Friday, June 13, 2025

Q&A with Randall Woods

 


 

Randall Woods is the author of the biography John Quincy Adams: A Man for the Whole People. Woods's other books include LBJ: Architect of American Ambition. He is a Distinguished Professor of History at the University of Arkansas. 

 

Q: What inspired you to write a biography of John Quincy Adams?

 

A: This was a departure for me. Most of my work is on the 20th century. But I’m a diplomatic historian, and Quincy Adams was held up as the quintessential secretary of state, kind of an iconic figure, and I needed a change of era and topic. I thought he would benefit from fresh eyes.

 

Q: What stood out to you about him?

 

A: I knew he was an intellectual, that he had a massive IQ. His diaries are one of the greatest in the American language, along with Samuel Pepys. I was afraid to go back in time because of a lack of sources, but the Adamses never had an emotion that they didn’t write down.

 

The book is one-third travelogue—Quincy Adams was the best-traveled American of his generation by the time he was 18—one-third family history, and one-third political and diplomatic history.

 

I’m not writing for other historians, I’m trying to write for educated laypeople. This country is losing its sense of identity. We don’t know where we’re going.

 

He was one of the great orators in a period of great orations. He was called upon to give speeches for Lafayette, for Madison. He knew Europe better than any other American—it was a culture he admired, but a politics he didn’t. They had a sense of who they were, and this country didn’t. His effort was to create an American identity—I found that rather interesting.

 

Q: What would he think of today’s politics, and of the idea of American identity today?

 

A: He is haunting me: “What is going on with my country?” He thought Andrew Jackson was a nihilist, and that support of slavery was antithetical to the Declaration of Independence. Quincy Adams’s bible was not the Constitution but the Declaration of Independence.

 

The key here is education, a lack of education, the attack on public education that began in the Reagan administration. It goes back to a sense of identity, people voting in their own self-interest. I grew up in a town of 11,000 people in central Texas. To graduate, you needed a foreign language [and more]. Only 20 percent went to college, but people graduating from high school knew about the separation of powers and the Constitution. People don’t have that anymore.

 

Quincy Adams and John Adams said that in a virtuous republic, members will sacrifice for the general good, that they have to be educated. That’s what he would say. Trump, the judiciary, the politicization—education is the problem here.

 

And bad religion, false religion. The Adamses had long conversations about religion, the relationship between Christianity and a virtuous republic. They were committed to church-state separation. They were New Englanders. When John Adams went to Harvard, the whole board of Harvard was required to be Congregational ministers.

 

My idea is to explore this landscape, people’s lives, and bring it to life. I started this book a long time ago, when there were no contemporary biographies of Quincy Adams. Now there are two, published in 2015 and 2016. I had to convince my publisher!

 

Q: How many years did you work on the book?

 

A: Eight or nine years. I do research. That’s one thing about historians. They read my work, and they can smell phony at 100 feet. They can tell if someone has immersed themselves in the literature or they haven’t. I do background reading, and then turn to primary sources.

 

Q: How would you describe the relationship between John Quincy and his father?

 

A: He respected his mother [Abigail Adams]. She was a hard woman, a brilliant rustic. She was self-educated, she had a circle of friends, she ran the farm. Like most women in the 18th and 19th centuries, she tended to live through her children. He was her avatar. She expected much from him--she expected him to sacrifice for the American experiment. She ruined two of his romances.

 

He was emotionally close to his father. He took him to Europe when John Quincy was 11. They nurtured each other. You could write a volume on the correspondence between John Adams and Thomas Jefferson, and on John Adams and John Quincy Adams. They covered everything—religion, politics, history.

 

They trusted each other implicitly. Unlike Abigail and John Quincy, they were emotionally intimate. They were intellectually compatible. There was no other father-son relationship like that in American history.

 

Q: So was he seen as preordained to do great things?

 

A: I don’t think he was a projection of parental expectations. He would have been who he was even without that. With his own children, his expectations destroyed them. Only Charles Francis was able to withstand his brutal expectations.

 

John Adams was a moderately successful lawyer and farmer, and when he went to the Constitutional Convention he was kind of a poor man. What he had in common [with the others] was their education.

 

Q: What do you see as John Quincy Adams’s legacy today?

 

A: The notion of a virtuous republic, and unity. Long before the Civil War…Quincy Adams fought against any form of secession. He told his father once that unity to me is what balance is to you. He was obsessed with it.

 

He was a New Englander, but was a chief advocate for Western expansion, which was anathema to New England because it diluted their power. He was a nationalist in the best sense of the word. He would be the anti-Trump.

 

He acknowledged as they grew that there were differences in the regions, in interests, religious orientations. He wanted to create a national economy so each region was dependent on another.

 

In speeches, he wanted to create an image of America as unique—a republic in a sea of monarchy, a nation of immigrants, based on the common ideals in the Declaration of Independence. Other countries have constitutions, but we are unique—an experiment worth fighting and dying for.

 

Q: What are you working on now?

 

A: I’m thinking of a biography of Averell Harriman. I’m going back to the Cold War, to World War II. He didn’t have much of a personality—he was smart, he led a colorful life, but he was very private. It would be a different kind of biography.

 

Q: Anything else we should know?

 

A: Quincy Adams did more for marginalized Americans than any other figure before the Civil War. He spent his career after the presidency fighting slavery.

 

--Interview with Deborah Kalb 

Q&A with Jacqueline Davies

 


 

Jacqueline Davies is the author of the classic middle grade novel The Lemonade War, now available in a new graphic novel version. She lives in the Boston area and in Maine. 

 

Q: How did this new graphic novel adaptation of your novel come about?

 

A: The short answer is that I’m a person who has always loved making something new out of something old!

 

But the more complete answer is that my long-time editor and I were both fascinated by the growing trend of adapting beloved middle-grade classics into the very modern graphic novel form.

 

Over several years we discussed the intricacies of such a transformation. How were nuanced emotions conveyed? Could pictures show as much as words? And what happened to the rich narration in a chapter book? Eventually, I decided to attend a four-day workshop on writing the graphic novel, and I was astonished by all I learned.

 

So, I took on the task as a personal challenge. Could I rewrite The Lemonade War—a book I know so well, with characters that live under my skin—in script form? I just wanted to see if I could do it. And in the end, I was able to make something new out of something old.

 

Q: What do you think Karen De la Vega’s illustrations add to the story?

 

A: Karen’s illustrations add tension, movement, and lots of conflict. She uses “camera angles” to great effect: closing in tight on a face or pulling far away to give a feeling of distance or wonder. She’s also a master at using light and dark to increase the tension in a single panel. Like any great graphic-novel illustrator, she’s very cinematic.

 

And she did a terrific job in bringing the various metaphors in the original book to life in the graphic novel: literal bats flying out of Evan’s chest; a nagging purple blob sits on Jessie’s shoulder; Evan is transformed into a hawk, ready to swoop down and steal away Jessie’s new friend.

 

It’s a wonderful part of graphic novels that they can combine reality and fantasy with such ease.

 

Q: What initially inspired you to write The Lemonade War, first published in 2007, and how did you create your characters Evan and Jessie?

 

A: My two sons got into an argument about a lemonade stand when they were Evan and Jessie’s ages, and that idea—of a Lemonade War—popped into my head and wouldn’t leave. Of course, the final story is entirely different than the real-life argument that inspired it. After all, the real-life argument fizzled out after just a few minutes.

 

But that’s how it is for writers of fiction who draw on events and ideas from everyday life. You keep the emotion or impulse that caused the spark, but then you have to use craft and experience to create a story that sustains the reader’s interest over an entire book.

 

To create the characters of Evan and Jessie, I mostly used my own childhood experience of being a middle child in a large family. I honestly don’t think I could have written the characters of Evan and Jessie if I hadn’t grown up experiencing what it’s like to be a younger sister and an older sister.

 

Q: The Kirkus Review of the graphic novel called it a “classic sibling rivalry tale that still satisfies to the last drop.” What do you think of that description?

 

A: I think the reviewer hit the nail on the head. It’s the sibling rivalry that makes this book a classic. Brothers and sisters have been fighting since the beginning of time, and they’ll continue until the end of time.

 

I visit a lot of schools and always ask the students if they’ve ever gotten into an argument with a brother or sister. Every time, the auditorium erupts with their response! They have so much to say about this particular aspect of their daily lives.

 

There are so many feelings that go along with sibling rivalry. It's a really important part of young people’s lives, and it’s a subject that never loses its emotional punch.

 

Q: What are you working on now?

 

A: I’m working on a new middle-grade novel, but I won’t say more than that. I never talk about my books until I have a solid first draft. Not there yet!

 

Q: Anything else we should know?

 

A: I just finished a three-week book tour, where I got to visit with more than 4,000 kids all over the country. It was great to spend time with them and hear what they’re thinking and feeling.

 

It can be hard for authors to keep in touch with their readers, and going on the road is a terrific way to strengthen that connection. But readers can keep in touch with me in lots of ways:

 

Instagram: @jacquelinedaviesbooks_

YouTube: @jacquelinedavies9

Website: jacquelinedavies.net

Newsletter: Sign up using this link

 

--Interview with Deborah Kalb 

Q&A with Adriana Garcia

 


 

 

Adriana Garcia is the illustrator of the new children's picture book For a Girl Becoming, written by the former U.S. Poet Laureate Joy Harjo. Garcia's other books include Where Wonder Grows, written by Xelena Gonzalez. Garcia lives in San Antonio, Texas.

 

Q: What do you think Joy Harjo’s poem says about girlhood and family traditions?

 

A: I think Joy’s poem recognizes the complexities of growing up and understands that it is a journey wrought with highs and lows but also of transformation. The poem affirms that the family traditions which give us solace and guidance can carry us through this becoming.

Q: The Publishers Weekly review of the book says, “Visualizing Indigenous traditions and underlying values of family and interdependence, it’s a profoundly loving blessing of a book for anyone in a place of becoming.” What do you think of that description, and what do you hope kids and adults take away from the book?

 

A: What a beautiful review. Because I view Joy’s powerful words as a benediction, I put love and intention in each illustration. I feel my painting became a part of that blessing. Personally, I feel like I still have a lot of “becoming” to do. I look forward to it because I’m surrounded by amazing people.

 

I grew up with my immediate family and extended family celebrating not only life milestones together but also recognizing personal achievements and accolades. Today my family has extended to a chosen family and a larger community.

 

Our success is dependent on us holding each other up throughout our lives. By doing so we reinforce the sense that we are not alone. A sentiment that I feel this book communicates beautifully.

Q: What was your artistic process as you worked on For a Girl Becoming?

A: I so often showcase my community in the work I do, by using friends and family as models for the images. Since I know them and their personal journeys, I couldn’t help but reflect on their lives as I painted.

 

This makes the process so much more special to me. It becomes a chance to visit, chat, take photos, and create memories. Fleshing out the compositions becomes a puzzle where I can create any puzzle piece to fit what’s missing. 

Additionally, as I created the illustrations I listened to audiobooks Crazy Brave and Catching the Light by Joy Harjo. I found her voice and words informed the painting and helped guide them in the right direction. Creation is personal so I did sprinkle in all kinds of details in the illustrations that I hope add to its uniqueness. 

 

Q: Anything else we should know?

 

A: I gave myself a goal of illustrating five picture books when I started out in 2017. Today For a Girl Becoming is a celebration of a plan completed.

 

I am now in the early stages of developing a graphic novel that focuses on my ancestors. They were part of a traveling carpa group, akin to a traveling tent circus, but they would perform specifically for migrant workers and other Mexican-American barrios throughout Texas and the Southwest during the Depression.

 

My work is based on my grandfather’s stories of traveling together with his siblings and parents as La Carpa Hermanos Garcia, entertaining audiences with vaudeville-like performances that included acrobats, fortune tellers, singers, dancers, strong-men, musicians, ventriloquist, seamstresses, and so much more. This is an important part of my legacy—uplifting my community through art.

 

--Interview with Deborah Kalb 

Q&A with Betsy Thibaut Stephenson

 


 

 

Betsy Thibaut Stephenson is the author of the new book Blackbird: A Mother's Reflections on Grief, Loss, and Life After Suicide. She works in the field of public affairs, and she lives in Alexandria, Virginia.

  

Q: First of all, I’m so sorry for the loss of your son…

 

Why did you decide to write Blackbird?

 

A: I wrote the book I needed to read when I was heavy with the grief of losing my son. He died by suicide caused by depression, and though there are many helpful books about child loss and grief, suicide loss is often written about years after it occurs. It is a mysterious, taboo topic that requires time and space to digest.

 

But as a grieving mother, I wanted to know what was happening to my body and my mind in the moment. I consumed whatever I could put my hands on about grief and suicide loss. Then I wrote to untangle the questions and contradictions and shame that was sinking me. The result is Blackbird, which was written in real-time by a griever, for grievers.

 

The book is constructed of short passages and compact observations without extra explaining or backstory. The structure is designed to help readers put the book down and rest with the heavy topics without losing the thread of the story. It follows the arc of the first 15 months after I lost my son, within which I show how I learned to reshape my life and carry my grief in a healthy way.

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: My father was an avid guitar player and Beatles fan, and as a small child, I loved when he played “Blackbird.” He died suddenly in 2009, and we gifted his guitar to my son Charlie, who became a passionate musician in high school.

 

As Charlie’s skills improved, I jokingly told him that he’d make me the happiest mother in the world if he learned to play “Blackbird.” A few months later, he called us to the patio, picked up his guitar, and played the song. I was so touched that I cried. “Blackbird” became a permanent part of his musical lineup at home and at school, in our basement and on dorm and in his group house.

 

The best-known version of the song, which was included on The White Album, was recorded on my first birthday, June 11, 1968. Charlie was conceived on my birthday. The last weekend I saw him alive was my birthday weekend.

 

Q: The writer Rachel Zimmerman said of the book, “Betsy Stephenson’s raw, unflinching account of her son’s suicide and its aftermath adds to a growing body of storytelling that seeks to destigmatize depression, mental illness, and suicide. Her memoir, Blackbird, offers important insights, fueling the national conversation on how to more honestly and effectively help those who are suffering and, ultimately, find better, systemic solutions to address the current mental health crisis.” What do you think of that description?

 

A: I feel strongly that one of the most straightforward ways we can address the suicide epidemic in our country is to talk about suicide. It is mysterious, and within that mystery lies power – too much power. We must make it easier for a person who is struggling with suicidal thoughts to share what they are experiencing, else those thoughts can become lethal.

 

Q: What impact did it have on you to write the book, and what do you hope readers take away from it?

 

A: When I lost my son, emotion and shame and grief became so tangled in my mind that I could barely function. Putting words onto paper helped me slowly unravel the mess in my head so I could begin to heal. The more I wrote, the better I felt.

 

Blackbird is ultimately about healing. It is not a “how to” book, it is a “how I” book, and I try to take readers with me through the hardest steps of deep grief. It is my hope that readers will gain greater understanding of depression and grief and the deep impact of suicide.

 

Q: What are you working on now?

 

A: September is suicide prevention month, so I am currently focused on opportunities to collaborate with organizations and media to elevate and expand the conversation about suicide prevention.

 

Q: Anything else we should know?

 

A: Check on your friends!

 

--Interview with Deborah Kalb 

June 13

 


 

ON THIS DAY IN HISTORY
June 13, 1865: W.B. Yeats born.

Thursday, June 12, 2025

Q&A with Kaira Rouda

 


 

 

Kaira Rouda is the author of the new novel Jill Is Not Happy. Her many other novels include Best Day Ever. She lives in Southern California.

 

Q: What inspired you to write Jill Is Not Happy, and how did you create your characters Jack and Jill?

 

A: I've always been fascinated by people who can charm everyone around them while harboring something much darker underneath. Jill emerged from wondering: what would happen if someone's need for control went beyond manipulation into something truly dangerous?

 

She's the neighbor who brings you casseroles and remembers your children's names—and who would eliminate anyone she perceives as a threat to her carefully constructed world.

 

Jill is cunning, absolutely ruthless, and darkly funny. She genuinely believes she's the heroine of her own story, protecting her marriage and her way of life. The fact that she's willing to kill for it? Well, that's just practical problem-solving in her mind. She doesn't see herself as evil—she sees herself as efficient. 

 

As for Jack, he seems to be one step behind. But is he?

 

Q: The writer Kimberly Belle said of the book, “A revenge thriller at its best, who knew til death do us part was so lethal for some people? A clever spin on the glue that keeps marriages together.” What do you think of that description?

 

A: Kimberly absolutely nailed it! She understood that for Jill, "til death do us part" isn't just a romantic promise—it's a literal threat to anyone who tries to interfere with her marriage. The "glue" holding Jack and Jill's marriage together isn't love or compatibility; it's Jill's willingness to do absolutely anything to maintain her version of marital bliss.

 

What makes it darkly funny is that Jill sees herself as the ultimate devoted wife. In her mind, she's not a killer—she's a problem solver. Someone flirting with Jack at a party? That's a problem. A coworker getting a little too friendly? Another problem. Jill has a very permanent solution for problems.

 

The revenge element comes from her belief that anyone who threatens her marriage deserves whatever they get. She's protecting what's hers, and she's remarkably creative about it.

 

Q: How was the novel’s title chosen, and what does it signify for you?

 

A: The title "Jill Is Not Happy" is both an understatement and a warning. On one level, it sounds almost petulant—like a child having a tantrum. But when you understand what Jill is capable of when she's unhappy, it becomes much more sinister.

 

The beauty of the title is its simplicity. It could be something a neighbor says in passing, a casual observation about someone's mood. But for anyone who crosses Jill, her unhappiness might become their death sentence. 

 

It also reflects how we often miss the warning signs right in front of us. Everyone in Laguna Beach might notice that "Jill is not happy," but they have no idea what she's willing to do about it. 

 

Q: Part of the novel takes place on a trip to Utah—why did you decide on that location for Jack and Jill’s road trip?

 

A: The Utah setting came from a very personal experience. My husband and I took a vacation to the Utah national parks, and I'll never forget watching the sunset over the Hoodoos in Bryce Canyon.

 

The landscape is absolutely breathtaking—otherworldly, really—but as I stood there taking in those dramatic rock formations and the vast, isolated wilderness, I had a very different thought: this would be the perfect place to kill someone. Fictionally speaking, of course!

 

Utah's national parks offer this incredible combination of stunning beauty and complete isolation. Miles and miles of red rock canyons, hidden trails, and places where you could disappear completely. For someone like Jill, who needs to solve her problems permanently and discreetly, it's almost too perfect. 

 

Q: What are you working on now?

 

A: I'm currently working on my next novel, We Were Never Friends, which is set in Palm Springs and features a group of sorority sisters who are forced to reunite when one of their sons gets engaged to another's daughter. Of course, bad things happen from there...

 

Like Jill Is Not Happy, it explores the facade of perfect relationships and what happens when long-buried secrets surface. There's something about forced reunions that brings out both the best and worst in people—especially when these women have spent decades carefully crafting their post-college identities.

 

The Palm Springs setting provides that same kind of glossy, affluent backdrop where appearances matter tremendously, but underneath the poolside cocktails and charity galas, old grudges and dangerous secrets are waiting to explode.

 

Q: Anything else we should know?

 

A: Readers should prepare themselves for a protagonist who's both hilarious and absolutely terrifying. Jill's internal monologue is wickedly funny—she has opinions about everything from her neighbors' landscaping choices to the proper way to dispose of evidence. She's the kind of character who will make you laugh out loud, then immediately make you check your locks.

 

--Interview with Deborah Kalb. Here's a previous Q&A with Kaira Rouda.

Q&A with Lauren Magaziner

 

Photo by Princeton Headshots

 

Lauren Magaziner is the author of the new upper middle grade novel The Incorruptibles, the first in a new series. Her other books include the Case Closed series. She lives in Philadelphia. 

 

Q: What inspired you to write The Incorruptibles, and how did you create your character Fiora?

 

A: Imagine you’re a kid, and people tell you, “You’re the most magical, special, and powerful person around.” Now imagine people say that for years. Decades, even. How do you stay grounded? How do you not believe your own hype?

 

So I started to write about a world in which sorcerers did believe in their own superiority! In The Incorruptibles, sorcerers truly think themselves better than people without magic; they have massive, inflated egos and use their power to oppress.

 

I knew I needed a main character to stand in sharp opposition to the sorcerers. Fiora has a deep-seated hatred for sorcerers after they killed her parents. She’s fierce and determined. She has a ridiculously strong moral compass. Throwing her into a resistance movement just felt natural.

 

But as Fiora starts to develop nuance in her worldview, she gets to explore what exactly it means to stand up for what’s right—and how to best follow her conscience.

 

Q: The author Jonathan Stroud called the book a “timeless and timely epic of fellowship and self-discovery in the face of overwhelming odds.” What do you think of that description?

 

A: So flattered and honored, especially since Jonathan Stroud has been my favorite author since I first discovered his books at age 14. His blurb came in when I was about to board a plane, and I got misty in the airport. But I think it’s a brilliant way to describe the book—Jonathan Stroud summed it up so succinctly and so perfectly!

 

Q: Can you say more about how you came up with the idea for the world in which the story takes place?

 

A: I thought deeply about what entitled, narcissistic people would do if they had unlimited power and could do anything. And the answer, to me, was that they’d establish control.

 

So, in The Incorruptibles, the sorcerers take over towns and cities. The more powerful the sorcerer, the bigger the city they conquer. It’s a world where sorcerers rule the roost—where unfettered power goes unchecked.

 

Q: How was the novel’s title chosen, and what does it signify for you?

 

A: The title of the novel is the name of the resistance group that the book centers. I figured out their name in the middle of drafting the book. I was writing so much about sorcerers who choose to corrupt their own bodies and souls to get their hands on power—who then act in corrupt ways.

 

If sorcerers are corruptible, it made sense that the resistance group would be called Incorruptibles. (During different points in the writing process, I called the resistance group the Chasers, the Breakers, the Bulwarks—and a slew of other ideas that weren’t nearly as evocative as the Incorruptibles!).

 

To me, the word “incorruptible” signifies strength, courage, and upstanding morals.

 

Q: What are you working on now?

 

A: I’m working on The Incorruptibles 2 at the moment, and it’s an electrifying leg of the story. All the lovable characters and awesome tech from book one… but with tension dialed up to maximum levels. Book two contains considerable danger, breakneck pacing, and jaw-dropping plot twists. I can’t wait to share!

 

Q: Anything else we should know?

 

A: Even though The Incorruptibles is aimed at readers ages 10-14, I think it’s a super fun read for older readers too. The story has lots of inclusive representation, ambitious character arcs, a boarding school that feels a bit more like a brawler’s bootcamp, worldbuilding that’s vast yet detailed, and an exciting magic vs. tech undercurrent (if you like your fantasy a little science-fictiony).

 

If this sounds like your cup of tea, I hope you enjoy your time at Inc Academy!

 

--Interview with Deborah Kalb 

Q&A with Wendy Gee

 


 

 

 

Wendy Gee is the author of the new novel Fleet Landing. She spent 21 years in the U.S. Navy and later volunteered with the Charleston, S.C., fire department. She lives in Lewes, Delaware. 

 

Q: What inspired you to write Fleet Landing, and how did you create your characters Coop and Sydney?

 

A: I have always been drawn to underdogs who face impossible odds, yet manage to persevere. My principal antagonist, Lamar, is one such character, and I wanted to play a part in telling his story. I understand writing is not “magical,” but his muse definitely guided me in unexpected directions.

 

Coop and Sydney are an amalgam of the professionals I met while doing research for this story. I wanted them to be supremely talented professionals, yet humble and imperfect human beings.

 

They are career-oriented, each climbing the ladder in their chosen fields. Both find their work-life balance nearly impossible—a relatable trope. Even so, neither one wants to let anyone in their orbit (including/especially crime victims) down.

 

Q: How would you describe the dynamic between them?

 

A: Personally, unrequited steaminess.

 

Professionally, Sydney bulldozes her way into the initial fire scene and Coop finds that characteristic amusing. However, he is a stickler for rules and tries to hold her at bay (with only limited success). When external influences force them to work together, their differences in mechanics and skill sets form a nearly perfect investigative team.

 

Q: The novel is set in Charleston, South Carolina--how important is setting to you in your writing?

 

A: I view setting as a major character in the story. Creating a sense of place, with its unique sensory details, takes the reader on a trip to that locale.

 

The city of Charleston serves as a perfect backdrop because its people, architecture, history, cuisine, and so forth are so dynamic and provide an endless source of story-launching points. I’d be remiss if I didn’t also give a nod to the surrounding communities.

 

I hope to highlight Charleston’s inherent goodness in my work. I use real places/locations when the opportunity permits. But I create an unreal place if something bad happens there, so as not to disparage any person, address, or event.

 

Q: How much did your own experiences as a volunteer with the Charleston Fire Department affect the writing of the novel?

 

A: I am naturally curious about things. When I discovered I had administrative skills that could assist the Charleston Fire Department’s Fire Marshal Division in a volunteer capacity, I jumped at the chance to be a part of their world.

 

I never thought of myself as a writer back then, but firefighters are immensely colorful and their stories fed my creativity. From that firsthand and unique exposure, I learned I had to truly fictionalize their accounts due to legal and privacy concerns.

 

Q: What are you working on now?

 

A: My current work, Smell Test, is about two people from opposite ends of the galaxy who hatch a plan to steal priceless art from several Charleston locations. They’d describe it as a crime of passion motivated by their love for old masters.

 

The thefts are nearly perfect, until a talented TV reporter (Sydney) and the police department’s Public Information Officer unravel the twisted plot.

 

Q: Anything else we should know?

 

A: The second story in the Carolina Crossfire Mystery series, Side Hustle, is currently being edited for publication. Sydney takes the lead role is chasing a prolific cybercriminal.

 

--Interview with Deborah Kalb

Q&A with Steven Scott Eichenblatt

 


 

 

Steven Scott Eichenblatt is the author of the new book Pretend They Are Dead: A Father's Search for the Truth. He is an attorney, and he lives in Orlando, Florida. 

 

Q: What inspired you to write Pretend They Are Dead?

 

A: Going through a divorce, I knew there was unfinished business from my past that was hurting my relationships and causing a disconnect with my own children. I love to write but had been constrained as a lawyer to write legalese so I decided it was time to write “outside the boundaries.”

 

I did not want my children or anyone else’s to go through the collateral damage caused by a marriage breakup and knew I could help other families while helping myself. When my law partner joked my past would make a great movie, I decided to write about it instead.

 

Q: How was the book’s title chosen, and what does it signify for you?

 

A: Pretend They Are Dead comes from a magazine article published in the mid-1970s called “Hellow Yellow” and written by my biological father. It describes my father’s last night with us as he had decided to give us up for adoption.

 

The story was sent to me 30 years after it was written and in it, my father said his psychiatrist told him it would be easier for him to “pretend they are dead” and have no further contact with us.

 

Meanwhile, growing up in the new family, we were never to speak of him so were also pretending he was dead although never an intentional strategy but one forced by my mom and her second husband, Richard.

 

Q: The psychologist and author Patricia Coughlin said of the book, “This book is a testament to courage and resilience in the face of abuse and neglect.” What do you think of that description?

 

A: I love her description, and would add the word determination, as I am determined to love my children and my wife with intimacy and affection.

 

When you live through trauma, you don’t always feel brave. You feel like you're just trying to make it through the day. But if this story reflects even a sliver of courage to someone else, then maybe it did its job.

 

I am still impressed by my own courage in knocking on my biological father’s door after many years, and standing up to Richard, who was abusive, when no one else would.  I also think there is courage in allowing myself to be vulnerable by sharing secrets I carried for 40 years.

 

Q: What impact did it have on you to write the book, and what do you hope people take away from it?

 

A: It’s been freeing, but also terrifying. I had to relive scenes I spent most of my life trying to forget. I had to stop pretending it didn’t happen. But through the process, I found some peace.

 

It was also challenging reading through thousands of pages my father left behind, describing his daily life and his own struggles. He was an unhappy, tortured man who in the end, did love us but was unable to connect with me in the way fathers should.   

 

My hope is that readers will realize their past doesn’t define them, and they’re not alone. I know many children and parents have been victimized, but they don’t have to remain victims. I believe they can use their stories to educate and help others.

 

It’s also important for people to know they have to learn to help themselves, to move forward, and use their trauma for good. If even one person says, “Your book helped me feel less broken,” that’s worth it.

 

Q: What are you working on now?

 

A: I’m currently working on a story about my experience as a volunteer 9-11 lawyer representing children and families of firefighters who lost parents and the heroes of Ladder 118, the source of a famous picture as they drove over the Brooklyn Bridge into the fire, and certain death.  

 

Q: Anything else we should know?

 

A: I want readers to know this book isn’t just about trauma—it’s also about love, self-healing, and fatherhood. I want readers to know my firm Page and Eichenblatt is still helping families every day and that no matter who or where you are, we can offer help if you are a victim of abuse or an accident.  

 

The past shaped me, but it doesn’t own me. It made me a better father, a stronger person, and even a better lawyer. That’s what this book is about: resilience.

 

--Interview with Deborah Kalb 

June 12

 


 

ON THIS DAY IN HISTORY
June 12, 1929: Anne Frank born.