Stewart Lewis, author of STEALING CANDY, on family not always being blood

by Jocelyn Rish

We are delighted to be joined by Stewart Lewis to chat with him about his latest novel STEALING CANDY.

Stewart, how long did you work on STEALING CANDY?

2 years. At first, her captor was an adult, but then I made him a teenager which changed everything and made it less taboo.

What do you hope readers will take away from STEALING CANDY?

The fact that family is not always blood. And that forgiveness is really hard, but sometimes the right thing.

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’ve written ten books, and this will be my 5th one published. It is not an easy road! But it is nice to go into a store and see my book, hold it in my hand, get letters from all over the world from people who love my work. so, in a way, it’s worth it!

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

I work mostly in bed, and love to be by the ocean. Luckily, I had friends with beach houses, and now I have my own!

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

Experience life to the fullest and notice everything.

What are you working on now?

A new YA mystery called LOOK CLOSER, where a girl in DC starts seeing names, and it means that person will die that day. With the help of a male friend, she starts to try and save the lives, and eventually the name she sees is her own.

ABOUT THE BOOK

Stealing Candy
by Stewart Lewis
Paperback
Sourcebooks Fire
Released 5/1/2017

Candy hates boarding school. As a junior, graduation is still eons away, and making films is the only way to survive the boredom. Until she is kidnapped.

Candy panics. Along Came a Spider, Ransom, Taken, Cellular… Candy knows how these movies end. The only reason anyone would abduct her is to get a payout from her rock star father. Except Candy and her father are estranged. There’s no way he’s going to pay.

But with every hour that passes, Candy’s fear slowly recedes. Being on the road is freeing, not to mention great material for a new documentary. And the more time she spends with her handsome captor Levon, the more she learns the whole scheme is not just about ransom. It’s about revenge. What began as a kidnapping is spiraling into a crazy road trip adventure as Candy and Levon find a lot of wrong ways to do the right thing.

Purchase Stealing Candy at Amazon
Purchase Stealing Candy at IndieBound
View Stealing Candy on Goodreads

ABOUT THE AUTHOR

Stewart Lewis is a young adult author and singer-songwriter who is based out of Washington, DC and Nantucket, MA. His novels have been translated into five languages and his songs have been used in TV and film worldwide. His favorite things are his french bulldog Oliver, traveling, good food and good friends.

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Have you had a chance to read STEALING CANDY yet? How do you think Candy’s story would have changed if her captor had remained an adult? Does the ocean inspire you as well? Share your thoughts about the interview in the comments!

Happy reading,

Emily, Jocelyn, Anisaa, Sam, Martina, Erin,
Susan, Shelly, Kelly, Laura, and Lori Ann

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: May 6, 2017

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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