Madison Davis on Following Interesting Threads

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 Madison Davis, author of The Loved Ones: Essays to Bury the Dead which is the winner of the Dzanc Nonfiction Prize

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?

I had a few! The Loved Ones first existed as a number of different projects. The real “idea” was to weave these disparate threads together into a non-traditional memoir. 

There is a section in the book that follows my research into the death of my great uncle who was killed in action in WWII. This storyline began with something like a “bolt of lightning” moment. I had always been fascinated by the story surrounding my great uncle, but I was driving one day—mind wandering in stop-and-go traffic—when I first thought has anyone in the family really looked into this? I realized that the story had been loosely filtered down from my grandmother in the form of scattered details and questions, but no one had tried in earnest to track down answers in the age of the internet. What followed was years of research culminating in a trip abroad to visit the place he died. 

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

I tried a few different ways to weave the content together. There are a lot of moving pieces—names, places, dates, and familial relationships over generations—so I needed to find a structure that a reader could follow. Ultimately, I decided to dedicate a section of the book to each of the central figures. Then, after all my main characters had been defined and the details of their lives and deaths had been told, the final section revisits each through the lens of the funerals and physical remains. Once the reader is well-situated in the narrative, I found I could take more leaps in that last section, draw more connections. 

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

For the most part, my writing evolves on the page over many (many, many) iterations. There is rarely clarity in my mind before it’s on paper (and not for quite a while after that). I find a lot of enjoyment in editing the raw material. I love taking a piece apart and putting it back together in different ways until I see something new in it. Of course, there have been times that I believe something will work but it just falls apart on the page and requires total reimagining.

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

I’m always writing. Most of the little threads go nowhere. Other pieces combine into a project or grow into a whole piece of their own. At some point in my life, I began to see everything as writing material, for better or worse. I never know which seeds will grow, but I rarely experience a lack of ideas; a lack of time is the more common problem!

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

I tend to have various projects percolating. I try very hard to follow my interest. If I’ve lost interest in a piece, it probably won’t become interesting if I force it. If there is something to it, I’ll find myself pulled back to it again down the road. It helps to have 2-3 projects in a rotation. If I’m stuck or struggling with one, I can pivot to another. 

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?

I write alongside my dog, Stevie. She’s an excellent writing partner. She reminds me to take walks every so often but is otherwise content to just snuggle up and listen to the typing. When I’m struggling to focus, I like to enlist a human writer friend to work near me. It’s great to feel the productive energy in the room for a specified amount of time (set a timer!) and then have a fun, rewarding break with a friend. 

Madison Davis is a writer and editor based in Oakland, California. She is the author of the books Disaster (Timeless Infinite Light; Nightboat 2016) and The Loved Ones (Dzanc 2023).

Jamie Beck Reflects On Publishing Then And Now

It’s time for a new interview series… like NOW. No really, actually it’s called NOW (Newly Omniscient Authors). This blog has been publishing since 2011, and some of the earlier posts feel too hopeful dated. To honor the relaunch of the site, I thought I’d invite some of my past guests to read and ruminate on their answers to questions from oh-so-long-ago to see what’s changed between then and now.

Today’s guest for the NOW is Jamie Beck, author of The Beauty of Rain which releases today

Has how you think (and talk) about writing and publishing changed, further into your career?

Undoubtedly, yes, on multiple fronts because so much has changed during the past decade. For example, when I was querying my very first manuscript, Borders Bookstores had not yet shuttered its doors. Similarly, self-publishing still carried a stigma, and Amazon was not yet the juggernaut it is today (either as a publisher or book distributor). Back then, I felt extremely blessed to land my agent and a traditional publishing contract. Now, most of the authors I know are indie or hybrid. This means more choices for readers, but it’s also created visibility problems for most authors, too. In terms of writing, my idea of what makes a good book has also changed. I used to believe there were absolute rules to follow about character, conflict, pacing, etc. I spent thousands of hours and dollars focused on improving those craft elements only to butt up against the subjectivity of story resonance. Case in point, a quick scan of my work’s Goodreads ratings proves that what I consider my best books are not my readers’ favorites. This realization can be paralyzing or freeing, depending on my mood, but I’m resigned to the utter subjectivity of this industry in a way I was not back then.

Let’s talk about the balance between the creative versus the business side of the industry. Do you think of yourself as an artiste or are you analyzing every aspect of your story for marketability? Has that changed from your early perspective?

I’ve never considered myself an artiste despite working diligently to make each book better than the last. I do consider the commercial viability of an idea—it’s necessary if I hope to remain traditionally published. However, what hasn’t changed is that I still create stories around themes and issues I think are culturally important. They’ve always been at the heart of my books and probably will be for as long as I continue to write. 

The bloom is off the rose… what’s faded for you, this far out from debut?

As an introvert, I’ve always struggled with social media, but when Facebook was the only real gig in town (again, going back a decade), I managed that well and enjoyed meeting my readers and talking about books. Now there are so many platforms, I struggle to keep up. I also think readers are inundated. How many reader groups, newsletters, and booktokers can anyone follow before it becomes a blur of noise? Accordingly, it’s gotten harder to make new connections with readers online. 

Likewise, is there anything you’ve grown to love (or at least accept) that you never thought you would?

The editing process. In the beginning, it was difficult not to view editorial feedback as though I’d “gotten it wrong,” or as confirmation that I didn’t know what I was doing. With time, I’ve come to understand that a good editor isn’t “fixing” things so much as helping bring the author’s vision more fully to the page by pointing out what isn’t there and by asking important questions that force the author to think more deeply about the characters and themes.

And lastly, what did getting published mean for you and how was it changed (or not changed!) your life?

It changed my life in every conceivable way. I never dreamed my writing would go where it went, or that my career would be as rich and full as it has become. Sure, I’m proud of my track record in terms of quality and book sales, but the two things I treasure most from my writing journey are the amazing friends I’ve made (so many talented, creative, smart authors) and the personal notes I get from readers who connect at a deep level with a particular book. I hope, too, that my kids have learned something about tenacity from how I refused to allow the many rejection letters I received make me quit (it took me three manuscripts to get an agent).

Jamie Beck is a Wall Street Journal and USA Today bestselling and award-winning author of 18 novels, many of which have been translated into multiple languages and have collectively sold more than three million copies worldwide. Critics at Kirkus, Publishers Weekly, and Booklist have respectively called her work “smart,” “uplifting,” and “entertaining.” She is also a two-time Booksellers’ Best Award finalist, a National Readers' Choice Award winner, and STAR award finalist. In addition to writing novels, she enjoys dancing around the kitchen while cooking, and hitting the slopes in Vermont and Utah. Above all, she is a grateful wife and mother to a very patient, supportive family.

Liv Constantine on How Two Sisters Write Together Without Killing Each Other

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today’s guest for the SAT is Liv Constantine, author of The Senator's Wife, the story of a D.C. philanthropist who suspects that her seemingly perfect employee is secretly plotting to steal her husband, her reputation—even her life.

Are you a Planner or Pantster?

We call ourselves Plantsers. We have a broad outline, we know the main twist, but the rest of it gets written as we go along.

How long does it typically take you to write a novel, start to finish?

Our first draft takes three to four months and then we spend another two or three months going through several rounds of edits. So from start to finish takes anywhere from five to seven months. 

Do you work on one project at a time, or are you a multi tasker?

We concentrate on one fiction project at a time. We like to immerse ourselves in the story world so it’s difficult to have more than one project going. That said, if we are in edit mode in one book, then we have the creative energy to work on something new, especially crafting and scoping out the next story and its characters. 

Did you have to overcome any fears that first time you sat down to write?

There was excitement the first time we sat down to write. However, sitting down to write the book that followed The Last Mrs. Parris and its success, was when some fear arose for us. The sense of freedom we felt when writing the first book was not something we felt as we wrote The Last Time I Saw You, our second book. There was always the knowledge that the bar was now set higher, that The Last Time I Saw You would be compared to and judged against The Last Mrs. Parris. It was definitely a much tougher umbrella to work under. 

How many trunked books (if any) did you have before you were agented?

One. 

Have you ever quit on an ms, and how did you know it was time?

Yes, the book we wrote before The Stranger In The Mirror became lack luster for us after the first draft so we decided to shelve it and start a new book. We may at some point go back to that one, but for now, it’s in a drawer.

Who is your agent and how did you get that "Yes!" out of them?  

We got our first agent with The Last Mrs. Parris through the traditional query route, although we did have a personal referral to her. We met her at Thrillerfest a few months after sending the manuscript and she offered us representation.

How long did you query before landing your agent?  

We spent three years querying agents before finally landing one. The book that we put away was the book we had been querying and we would get close. Agents would ask for a partial, then a full but it was never quite right. Once we shelved that book, we went to work on The Last Mrs. Parris and that’s how we found representation. 

Any advice to aspiring writers out there on conquering query hell?

Perseverance is key as well as the ability to take criticism. Make sure that your manuscript is pristine and in the best shape possible. If you’re able, hire a freelance editor to help you make sure your manuscript is ready for submission. And the old saying…if at first you don’t succeed, try, try again. 

How did it feel the first time you saw your book for sale?

It was amazing! We were at Bouchercon in Toronto, and we went to Indigo Bookstore and there it was – prominently displayed on the shelf – maybe ten across. We got chills!

How much input do you have on cover art?

A lot. We’ve been very fortunate with our publishers in that they want us to be happy with the covers and it’s been a collaborative effort.

What's something you learned from the process that surprised you?

How many hands touch your book. There’s such a large team that takes a book from manuscript to finished book. The passion and dedication of our publishing teams have been such a blessing and we’re so appreciative of all the hard work that goes into it. 

How much of your own marketing do you?  Do you have a blog / site / Twitter? (I'll insert the links here)?  

We’re active on social media. We love to interact on Facebook and Instagram, and we also have a Facebook reader group where we do lots of fun giveaways and discussions. We also do giveaways on our newsletter that are exclusive to our subscribers. Twitter

When do you build your platform? After an agent? Or should you be working before?

Definitely before. It’s good to have a website and social media built up well before that first book is on sale. You can build relationships and goodwill by sharing other authors’ news and books, and it gives you a leg up once you have your own book to sell.

Do you think social media helps build your readership?

Absolutely. Social media is a great way to connect with readers, other authors, bloggers, bookstores, and libraries. 

Liv Constantine is the pen name of sisters Lynne Constantine and Valerie Constantine. Lynne and Valerie are Wall St. Journal and USA Today international bestselling authors with over one million copies sold worldwide. They are Library Reads Hall of Fame authors.  Their books have been translated into 28 languages, are available in 33 countries, and are in development for both television and film.  Their books have been praised by USA Today, The Sunday Times, People Magazine, and Good Morning America, among many others. Their debut novel, The Last Mrs. Parris, is a Reese Witherspoon Book Club selection.