Kim Savage, author of AFTER THE WOODS, on literally writing blind

by Jocelyn Rish

We’re thrilled to have Kim Savage join us to share more about her debut novel AFTER THE WOODS.

Kim, 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?

I had an AHA moment recently, but I think it still counts, because writers are always on the road to publication. I was stuck in a doctor’s waiting room with my eyes fully dilated, essentially blind. I had my computer, so I started to write my latest novel, starting with the first line. I couldn’t go back and see anything I had written: I could only plow ahead. There was no possibility of editing myself. I wrote for more than an hour. It was terrifying, then liberating. After I could see, I kept everything (minus the hilarious typos).

It’s not revelatory to suggest muting your internal editor on the first draft. But I’d revised two books, and hadn’t written from-scratch in nearly a year. My paralysis was beginning to scare me. It sounds cornball, but I had to go blind to see.

What book or books would most resonate with readers who love your book–or visa versa?

Readers who liked Gone Girl and Dark Places by Gillian Flynn; Fever by Megan Abbott; Suicide Notes from Beautiful Girls by Lynn Weingarten; and anything by Courtney Summers and Tana French.

Full disclosure: I am totally parroting what other people tell me. Honestly, I have no idea what the answer to this question is.

What are you working on now?

I’m writing my third contemporary, set in Boston’s upscale Back Bay. It’s about an obsessive friendship that develops despite and because of a murder, a con game, and a mutual love for classic horror novels. Think Single White Female if Bridget Fonda and Jennifer Jason Leigh had really great taste in books.

ABOUT THE BOOK

After the Woods
by Kim Savage
Hardcover
Farrar, Straus and Giroux
Released 2/23/2016

Would you risk your life to save your best friend?

Julia did. When a paroled predator attacked Liv in the woods, Julia fought back and got caught. Liv ran, leaving Julia in the woods for a terrifying 48 hours that she remembers only in flashbacks. One year later, Liv seems bent on self-destruction, starving herself, doing drugs, and hooking up with a violent new boyfriend. A dead girl turns up in those same woods, and Julia’s memories resurface alongside clues unearthed by an ambitious reporter that link the girl to Julia’s abductor. As the devastating truth becomes clear, Julia realizes that after the woods was just the beginning.

Kirkus calls After the Woods, “A riveting exploration of what it’s like when the enemy is much closer than you suspect.” (starred review, Nov. 1, 2015)

Purchase After the Woods at Amazon
Purchase After the Woods at IndieBound
View After the Woods on Goodreads

ABOUT THE AUTHOR

Kim Savage was born in Quincy, Massachusetts, and received her degree in English from Stonehill College. She lives with her husband and three children north of Boston, Massachusetts. After the Woods is her debut novel.
Kim Savage

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Have you had a chance to read AFTER THE WOODS yet? Have you ever tried writing without being able to see what you write? Is it hard for you to write new words after revising for so long? 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: Feb 27, 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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