanity, it means not writing on the weekend, or taking a day or two off during the week (or entire weeks). If I'm too burned out, I won't get any words down at all, so refilling the well is important.

Tamago: What's the longest time it's taken you to complete a project, from concept to publication? The shortest?

Julie: The longest project was my first novel The Pilgrim Glass. I started writing it in January 2003 and it was published in December 2010. I'd say the shortest was the (as-yet-unpublished) novel I wrote and finalized in 2007-08 while I was also writing Oleanna.

Tamago: How do you know something you're writing is working?

Julie: It makes me laugh, or it makes me cackle with mad-scientist glee, or it makes me cry.

Tamago: Which part of writing--drafting, revising, critique from others--do you enjoy the most? Why? The least? Why?

Julie: I really love the shitty first draft. Well, I say that, but some days I want to throw the computer against the wall out of frustration. I love the high of creating something new, of adventure, of seeing where your brain and heart and soul are leading you. But I have also come to love the revision and critique process, because I can use a different set of skills and it's exciting in a more intellectual way.

Tamago: Where do you get feedback regarding your drafts? First readers? A writing group? Editors? Agents? Your own intuition?

Julie: I've worked with writing groups in the past, but right now what works for me is a small group of three or four trusted published writers who have different approaches (one has a keen eye for continuity and plot, another is attuned to character, another is a killer line editor, etc.).

Tamago: What has been your favorite project to date? Why?

Julie: So hard to choose. The Pilgrim Glass was my first book, so it has a really special place in my heart, also because it came out of a really wonderful trip to France. I'd have to say right now it's Oleanna, because it came from a really personal place emotionally and because I'm really proud of it, I suppose.

Tamago: Beyond completing a manuscript, what are the additional steps an indie writer has to perform to publish an epub book?

Julie: Editing, editing, editing. Cover and interior design for paperback (which, lucky for me, I love to do, and do myself). Cover and ePub design and testing. Distribution. There's thousands of how-to blogs and books on the process.

Tamago: Many of your books have an aspect of history. How do you gather your research? Do you research for all your novels?

Julie: I've always been a history geek, and I love learning new things, so research is a great pleasure and joy for me (and a brilliant way to procrastinate). But even when I write more contemporary stories I do research, because of course it's important to give a sense of reality to the fictional world you're creating.
I usually start with old-fashioned library research, including social and political history, cultural history, art history, contemporary literature, music, and fashion. I like to travel so that factors into my research and stories. And then there's a ton of really useful information online of course. One of the coolest things I found when researching Oleanna was the Norwegian national archives—I was able to find the census and parish records for the specific farm I was looking for in rural western Norway, which helped me understand settlement patterns (and was a great source for character naming).

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Close enough. And with a little luck, maybe this will catch on.

And if you're still feeling all patriotic about the war in Iraq, I strongly suggest that you also look at the U.S. government's human rights violations during that time, and think again.

Looking toward the future:

“If President Bush was the President of extra-judicial torture then US President Barak Obama is the President of extra judicial killing through drone strikes. Our work has only just begun.”

Which I regret to say I agree with as well.

War still sucks, regardless of its campaign value. We must endeavor to take the high road.

Catherine

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Darned it. I am so not looking forward to writing with Word after getting used to Scrivener.

Oh well.

Cath

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Saturday night after The Avengers, I fell ill suddenly, and I am still playing the catch up game. I have an upper respiratory infection and an ear infection, which is making it a challenge to stay on top of the planet. But I have finals this week, so I am in the office. Whatcha gonna do?

At any rate, it has been a miserable week for writing, BUT I will get back on the horse once my balance improves.

So, what about The Avengers then? Insert spoileriffic free cut here.

It was AWESOME!

Okay, okay. So, it's a movie about boys. The Black Widow is a strong female character. There could be some discussion about her portrayal as a woman and how it contrasts with the men in the film, but she is in the film alone, the only woman in a non-cameo role. It begs the question: Where is the Wasp (yup, no Wasp movie.) Or the Scarlet Witch?

Can't have everything though. It's worth noting that there were no hero ethnic characters either. None of our Marvel films have focused on, say, the Black Panther, which has the potential for a rich and interesting film. Nick Fury is on board, and he is large and in charge. Just one of him.

Given the constraints of the film, then, we have a cast of dynamic comic book heroes with interpersonal story arcs. Josh Whedon writes a solid script. I found his Tony Stark chatty, although Bryon suggests that's how Stark deals with uncertainty. I could see that.

Maybe the best tactic is to do a list of what I liked. Here we go.

1. Tony Stark, all growed up: Tony Stark in a monogamous relationship. Tony Stark saves the world. Tony Stark, it's about time you showed us what's under the bluster.

2. A man out of time: Didn't overdo Captain America's adjustment to the 21st century. It was just about right.

3. I'm always angry: Perhaps the crown jewel in Whedon's script, Bruce Banner seems more at peace with himself than in any other incarnation of the Hulk, ever.

4. Tom Hiddleston and Chris Hemsworth chew up the furniture: Living for those Thor and Loki moments. Thor, you are so optimistic...and so naive...and so authentic to your comic book roots. Loki, you are just so messed up. I love watching the two of you do your Asgardian sibling squabble. What'd'ya mean Thor 2 is still two years away?

5. Spies like us: Good chemistry between Barton and Romanov. Lots of solid subtext, and probably interesting back story. If I were still writing fan fiction, this is where I'd go.

6. The Shield helicarrier: If you'd told me I'd have seen that on the big screen in my lifetime, I would have scoffed.

7. Hawkeye shoots backwards: Yes, archery fans, I know it can't be done. But you'll suspend disbelief for the guy in the armor?

8. The stakes keep going up and up: Just when you think that the good guys have accomplished their goal, well, look, more stuff! And Whedon builds it excellently. No one gets glossed over in that final sequence. Everyone gets a bit.

9. Agent Colston dies: And he dies well. I had guessed, when I found out someone was going to die, that it would be Colston. However, he died well, and with purpose, and his death served a plot purpose too.

10. Being a good guy hero is cool again: And it's about time. I could do with a lot less "dark" knight. In your ear, Watchmen! Cynicism can be overdone, and it pretty much has been.

***

So, I liked it. A lot. I should probably do a Black Widow feminism thing. But on the whole I was most pleased. I am eagerly anticipating my 3rd trip to see it.

Cath

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***

Tamago: Do you have a regular drafting process when you write a book, or does that process vary from book to book?

Eugene: I always start with the same process, but it might be necessary to try a new approach once I get farther into the draft. My default method is to work out the major plot points and characters ahead of time. By the time I start writing, I might have scattered notes about character traits, bits of dialogue, plot ideas, a few scenes—not in any organized sense, like you’d find in an outline, but just fragments of ideas that I may or may not refer to while I write and which help guide the draft. This isn’t too different from how I would tackle writing a short story, though I might have even less figured out in advance for a shorter piece.

My third novel is an example of when my process changed considerably. It had too many characters and too complex a back story to keep everything in my head. I also had difficulty deciding what to write next during my writing sessions, which wasted the hour or so I set aside for them every morning. So I finally decided to try outlining every scene in the book, and it was exactly what I needed to move forward with that particular book. I returned to my old ways for the next novel.

Tamago: Do you write by yourself or do you write in a writing group? What do you see as the benefits of the method that you choose?

Eugene: A bit of both. I’m lucky to belong to a terrific writing group called Altered Fluid, and I also have a number of other trusted beta readers, but I don’t share my work—or even talk about it much—with anyone until I have completed a solid first draft on my own. All my first readers are smart people with unique writing strengths, areas of expertise, reading interests, experiences, and perspectives. Their critiques help me see if the draft is working the way I hope it does, for a wide range of readers, and shows me where I can make improvements in rewrites.

Another side benefit is that I often get to see their stories and novels before they’re published. As a fan of their work, I get a thrill from reading manuscripts before anyone else, and I’m honored that my friends value my feedback. And critiquing other people’s fiction absolutely improves my own writing.

Tamago: How do you know when a draft is working?

Eugene: Generally not until I have a complete manuscript and read it all the way through for the first time, but sometimes I can’t be sure until I’ve finally shown the draft to others and heard their impressions. I can also sometimes gauge my progress by how quickly the daily word counts add up, how much I look forward to writing the next scene, or how I feel after a writing session, but I am not always the best judge of my own work. I’m as hampered by artistic self-doubt as your average creative person, so I try not to let that critical voice intrude while I’m drafting. I just trust that no matter how bad I think the draft is, an opinion that changes daily, I can probably fix it later.

Tamago: Your novel Fair Coin has an elaborate, multi-layered plot. What did you do to keep track of all the strands of the novel?

Eugene: Although I generally avoid outlining my novels in advance, I did update an outline for Fair Coin as I wrote it: A table that listed every chapter, scene, the characters in each scene, and what happened. I also made notes in the table about plot points and character threads that I needed to pick up later in the story, and often included revision notes since the book changed so much as it went along. This outline was indispensable in revising the first draft.

Tamago: How many drafts of a project will you write? What do you do in each draft?

Eugene: As many drafts as it takes to make it as good as possible, assuming I don’t have to meet a hard deadline. Short stories typically go through at least three drafts: the first draft, a revision after my writing group has seen it, and possibly another revision once I’ve shown it to fresh readers. I try not to let the same people see multiple drafts of the same piece.

Wash, rinse, repeat if the book still isn’t working as well as it should.

Tamago: Besides the big firsts (getting an agent, publishing your first novel), what moments have you had that made you think, "hey, I'm actually a writer?"

Eugene: One of the first was actually several years ago when I did a small reading in NYC with some members of Altered Fluid. One of the attendees told me he had just read a short story of mine in a magazine, visited my website where he learned I was doing a reading that night, and decided to come to it. That was a surprising, wonderful moment for me because not only had a stranger read my fiction, but he liked it well enough to come see me read. More recently, a talented illustrator, Justin Woo, just shared some fanart he made for Fair Coin with me on Twitter. I am so blown away that people are moved to do that kind of thing based on something I’ve written. Any sort of response from a reader, favorable or not, in person or on the internet, makes me feel like a real writer—these interactions are welcome reminders of why we sit alone for so many hours in front of a computer screen.

Tamago: Which part of the writing process--drafting, researching, revising, editing--do you enjoy the most? Which part do you enjoy the least?

Eugene: Depending on the day, I probably enjoy the drafting part the most. When it’s going well, it’s the most fun because I’m discovering the story too, and it makes me feel the most productive because the growing word count is a measurable sign of progress. The draft is also full of so much potential at that point; until I get to the end of the first draft, there’s the chance the book will be as awesome as it seems in my head. Then comes disappointment.

I like research the least, because it delays me from getting to the drafting part. Though I like learning about fascinating new things and research gives me plenty of ideas for my work, perhaps it feels a little too much like homework. If I had more time to write, I probably would enjoy research more, but until then, it’s a time-consuming, but necessary part of writing where I’m not actually writing.

Tamago: Is there a difference in writing a novel versus writing short stories for you?

Eugene: Not too much in my overall approach, but novels obviously require a much greater time commitment. A short story might take me anywhere from a day to a week to write, and I can revise and start submitting it within a few weeks—immediate gratification. I also can start a short story with only the vaguest idea of where it might take me and immediately see if it works or not; if it doesn’t, or if I can’t sell it, then I can let it go a little more easily than a novel that represents several months, or even years, of work. I can experiment with short stories, but I have to be pretty sure that my novel has a chance of succeeding before I start it. In the happy event that the novel sells, I’ll be working on that book for another year or more and investing a huge amount of personal time in promoting it besides. I have to like that book a lot, considering it may be my main writing focus for a long time to come. It’s also a lot easier to revise a short story, because of the length and scope of the work, compared to a novel that has a lot more going on that makes it hard to keep the big picture in mind while rewriting individual scenes.

Tamago: What has been your favorite project to date?

Eugene: The answer to this question always has to be the project I’m currently working on, which is a young adult novel about reincarnation, romance, and rebellion in an alternate version of America, called WHO WE USED TO BE. I’m revising a draft now, and I hope it will be ready to submit to publishers soon.

Tamago: What are some particular issues that a YA writer needs to pay attention to that a writer of "adult" fiction might not have to pay attention to?

Eugene: I think you probably have to pay attention to all the same things no matter what audience you’re writing for, but it’s a matter of emphasis. In YA, you focus more on concerns that might matter more to teen readers than adults: questions of identity, first relationships, fears for the future. The world the characters exist in, whether it’s a contemporary American high school or a dystopian future, has to be convincing and relatable, and I would say the characters and their relationships to their friends and families must be represented accurately. You always have to write in a genuine, honest, and heartfelt way, but most of all, you have to tell a good story as well as you can. It might be hard for some writers to trust that readers will get what they’re trying to say, but you can’t underestimate the intelligence and savvy of teen readers. This might get me in trouble, but in some ways, I feel you have to treat teens not like “young adults,” but as if they’re better than adults.

***

Thanks for the terrific interview, Eugene. I will be waiting anxiously for your next book.

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Unless you're living under a rock, you probably know that Avengers is coming. And yes, while I am trying to do my best to be a calm, cool, intellectual professor for today, while I am trying to put in a concentrated effort on chapter 6, which will spring more or less from my head, fully formed, like Athena, while my outward demeanor is ripple free, inside I am squeeing like a weather alarm on test day.

It wasn't quite this bad with Thor. Maaaannnn, I was up for Thor, but I could be all intellectual about Thor. Witness:

Catherine pulls metaphorical pipe out of mouth and leans on metaphoric tweedy elbow.

Catherine: Thor is a pop culture representation of a classic Teutonic/Norse mythological figure. Liberties have been taken, as is the norm with a cultural re-representation, but Thor's journey into humility represents the classic heroic journey, which most people have referenced through the works of Joseph Campbell. *sniff* And Idris Elba is hot.

Catherine reinserts metaphorical pipe in mouth and chews on stem.

***

But you just can't do this with Avengers. Because the majority of the characters are 4-color classic comic book guys (yes, even Thor), so you gotta go with the whole pop culture vibe. The reviews are great. People are saying it's the most religious experience anyone's had since St. Bernadette saw the virgin Mary at in Massabielle. I don't even find myself inclined to be skeptical.

While I resisted the urge to give you a Hunger Games review, I probably will do an Avengers thing. It appears I will not be able to help myself, with this much pre-squee.

I will see it in 3D tonight. I will see it in 2D with the local SF club tomorrow. And I will be thinking of that young Marvel Zombie wearing her Iron Man shirt back at Iowa State in 1985. When I time travel back to her and tell her that when she is 46, she will see the Avengers film, she will begin marking the days off her calendar until May 4, 2012.

But perhaps there, I have revealed too much...

Enjoy your weekend!

Cath

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While I didn't know what shape upper administration's offer to me would take when they finally got back to the English department about our proposal, the offer they made me was a great deal more work for a tiny bit more money. And while I would have liked to have done better for the college and the ELA program, a savvy employee must also respect herself and the work she does.

Therefore, nothing changes. I will continue to do the job I do with the time I have. As we gain more staff, this will help anyway, so perhaps the need for a full-time administrator will fade.

I still have the same great boss, the same great coworkers, and the same great support staff I had earlier today. I still matter to my students. I have a flexible job with awesome benefits, with the protection of a strong union. This means that I will be able to keep writing books, rather than having to scramble for evening times to do art. And I am not an at-will employee. And I don't have to be in the office all day. And I can still get professional development. What a great job I have!

Only my pride is suffering. I feel a bit dispensable and undervalued at the moment. I believed I was thought to be a more valuable player than I apparently am, and I suppose as soon as I get over myself, things will be fine.

So, yay?

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