Ryan Graudin, author of BLOOD FOR BLOOD, on when the task of writing feels crushing

by Jocelyn Rish

BLOOD FOR BLOOD is the second book in the Wolf by Wolf duology, and we’re delighted to have Ryan Graudin with us to chat about it.

Ryan, what was your inspiration for writing BLOOD FOR BLOOD?

The WOLF BY WOLF duology has many roots, as it is smorgasbord of genres. The most obvious inspiration is history. I love researching and learning about times before our own, and World War II has been a special point of interest for me since childhood. That war juxtaposed the extremities of human nature in ways few others have. Many YA authors like Elizabeth Wein, Jerry Spinelli or Markus Zusak (to name a few) delve into that conflict in powerful ways. However, there were hardly any WWII alternate history books in the YA canon when I was in the inspirational stages of WOLF BY WOLF (I can’t even think of one). This gap was one of the reasons I decided to push WOLF BY WOLF’s world in that direction.

The motorcycle race in WOLF BY WOLF was partly inspired by “The Long Way Round,” a BBC miniseries where Ewan McGregor and Charley Boorman ride motorcycles all the way from London to New York via the Road of Bones in Siberia. Their journey was fraught with accidents and natural disasters and after watching it I couldn’t stop imagining what such a competition would look like. Historically, given Joseph Goebbels affinity for pomp and circumstance, and the fact that the Hitler Youth had a special branch dedicated to learning about motorcycles, the Axis Tour isn’t as much of a stretch as one might imagine.

BLOOD FOR BLOOD itself was obviously inspired by the first book, as well as many conversations with WWII buffs about how a resistance might possibly take down the Third Reich in such a scenario. My second Operation Valkyrie took a lot of its cues from the actual Operation Valkyrie, which took place in 1944.

What did this book teach you about writing or about yourself?

This book taught me that even challenges that feel impossible can be met, and met well. I remember standing outside of my local coffee shop in 2014, staring at Christmas lights glowing in the early dark and being seized with the certainty that BLOOD FOR BLOOD was simply too ambitious. The task of writing felt crushing. It felt that way every day, for over a year; until I finally wrote THE END and hit send. Getting to that end was only possible through small steps. Scene by scene, chapter by chapter, I got the story down. There was a lot of research and rewriting and tears, but in the end, I did it.

I think the key takeaway for me was: writing books is hard, and some books are a lot harder than others. Don’t underestimate yourself.

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

I’m fortunate enough to be writing full time, so I try to fit my writing into normal work hours so I can spend time with my husband in the evenings and socialize with friends on the weekends. Depending on the stage, I spend 6-9 hours writing on any giving weekday. When I’m rough drafting, the hours are shorter, and I have a word count goal of a least a thousand words. Historical fiction takes a lot longer to write because of research. Hours and hours are spent seeking out information that sometimes never even makes it onto the page.

I often work from my office at home, but steal away to my favorite local coffee shop for company (and phenomenal pumpkin spice lattes). I do some of my best work in airports too, which is good, since I love traveling.

What are you working on now?

Something really fun! I’m going to be a tease because I’m not sure exactly how much I’m allowed to say at this point. After spending three plus years immersed in an alternate universe where Hitler won the war, I was ready to write something lighter. Something I could put jokes in and have fun with. Here are a few of the things my new project features: a red panda, Rubik’s cubes, Marie Antoinette, hair chalks, a boy without a birthday, an abundance of gelato. Make of that what you will!

ABOUT THE BOOK

Blood for Blood
by Ryan Graudin
Hardcover
Little, Brown Books for Young Readers
Released 11/1/2016

The action-packed, thrilling sequel to Ryan Graudin’s Wolf by Wolf.

There would be blood.
Blood for blood.
Blood to pay.
An entire world of it.

For the resistance in 1950s Germany, the war may be over, but the fight has just begun.

Death camp survivor Yael, who has the power to skinshift, is on the run: the world has just seen her shoot and kill Hitler. But the truth of what happened is far more complicated, and its consequences are deadly. Yael and her unlikely comrades dive into enemy territory to try to turn the tide against the New Order, and there is no alternative but to see their mission through to the end, whatever the cost.

But dark secrets reveal dark truths, and one question hangs over them all: how far can you go for the ones you love?

This gripping, thought-provoking sequel to Wolf by Wolf will grab readers by the throat with its cinematic writing, fast-paced action, and relentless twists.

Purchase Blood for Blood at Amazon
Purchase Blood for Blood at IndieBound
View Blood for Blood on Goodreads

ABOUT THE AUTHOR

Ryan Graudin was born in Charleston, South Carolina, with a severe case of wanderlust. When she’s not traveling, she’s busy writing and spending time with her husband and wolf dog. She is the author of the All That Glows series, The Walled City, and Wolf by Wolf.

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Have you had a chance to read BLOOD FOR BLOOD yet? Do you do a lot of research that never makes it onto the page? Do you get the story down in small steps when the task feels crushing? 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 6, 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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