Jessica Verdi, author of WHAT YOU LEFT BEHIND, on trashing pages and starting over

by Jocelyn Rish

We’re excited to have Jessica Verdi stop by to tell us more about her latest novel WHAT YOU LEFT BEHIND.

Jessica, what was your inspiration for writing WHAT YOU LEFT BEHIND?

The idea for What You Left Behind was actually sparked by an article my husband sent me about a teenage girl who had cancer and was pregnant, and wasn’t allowed to make her own decision of whether she wanted to abort her pregnancy and continue her cancer treatments, or stop the cancer treatments and have the baby. Her parents chose for her (they chose stop cancer treatments and have the baby) and she died a couple days after giving birth, leaving the baby to be raised by her boyfriend. This isn’t exactly what happens in the book, but the issue of choice is one that is very important to me, so I wanted to write about that. And of course I was completely interested in the single teen dad grieving the loss of his girlfriend story. So that’s where Ryden came from.

How long did you work on WHAT YOU LEFT BEHIND?

This book took me a lot longer than any of my others so far. I actually started it in the absolutely wrong place (about a year and a half in the story’s timeline before the book begins now), so I had to trash a LOT of pages and start over. And then once I finished a draft I revised it probably about five or six times. The whole process took me probably close to two years.

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

I have a day job, so I generally only write on the weekends. It’s hard to have to set aside those “days off” for work, but it’s the only time I have to get anything done. I write all day on Saturdays and Sundays, from home. I have a really hard time getting work done in public—too many distractions! Sometimes I do listen to music, but nothing with fun lyrics that make me want to sing along (like showtunes)—again, too distracting. I need something mellow, that can blend into the background and provide a mood.

What are you working on now?

I’m working on revising a fantasy YA I co-wrote with an author friend, and I’m also working on an adult romance that I hope to publish under a pen name. Nothing’s been sold, though, so unfortunately I have to keep it all vague for now!

ABOUT THE BOOK

What You Left Behind
by Jessica Verdi
Hardcover
Sourcebooks Fire
Released 8/4/2015

It’s all Ryden’s fault. If he hadn’t gotten Meg pregnant, she would have never stopped her chemo treatments and would still be alive. Instead, he’s failing fatherhood one dirty diaper at a time. And it’s not like he’s had time to grieve while struggling to care for their infant daughter, start his senior year, and earn the soccer scholarship he needs to go to college.

The one person who makes Ryden feel like his old self is Joni. She’s fun and energetic—and doesn’t know he has a baby. But the more time they spend together, the harder it becomes to keep his two worlds separate. Finding one of Meg’s journals only stirs up old emotions, and Ryden’s convinced Meg left other notebooks for him to find, some message to help his new life make sense. But how is he going to have a future if he can’t let go of the past?

Purchase What You Left Behind at Amazon
Purchase What You Left Behind at IndieBound
View What You Left Behind on Goodreads

ABOUT THE AUTHOR

Jessica Verdi lives in Brooklyn, NY, and received her MFA in Writing for Children from The New School. She loves seltzer, Tabasco sauce, TV, vegetarian soup, flip-flops, and her dog. Visit her at jessicaverdi.com and follow her on Twitter @jessverdi.

Have you had a chance to read WHAT YOU LEFT BEHIND yet? Do you get story ideas from articles? Have you ever started in the wrong place and ended up trashing a lot of pages?

Happy reading,

Jocelyn, Shelly, Martina, Erin, Lisa, Susan, Jen, Sam, Lindsey, 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: Aug 8, 2015

Category: Imported from AYAP

Tags: YA Author Interviews

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← Previous: Mindee Arnett, author of THE NIGHTMARE CHARADE, on needing a sense of isolation to write Next: Shannon Grogan, author of FROM WHERE I WATCH YOU, on her winding road to publication →

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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