C.J. Omololu, author of THE THIRD TWIN, on listening to your story

by Jocelyn Rish

What was your inspiration for writing THE THIRD TWIN?

When I was a kid, we had a family story about two identical twin cousins who made up a triplet in college to date boys that they wouldn’t date as themselves. I took that basic story and threw in a murder mystery to make it an actual book.

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

There was one scene that was a surprise to me as I was writing it – I had no idea that this particular thing was going to happen to this particular character, but in the end I knew it was the right thing to do. I had to finish writing the scene through tears and even my editor was surprised. I hope readers like it as much as I do.

How long did you work on THE THIRD TWIN?

When I finally sit down to actually write a story, I give myself a minimum word count a day – usually 1,000 words a day. THE THIRD TWIN is about 90k words, so it took about three months to actually write the draft – I write very chronologically, from front to back. Then of course, it’s nowhere near done. There are probably three or four drafts before I’m ready to show it to my editor.

What do you hope readers will take away from THE THIRD TWIN?

First off, I hope they enjoy it. That’s why I read – to step into someone’s life for a few hours. I hope they’re surprised at the twists and turns the story takes – it really wrote itself. I just dictated.

What advice would you most like to pass along to other writers?

Listen to your story and don’t try to make it something it’s not. I often find that if a story isn’t working its because I’m trying to force it to be one thing. Once I listen to the characters and let them do their thing, the story usually picks right up and I’m able to continue.

ABOUT THE BOOK

The Third Twin
by C.J. Omololu
Hardcover
Delacorte Books for Young Readers
Released 2/24/2015

Identical twins. Identical DNA. Identical suspects. It’s Pretty Little Liars meets Revenge in this edge-of-your-seat thriller with a shocking twist.

When they were little, Lexi and her identical twin, Ava, made up a third sister, Alicia. If something broke? Alicia did it. Cookies got eaten? Alicia’s guilty. Alicia was always to blame for everything.

The game is all grown up now that the girls are seniors. They use Alicia as their cover to go out with boys who are hot but not exactly dating material. Boys they’d never, ever be with in real life.

Now one of the guys Alicia went out with has turned up dead, and Lexi wants to stop the game for good.

As coincidences start piling up, Ava insists that if they follow the rules for being Alicia, everything will be fine. But when another boy is killed, the DNA evidence and surveillance photos point to only one suspect—Alicia. The girl who doesn’t exist.

As she runs from the cops, Lexi has to find the truth before another boy is murdered. Because either Ava is a killer . . . or Alicia is real.

Purchase The Third Twin at Amazon
Purchase
The Third Twin at IndieBound
View The Third Twin on Goodreads

ABOUT THE AUTHOR

C. J. OMOLOLU majored in English at U.C. Santa Barbara because she liked to read, not because she liked to write. She later discovered that the voices in her head often have interesting things to say. You can find out more about her on her website.

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: Feb 28, 2015

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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