Hadley Dyer, author of HERE SO FAR AWAY, on growing with every book you write

by Jocelyn Rish

We’re delighted to have Hadley Dyer join us to chat about her latest novel, HERE SO FAR AWAY.

Hadley, what was your inspiration for writing HERE SO FAR AWAY?

If you’ve ever been in a secret relationship, or know people who have, you’ve experienced how messy, complicated, and difficult they can be — never more so than when things go sideways, the way they do for George, the main character in the novel. I’d heard a few stories about relationships that had taken such a turn and began to wonder how you would cope with that if you were a young person. First love on its own is a big thing to keep to yourself, never mind when it becomes painful. From there, I set about creating characters who you might not expect to get into that situation, because it made the process more challenging and interesting.

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 first night that George and Francis, the man she falls in love with, spend together. I scribbled it quickly, but kept it out of the manuscript forever because I wasn’t confident that I’d come at it the right way. That’s not the scene I’m most proud of, though. I’m not sure I could choose one as a personal favorite, but I loved writing every scene featuring George’s friend Bill and the old farmer she works for, Rupert. Those boys just made me smile. I also enjoyed imagining her friend Sid, who stays off stage the entire story because he has moved away and only appears in anecdotes and flashbacks. All those tiny pieces added up to a character I really liked.

Was there an AHA! moment along your road to publication where something suddenly sank in and you felt you had the key to writing a novel? What was it?

It was deciding what Francis’s job was going to be — police officer — and that George’s father would have the same job. That raised the stakes considerably, having a love interest who is not only much older than George but also in a position of trust and authority. That was the key that unlocked the rest of the story. But I just about drove myself around the bend trying to figure it out.

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

I say this as both a writer and a former in-house editor: be true to the writer you are. It’s unlikely that you’re going to get rich writing, so focus on the work that gives you satisfaction and is uniquely yours. You don’t have to please everyone, but you can please yourself and the readers who share your tastes and sensibilities. And you can grow with every book you write.

ABOUT THE BOOK

Here So Far Away
by Hadley Dyer
Hardcover
HarperTeen
Released 3/20/2018

Feisty and fearless George Warren (given name: Frances, but no one calls her that) has never let life get too serious. Now that she’s about to be a senior, her plans include partying with her tight-knit group of friends and then getting the heck out of town after graduation.

But instead of owning her last year of high school, a fight with her best friend puts her on the outs of their social circle. If that weren’t bad enough, George’s family has been facing hard times since her father, a police sergeant, got injured and might not be able to return to work, which puts George’s college plans in jeopardy.

So when George meets Francis, an older guy who shares her name and her affinity for sarcastic banter, she’s thrown. If she lets herself, she’ll fall recklessly, hopelessly in love. But because of Francis’s age, she tells no one—and ends up losing almost everything, including herself.

This is a gorgeous, atmospheric, and gut-wrenching novel that readers won’t soon forget.

Purchase Here So Far Away at Amazon
Purchase Here So Far Away at IndieBound
View Here So Far Away on Goodreads

ABOUT THE AUTHOR

Hadley Dyer is the author of Here So Far Away, Johnny Kellock Died Today, winner of the Canadian Library Association’s Book of the Year for Children Award, and other acclaimed titles for children and young adults. She has worked in the children’s book industry for more than twenty years and for multiple organizations promoting the cause of literacy and reading, including CODE, IBBY Canada, and the Canadian Children’s Book Centre. Raised in the Annapolis Valley, Nova Scotia, she now resides in Toronto.

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Have you have a chance to read HERE SO FAR AWAY yet? Do any of your characters just make you smile? Are you being true to the writer you are? 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: Mar 21, 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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