Kristin Elizabeth Clark, author of JESS, CHUNK, AND THE ROAD TRIP TO INFINITY, on remembering to play

by Jocelyn Rish

We’re delighted to have Kristin Elizabeth Clark here to chat about her latest novel JESS, CHUNK, AND THE ROAD TRIP TO INFINITY.

Kristin, what was your inspiration for writing JESS, CHUNK, AND THE ROAD TRIP TO INFINITY?

My inspiration for the book came from a road trip I took with my daughter in the early stages of her transition. We talked our way across the US about a lot of things. A conversation about bathrooms and safety and passing privilege really stuck with me. Well after the fact, something clicked and I wrote a scene that takes place near the middle of the book.

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

I’ve had readers tell me that the road trip aspect of the book, as well as the initial interactions between Jess and Chuck reminded them of John Green’s “An Abundance of Katherines”, which if you like John Green (as I do) is pretty flattering.

How long did you work on JESS, CHUNK, AND THE ROAD TRIP TO INFINITY?

That’s difficult to answer, because I had a couple of false starts, some depression, writer’s block malaise, and a garden-variety family crisis to deal with – all while I was supposed to be working on it. The time frame has become fuzzy to me.

Jess and Chunk was the second book of a contract, and it was officially due in to my publisher just before FREAKBOY came out. That obviously didn’t happen. My editor (the AhMayzing Joy Peskin) was really great about it, insisting that I take the time I needed to write the next manuscript. There was a lot of upheaval in my life right around then, making it hard to focus but eventually I did. I outlined a plot and wrote a couple of chapters for a new project. The trouble is, I’m more of a pantser than a plotter and outlining in detail killed my enthusiasm for the story. I slunk back to Joy and told her I just couldn’t do it. I sent her a few pages of a new story, which she okayed and then I became creatively blocked. Before it happened to me, I had no idea how devastating a block could be. I think my identity had become wrapped up in being a writer and then when I couldn’t, I felt like such a loser. At any rate, I missed deadline after deadline and was super (and scarily) depressed. In fact it’s hard to suss out exactly if depression caused a block or if it was the result of one.

Joy must have been a little concerned that she kept having to push back pub dates; after all, she had a schedule to keep. She was great, though, about giving me time and space, and reassuring me that my mental health was the most important thing. Finally, three things happened. 1.) After weeks and weeks of waking up in the morning and immediately trying to go back to sleep because unconsciousness had become my preferred state, I sought professional help. 2.) I started reading everything I could get my hands on about the neuroscience of creativity in an attempt to discover ways to trick my mind back into creating. Finally, I settled on a program of exercise, Qi Gong meditation, and playtime to kick off my day – and it worked 3.) I had a conversation with my daughter during which we reminisced about driving through Nebraska of all places. Something clicked, and I had the story I wanted to tell. (I always feel like I have to point out that while my daughter has inspired two of my books, they ARE works of fiction.)

All of this is to say I worked on JESS, CHUNK, AND THE ROAD TRIP TO INFINITY anywhere between one to two and a half years.

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

Remember to play. It’s crucial to your creativity.

ABOUT THE BOOK

Jess, Chunk, and the Road Trip to Infinity
by Kristin Elizabeth Clark
Hardcover
Farrar, Straus and Giroux
Released 11/8/2016

The last time Jess saw her father, she was a boy. Now she’s a high school graduate, soon to be on her way to art school. But first she has some unfinished business with her dad. So she’s driving halfway across the country to his wedding. He happens to be marrying her mom’s ex-best friend. It’s not like Jess wasn’t invited; she was. She just never told anyone she was coming. Surprise!

Luckily, Jess isn’t making this trip alone. Her best friend, Christophe–nicknamed Chunk–is joining her.

Along the way, Jess and Chunk learn a few things about themselves–and each other–which call their feelings about their relationship into question.

Purchase Jess, Chunk, and the Road Trip to Infinity at Amazon
Purchase Jess, Chunk, and the Road Trip to Infinity at IndieBound
View Jess, Chunk, and the Road Trip to Infinity on Goodreads

ABOUT THE AUTHOR

Kristin Elizabeth Clark lives and writes in the Santa Cruz Mountains. She hikes with her dog and reads to her cats… but she’s not one of THOSE people. Really.

Her young adult debut, Freakboy, will be published by Farrar, Straus and Giroux (BYR) on October 22nd, 2013.

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Have you had a chance to read JESS, CHUNK, AND THE ROAD TRIP TO INFINITY yet? Have you had to work your way out of depression in order to write? Do you find play crucial to your creativity? Share your thoughts about the interview in the comments!

Happy reading,

Jocelyn, Shelly, Martina, Anisaa, Sam, Erin, Susan, Michelle, Laura, and Kristin

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: Nov 13, 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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