Jennifer Salvato Doktorski, author of AUGUST AND EVERYTHING AFTER, on music as inspiration

by Jocelyn Rish

We’re delighted to have Jennifer Salvato Doktorski here to tell us more about her latest novel, AUGUST AND EVERYTHING AFTER.

Jennifer, what was your inspiration for writing AUGUST AND EVERYTHING AFTER?

A pair of cat-eye glasses, a favorite album, and music. Even though I can’t play an instrument and can barely sing (although that doesn’t stop me from trying), music has always been an important part of my life. First, as a fan, and later as a music journalist and zine editor. (I met my husband when I interviewed him for my music column.) The years I spent as a writer among musicians in a local music scene were among the most memorable of my life. I met so many amazing, talented people, who were always welcoming and always willing to talk to me about their craft. I wanted to write a book set against the backdrop of a scene like that while tackling the tough topics of grief, addiction, and recovery. I named the novel after one of my favorite albums of all time, AUGUST AND EVERYTHING AFTER by the Counting Crows, and let that title guide my characters’ destinies.

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 hardest scene for me to write occurs about halfway through the book, when the main character, Quinn, is in the recording studio with her love interest Malcolm—a former rising rock star whose career was cut short by the death of his bandmates—and the new band he cobbled together. (Quinn plays drums and her co-worker Liam plays guitar.) They’re recording songs for Malcolm’s demo as he makes plans for a comeback tour. During those long hours in the studio, Quinn not only confronts her own demons, but Malcolm’s as well. As they record a song that Malcolm wrote and Quinn produced, an elegy to their dead friends, there are metaphorical ghosts in the room. I cried every time I thought about writing that scene and I cried as I wrote it. It’s the moment where everything falls apart for Quinn and my heart breaks when I think of what I put her through.

How long did you work on AUGUST AND EVERYTHING AFTER?

This novel took me about a year to write, which so far seems to be the same length of time it takes me to write all my novels.

What do you hope readers will take away from AUGUST AND EVERYTHING AFTER?

I hope that readers see that while this novel includes a love story, it’s more about two people coming together to face their tragic pasts, confront their demons, and learn to forgive so that they can begin living again.

What’s your writing ritual like? Do you listen to music? Work at home or at a coffee shop or the library, etc.?

I write at home, sometimes with background music or white noise like dishwasher or CNN on the TV in another room, but mostly in silence. I create playlists for all my books, assigning songs to particular scenes and specific characters, but I listen to those playlists while running or walking to help me flesh out my ideas before I sit down at my laptop to write.

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

Read. Write. Repeat. And never give up.

What are you working on now?

I’m taking a break from summer and working on a quirky Christmas story.

ABOUT THE BOOK

August and Everything After
by Jennifer Salvato Doktorski
Paperback
Sourcebooks Fire
Released 5/1/2018

Graduation was supposed to be a relief. Except Quinn can’t avoid the rumors that plagued her throughout high school or the barrage of well-intentioned questions about her college plans. How is she supposed to know what she wants to do for the next four years, let alone the rest of her life? And why does no one understand that it’s hard for her to think about the future―or feel as if she even deserves one―when her best friend is dead?

Spending the summer with her aunt on the Jersey shore may just be the fresh start Quinn so desperately needs. And when she meets Malcolm, a musician with his own haunted past, she starts to believe in second chances. Can Quinn find love while finding herself?

Purchase August and Everything After at Amazon
Purchase August and Everything After at IndieBound
View August and Everything After on Goodreads

ABOUT THE AUTHOR

Jennifer Salvato Doktorski is the author of the YA novels, HOW MY SUMMER WENT UP IN FLAMES, FAMOUS LAST WORDS, a Bank Street College Best Children’s Book of the Year, THE SUMMER AFTER YOU & ME, a YALSA Teens’ Top Ten nominee and the forthcoming AUGUST & EVERYTHING AFTER.

Her first paid writing gig was as an editorial assistant for the North Jersey Herald & News, where, in addition to developing a life-long passion for coffee and news, she wrote obituaries for eight months. She also worked as a speech writer, bank teller, ghostwriter, bookkeeper in a lampshade factory, pet shop clerk, and music zine editor.

She lives with her family in New Jersey and spends her summers “down the shore,” where everything’s always all right.

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Have you had a chance to read AUGUST AND EVERYTHING AFTER yet? Do you cry when you think about what you’re going to put your characters through? Do you create playlists for certain scenes? 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: May 1, 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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