S.A. Bodeen, author of THE DETOUR, on not putting the cart before the horse

by Jocelyn Rish

THE DETOUR is the latest novel by S.A. Bodeen, and we’re thrilled she stopped by to chat about writing.

How long or hard was your road to publication? How many books did you write before this one, and how many never got published?

I started out in picture books. My first, Elizabeti’s Doll, released in 1998 with a splash and many accolades, which led to six more. But I wanted to write YA. For years, I wrote YA novels, each worse than the last. Finally, in 2005, my agent sent several of them back to me in a box, along with a letter saying, in effect, “These suck.” So I took the easy road: I quit. Worst several months of my life, because not only was I giving up on my dream, I was being a terrible role model for my daughters in the process. And then I read about National Novel Writing Month. So November 1, 2005, I sat down and began what would—after much hard work, many tears, and even starting over several times over the course of the next six months— eventually become my first YA novel THE COMPOUND, which was the tenth novel that I wrote. The other nine will never be published, but I obviously needed to write them to learn from them.

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?

Oh, how I wish I could say yes to this. Writing never gets easier for me. Each new book is a different challenge, and each teaches me something about writing, which I then take along when I write the next book. I don’t think I’ll ever feel like I know the key to writing a novel, but I’ll keep plugging along.

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

I get a lot of emails from writers just getting started, and their questions tend to be about the business: agents, submissions, etc. But I think the writing, the craft, should be the priority. Without that, you are putting the cart before the horse. So focus on the work. All that other stuff will fall into place when it is time.

ABOUT THE BOOK

The Detour
by S.A. Bodeen
Hardcover
Feiwel & Friends
Released 10/6/2015

On her way to a writer’s conference, a bestselling teenage author takes a detour that has been deliberately set up by her biggest fans—a mother and daughter who kidnap her.

Livvy Flynn is a big deal—she’s a New York Times-bestselling author whose YA fiction has sold all over the world. She’s rich, she’s famous, she’s gorgeous, and she’s full of herself.

When she’s invited to an A-list writer’s conference, she decides to accept so she can have some time to herself. She’s on a tight deadline for her next book, and she has no intention of socializing with the other industry people at the conference.

And then she hits the detour. Before she knows it, her brand new car is wrecked, she’s hurt, and she’s tied to a bed in a nondescript shack in the middle of nowhere. A woman and her apparently manic daughter have kidnapped her. And they have no intention of letting her go.

Purchase The Detour at Amazon
Purchase The Detour at IndieBound
View The Detour on Goodreads

ABOUT THE AUTHOR

Stephanie is the award-winning author of the Elizabeti’s Doll series of picture books, as well as several others. Her young adult novels include the award-winning The Compound and The Raft, and her next YA The Detour releases October 2015. The first two volumes of her middle grade series, Shipwreck Island and Lost, are available now.

Have you had a chance to read THE DETOUR yet? Has National Novel Writing Month helped jump start your writing? Do you try to making your writing craft the priority?

Happy reading,

Jocelyn, Shelly, Martina, Erin, Lisa, Susan, 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: Oct 10, 2015

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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