Darren Shan, author of ZOM-B GODDESS, on serving the needs of the story

by Jocelyn Rish

ZOM-B GODDESS is the final book in the Zom-B series, and we’re thrilled to have Darren Shan here to tell us more about it.

Darren, 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?

The ending was tricky for me, because it wasn’t the end I originally planned. When I started Zom-B, a lot of the overall plot was unclear, but I was sure of the ending – I even knew what the final line would be. But as I progressed through the novels, the main character, B Smith, evolved in ways I hadn’t anticipated, and I started to sense that my ending would no longer work. I wrote it as planned when I was writing the first draft of Zom-B Goddess, but when I returned to edit it, I had to change it. Luckily the plot presented me with a fitting alternative ending, so it wasn’t any great trouble to change it, but I’m pleased that I was able to make that call, and not stubbornly stick with the original ending, just because that was what I wanted to happen. When a book’s going well, it’s not always about doing what you want as a writer, but rather serving the needs of the story.

How long did you work on ZOM-B GODDESS?

I spent three years on it in total, though the series took about seven years to complete. I spent about three years on each book – the reason I was able to release them so quickly is that I juggle books around when I write. I’ll work on a first draft of book one, then write the first draft of book two, then do an edit book one, then an edit of book two, then write the first draft of book three, then go back and do another edit of the first book… and so on.

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

It taught me that the story is always king. You can guide it to a certain extent as an author, but ultimately you have to let it lead you, rather than the other way round.

What do you hope readers will take away from ZOM-B GODDESS?

I really, really hope they enjoy the end. It’s hard, when you write a long series, to satisfy every reader, because they spend so long with the characters and plot lines. I think the ending will feel right for what’s gone before, and that’s ultimately the most a writer can hope for the finale of a long series. But time will tell!

What are you working on now?

I’m working on a new series. It’s still very early, so I can’t say much about it, except it’s not horror (though it has a dark edge), and it will probably be my longest (page count wise) and most ambitious to date. I just never learn…

ABOUT THE BOOK

Zom-B Goddess
by Darren Shan
Hardcover
Little, Brown Books for Young Readers
Released 3/15/2016

B Smith has escaped from the murderous clown Mr. Dowling, only to find herself trapped by someone she had once thought of as an ally. As B learns more about the twisted history of the zombie virus, she prepares to make a final stand against her enemies-even if it means making the ultimate sacrifice.

The final thrilling installment of Darren Shan’s Zom-B series is sure to knock you dead!

Purchase Zom-B Goddess at Amazon
Purchase Zom-B Goddess at IndieBound
View Zom-B Goddess on Goodreads

ABOUT THE AUTHOR

Darren Shan (born July 2, 1972 in London, England) is the pen name of the Irish author Darren O’Shaughnessy, as well as the name of the protagonist of his book series The Saga of Darren Shan, also known as The Cirque Du Freak Series in the United States. He is the author of The Demonata series, as well as some stand-alone books, and a series of books for adults under the alternative name of D.B. Shan. You can find out more about him at his website.

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Have you had a chance to read ZOM-B GODDESS yet? Are you able to work on multiple novels in various states? Do you let the story lead you while writing? Share your thoughts about the interview in the comments!

Happy reading,

Jocelyn, Shelly, Martina, Erin, Susan, Sam, Lindsey, Sarah, Sandra, Kristin, and Anisaa

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: Mar 19, 2016

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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