Rebecca Mahoney on Building the World of "The Memory Eater"

Inspiration is a funny thing. It can come to us like a lightning bolt, through the lyrics of a song, or in the fog of a dream. Ask any writer where their stories come from and you’ll get a myriad of answers, and in that vein I created the WHAT (What the Hell Are you Thinking?) interview. 

Today’s guest for the WHAT is Rebecca Mahoney, author of The Memory Eater, the story of a teenage girl who must save her town from a memory-devouring monster

Ideas for our books can come from just about anywhere, and sometimes even we can’t pinpoint exactly how or why. Did you have a specific origin point for your book?

The Memory Eater was the meeting point for a couple different concepts I wanted to write: a town built to hold a monster in, a teenage girl somehow responsible for the livelihoods and well-being of the adults around her, and a community that thrives on supernatural capitalism. But I think if there was an original origin point, it was probably my own tendency to ruminate over memories I’d rather not think about, much like many of us do when we’re falling asleep. It’s very easy to daydream, during those long nights, about the ability to just toss a memory out of your head and out of existence. So in writing this story, I wanted to ask myself – what if that went horribly wrong?

Once the original concept existed, how did you build a plot around it?

I think my plots always come together in concentric circles: I start with the very basics of the idea, then I usually nail down the emotional arc first, and build out the plot and the finer details around it. The Memory Eater’s construction process was a bit messier, since it was the first ever book that I wrote on deadline. With previous manuscripts, I usually wouldn’t sit down to write until I knew exactly what the scene was going to look like, but with TME, I didn’t have as much time for precise brainstorming or self-editing. But in a lot of ways, that ended up being very useful, because when I had to keep pushing ahead, I was able to figure out, in reverse, exactly what I wanted to do with the book. And once I had a clean draft to share with my editor, the basic plot beats of TME actually needed much less work than manuscripts I’ve written before!

Have you ever had the plot firmly in place, only to find it changing as the story moved from your mind to paper?

Oh, all the time! I’m generally a plotter – I always need a fairly detailed outline so I can always be aware of what plot and emotional beats I want to hit, both on the scene level and the chapter level. But I always go into a story very aware that the outline is going to change as I get going in earnest. Sometimes my original idea doesn’t work as well on paper as I thought it would, sometimes one of my critique partners will say something that connects a dot I didn’t realize was there, or sometimes I realize I need a bit more connective tissue to really drive home the emotion in the scene. The basic skeleton of the outline often stays the same, but the fine details grow as the story does!

Do story ideas come to you often, or is fresh material hard to come by?

I would say that I get story ideas fairly often, but they always need a little time to finish baking in my little brain oven. I do occasionally jump into a story idea right away, but my two published books, The Valley and the Flood and The Memory Eater, both came about after percolating in my thought for years. I try to keep a running list of things I want to write so that I can revisit them frequently.

How do you choose which story to write next, if you’ve got more than one percolating?

Because of the aforementioned list, I have a bit of a queue! I’m not someone who does well with working on multiple projects at the same time, so by the time I finish something, there’s usually a project or two that’s been trying to tempt me away from my WIP. Sometimes it’s really difficult to choose what I’ll be tackling next, and sometimes I’ll have my agent, editor, or friends weigh in. But generally the next project is the one that feels the most ready to write. (Although some projects just aren’t going to be fully ready until I dive in!)

I have 6 cats and a Dalmatian (seriously, check my Instagram feed) and I usually have at least one or two snuggling with me when I write. Do you have a writing buddy, or do you find it distracting?

My roommate’s cat, Mouse, can certainly be distracting from time to time! She’s extremely chatty, and if I’m sitting on the couch, chances are that she’s going to want me to put my laptop down and pay attention to her instead. But she’s very cute, so it’s never a hardship to take a break and give her what she wants. And if it disrupts the flow a little, that’s okay – the flow will come back!

Rebecca Mahoney is the author of The Valley and the Flood (out now from Razorbill), as well as the forthcoming The Memory Eater (Razorbill 3/14/23), and the co-creator of independent audio drama The Bridge. Rebecca is a strong believer in the cathartic power of all things fantastical and creepy in children’s literature - and she knows firsthand that ghosts, monsters, and the unknown can give you the language you need to understand yourself.

What I’ve Learned Along the Way

By: Polly Holyoke

I’ve been writing and selling books for over twenty-five years, which means I’ve been lucky enough to work in my sweatpants and pjs long before COVID made working remotely so popular. I do have a new middle grade fantasy series out from Viking Children’s Books this month, and Skyriders’ publication has given me an excellent opportunity to pause and take stock. I’ve learned a great deal about the publishing business over the past decades, and these are just some of the things I wish I could have told a younger, greener me decades ago.

Be kind, share and give. People I helped along the way turned around and helped me, sometimes in the most unexpected ways. One debut author I’d met online was attending the same conference I was, but he had no dinner plans. I invited him to join me and my friends, and he has gone on to become spectacularly successful. Now he is wonderful about blurbing my books. A mentee I helped with her romance writing turned around and helped create striking, professional sell sheets for me. I always send handwritten thank you notes to the librarians who host me at their schools, and in turn, they often send me wonderful testimonials I can use on my website or line up more visits for me. 

Join professional writing organizations. There is SO much you can learn from folks farther along in their careers than you are. You don’t need to reinvent the wheel! For years I was writing sensitive, well-written and well-researched historical romances, but they were WAY TOO LONG to sell. Once I joined Romance Writers of America and won a critique from a published author, she set me straight. I trimmed 30,000 words from my manuscript and made my first sale three months later. Also, writing can be a lonely, solitary business, and attending conferences and chapter meetings gives you a chance to meet fellow writers who share your goals and friends who share your passion and ambition.  

Be patient and persistent. Very few writers become successes overnight. Very few writers sell the first project they submit. You’ve probably heard some of these stories. Kathryn Stockett was rejected by 60 agents before the 61st agreed to represent The Help. Madeline L’Engle’s classic story A Wrinkle in Time was rejected by 26 publishers, and Kate DiCamillo’s Newbery-winning Because of Winn Dixie was rejected 473 times. 

You have to be submitting your work to agents and publishers, and submitting frequently, to increase your odds of making a sale. Luck does play a factor. You never know when your work may hit an editor’s computer right after the marketing team asked for more school stories or more fantasies. Whenever I have a project out on submission, I already have the next project polished up and ready to send to my agent. 

Fortune favors the brave. This old Latin proverb is particularly true for professional writers. You can’t sell your work if you don’t take a chance and send it out into the world. I know a dozen fine writers who never actually sold books (and they probably could have) because their projects were never finished or never good enough, in their eyes. Deep down inside, some of these talented people were so afraid of failure, they never took the risk of trying to sell their work. 

Treat writing like a profession. If you take your writing seriously, then your family will as well. You have to protect your writing time and set boundaries. Spouses and kids can be trained (after some effort) to respect the time you set aside to write. If you know you write best in the morning, then find ways to protect those morning hours. Rachel Caine, the author of the wonderful Great Library series and sixty-two other books, used to get up before her day job and her family to write for two hours before going to work. If it’s important, you can find the time. 

Never stop working on your craft. You can always get better and learn from other writers and teachers. Some of the most talented authors I know still go to writing conferences and classes. They read books and blog posts on craft, and they are continually finding new ways to improve their writing. 

Know your goals and why you write. I’ve always written to be published and to make money, and that works for me. I recently joined a small-town writing group where most of the folks don’t wish to be published. But they are having a great time writing their memoirs and their thrillers to share with their friends and family, and that’s a valid reason to be writing as well. 

You need to LOVE writing! Publishing is a brutal business, and I often think it’s sad and ironic that the very sensitivity one needs to be a fine writer also leaves authors open to despair and depression. You may write a wonderful book, and yet it is quite possible that it will sell poorly or be ignored by your industry. Right now, many terrific books in my field of children’s literature are failing because some school districts are requiring (thanks to all those book challenges out there) that a book have at least two positive reviews from the biggies in our industry: Library School Journal, Kirkus, The Horn Book or VOYA. And yet those magazines don’t have as many reviewers as they used to, and some authors are lucky to receive a single review, much less two. 

Finally, be kind to yourself. Don’t compare yourself to peers who first debuted when you did. Some are going to be far more successful than you are. Others are going to be less successful, but writing is not a race, and it is not a zero-sum game. Envying others can only make you unhappy and less productive in the long run. Take pride in every book you finish. Be proud of every excellent sentence you write, and do your best to enjoy the journey. 

Polly Holyoke is the award-winning author of the middle grade sci/fi Neptune Trilogy (Disney/Hyperion) and the new children’s fantasy series, Skyriders, releasing from Viking Children’s Books this month. When she’s not tapping away on her computer, Polly enjoys skiing, hiking, and camping in the mountains.

J. A. Tyler on The Truth in Magical Realism

By: J. A. Tyler

I love telling students of writing that whatever they put on the page becomes truth in the context of that world. This is to me, and I hope to them, mind-altering. Once you write it, it is fact, no matter what genre or style you prefer. What a glorious, unbelievable, crazy feat that really only exists in the realm of writing. Write the words, and it is so. 

For magical realism, a genre I work in almost exclusively, that joy becomes doubled, because what we’re making into “fact” in a work of magical realism is wholly unexpected and often counter to what we understand or know about our world, and yet, it becomes truth. In Only and Ever This, where a mother is attempting to mummify her twin sons in order to stop them from growing up, a kind of Peter Pan syndrome but from the parental perspective, I didn’t have to spend any time processing whether this type of mummification was possible. Some research on mummies is loaded into the structure of the novel, but I didn’t need anything else. Once I wrote that she was practicing mummification on a cat, it became so. And when that cat is reawakened, its heart wrapped in mud and rainwater, readers have to accept it. So the mother can mummify just a portion of one son’s arm, testing the waters of her abilities, while allowing me to focus on the emotional and moral struggle of the task rather than with any challenges presented by physiology or biology.

Also in the book, the boys’ father is a pirate, and because it is a work of magical realism, I don’t need to worry about what it means to be a pirate in a modern era, or even in the sort of stylistically 1980s vibe of my novel. He is a pirate and he sails off to sea seeking immortality, either in the form of treasure or, more significantly, in the form of a vampire. Do vampires exist? They might, because the father is searching for them, and he believes it, so we as readers have to believe in it too, at least in his world. Magical realism takes the burden away from fact and places it squarely on imagination.

The boys too, these twin sons, they fall in love with the ghost of a girl up the street. She is ethereal, rife with lightness and beauty, and they want to build a relationship with her before she disappears, before she becomes entirely see-through. In the novel, that becomes fact, just as the arcade they hang out in, the marbles they shoot, and the bikes they ride are fact. With magical realism, a muddy undead bully of a kid can haunt the town, a cat can be dissected and resurrected, and ghosts and mummies and pirates can co-exist in a township where the rain never ends. When we write it, it is so.

For writers (and readers) of magical realism, we don’t have to take the characters to another planet, to some faraway, fictional world. We can center them in our world, with its battered relationships and gray skies, with its sunlight struggling through clouds and waves bleating on the shore. We can take what we know and blend it with what we don’t. Magical realism allows us the horrific and beautiful ability to house any monster, literal and figurative, inside our own tragic world. 

J. A. Tyler is the author of Only and Ever This and The Zoo, a Going (both from Dzanc Books). His fiction has appeared in Denver Quarterly, Hayden’s Ferry Review, Diagram, Black Warrior Review, Fairy Tale Review, and The Brooklyn Rail among others. He lives in Colorado. For more: www.jasonalantyler.com, twitter, instagram