Anna-Marie McLemore, author of BLANCA & ROJA, on being a bit of a writer cliché

by Jocelyn Rish

We’re thrilled to have Anna-Marie McLemore with us to share more about her latest novel, BLANCA & ROJA.

Anna-Marie, what’s your ritual like? Do you listen to music? Work at home or at a coffee shop or the library, etc?

When it comes to writing rituals, I’m a little bit of a writer cliché. I have to make a playlist before I write the first chapter, and I’m powered by small amounts of coffee and staggering amounts of tea. And fizzy water. My relatives just got my husband and me a carbonator and I’m in love.

What scene was really hard for you to write and why, and is that the one of which you are most proud?

There’s a scene in which Roja has debilitating menstrual cramps and the start of a brutal period. Writing that scene, I felt a little like I was ripping my own body open and showing readers, This is what so many of us live with. But it’s also one of the scenes I’m most proud of, and I hope it makes anyone who’s gone through something similar feel less alone.

Equally important to me was the character Barclay’s reaction. He doesn’t freak out. He doesn’t pick apart what might be wrong with her. He sees a friend in pain and tries to help. It was important for me to put that on the page.

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

Sometimes you will have an idea for a story, but it might not be quite the right time to write it. You might be missing a piece, some spark that will make it the book it’s meant to be. I had to wait for that spark. I knew I wanted to write a “Snow-White & Rose-Red” reimagining, I knew I was enthralled by Swan Lake, but it wasn’t until I looked deeply at what I’m expected to be as a Latina woman, as a queer woman, as a queer woman of color that BLANCA & ROJA truly came to life.

ABOUT THE BOOK

Blanca & Roja
by Anna-Marie McLemore
Hardcover
Feiwel & Friends
Released 10/9/2018

The biggest lie of all is the story you think you already know.

The del Cisne girls have never just been sisters; they’re also rivals, Blanca as obedient and graceful as Roja is vicious and manipulative. They know that, because of a generations-old spell, their family is bound to a bevy of swans deep in the woods. They know that, one day, the swans will pull them into a dangerous game that will leave one of them a girl, and trap the other in the body of a swan.

But when two local boys become drawn into the game, the swans’ spell intertwines with the strange and unpredictable magic lacing the woods, and all four of their fates depend on facing truths that could either save or destroy them. Blanca & Roja is the captivating story of sisters, friendship, love, hatred, and the price we pay to protect our hearts.

Purchase Blanca & Roja at Amazon
Purchase Blanca & Roja at IndieBound
View Blanca & Roja on Goodreads

ABOUT THE AUTHOR

Anna-Marie McLemore was born in the foothills of the San Gabriel Mountains and taught by her family to hear la llorona in the Santa Ana winds. Her debut novel THE WEIGHT OF FEATHERS was a Junior Library Guild Selection, a YALSA Best Fiction for Young Adults book, and a finalist for the William C. Morris Debut Award. Her second novel, WHEN THE MOON WAS OURS, was long-listed for the National Book Award in Young People’s Literature, and was a 2017 Stonewall Honor Book. Her latest is WILD BEAUTY, and BLANCA & ROJA is forthcoming in fall of 2018.

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Have you had a chance to read BLANCA & ROJA yet? When writing, do you ever feel like you’re ripping your own body open and showing readers? Have you ever had a story idea but known it wasn’t the right time to write it? Share your thoughts about the interview in the comments!

Happy Reading,

Jocelyn, Halli, Martina, 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: Oct 11, 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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