Q&A with Arvind Ethan David

  

Photo by Valerie Cavaness

 

 

Arvind Ethan David is the author of the new novel The Great Game. His other work includes producing the TV show Dirk Gently's Holistic Detective Agency. He lives in Southern California.

 

Q: What inspired you to write The Great Game?

 

A: A few years ago, I was on a panel at Comicon with my TV show, Dirk Gently’s Holistic Detective Agency, and an audience member asked each of us who our Comicon Cos-Play of choice was.

As they worked their way down the line, I realised I had a problem. I would have liked to have answered Sherlock Holmes, or Arthur Dent, or Peter Parker or Philip Marlowe. But those are all white guys, and I'm a brown, Indian-Pakistani, British Asian guy.

Maybe that shouldn't matter, but we live in a world in which it does, and I don't get to just put on a deerstalker hat and become Sherlock, at best that would make me "Brown Sherlock".

 

So, I started to think about the “why” of that. Why don't people of colour feature in classic genre stories? It's not that we weren't about, these stories took place at the height of Empire and Empire is their constant context and subtext. Out of that kernel was the character of Balvinder born, and The Great Game began.

 

Q: As you were writing the novel, what did you see as the right balance between your own characters, the fictional characters of Arthur Conan Doyle and others, and historical figures?

 

A: Something very lucky happened about 10 pages into the writing of this book. Balvinder Singh announced himself. I think if you are lucky, a few times in a writer's life, you meet a character who you know everything about and can write in every circumstance.

 

I’ve met those when adapting other people’s work (Dirk Gently, Philip Marlowe…) but this is my first time meeting someone of my own creation who fits that criteria.

 

So this was, from the beginning, Bal’s story. We go where he goes, meet who he meets and experience London through his eyes. His choices and his agency determine the story. If Bal had wanted to spend the entire novel following Sherlock about, I’d have been happy to. Fortunately for the story, he had other ideas.

 

Q: How did you research the novel, and what did you learn that especially surprised you?

 

A: This is a book that hopefully wears any scholarship lightly, but it was important to me to get the texture of 1905 London right and to get it right from the perspective of an Indian immigrant.

 

I owe a debt to many historians and cultural commentators, but probably most of all Sathnam Sanghera (Empireland, Empireworld) and Professor Carlone Elkins (Legacy of Violence: A History of the British Empire). 

 

Reading their work made me understand in a deeper way than I had before of the evils and power of empire, and made me angry at how poorly we are taught that, in either the imperial West or the colonised East. The dangers of that failure of education is sadly too obvious in our daily headlines.

Oh, also, the ball point pen? Was first invented in 1888 but only perfected in 1938 by the brothers László and György  Bíró. The Brothers Biro. I think that’s my next book.

 

Q: The writer Dave Rudden said of the book, “David breathes new life into familiar characters with this wry, wickedly arch tale about decolonization, integration, and imperial arrogance, not just interrogating the classic caper but elevating it--stealing it out from under the Empire’s nose.” What do you think of that assessment?

A: Dave is both too smart and too nice a man for me to disagree with him.

 

Q: What are you working on now?

 

A: There is a conversation going on about a sequel to The Great Game, but before that I have to finish a play about America’s first magician, a TV show about a retired detective and - the thing I’m working on right now even as I answer these questions - is a fantasy novel called Backstory in which a group of 20-somethings try and fix the magical kingdom which their parents destroyed. It’s got nothing to do with real life.

 

Q: Anything else we should know?

 

A: The audiobook of The Great Game is narrated by the extraordinary British actor, comedian and my honorary cousin Sanjeev Bhaskar (star of Unforgotten on PBS) - the four days we spent in the studio making it were thrilling and hilarious and I think folks who choose to experience the book that way will share in that.

 

Oh, also, congrats on your new book! It’s a thrill isn’t it to have something new in the world!

 

--Interview with Deborah Kalb 

Q&A with Jessica Khoury

  

 

Photo by Katherine Escobar Photography

 

Jessica Khoury is the author of the new middle grade novel Monster and Apprentice. Her other books include The Mystwick School of Musicraft. She lives in Greenville, South Carolina. 

 

Q: What inspired you to write Monster and Apprentice, and how did you create your character Rolan?

 

A: For as long as I can remember, I’ve wanted to write a book centered around the master-and-apprentice dynamic. I always loved these kinds of stories as a kid! And actually, the first thing I came up with was the title—Monster and Apprentice!

 

But it took me a while to find the right characters for this story, and for several years I let it bubble in the back of my mind. Maybe it was adult? Maybe it would be young adult?

 

But it all clicked for me after I read Demon Copperhead by Barbara Kingsolver. In many ways, Rolan is inspired by Demon, even though they are two wildly different stories! But I immediately loved the idea of a smart-mouthed kid who acts tough and independent, when really what he needs is to open himself to trusting the adults who care about him.

 

Q: How did you create the world in which the novel is set?

 

A: Rolan’s world is built around the magic system of secrets and Cryptics. In the story, keeping a secret too long will cause it to “escape” your head, hide in the shadows, and grow into a monstrous, mindless creature called a Cryptic. Luc, Rolan’s master, is a warrior whose job it is to fight these Cryptics.

 

Every aspect of their world is crafted by asking how these creatures’ existence would shape society—from its religion and superstitions to practical day-to-day life.

 

For example, in the cities and towns, the people burn lamps all night long, because Cryptics need shadowy corners in which to grow bigger. So light is revered and sacred, while darkness is greatly feared.

 

Q: Did you know how the story would end before you started writing it, or did you make many changes along the way?

 

A: I am a major plotter, so I usually know how a story will end before it begins! But there are always times in which the characters will surprise me along the way.

 

To avoid spoilers, I’ll just say that one of the characters in this story surprised me in such a way that it ended up inspiring the entire direction of the sequel—which will come out next year!

 

Q: How would you describe the dynamic between Rolan and Luc?

 

A: Rolan and Luc’s relationship is the real heart of this story, and goes through several stages. They start out really disliking one another and using each other for their own purposes. There is a lot of mistrust and miscommunication and arguing. Rolan in particular doesn’t trust any adults—with good reason, considering how he grew up!

 

But over time, through hardship and work, they come to respect and understand one another. Each has something to learn from the other, and both of them need to learn how to open themselves up to trust and love after suffering a lot of hurt and betrayal in their pasts.

 

The great question at the center of the story is will they be able to overcome that past pain in order to show up for one another when it really counts?

 

Q: What are you working on now?

 

A: Currently, I’m working on illustrations for the sequel for Monster and Apprentice! The second book is mostly finished, and will be out next year!

 

Q: Anything else we should know?

 

A: In many ways, even though it’s my 17th published story, I feel that Monster and Apprentice is the best book I’ve written! Each of my stories is special to me for different reasons, but Monster is one of those rare “bolt-of-lightning” stories where the entire thing fell into my head all at once, and as a result, it was a very quick writing process.

 

In fact, the morning the story clicked in my mind, I was so excited and inspired, I immediately put my children in the car, dropped them off at their grandparents’ house, and said I’d be back in a few days. I could not NOT write the story at that very moment!

 

I ended up writing almost half the book over the course of that weekend. Such an experience is rare for me as a writer, and I think when that happens, the end result is always something special!

 

Thank you so much for inviting me into your space for this interview! I hope everyone who picks up Monster and Apprentice will walk away with a feeling of connection with the people in their own lives who have taken the time to nurture and guide them, as Luc does with Rolan in this story.

 

It’s been a pleasure to write it, and I hope readers will fall in love with these characters as much as I have!

 

--Interview with Deborah Kalb 

Q&A with Alexis Powell

  

 

 

Alexis Powell is the author of the new middle grade book A Coven of Witches: Spellbinding Tales of Magic and Myth. She lives in San Diego. 

 

Q: What inspired you to write A Coven of Witches?

 

A: I've always loved witches. I grew up watching Hocus Pocus, The Craft, Sabrina the Teenage Witch, and more. Those stories piqued my interest in witchcraft, so I wanted to try my hand at creating my own witch stories.

Q: How did you choose the mythological witches on which to base your stories?

 

A: It was difficult to narrow down the list because there are so many interesting witch figures from cultures around the world.

 

Some (Baba Yaga and Circe, for example) were no-brainers because they're so iconic. Others, such as La Lechuza or Isis, were chosen after a lot of research. Once I learned about their unique powers, like transforming into an owl the size of a human or reassembling a dismembered body, I knew they had to be part of the collection.

 

Q: The Kirkus Review of the book called it “deliciously terrifying.” What do you think of that description?

 

A: It's a stellar compliment, and I love that contrast.

 

Q: What do you hope readers take away from the book?

 

A: I want readers to feel spooked by the end and maybe sleep with the lights on. But beyond frights, I hope the stories make readers curious. The world of the witch is vast and if readers come away wanting to learn more about them, or even feel inspired to write witch stories of their own, I'd be thrilled!

 

Q: What are you working on now?

 

A: I'm currently working on a YA horror novel set in Utah.

 

Q: Anything else we should know?

 

A: I want to give Marina Vidal her flowers. A Coven of Witches would only be half as magical without her illustrations.

 

--Interview with Deborah Kalb 

Q&A with Jessie Atkin

  

 

 

Jessie Atkin is the author of the new children's board book Oodles of Noodles. Her other work includes the play Generation Pan.

 

Q: What inspired you to write Oodles of Noodles?

 

A: Honestly, the rhyme “oodles of noodles for all the poodles” has been bouncing around my head since high school (I had a goldendoodle named Dustin at the time).

 

But the real impetus to sit down and write a full book was my niece. Up until Oodles of Noodles, most of my writing had focused on MG and YA stories. However, when my twin sister told me she was going to have a baby, I wanted to write a book for my niece to be able to enjoy as soon as possible, haha.

 

I was very lucky that the manuscript got picked up fast enough that she will be able to enjoy the book as soon as she turns 2.

 

Q: How did you choose the animals and foods to include in the book?

 

A: It was honestly all about the rhymes. If I could find a food and animal that rhymed together, they went into the first draft. There were 15 animals in the first draft that we then cut down in the editing process. I was excited that both knishes and lox made it through to the final version.

 

Q: What do you think Moesha Kellaway’s illustrations add to the story?

 

A: I was so so lucky that my publisher found Moesha. Honestly, I couldn’t conceive of a better illustrator for the book. The whimsy and joy of the rhymes are really enhanced by what she created. I adore the accessories so many of the animals wear. And her visuals really added an extra layer of humor to every page.

 

Q: What do you hope kids take away from the book?

 

A: I was not a great math student growing up, and so it made me laugh when my editor pointed out that Oodles of Noodles technically counts as a STEM book. I would love for kids to come away with an early joy related not only to words, but to numbers.

 

I also hope, as the book is targeted at ages 0-3, that kids can come away with a special connection to family and friends who read the book to them, and that can translate into a love of reading (and even math) farther down the road.

 

Q: What are you working on now?

 

A: Oh boy, I’m always working on something, haha. My agent and I are currently submitting a YA fantasy manuscript, and I am also writing an MG adventure series at present. I’ve also got two other picture book manuscripts I’m hoping to finalize in the very near future.

 

Q: Anything else we should know?

 

A: Both my twin sister and I, and my niece, were NICU babies. The NICU is a rough place for parents to start their journey (I’ve heard this from both my parents and my sister).

 

One of the joyful moments my sister has recounted to me was when she was gifted with a board book (in her case, it was Corduroy) and was able to read to my niece while she was in her incubator. I hope my board book can bring even a small drop of joy to families the way Corduroy did for my sister.

 

--Interview with Deborah Kalb 

July 14

 

 

ON THIS DAY IN HISTORY
July 14, 1868: Gertrude Bell born.

Q&A with Michelle Brafman

  

Photo by Sam Kittner

 

Michelle Brafman is the author of the new novel Draw Near to Me. Her other books include the novel Swimming with Ghosts. She teaches fiction writing in the Johns Hopkins University MA in Writing Program.  

 

Q: Why did you decide to write a stand-alone companion to your novel Swimming with Ghosts, and why did you choose to set it in 2014, two years after the first book was set?

 

A: I had the good fortune of visiting quite a few book groups for Swimming with Ghosts, and I was surprised by how many readers wanted to know what happened after the final scene of the novel. I realized that I wasn’t finished with my peeps, so I started to writing about the days, weeks, and months following Swimming with Ghosts.

 

When I arrived at 2014, I realized that enough time had passed for these characters to establish a “new normal,” the perfect moment to give them more trouble!

 

Q: The writer Melinda Henneberger said that Draw Near to Me “delivers so much more than an update on the unwise and unwell characters Brafman has made us care about. It shows how grace is a choice that can begin to heal even the deepest betrayals.” What do you think of that description?

 

A: Melinda’s words touched me deeply. My characters indeed behave badly, so it’s good to know that they are still viewed sympathetically. That’s the sweet spot for a writer.

 

The novel also poses the question: what does it take to draw someone near in the very moment you have every right to push them away? It takes a whole lot of grace to even ponder that question.

 

Q: As with Swimming with Ghosts, addiction plays a big role in the story. How do you see it affecting your characters?

 

A: I’ve heard addiction referred to as a family disease, one that can ripple through generations, cropping up when the emotional waters run high.

 

In both novels, several descendants of Sebastian Norton, the alcoholic patriarch, confront a tremendous amount of upheaval, and despite years of recovery, they struggle to stay sober. If they succumb to their addiction, they stand to lose the relationships that matter to them the most.

 

Q: Do you think readers need to have read Swimming with Ghosts before reading Draw Near to Me?

 

A: I don’t. I wanted Draw Near to Me to stand on its own, so I specifically recruited beta readers and editors who had not read Swimming with Ghosts. Their feedback pointed me to spots where I was giving too little or too much back story.

 

I also carefully reread Elizabeth Strout’s Amgash gems with two friends, one a novelist and one a book reviewer, which was incredibly instructive.

 

And I’m a sucker for interconnected short stories, so I revisited some of my favorite authors who link their narratives expertly: Amy Bloom, Robert Olen Butler, Alice Mattison, Rachel Hall, and Leslie Pietryzk, to name a few.    

 

Q: What are you working on now? Will you return to these characters?

 

A: I am working on the third installation of “The Swan Dive Series,” a title that arose from the recurring image of the aforementioned alcoholic patriarch swan diving.

 

I keep circling back to Toni Morrison’s epigraph in Swimming with Ghosts, “If you could surrender to the air, you could ride it.” That’s what I want for all the people I love, real and imagined, the ability to transcend our most painful legacies. To soar.    

 

Q: Anything else we should know?

 

A: I don’t think so. As always, you asked the most important questions.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Michelle Brafman. 

Q&A with Kerri Maher

  

Photo by Kate Eden Renyi Photography

 

Kerri Maher is the author of the new novel Summer of Love. Her other books include All You Have to Do Is Call. She lives in Massachusetts.  

 

Q: What inspired you to write Summer of Love?  

 

A: Many threads came together at once for this book. I’d been wanting to write a road trip novel set in California, where I grew up. And I wanted to write about addiction and recovery. And I wanted to write about the craft of storytelling.  

 

But I couldn’t figure out how any of those threads wove together. I was really struggling, and I also pitched a number of other ideas without those themes to my publisher and those were getting dinged.  

 

Desperate, I finally bought a copy of Julia Cameron’s famous creativity-course-in-a-book The Artist’s Way and vowed to do all 12 weeks. I’d been avoiding this book for a long time even though so many creators I knew swore by it for improving their process and garnering new ideas, largely because I knew the foundation of Cameron’s advice is a morning journaling practice.  

 

I hated journaling. My past is littered with the beautiful journals people have thoughtfully given me for birthdays and holidays (thinking that because I’m a writer I’d fill them in no time), in which I write one page then cast aside.  

 

But this time I committed. I bought myself some cute spiral Deconstruction Notebooks and got going. To my enormous surprise, I loved Morning Pages. And within one month of doing them, they served exactly the purpose Cameron promises, which is to take out the trash in my mind and clear the way for the good stuff to arise.  

 

Lo and behold, seemingly out of nowhere, the characters of Winnie, Miranda, and Dawn walked on stage in my mind and introduced themselves.  

 

Q: The story deals with several women--how would you describe the dynamics among them?  

 

A: Fraught.  

 

This is the story of two sisters who start close in the 1960s, then grow apart. And it’s the story of one sister’s daughter who in 2015 is afraid of telling her mother the truth about herself.  

 

These women love each other deeply, but the secrets and wounds between them have made each of them debilitatingly suspicious of their own ability to show up in the relationships. 

 

Q: How did you research the novel, and did you learn anything that especially surprised you?  

 

A: Since I was raised in California by native Californians, a lot of the background information for this book was lived experience—I’d been hearing about San Francisco and Berkeley in the 1960s, where so much of the novel is set, my whole life. Still, I read a few books about the era to make sure I had facts and dates and even vibes correct.  

 

Most of my research had to do with California wine country. I had to learn how wine was made, and the history of winemaking in The Golden State.  

 

I was surprised-not-surprised to learn that winemaking started with the Spanish missionaries who essentially enslaved the native population to make “holy” wine. I was fascinated by the social history of how California wine emerged from such problematic origins to become the juggernaut of sophistication and “the good life” it is today.  

 

Q: The author Marjan Kamali said of the book, “Maher skillfully pairs a deep sense of place with a refreshingly honest look at addiction and the quiet power of storytelling to help us heal.” What do you think of that description?  

 

A: I’m so grateful for it, especially because I deeply admire Marjan’s writing. And I’m flattered, because that “sense of place” in California was exactly what I was going for.  

 

It’s funny, because as a reader I loathe long descriptions of places; Thomas Hardy was really tough for me to read in college. But as a writer, I’ve become known for my particularly vibrant settings, like London before the war and Paris in the 1920s, and now California in the 1960s.  

 

I’ve devoted a lot of effort to writing place without the long descriptions. I want people to feel like they are really there with my characters.  

 

As for the “honest look at addiction,” I’ve been really honored that so many early readers of the book have given me feedback saying versions of “I’ve never heard anyone talk about addiction in this way before.” I hope it will feel fresh to others as well.  

 

And storytelling as healing? All I can say is YES! Storytelling heals.

 

 Q: What are you working on now?  

 

A: I can’t tell you much, other than that it involves a magical Book of Hours and the karma of a centuries-old love story.  

 

Q: Anything else we should know?  

 

A: I am so incredibly grateful for readers, and the independent booksellers who serve them. This might seem unrelated to the subject of Summer of Love, but it’s not. One of the characters in the novel is a writer who struggles to find her way, as so many of us do. I don’t like spoilers, but let’s just say readers and bookstores are key to that character’s development.  

 

And thank you for having me on your site. 

 

--Interview with Deborah Kalb