Author Tanya Marquardt talks to Lindsey Wojcik about what she hoped to explore in writing about her teenage years, her relationship to Shakespeare, and how her relationship with her mother changed after she finished writing Stray.
By Sean Tuohy
Combining teenage angst with the ability to talk to a dead author, A.M. Wheeler’s Zebulon Harris: Teen Medium is a wildly entertaining novel.
The hardworking author and screenwriter swung by Writer’s Bone to talk about her writing process, who she based her teenage medium off of, and what’s next for her.
Sean Tuohy: When did you know you wanted to be a storyteller?
A.M. Wheeler: I started telling stories to my family around the dinner table when I was about 3 years old. I just have always been fascinated with stories and making up characters or scenarios that would make people laugh. So, I’d say around middle school, I kind of knew I wanted to work as a writer and possibly even direct film one day.
ST: What is your writing process? Do outline?
AW: My writing process is interesting. I don’t write everyday. I actually like to take some months off and experience different events, people, cultures, and then after think about my next story. I find allowing my thoughts to manifest for a while, makes my stories feel unforced and it’s my way of avoiding writer’s block.
I always outline! Before I begin writing a story, I always know the ending of the story before I even know how it begins! I find this technique best for me because if I know where a character ends up, I can then feel like a detective as I write backwards and leave little foreshadowing moments on how the characters ended up where they did.
ST: Where did the idea for Zebulon Harris: Teen Medium come from?
AW: Growing up I’ve always been interested in the supernatural world and the ultimate question of what happens after one dies. I knew I wanted to have a teen protagonist because high school was such a pivotal moment in my life. High school can be such a rough transition and once I knew I wanted to combine the world of high school with a supernatural twist, Zebulon Harris: Teen Medium, was born! I always find coming of age stories to be timeless and the ultimate of message really is universal to everyone.
ST: Zebulon “Zeb” Harris is a great main character. Unlike most characters he rejects his special abilities and sees them as a burden. Where did he come from?
AW: I think most teens in high school reject their situation or identity at one point or another. You know, if you’re tall you wish you were short; if you have curly hair, you wish it were straight. The concept of wanting what you can’t have is a struggle I really related to in high school. So, once I knew I wanted to write about the supernatural world and was trying to create this relatable protagonist, Zeb, I realized making him reject who he is would be what can connect teens to this book. You don’t have to have powers to understand Zeb’s struggle. I think readers can appreciate the concept of trying to discover yourself and accept yourself for who you are.
ST: Is there any of you in Zeb?
AW: I think Zeb is a lot cooler than myself! However, definitely his closeness to his family is something I think is similar to own life. I also think his sometimes sarcastic nature was exactly how I was in high school. He tended to not really care about school that much, and for a while I was the same way! It wasn’t until my junior year of high school that I started taking school more seriously. Otherwise, Zeb is actually more like my best friend from high school. A lot of Zeb’s mannerisms mimic his, and I think that’s why Zeb feels authentic. He’s actually partially based on a real person.
ST: What's next for you?
AW: I currently teach screenwriting and creative writing courses at a university. I have taken some time off from writing. However, I do have a few ideas for some scripts in the future, and I definitely think I’ll get back into the film festival scene starting after the 2018 New Year. I’m hoping to eventually get involved in some film shorts and possibly even end up behind the camera.
ST: What advice do you have for aspiring authors?
AW: The best advice I can give other writers is to stop overthinking before you write. Just write the story. It’s okay if the plot has inconsistencies, or the story doesn’t make total sense when you reread it. Editing will always be there, and rewriting. But, you can’t do anything if you stop yourself from getting anything on the page. Lastly, don’t take criticism personally. You may hear “no” way more times than you hear “yes," but don’t stop writing. Your writing can make a difference.
ST: Can you please tell us one random fact about yourself?
AW: One random fact about me would be that when I get to a part of a story where the character is going through an extreme emotion of anger, or being in love, or sad, I listen to music that correlates that emotional state. Music helps relax my mind and makes me feel what the character may be going through. So, usually I’ll have my headphones on and I just allow the music to make me feel certain emotions before I begin writing. I find this is the closest way to be as authentic in the moment as possible, especially when writing a piece from a first person narrative.
To learn more about A.M. Wheeler, follow her on Twitter @amwheeler90.
By Caitlin Malcuit
Andy Weir shoots from Mars to the Moon in his latest novel Artemis, introducing us to a wealthy and exclusive lunar colony where Jasmine Bashara works as a porter, struggling to get by. There's not much money to be made in that gig, so Jasmine—“Jazz”—must survive and earn her keep as a smuggler. When a heist too good to pass up unearths a larger conspiracy, Jazz is thrown into the seedy underbelly of the glitzy Artemis.
Weir talked to me about the new and exciting setting for his story, his influences, and imparted some valuable advice for writers navigating the publishing world in the digital age.
Caitlin Malcuit: What is your process for writing a novel, especially the research that goes into science fiction?
Andy Weir: I start with a bunch of research. For me, the science and setting have to be right before I’m willing to work on the story. Once I’m into the actual writing, I set myself a daily word count to shoot for.
CM: Which authors influenced you?
AW: I’m a Gen-Xer, but I grew up reading my father’s sci-fi collection. So, despite my generation, my main influences are the Baby Boomer era authors. My holy trinity are Heinlein, Asimov, and Clarke.
CM: What drew you to setting Artemis on a lunar colony?
AW: I wanted to write a story about the first human settlement off of Earth. And I just really think that’ll be on the Moon. It’s so much close to Earth than any other celestial body. Most importantly, it’s close enough for trade and tourism.
CM: Jazz is certainly driven to survive, as Mark Watney was when he was stranded on Mars, but, given the wealth disparity on Artemis, what inspired you to tackle Jazz’s unique situation?
AW: Well I’ve always had a love of heist stories and crime novels. So I figured why not do a sci-fi heist story?
CM: Are you excited to see where Phil Lord and Chris Miller will take Artemis as they bring it to the screen?
AW: Absolutely! Though it’s still early days yet. I try not to get myself too worked up about it. A lot of things have to go right for a film project to be greenlighted.
CM: What advice do you have for aspiring writers, especially now that NaNoWriMo is in full swing?
- You have to actually write. Daydreaming about the book you’re going to write someday isn’t writing. It’s daydreaming. Open your word processor and start writing.
- Resist the urge to tell friends and family your story. I know it’s hard because you want to talk about it and they’re (sometimes) interested in hearing about it. But it satisfies your need for an audience, which diminishes your motivation to actually write it. Make a rule: The only way for anyone to ever hear about your stories is to read them.
- This is the best time in history to self-publish. There’s no old-boy network between you and your readers. You can self-publish an ebook to major distributors (Amazon, Barnes and Noble, etc.) without any financial risk on your part.
CM: Can you please tell us one random fact about yourself?
AW: I like to do woodworking. It’s a hobby that’s helpful to me to clear my mind when I’m stressed out or when I’m stuck on a plot problem in whatever project I’m on.
By Sean Tuohy
Three hunters stumble onto a crashed plane filled with cocaine in the Montana wilderness.
That’s the premise of acclaimed author Mike Bond’s latest thriller, Snow.
Bond recently took a few minutes out of his day to sit and chat with me about the new book and his advice for aspiring writers.
Sean Tuohy: When did you know you wanted to be a storyteller?
Mike Bond: By the time I was 10 I was writing poems and thinking of stories. To the young the world is magical and full of stories. All you have to do is write them down.
ST: What authors did you worship growing up?
MB: I never worshipped anyone, but I read everything, especially Hemingway, Edna Ferber, Jane Austen, the Brontës, Walter Scott, Jack London, Willa Cather, Poe, Camus, Sartre, St. Exupéry, Tolstoy, and many others.
ST: What is your writing process like? Do you outline or just vomit a first draft?
MB: I tend to write each book differently. Most I just pick up at the first sentence and write a lot of it without an outline. Or I outline only the next several chapters as I go along.
ST: What inspired Snow?
MB: I was bowhunting with a friend on a two-week horse trip back into the Montana wilderness. The constant snow and frigid conditions, plus several unpleasant encounters with grizzly bears, started the process.
ST: Snow follows four characters, but the breakout is a former NFL player named Zack. Where did this character come from?
MB: I played a lot of football, tried to make it into the NFL, but like so many football players I got so repeatedly injured that there was no way. I love playing football but have no use for watching it on the idiot box. (That’s the difference between living and being entertained.) I know a lot about the game and have a lot of friends who’ve played it, and I wanted to show it as it really is. Zack is the average football star today—multiple lifelong injuries, traumatic brain damage, constant pain, atavistic impulses, and lots of painkillers and other drugs.
ST: Snow is an edge-of-your-seat thriller but it has a fantastic human element to it as well. When writing, do you focus more on the character or the plot?
MB: I just tell the story as it is told to me. Often I can’t tell it right and have to keep rewriting it till the drama I’m seeing in my head is correctly depicted on the page.
ST: What’s next for Mike Bond?
MB: I’m finishing a 1,000-page epic on the 1960s, due out next year. And finishing the third in my Pono Hawkins series, also due out next year. This one is set in Tahiti and Paris.
ST: What advice do you give to young writers?
- Live deeply or you won’t have much to write about.
- Writing is developed from experience—from many places, lifestyles, experiences, relationships, dangers, fears and great joys. Write about that.
- Don’t write about what you don’t know about or haven’t lived through.
- Avoid creative writing classes, writing clubs, and any other collective self-reassuring groupthink.
- Don’t ever tell people what you’re writing about till it’s done, or you can kill the deep subconscious affinity between yourself and it.
- Expect to write a million words before you begin to get the hang of it.
- It’s very difficult these days to get published. But writing daily is a very good way to “Know Thyself” as they used to say at Delphi.
- Don’t expect too much of yourself. If the writing is fun, keep going. If it’s not, stop. If it’s boring to you it will be boring to the reader too.
ST: Can you please tell us one random fact about yourself?
MB: I love wild animals, wilderness, women, booze, fast cars, mountain climbing, and risk.
By Adam Vitcavage
Jesmyn Ward is the only author I think about on a weekly basis. Her stellar Salvage the Bones is the only novel I recommend to nearly everyone looking for a new book. If I don’t murmur the words, “Jesmyn Ward’s Salvage the Bones,” in any given week, then I at least think about how much her bleak and beautiful novel punched me in the stomach while simultaneously uplifting my spirits. Now, there’s a new novel from her I can suggest: Sing, Unburied, Sing.
I recently interviewed Ward, and I felt aspiring writers and readers of Writer’s Bone might find her comments about her writing process both encouraging and educational.
Adam Vitcavage: What excites you in the undergraduate writers you teach at Tulane University?
Jesmyn Ward: The writers who take my courses write across multiple genres. Some are writing YA, fantasy, or surreal literary novels. It just depends on the student. I love it all. What really attracts me to my students work and what makes me appreciate them is the passion that they have. I think that comes out in the work even if the work is not that polished or developed as it could be. That’s what I’m there for. I’m there to help them develop and polish it. Their passion for writing, telling stories, and creating worlds is what attracts me to their work.
AV: Once you get going with a draft for a novel, do you have a set writing process?
JW: I am a very linear writer. I work from the beginning to the end. I start at the first chapter and end at the last chapter. I don’t revise as I’m going because I feel if I stop to revise the things that I’ve written that I will get bogged down and will never complete the book. So I don’t revise and I just write straight through. I try to write for at least two hours a day for five days a week. Sometimes that is easier. I have two children, so when I have child support for them or when they’re in school is when it’s easier for me to do that. Sometimes I have to patch those hours together. I’ll wake up early and work for an hour then work for an hour later in the day when I have time.
I feel like the more disciplined I am about writing for two hours a day five days a week then the easier it is for me to access my creativity. I think it takes less time to sink into the world and to do the writing I need to do when it’s something I do five days a week. That’s how you write a book: it’s something you work at every day pretty regularly for at least a year if not a year and a half or two years. And that’s considered fast. I know some people take a decade on a book. I understand why.
It’s all about hours of dedication and discipline.
AV: Once you get the draft done, what does your revision process look like? What do you look for?
JW: The way that I revise is a little weird. I finish the first draft and then I let it sit for a month. I’ll work on other small things during that time and then I go back. I’ll read through the rough draft. Just read and take notes about things that need to be revised, changes that need to be made, things that can be cut or moved around, or whatever. I make a list and go through that list. I’ll concentrate on one thing on the list while reading through the draft. I devote an entire revision to just one aspect or one correction.
If I need to develop a character, then I’ll go through and develop a character throughout a revision. I’ll cross it off the list and go back again to concentrate on another aspect. My list can have 12 or 13 items on it. That list is just things I’ve noticed. If I went into a revision with the aim of correcting all thirteen of those things I feel I would miss something. It’s easier for me to focus on one thing through a revision. I revise twelve or thirteen times before I feel confident enough to show my work to a group of first readers.
First readers are just people that I’ve gone to school with, other writers I met at Stanford or Michigan. I’ll email them a draft and ask for their help. After a couple of months, they’ll give me suggestions and I’ll go back in and revise based on their feedback. That might take six or eight revisions. Once I’ve done that I feel confident enough that I won’t embarrass myself and I’ll send it to my editor.
And then [laughs] we revise for months. I mean, it is definitely a process. I’m the kind of writer who feels nothing is ever perfect when it’s fresh. The first rough draft is never perfect. I actually enjoy revision because writing that first rough draft is difficult. It’s different work because you’re creating this world and characters from nothing. It takes a different literary muscle than going back in and revising.
Revising is more enjoyable and more fun for me. I already have something, so at least I have the security of knowing I have something to work with on the page. Then it’s all about shaping. I enjoy knowing the security of just having to focus on making something better.
To learn more about Jesmyn Ward, follow her on Twitter @jesmimi. Read more of Adam Vitcavage’s work on his official website, or follow him on Twitter @vitcavage. Also check out Adam's full interview with Jesmyn Ward on The Millions.
By Sean Tuohy
Author Nick Kolakowski loves crime fiction. From his work with ThugLit, Crime Syndicate Magazine, and his upcoming novel A Brutal Bunch of Heartbroken Saps (out May 12), it’s easy to tell that the author truly values the hardboiled crime-fiction genre and knows how to write it well.
Kolakowski sat down with me recently to talk about his love for the genre, the seed that created the storyline for his new novel, and “gonzo noir.”
Sean Tuohy: What authors did you worship growing up?
Nick Kolakowski: I always had an affinity for old-school noir authors, particularly Raymond Chandler and Jim Thompson. What I think a lot of crime-fiction aficionados tend to forget is that a lot of the pulp of bygone eras really wasn’t very good: it was all blowsy dames and big guns and writing so rough it made Mickey Spillane look like Shakespeare. But writers like Chandler and Thompson emerged from that overheated milieu like diamonds; even at their worst, they offered some hard truth and clean writing.
ST: What attracts you to crime fiction, both as a reader and a writer?
NK: I feel that crime fiction is a real exploration of the human animal. You want to explore relationships, pick up whatever literary tome is topping the best-seller lists at the moment. You want a peek at the beast that lives in us, crack open a crime novel. As a reader, it’s exciting to get in touch with that beast through the relatively safe confines of paper and ink. As a writer, it’s good to let that beast run for a bit; I always sleep better after I’ve churned out a lot of good pages.
ST: What is the status of indie crime fiction now?
NK: I’d like to think that indie crime fiction is having a bit of a moment. A lot of indie presses are doing great work, and highlighting authors who might not have gotten a platform otherwise. Crime fiction remains one of the more popular genres overall, and I’m hopeful that what these indie authors are producing will help fuel its direction for the next several years.
Not a whole lot of authors are getting rich off any of this, but writing isn’t exactly a lucrative profession. There’s a reason why all the novelists I know, even the best-selling ones, keep their day jobs. We’re all in it for the love.
ST: What is your writing process? Do you outline or vomit a first draft?
NK: I keep notebooks. Over the years, those notebooks accumulate fragments: sometimes a line of two I’ve overheard on the subway, but sometimes several pages of story. Usually my novels and short stories start with a kernel of an idea, and I start writing as fast as I can; and as I start building up a serious word count, I begin throwing in those notebook fragments that seem to work best with the scene at the moment. It’s a haphazard way of producing a first draft, and it usually means I’m stuck in rewrite hell for a little while afterward as I try to smooth everything out, but it does result in finished manuscripts.
I simply can’t do outlines. I’ve tried. But outlining has always felt very paint-by-numbers to me; once I have the outline in hand, I’m less enthused about actually writing. But I know a lot of other writers who can’t work without everything outlined in detail beforehand.
ST: Where did the idea for A Brutal Bunch of Heartbroken Saps come from?
NK: A long time ago, I was in rural Oklahoma for a magazine story I was writing. It was early February, and the land was gray and stark. Near the Arkansas border, I saw a Biblical pillar of black smoke rising in the distance; as I drove closer, I saw a huge fire burning through a distant forest. This would be a really crappy place for my car to die, I thought. It would suck to be trapped here.
So that real-life scene rattled around in my head for years. Eventually I began depositing other figures in that landscape—Bill, the elegant hustler, based off a couple of actual people I know; an Elvis-loving assassin; crooked cops—to see how they interacted with each other. The result was funny and bleak enough, I thought, to commit to full-time writing.
ST: You referred to A Brutal Bunch of Heartbroken Saps as “gonzo noir.” Can you dive into that term?
NK: I love crime fiction, but a lot of it is too serious. That seems like an odd thing to say about a genre concerned with heavy topics like murder and misery, but more than a few novels tend to veer into excessive navel-gazing about the human condition. As if injecting an excessive amount of ponderousness will make the authors feel better about devoting so many pages to chases and gunfire.
But real-life mayhem and misery, as awful as it can be, also comes with a certain degree of hilarity. You can’t believe this dude with a knife in his eye is still prattling on about football! A reality television star might dictate whether we end up in a thermonuclear war! And so on. With gonzo noir, I’m trying to blend as much black humor as appropriate into the plot; otherwise it all becomes too leaden.
ST: Your main character, street-smart hustler Bill, is on the run from an assassin and finds himself in the deadly hands of some crazed town folks. Why do writers, especially in the crime fiction genre, like to torture their characters so much?
NK: Raymond Chandler once said something like: “If your plot is flagging, have a man come in with a gun.” I think a lot of current crime-fiction writers have a variation on that: “If your plot is flagging, have something horrible happen to your main character. Extra credit if it’s potentially disfiguring.” It’s an effective way to move the story forward, if done right, and how your protagonist reacts to adversity can reveal a lot about their character through action.
Done the wrong way, though, it becomes boring really quickly. Take the last few seasons of the TV show “24.” Keifer Sutherland played a great hardboiled character, but subjecting him to the upteenth gunshot wound, torture session, or literally heart-stopping accident got repetitive. When writing, it always pays to recognize the cliché, and figure out how to subvert it as effectively as possible—the audience will appreciate it.
In A Brutal Bunch of Heartbroken Saps, Bill has done a lifetime of bad stuff. He’s ripped people off, stolen a lot of money, and left more than a few broken hearts. I felt he really needed to really pay for his sins if I wanted his eventual redemption to have any weight. Plus I wanted to see how much comedy I could milk out of a severed finger (readers will see what I mean).
ST: What’s next for you?
NK: I’ve been working on a longer novel (tentatively) titled Boise Longpig Hunting Club. It’s about a bounty hunter in Idaho who finds himself pursued by some very rich people who hunt people for sport. I’ve wanted to do a variation on “The Most Dangerous Game” for years, and the ideas finally came together in the right way. It’s an expansion of my short story, “A Nice Pair of Guns,” which appeared in ThugLit (a great, award-winning magazine; gone too soon.)
ST: What advice do you give to young writers?
NK: A long time ago, the film director Terrence Malick came to my college campus. He was supposed to introduce a screening of his film “The Thin Red Line,” but he never set foot in the theater—unsurprising in retrospect, given his penchant for staying out of sight. However, he did make an appearance at a smaller gathering for students and faculty beforehand.
All of us film and writing geeks, we freaked out. Finally one of us cobbled together enough courage to actually walk up to him and ask for some advice on writing. He said—and you bet I still have this in a notebook—“You just have to write. Don’t look back, just get it all out at once.”
I think that’s the best advice I’ve ever heard. It’s easy to stay away from the writing desk by telling yourself that you’re not quite ready yet, that you’re not in the mood, that somehow the story isn’t quite fully baked in your mind. If you think like that, though, nothing is ever going to have to come out. Even if you have to physically lock yourself in a room, you need to sit down, place your hands on the keyboard, and force it out. The words will fight back, but you’re stronger.
ST: Can you please tell us one random fact about yourself?
NK: I like cats and whiskey.
By Lindsey Wojcik
Nearly 50 years ago, Israel and the neighboring Arab states fought in what is now known as the Six-Day War. Just in time for the 50th anniversary in June, young adult author Tammar Stein's The Six-Day Hero will officially be released (it is currently available on Amazon).
While The Six-Day Hero is not directly about the conflict, it does aim to transport readers to the sounds, sights, and events of West Jerusalem during that time. The story follows 12-year-old Motti, a boy who dreams of being a hero, and thinks the only way to become one is by being a soldier like his older brother (who serves in the Israeli army).
Stein, the daughter of Israeli Defense Force soldiers, recently talked to me about her writing process, what inspired The Six-Day Hero, and her advice for other authors.
Lindsey Wojcik: What made you want to pursue writing, specifically young adult fiction?
Tammar Stein: I love books, the physical feel of them, the look of them, the way that they’re gateways to making connections and getting lost in adventures. Even as a young child, I remember my mother scolding me to go outside and get some fresh air because I had been inside reading for hours. It felt inevitable for me to try and create that same kind of magic for someone else.
I never set out to write for young adults, but when my agent read my manuscript for Light Years, she felt it could be a great young adult title. The character was 20 years old; it never crossed my mind that that could be a YA title. But the themes were classic YA: figuring out who you are, who you want to be. We got great response from the YA editors and I never looked back.
LW: What is your writing process like? How has it evolved over time?
TS: My writing process used to be: sit, write, delete, and repeat 50 times. This is not the most efficient way to write a novel. Light Years, my first book, took me five years to write. It turns out that just because I knew a great book when I read it, didn’t mean I could just write a great book myself. My second novel, High Dive, was also kind of a pain to write. I wrote the whole draft of it, almost 300 pages, before realizing it just didn’t have that magic spark. And I started back on page one.
By my third novel, Kindred, I wised up. I outlined. Now I do that for all my books. Not necessarily a detailed breakdown of each chapter, but a strong, two-page outline so I don’t get lost getting from the beginning to the end. It’s harder than it sounds, but it’s helped me so much.
LW: What kind of research went into outlining and writing The Six-Day Hero?
TS: The first thing I did was read. Other than the fact that it lasted six days, I really didn’t know much about the war. So I read dozens of books on the subject. I read newspaper articles from the time period. I watched documentaries. I'm also the daughter of Israeli Defense Force soldiers, and once I had a good sense of the events, I started interviewing Israelis who had experienced the war. Some as soldiers, some as children. I ended up speaking with half a dozen Israelis, including my parents, whom I pestered on a weekly basis for more details.
LW: What made the Six-Day War an intriguing and important topic for you to write a fictional story about?
TS: In 1967, Israel teetered between existence and annihilation. By winning the Six-Day War, it averted annihilation…and began the modern dilemma of the Israeli occupation of the West Bank and the Gaza Strip. This summer (June 5-11) marks the war’s 50th anniversary.
The West Bank, the Gaza Strip, and the Jewish Settlements are constantly in the news. If you’ve ever asked yourself, “How in the world did we get into this hot mess?,” the answer is, the Six-Day War. That’s the war that started all this. This is a 50-year-old hot mess. In this book, I look at the history of the war through the eyes of the people living through it. And it's the first English book for younger readers set during the Six-Day War, giving context and perspective to the complexity the world is still trying to solve. I do believe this is a situation that will be resolved one day. We will move on. We will find a way for all these millions of people to live in peace with one another. But to do that, we have to understand how it got started.
You cannot shape the future without knowing the past. But because there are so many hard feelings, because people are tired of constantly hearing about the same conflict, there’s this tendency to just want to move on, to ignore it. Especially when it comes to kids. So there’s no one writing about it, no one publishing about it. And kids are just left in this vacuum. They hear the news, but they don’t have any basis for truly understanding it. I wanted to change that.
To be clear though, the book is not about the war. The book is about Motti, a 12-year-old boy, who wants to feel heroic. But when you read the book, you learn about the history of the war through his eyes. The violent details of war didn’t strike me as the best way to tell a kids’ story. Rather, I wrote a book about the struggles of a 12-year-old, struggles shaped by the same forces that shaped the war. I hope the book will transport young readers to the sounds, sights, and events of West Jerusalem 50 years ago.
LW: What inspired you to write it from a 12 year-old’s point of view?
TS: Motti just came to me. It’s one of the moments that felt almost mystical. I just had this scene pop into my mind: a restless, bored kid forced to sit through an assembly, desperate to get away. Motti is a scrappy boy, always looking for mischief and fun. He struggles to shine in the big shadow cast by his successful older brother, Gideon. Straight-arrow/Gideon is now a soldier in the Israeli army, and Motti is equally proud and jealous. Over the course of the next month, everything Motti knows about Israel, his brother, and himself will be put to the test. He will realize that war is not a game, and he will face harsh challenges to be the hero he always dreamed of.
LW: The Six-Day Hero will be officially released in time for the 50th anniversary of the war. How does the book honor its history?
TS: When you hear that something happened 50 years ago, there’s this reflexive feeling that it’s ancient history. That it barely matters. But I spoke with people who lived it, fought through it, and are still haunted by what happened. The whole world is still being shaped by what happened. It’s far from ancient history, and I wanted to make sure that there was something there for kids to connect to.
LW: What's next for you?
TS: The Six-Day War was just one in a chain of wars for Israel. The history of an Israeli family can really be told by tracing the family’s lives through the wars they fought. Six years later was the Yom Kippur War, and my next book is about Beni, Motti’s younger brother, with the Yom Kippur War as the setting.
LW: What's your advice for aspiring authors?
TS: My best piece of advice is to try to balance a sense of urgency with lots of patience. Both are absolutely necessary to write a book. If you don’t feel urgency, you’ll never write. It’s always much nicer to plan to do it later, in the evening, tomorrow morning, over the weekend. If you don’t feel urgency, you’ll always put it off. But you have to be patient with yourself and your work as well. Your first draft will be terrible. Your sense of urgency will shout at you to share it with your family and friends, to start sending it out to agents, to publish it as an e-book. Don’t do that. You need to go back and revise. Then you let it sit for a month (or three) and come back to it with fresh eyes. And just as you get comfortable with your patience and want to keep tinkering with your manuscript forevermore, your sense of urgency needs to rise up again and urge you to send it out and share it with the world.