Amy McNamara, author of A FLICKER IN THE CLARITY, on really loving your characters

by Jocelyn Rish

We’re delighted to have Amy McNamara join us to share more about her latest novel, A FLICKER IN THE CLARITY.

Amy, what was your inspiration for writing A FLICKER IN THE CLARITY?

Many years ago my daughter struggled with a needy, domineering and self-destructive friend. It made me think of my own attraction to a glamorous mess when I was her age. It took me far longer than it took my daughter to realise there is a vast difference between caretaking and genuine friendship and that real friendship is an ongoing balance between give and take.

What did this book teach you about writing or about yourself?

This book taught me that you have to really love your characters in order for them to breathe on the page. When I started out I had too much of myself tangled up with Evie and Emma. I was annoyed/disappointed/mad at them for acting the way they did until I realized the level of frustration I felt toward them was mixed up with disappointment I’d hung onto about myself—that it took so long for me to learn certain things about life and love and real friendship. Until I could feel compassion toward my younger self, I wasn’t able to feel compassionate toward my characters and they stayed stuck on the page. It was a good but tangled lesson to learn.

What do you hope readers will take away from A FLICKER IN THE CLARITY?

What reading is so good for: time spent in the skin or the world or the dream of another person. I hope readers who see themselves in Evie will feel challenged to look inward and ask themselves why they’re more invested in the problems of a friend than they are in their own lives. Sometimes the hardest friend to boost is the one in the mirror, and, of course, once you get your act together you have more to offer as a friend.

ABOUT THE BOOK

A Flicker in the Clarity
by Amy McNamara
Hardcover
HarperTeen
Released 6/12/2018

Evie and Emma are inseparable. Two halves of a whole, they balance each other until Evie makes a flip decision that gets Emma in serious trouble.

Feeling the sting of betrayal, Emma freezes Evie out. Evie is full of regret, desperately sorry, sad, and—for the first time in her life—entirely alone.

Then Evie meets Theo, a boy who offers her a view of the world through a different lens. Just as she lets herself fall for Theo, Emma resurfaces—but not without consequence.

Emma’s erratic behavior, drunken mishaps, and panicked phone calls leave Evie afraid there’s something deeper going on. Evie wants to help Emma, but Emma is bent on self-destruction.

All Evie wanted was her friend back—but can you help someone who doesn’t want to be saved?

Purchase A Flicker in the Clarity at Amazon
Purchase A Flicker in the Clarity at IndieBound
View A Flicker in the Clarity on Goodreads

ABOUT THE AUTHOR

Amy McNamara learned to read at three and hasn’t put the book down since. She holds a BA in French literature and an MFA in poetry. Her poems have appeared in numerous journals and have been nominated for a Pushcart Prize. Her manuscript of poetry THE NEW HEAD CHRONOMETRIST has been a finalist for many book awards but still needs a home. She is the author of LOVELY, DARK AND DEEP and A FLICKER IN THE CLARITY (summer 2018). When she’s not reading stories, telling stories, or thinking about stories or poems, she can be spotted, camera in hand, for pay and for pleasure, documenting the incredible city she calls home. She lives in NYC with her honey and their two kids.

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Have you had a chance to read A FLICKER IN THE CLARITY yet? Are you able to love your characters in order for them to breathe on the page? Are you able to keep yourself from becoming too tangled up with your characters? Share your thoughts about the interview in the comments!

Happy Reading,

Jocelyn, Halli, Martina, Charlotte, Anisaa, Erin, Susan, Shelly, Kelly, Laura, Emily, and Lori Ann

Jocelyn Rish

Jocelyn Rish is a writer and filmmaker who loves researching weird and wonderful animals and sharing what she learns. Her debut was BATTLE OF THE BUTTS, about ten animals that do weird things with their butts. Her latest book is BATTLE OF THE BRAINS, a Junior Library Guild Gold Standard Selection about ten animals with mind-blowing brain abilities. When she’s not writing, she tutors kids to help them discover the magic of reading. Jocelyn has won numerous awards for her short stories, screenplays, films, and novels and lives in South Carolina with her adorable dog. Find out more at www.jocelynrish.com.

Post @ Jocelyn Rish and/or Adventures in YA Publishing. All rights reserved.

Posted: Jun 16, 2018

Category: Imported from AYAP

Tags: YA Author Interviews

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The first slide is an animation of a science/magic room in a castle. A cartoon character of a mad-scientist looking man in in the foreground says: “Hello! Dr. Frankenstein here to say, Well Done on kid lit zombie week! I’m an expert at reviving the dead, and let me assure you, with a little spark, you can bring dead projects to life. Especially if you dig up parts from other dead things. I’ll even let you have a sneak peek at my laboratory’s store room to consider potential parts for your dead project. If you see something with a yellow glow, that means you should click it. Have fun!”

He points to the right side of the screen and a new scene slides in of a castle science/magic storage room. There are various cartoon Frankenstein body parts scattered around. Some of them have a yellow glow. If you click on them, the images below appear (I’ve added alt text to them, so I hope it works).

The Heart of your story is the main character. The protagonist is the beating core that truly brings your story to life. If your MC doesn't make kids (and their grown-ups) care within the first few pages, your story will flatline. </p>
<p>Your main character needs to be:<br />
• Relatable enough for kids to see themselves<br />
• Unique enough to stand out in the slush pile<br />
• Active enough to drive the story<br />
• Memorable enough to survive multiple readings at bedtime</p>
<p>Where do you find this amazing donor heart? It might be the very thing you loved so much about the manuscript you want to revive. It might be the younger sister from your shelved YA novel. Or maybe it’s the hilarious kid you blogged about meeting at a school visit. Find a character beating with potential and place it in the center of your story.<br />

The Brain of your story is the theme or central message. The theme is the big idea that controls everything else. Picture books are more than stories - they're tiny life lessons disguised with humor and heart.</p>
<p>But your theme needs to be:<br />
• Subtle enough not to trigger the dreaded "didactic" rejection<br />
• Clear enough for a four-year-old to grasp<br />
• Universal enough to speak to both kids and adults<br />
• Fresh enough to prevent agents and editors from responding with "Not another sharing/bedtime/first-day story!"</p>
<p>Check your other dead manuscripts to see if there is a recurring theme, something that really seems to be speaking to you. Find the bit of poetry you scribbled on the back of a receipt to see what theme inspired it. Reread the pep talk you texted your critique partner at 1am. Pick the theme that will drive your story, giving it purpose, direction, and deeper meaning.<br />

The Legs of your story is the plot. Not to be confused with a grave plot.🤪 The plot is what keeps everything upright and moving, as well as providing support for all the other elements. You have very few words to use in a picture book, so you need to do a lot with each plot point.</p>
<p>In general, your plot should:<br />
• Hook readers fast<br />
• Build tension that a child can follow<br />
• Create page turns that feel natural<br />
• Wrap up in a way that satisfies</p>
<p>You can borrow a plot twist (a leg) from one manuscript and the opening (the other leg) from a different manuscript. Consider if the subplot of the middle grade novel you trunked would work better as a picture book. Or maybe your Facebook post about a disastrous camping trip could become a story for kids. Just keep putting one foot in front of the other until you have your storyline.

The Arms of your story are the side characters.

The Torso of your story is the setting. Setting helps a story breathe and connects all the elements of the story. It isn't just where your story lives, it's what makes your story ALIVE. It's the difference between "this happened in a park" and "this happened in that park, the one with the twisty slide that burns your legs and the creaky swing that sounds like a baby crying.”</p>
<p>Your setting should:<br />
• Make your character's world feel real<br />
• Contain your story in a way that makes sense to young readers<br />
• Connect different scenes and moments organically<br />
• Give your illustrator enough room to add visual subplots</p>
<p>Half-finished manuscripts are a great place to dig up settings, since you worked out the place details before the plot petered out. Or maybe you had to cut a second fantastic location from your chapter book. You can also revisit the detailed caption from your Instagram carousel documenting your tour of that delish candy shop. Disinter a robust setting that can house all of your story's vital organs.

After you press the Click When Done circle button, the lights flash with the sound of electricity buzzing. Then the screen goes black and lightning zaps across the screen with the sound of thunder.

The screen then lights up to show the storage room, and all the Frankenstein pieces have been assembled into the whole monster. An upbeat song plays in the background. Then a speech bubble pops up with the words, “I’m alive! I’M ALIVE!” Then the screen goes to black.

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