Jennifer Craven On The Lure Of Literary Retellings

by Jennifer Craven

When it comes to writing a novel, authors hear countless quotes from industry experts offering tips like:

“Don’t reinvent the wheel.”

“No storyline is ever completely new.”

“If you see it once, you’ll see it again and again.”

All of these expressions remind me of one particular genre: literary retellings. This category has boomed in recent years, with more authors taking a stab at their own version of an older story. Many retellings center on fairy tales or classic literature, such as “Pride and Prejudice.” Truly, no other author’s work has been reimagined more than our gal pal Jane Austen.

Doesn’t everyone remember reading (or being forced to read) the classics in school? My guess is not many teens would admit to really enjoying those books at that time. But the thing about retellings is it gives readers a chance to experience some of the cornerstones of great literature in a new way. Many retellings are set in modern times, or retold from different character perspectives. They’re great ways to understand and appreciate enduring narratives from an approachable angle.

On the flip side, you’ve got readers who love and have always loved these timeless tales. Maybe you’ve heard people gush that they’re the biggest “Little Women” fans ever (er wait, is that just me?). Louisa May Alcott is another author whose work has been retold in countless novels and from an array of perspectives. Readers are drawn to stories that feel familiar, with both recognizable settings, storylines and beloved characters.

There’s a sense of nostalgia that accompanies re-imaginings. It feels good and comfortable to dive back into the lives of characters you love. Plus, it’s just plain old fun! Who doesn’t love taking a well-known story and flipping it on its head? Hearing Little Red Riding Hood from the perspective of the Big Bad Wolf? Yes, please! A drama where Jo March ends up with Laurie? (Okay, again, there’s my own inner desires coming through). Even children’s books have jumped on the trend, with tons of fairytales and myths coming alive again in retellings.

I think readers have strong preferences when it comes to genres they seek. But for those who are drawn to reimagined stories, there’s an underlying obsessiveness—and I mean that in the best way possible, particularly because I fit into this category, too. It’s almost as though once you’ve read one, you want to read them all. Show me any iteration of Cinderella, and I’ll read it.

There are lots of authors who have dabbled in this genre, but one that sticks out to me in terms of success and notoriety is Curtis Sittenfeld. Several of her titles have been fascinating reimagined stories of both classic literature and even well-known living politicians. The “what if” trope is always central to these books. What if the original plot would have skewed left instead of right? What if character A would have made this choice instead of that? The element of “suppose that…” lets readers’ imaginations sweep them away. And who can resist that?

When I began brainstorming my latest novel, the idea of writing a retelling just would not leave me alone. The plot consumed me, the story begging to be told. I knew right away that I would use my favorite film, “The Sound of Music,” as a jumping off point for this reimagining. I’d seen the movie countless times, knew the characters inside and out, and could recite lines unprompted. It was a childhood (and later adulthood) staple. Yet, each time I’d watch the film, I’d find myself wondering what happened next. A headstrong, devoted father; a spirited mother; seven innocent children. As they climbed the Alps to freedom, and as the film credits rolled, my mind wove a new story that picked up from that point.

For me, writing a retelling was different than writing any other genre of fiction. It had a certain sense of closeness, an intimacy if you will, that was both enjoyable but also daunting. The thing is, readers love retold literature, which is reassuring—but also comes with a dose of intimidation. What if they don’t like your approach? What if they think you’ve butchered the original? These are all thoughts that hang over an author’s head like a rain cloud ready to pour down unfavorable reviews.

But at the end of the day—like any writer—the story won. I followed my gut with where the plot went, ultimately coming to a place where I felt I honored the classic and created a fresh extension full of heart.

Retellings will continue to be among my favorite genres. And as more and more readers discover the enchantment, I hope authors will continue spinning stories from stories, giving all of us a chance to escape into something truly magical.

Jennifer Craven is the author of two historical fiction novels: "All That Shines and Whispers" and "A Long Way From Blair Street." She has bylines in numerous national publications, including The Washington Post, HuffPost, Motherly, Today's Parent and more. In addition to writing, Jennifer is a mom to three young children, as well as a college instructor at Mercyhurst University in Erie, Pa. Follow her on instagram at @jennifercravenauthor.

In for the Long Haul - Kathleen Basi On Querying 4 Books Over 12 Years

by Kathleen Basi

I’m here today to talk about persistence.

From the day I entered the community of fiction writers, I heard again and again that traditional publishing is not a business for the faint of heart. This is a long-haul endeavor. But let’s be honest—we all think we’re going to be the exception to the rule. Right?

I didn’t expect to be the exception, but, well… I did hope. I knew I was a good writer. I had a lot to learn, but I had utter faith in my ability to do so.

The first book I wrote never saw a query trench, because as much as I loved it, I knew it was a mess. Novel Zero taught me that I wasn’t actually sure what kind of stories I was writing. They didn’t seem to fit anywhere. I liked a good love story, but I didn’t think my stories were exactly “romance.”

So first, I set out to determine if I could write a bona fide romance novel. The answer, it turned out, was “no.” I craved the emotional journey. Novel #1 definitely had strong romantic elements, but it couldn’t sell as romance. I workshopped it a little, then sent out my first-ever queries. “It’s well written,” one agent said, “but there’s nothing new here.”

Ouch. Still, I could see the justice in the critique. By then, I’d discovered the Women’s Fiction Writers Association, and I finally knew where my stories belonged. For Novel #2, I revisited the characters from Novel Zero, determined to avoid past mistakes. With a hooky, compelling story question (well, in my mind, at least) and a wine country setting, this story, I was certain, would be The One.

But my protagonist turned out to be too wishy-washy, the story too broad. I placed third in a competition, and the prize was a full manuscript read and a followup phone call with a literary agent who said, “This is not women’s fiction, it’s family saga. And you have problems with likability.”

I took her at her word and didn’t query anyone else—just shelved the book until I could figure out how to fix it. I already had another book chomping at the bit to be written. And this time, I was going to make sure I ticked all the boxes.

Book #3 had a big hook, a strong lead character, and a compelling conflict that was incredibly relevant for the modern world. I also created a secondary character--an adult with Down syndrome, a nod to my journey into special needs parenting with my “chromosomally-gifted” daughter. This time for sure!

Alas, no. I got eight requests—one of them an R&R, even!—but still, no dice.

By that time, I was working on Book #4, which is now launching as A Song For the Road. From day one, my critique partners said, “I really think this might be the one.” I remember replying, “If this one can’t get published, I might as well just pack it in, because if this one can't be published, nothing can.”

Of course, I was never going to quit. Writing is too much a part of me. But still. It was often hard to keep faith.

Novel #4 took on the query trenches hard: four major rounds of querying, for a total of 100 queries—and at the end, at last, I had a literary agent in my corner. At times, I was complacent: Yes, I’m going to break in, it’s only a matter of time. But other times, it felt hopeless—even after clearing that hurdle. Imagine going on submission to publishers with a book about someone who lost her entire family… WHILE A PANDEMIC IS GOING ON.

It’s been twelve years since I sent my first query letter. More than once, my husband questioned whether it was worth it—the time investment, yes, but especially the emotional roller coaster.

The takeaway of this story, as I said at the beginning, is persistence. But persistence doesn’t mean “beat your head on a brick wall.” With every failed manuscript, I absorbed what went wrong, and I was intentional about applying those lessons going forward. Every book I have written has reached a higher peak than the one before it. Honestly? I’m still committed to getting Book #3 out into the world. But when I set out to rewrite it, I will do so carrying the wisdom I’ve gained by revising… and re-revising… and re-re-revising… A Song for the Road.

On the far side of this marathon, I’m actually grateful for it… mostly. If I’d gotten a lucky break early on, I would have missed many opportunities to grow as a writer. My stories would likely be less polished and less profound.

So my word of encouragement for today is: persistence. But persistence with purpose.

Author and liturgical composer Kathleen M. Basi is mother to three active boys (read: always breaking something) and one chromosomally-gifted daughter. Her nonfiction has appeared in a number of magazines, Chicken Soup for the Soul and on NPR’s All Things Considered. Her fiction is represented by Sonali Chanchani and Claudia Cross, and her novel, A SONG FOR THE ROAD, is scheduled for debut in May 2021 with Alcove Press.

Best Selling Author Erika Robuck on Bringing A Real Life Female Spy to the Page

Today’s guest on the blog is Erika Robuck, national bestselling author of Hemingway's Girl, Call Me Zelda, Fallen Beauty, The House of Hawthorne, and Receive Me Falling. Erika joined me today to talk about her newest release, The Invisible Woman.

Writing about women in the past can often be challenging, because women and their activities did not have the spotlight that men did. When dealing with a character such as Virginia Hall, do you find that there is not enough information about her... or too much to sift through?

Since women are often in history's shadows, it's a challenge to write about women from the past. Virginia Hall made it more difficult because she didn't want to be found. From clandestine service in WWII to a full career with the CIA, she didn't leave a paper trail. Fortunately, in addition to cross referencing about twenty works of nonfiction that included sections on her, accessing her declassified files at The National Archives, and visiting the CIA Museum, I was able to put much of the puzzle together. The missing pieces came from my treasured meetings with Virginia's niece, Lorna, who still lives in Baltimore.

Did Virginia's gender contribute to her success as a spy? In other words, were women less likely to be considered cunning enough to perform well in such a high-stress situation?

Hall's gender did contribute to her success. Until late in the war, the Nazis generally didn't regard women as brave or as intelligent as men and overlooked women as potential dangers. The fact that Virginia returned for her second mission disguised as an old peasant woman rendered her further "invisible" to Nazis.

 Also of consideration is the fact that Virginia had a prosthetic leg. Did that help or hinder her in her efforts?

From logistics of transport, to physical pain, to making her stand out, the prosthetic leg hindered Hall's efforts. She was able to incorporate it into her old woman disguise, but the Nazis christened her "La Dame Qui Boite"—The Lady Who Limps—which was infuriating, humiliating, and made life especially dangerous for her.

Your book doesn't only consider Virginia, but also the larger picture of the people who aided and abetted her efforts. Again, the lives of the common people often pass through history unremarked and unnoticed. How do you go about building their stories?

It was important for me to highlight the men and women who will never have statues or biographies written because they were integral to Hall's success and that of the Allied cause. Again, cross referencing about twenty sources gave me just enough about the people in her networks to make well-rounded and sympathetic characters.

Lastly, Virginia is a fairly well-known figure. Did you learn anything during your research that was new to you, or surprised you?

I didn't know anything about Virginia Hall when I stumbled across an article about her years ago, so all of it was news to me. What continues to surprise me, however, are the well-known figures who joined WWII spy and resistance organizations. From Ernest Hemingway, to Julia Child, to Marlene Dietrich, to John Wayne, to Josephine Baker, I'd love to see more books about real-life clandestine agents. Their stories are always stranger than fiction.