Valerie Patterson

Author Interview:

When and how did you start writing?

I first started writing poems and short stories in grade school.  My fourth-grade teacher was Miss Lona O’Kelley.  I wrote and put together a soft-cover book of limericks for her after she taught us the form.  Miss O’Kelley was the type of teacher who continued to correspond with students long after she taught them.  She has since passed away and she probably never knew the influence she had on my writing. 

I continued to write poems and short stories in high school and college, but I didn’t write a novel until after I turned 30.  Yikes.  I’ve since completed an MFA in Writing for Children.

Can you remember the first book that had an impact on you?  What were the key moments?

The first book that really affected me was The Golden Treasury of Poetry, edited by Untermeyer.  I loved the sound of words and the use of imagery.  Many of the poems were beyond my comprehension at that age, but the music of poetry read aloud stayed with me. 

Once I learned to read, I devoured novels as well as poetry.  I loved classics such as LITTLE WOMEN.  Like millions of girls, I saw myself as Jo scribbling away in the garret.  TO KILL A MOCKINGIRD is probably my favorite book.  I felt like I was Scout.

Can you talk us through the writing of your first book?  What were the key moments?

By first book, I assume you mean the first one published (not the first one written)?  I have a tendency to start writing when I have a character and voice in my head and maybe a scene — either early in the story or at the end — but I don’t have a clear vision of the overarching plot.  As a result, I tend to meander and lose my way through the brambles of the middle part of the novel.  I write to find out what happens so, in many ways, I’m not an efficient writer.

In THE OTHER SIDE OF BLUE the key moments for me included the scene in the boathouse on the anniversary of Cyan’s father’s death.  The sense of grief and disconnectedness between Cyan and her mother loomed large in that scene and became a pivot point.  The controversial and difficult scene with Mayur in the cave came unbidden; in fact, I at first rejected where the characters seemed to be headed.  I finally gave in, though, and wrote that part of the story as it came. Sustaining Cyan’s voice — with its edge of anger — was a challenge. 

Was it hard to get an agent?  Can you talk us through the process?

Before Sarah, I had queried only two agents — one more than ten years ago after I’d written my first two novels (both still in drawers) and one more recently for an historical novel.  For that one I received a boomerang rejection — and I’m actually grateful because I don’t think the agent would have been right for me. 

I was fortunate to have someone recommend me to Sarah, and Sarah saw potential in my writing, particularly in what became THE OTHER SIDE OF BLUE.  When she read the first excerpt, the novel was unfinished, and Sarah challenged me to complete it.  I did, and she took me on as a client.  Revision ensued, and Sarah’s instincts were spot on.  I am grateful to have her guidance.

Describe your writing day.  Where do you write?  How do you organize your time?  Where do you look for inspiration?

I continue to have a full-time job outside of writing, so I write when I can and wherever I am.  My best writing seems to be done at my home computer with no distractions (except for a cat that will sit on my lap).  But I’ve written scenes in longhand on airplanes as well.  I fail to write every day, and I know that my writing is better when I write as close to every day as possible.  That daily act of writing — even for ten minutes — helps keep me close to the story and, almost more importantly, the voice of the character.  It’s amazing what can happen by writing short bursts every day.

Inspiration for me comes out of memory and sense of place.  Settings usually are integral to my stories.

Can you tell us about your next book?

My next book is in the chaos of revision.  My main character, Jessica, is finding her way toward becoming an adult, and I’m finding my way in discovering how best to shape her story.  This book — entitled in draft SUMMER OF THE CARIBOU — will honor those intense adolescent friendships that often substitute for family relations.

Are there any tips you could give aspiring writers who are looking to get published?

Maybe because I’ve taken a long time to develop as a writer (I’m still developing), I believe the writing process takes time.  Some wonderful writers publish their first novels at a young age, but not everyone can — or should — do that.  For some of us, we need the practice of writing more than one novel before we’re ready to seek publication. 

Sometimes I think writers are too quick to send work out.  I’d recommend that writers let their work get cold before they try to revise it.  Then I’d suggest finding a critique group or trusted reader who can give helpful, honest feedback.  Many writers rely on their spouses to be their first readers; I don’t — I rely on mine for emotional support and on others for the constructive feedback I need to hear. 

Can you describe three aspects of writing craft that have been most important as you’ve developed as an author?

Understanding and developing voice.  Trying to explain voice is like the Supreme Court Justice who tried to define pornography — you know it when you see it.  But knowing it when you see it and being able to develop your own voice in any piece of writing is a leap of faith.  It’s digging deeper into the soul.  It can be a frightening thing, to take that journey.  I think that’s why some people only skim the surface of their writing and never get deeper. 

Plot.  OK, I am cheating on this one because I am still learning how plot works.  Finding the way to bring the character and the problem together and ratcheting up the tension is crucial — yet I find it eludes me at times. 

Character.  Often I’ll think I understand my character and then critique group partners will ask me about what the character would do in a particular situation or why the character reacts a certain way, and I’ll look at them blankly, feeling a panic come over me.  I don’t know the character like I should after all.  My friend Ellen reminds me that Diane Chamberlain says we want characters who are so real, we’ll be tempted to take them as tax deductions. 

Which favourite authors would you invite to a dinner party?  What fictional character do you wish you’d invented?

The list would be long, but I know I’d invite Laurie Halse Anderson, Richard Peck, Barbara O’Connor, and Sherman Alexie. 

I first met Laurie when we were roommates at the beginning of our year abroad as foreign-exchange students with American Field Service in Denmark.  Laurie, from New York, was outgoing and endearing.  A shy strawberry blond from Florida, I had never been away from home.  Laurie nicknamed me ‘Sunshine’.  A few years ago I saw her speak in public, and only then did I realize that I knew her.  Her writing is amazing — I admire her range and depth.  I read WINTERGIRLS in one sitting and couldn’t put it down.  Her ability to write so compellingly and beautifully about such a difficult subject is incredible. 

Richard Peck — need I say more?  He is an icon.  Whenever I hear him speak, I am awed and find myself trying to write down every bit of wisdom he imparts (which is basically everything he says!).  I admire his command of story, his humor, and his passion for literacy.

I’ve never met Barbara O’Connor but I have all of her books.  As a Southerner, I admire her writing voice and her characters.  She also blends in humor seamlessly, a skill I wish I could emulate.

I had read and admired Sherman Alexie’s work before I saw him at a conference.  He mesmerized me by his ability to speak with all the drama and passion of his writing. 

With such illuminating writers at the dinner party, I’d find myself hovering at the edges of the conversation, soaking it all in. 

Of all the memorable characters in fiction, Scout Finch is the one I wish I had invented.