Thursday, May 28, 2020

Q&A with Sloane Tanen


Sloane Tanen is the author of the novel There's a Word for That. She also has written nine illustrated and young adult books, including Bitter with Baggage Seeks Same and Hatched!. She lives in the Bay Area. 

Q: You write of There's a Word for That that "my goal was to write a comedic version of the dysfunctional family drama." How did you come up with the Kessler family?

A: I grew up in Los Angeles in the 1980s, very much the golden age of the Hollywood blockbuster. This is not a Hollywood book, but I was interested in exploring the aftermath of that time, the fall of what would have been perceived as an empiric family.

Though the book is fiction, my father was in the movie business, so it was easy enough soil to mine. 

I do love dysfunctional family novels, so much the better if they happen to be funny. The fall from grace, both professionally, and personally (as we age) is both tragic and comic.

Straddling the line between these two extremes—finding the sweet spot where tragedy and comedy meet--well, that was my goal.
      
Q: You tell the story from a variety of characters' perspectives. Did you write the novel in the order in which it appears, or did you focus more on one character before turning to the others?

A: I got into a big mess with the structure! I would just write whatever character I was in the mood to sit with that day.

The problem, of course, was making all their time lines fit together. I thought it would all fall in like a magic jigsaw puzzle, but it did not.

I had to do quite a bit of editing to get them all in the same time zones, in the same country, and on the same planet!

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

A: The novel was originally called The Injustice Collectors, which I still like. The publicity department at Little Brown thought it sounded like a police procedural. So, we had to go back to the drawing board.

I was editing, and [noticed] that the German words began to play a bigger part in the book. What I love about German is how well the language can combine two words to create something totally new, something otherwise impossible to put a name to. We don’t really have this in English.

The novel is about a point in our lives that is likewise hard to name. Is there a word for that moment when our perceived potential has fallen short of our current reality?  
      
Q: You've written for various age groups. Do you have a preference?

A: I had a wonderful time doing the children’s books and all the humor books with Stefan Hagen. That was just a magical collaboration for me. I’m a visual person so tapping into that was a lot of fun.

I don’t think YA is my thing. It’s very hard to hit the right note and I felt very nervous dipping my toe into that water.

I had a good time writing the adult novel, but the new emphasis on social media presence and the heavy input from editorial and PR and was a bit hard. Novel writing doesn’t feel like it should be collaborative, but finally, it is.

That takes getting used to but it’s all worthwhile and finally very satisfying.

Q: What are you working on now?

A: I am at work on a new adult novel. It’s about a woman in the 1980s. I don’t want to say too much as I’m still working it out.

It may be a bit more serious than the last book, but I’m still in the early stages. I think anything I write will have an undercurrent of comic absurdity if only because that’s how I see the world.

I’ve been working from 11pm-4am during the shelter in place. I am a night owl so not having to get up and get kids to school and get to work has been sort of nice for me!

--Interview with Deborah Kalb

May 28

ON THIS DAY IN HISTORY
May 29, 1908: Ian Fleming born.

Wednesday, May 27, 2020

Q&A with Sonali Dev


Sonali Dev is the author of the new novel Recipe for Persuasion, which is based on Jane Austen's classic Persuasion. Her other books include Pride, Prejudice, and Other Flavors. She lives in the Chicago suburbs.

Q: This is your second Jane Austen update featuring the Raje family. Did you know when you wrote Pride, Prejudice, and Other Flavors that you'd be revisiting them?

A: Even before I was a published author, I dreamed of writing homages to my four favorite Austen novels (Pride and Prejudice, Persuasion, Sense and Sensibility, and Emma) under one story universe. So, yes, I did imagine the entire four book series at the outset, and knew that Recipe for Persuasion would follow Pride, Prejudice, and Other Flavors.

Q: What do you see as the right blend between the original Austen characters and your updated versions?

A: I see my books as being inspired by Austen's novels, an ode to her timeless themes that were formative for me as a person and as a writer.

So while the idea for the character, plot, and themes for my stories are seeded in her novels, once I start writing them, my stories are all my own.

My characters are all their own. Ashna Raje is a Palo Alto chef from an Indian American family descended from royalty, and Rico Silva is a Brazilian-born World Cup winning football star who's an orphan. They make choices based on their life experiences and personalities. They might have echoes of Anne Elliot and Fredrick Wentworth, but they are not them.

My intent is to explore, in the current day, what Austen's themes taught me.

Q: Were you always a Jane Austen fan, and what's your favorite Austen novel?

A: I first read Jane Austen in middle school. Pride and Prejudice was her first book that I read, but it was followed immediately by Persuasion, Emma, and Sense and Sensibility.

I can't pick one as a favorite but I can tell you why each one of them connected with me.

As a young girl Austen's stories spoke to something elemental inside me. Books and stories I was exposed to until then didn't show me women who got what they wanted. They showed me women who sacrificed and suffered for the greater good.

I think Austen’s genius lies in the fact that she wrote from a place of complete honesty when it came to her belief that women deserved to get what they desired.

The culture she lived in should have convinced her that what women desired wasn't worth much, but somehow she wrote women who dared to want things on their terms, and got them. This narrative was powerful reinforcement for me at a formative age.

Q: Did you need to do any research to write the novel, and if so, did you learn anything surprising?


A: I did a lot of research about football (soccer). I grew up with a football fanatic brother, so I knew how very seriously people across the world take it. It's practically a religion and its reach might be more widespread than any other single pursuit in the world.

It's quite stunning actually. As someone who usually rolls her eyes at sports fandom, the deep global socio-economic impact and meaning did humble me.

Q: What are you working on now?


A: I'm working on the next book set in this world. This one pays homage to Sense and Sensibility and it follows the oldest Raje sibling, who is running for California governor when a traumatic event makes him stop and take stock of the life that's been planned for him and the path he's never questioned until now.

Q: Anything else we should know?

A: That Recipe for Persuasion came out on May 26 and I hope it helps people find comfort, escape, and meaning in this strange and unprecedented time.

--Interview with Deborah Kalb

Q&A with James S. Bostwick


James S. Bostwick is the author of the novel Acts of Omission. He is a medical malpractice and personal injury lawyer, and he is based in San Francisco.

Q: Acts of Omission was inspired by a case you were involved in--why did you decide to write a novel about that particular case?

A: While there have been many interesting cases over the years, I choose this case to write about because it had a combination of elements that were both unique and unusually compelling.

I was still a relatively young attorney and the person I was considering suing was one of the most famous trial attorneys in the country. He essentially owned the media and the local courts. Both the local bar and the Bay Area public loved him – everyone’s favorite San Francisco columnist in those days was Herb Caen – this attorney was in his column almost every day.

Most of the advice from colleagues was to turn the case down because it was difficult, expensive and he could do a lot of damage to my career. It was the little guy against a big celebrity – David and Goliath. 

In addition, the family at the center of the case was very engaging and the young man had a devastating injury. I quickly became emotionally involved with their plight – abandoned by the father/husband, caring but worn out mom and a brother that had indefinitely put his life on hold to help out. 

I also felt that this case was an authentic portrayal of the risks, anguish and euphoria of everyday life for lawyers that represent victims of negligence.  A legal malpractice case involves preparing and trying two cases – the legal liability issues and then the underlying case, i.e. if the lawyer had not been negligent, would the case he was handling have been successful? 

Q: What did you see as the right blend between the facts and your fictional version as you wrote the novel?

A: The real case, both medical and legal aspects, had some fascinating facts and circumstances. Leaving in major elements of the real litigation, characters and occurrences gave the novel meaningful substance.

Reality started the process out with the bones of a wonderful story, which I then fleshed out with flights of pure imagination. The fact and fiction ratio consisted mostly of actual facts and about one-third pure novel. I also interwove real legal vignettes from other cases I have tried and created characters that were amalgams of interesting people.

Q: The book is set in San Francisco. How important is setting to you in your writing?

A: Setting is extraordinarily important to me. The most interesting story can be diluted by tepid surroundings.

I was lucky to spend most of my professional life in one of the most beautiful and diverse areas of the world, San Francisco. I was eager to showcase what the area has to offer: a gorgeous bay with dramatic vistas, weather that varies by the hour, ocean to one side and mountains a few hours away, wild rivers and a city that takes your breath away.

Having the opportunity to weave all that into a fun and compelling story was a real gift.

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

A: Books about criminal law are common, but engaging stories about civil law are few and far between. Unfortunately, when civil cases are the subject, the stories often reinforce a common stereotype of “ambulance chasing” injury lawyers.

In addition, most novels, movies, and TV series about the law are extremely unrealistic.

My goal with Acts of Omission was to create a compelling story about what lawyers that represent injured people really do. What cases do they take and why, what are the risks and dilemmas they face while preparing and presenting a case, what goes into the analysis, preparation and trial of a difficult and complex case.

I wanted people to understand what we do, why we do it and get a sense of the anguish and euphoria that is experienced along the way. I wanted the reader to experience an authentic trial the way it happens in real life. At the same time, it was important to me that it was a page turner with romance, adventure, betrayal, danger and other things that make a novel hard to put down.

Q: What are you working on now?

A: I am developing the sequel to Acts of Omission. However, rather than having lots of time on my hands to write while “sheltering in place” during this crisis, as an active trial lawyer, I find myself busier than ever processing my cases!

Everything seems more difficult working from home, people are harder to reach, the courts have essentially gone into a “black hole” and my home office is nowhere near as efficient as my real office.

Also, I’ve recently been asked to write articles on the impact of COVID-19 on the civil justice system in America, so I find myself spending a lot of time helping the community and media understand how the pandemic will change the future of justice.

If this goes on for a few more months (as I’m afraid it is likely to do) I suspect I will be able to get back to writing the sequel soon. 

Q: Anything else we should know?

A: We are on Facebook @actsofomisison so anyone can stay up to date on developments, including upcoming virtual author chats. We’re also on Instagram @actsofomisison. Here are a few things I am really excited about:

Acts of Omission was just nominated for the 2020 Harper Lee Legal Fiction Award – we have our fingers crossed!

The hardbound first edition has just sold out – a wonderful milestone.

The paperback edition is set for rollout on June 9 and we are certainly anticipating that thrilling new chapter.

The Audible book has taken off like a rocket – Roger Wayne, the narrator did a fabulous job of bringing the characters to life and it is getting a huge, mostly 5-star response.

The novel has captured the attention of a well-known screenwriter and movie producer and they will be bringing the story to life on the big screen - stay tuned!

Finally, we have been able to see our community here in the Bay Area come together beautifully, by closely following the guidance of our local and state leaders we have “flattened” that curve and things are looking better.

It is so gratifying to see all over this state, here in the Western states and in most parts of the country how people have pulled together to be safe, follow the advice of the experts and support those who are on the front line. We are seeing the depth and dimension of the American Soul as it evolves in response to this crisis.

Yes, we have to have thoughtful dialogue and challenge conventional thinking – yes we have to do everything we can, within the bounds of safety, to keep our economy functioning – but in that process we are also seeing people pull together to help the most vulnerable, the homeless, the unemployed, the elderly. 

People are supporting their local businesses and remembering to check in with those that are lonely. In the end, this will once again teach us that we are a great, caring, and resilient nation. 

--Interview with Deborah Kalb

Q&A with Renee Brooks Catacalos


Renee Brooks Catacalos is the author of the book The Chesapeake Table: Your Guide to Eating Local. She is the membership and strategic partnerships director with the group Sustainable Agriculture & Food Systems Funders, and was the publisher of Edible Chesapeake magazine. She is based in the Washington, D.C., area.

Q: In your preface, you describe the influence your family had on your food choices and interests. How did that tradition lead you to write The Chesapeake Table?

A: It was the basic understanding of food, the enjoyment of food, that came from my family. Having traveled internationally sparked other discoveries. Having lived abroad and experienced places where local eating was the norm, when I moved back to the D.C. area, those influences grained traction at the same time. I started freelancing, and I had more time to explore these things. This was back in 2001-2002.

Doing the book came about because it was 10 years later, and I was involved in the local food and farming scene. I took a job outside that arena, and I missed it. But also, I got a different perspective as I was trying to do it while working a different job. Previously it had been part of my job.

I experienced integrating it into daily life. I was able to do it because of my background, but I realized that it takes knowledge and planning.

Doing the book gave me the excuse to keep my hand in, and I could tell it would be useful. A lot of people are seeing where the importance [of local food] is, when you're trying to get food and the national system is running into problems. Now, a lot of people are trying to eat local. That’s the point of the book—I want people to do it.

Q: You already had experience in this area, so did you need to do much research to write the book? And what surprised you in the course of your research?

A: I did have a lot of background experience, but a lot of the research was to see what had changed since I first went into local food. I had been going to farms myself, but knowing that people needed ways to access local food, I went to different stories and was trying out delivery services. Washington’s Green Grocer and 4P Foods have turned into the linchpin.

The idea is to strengthen this system and add flexibility in this particular moment. They had been distributing to larger schools and institutions, and they have had to figure out how to change the way they take food in from the farmers and how to get the food out.

With the regional food distribution infrastructure, there’s not enough of it—shared cold storage facilities, things like that. People can be rigid—we know how to do [one procedure] but we’re not able to pivot. I hope this leads to more flexibility.

Another part of the research that was really interesting was the alcoholic beverage aspect—brewers, distilleries, cideries—learning different brews but also understanding why the laws have to be changed. It took longer for them to ramp up compared to food, because of the laws, which promoted a national industrial [model]. Work is being done to break up how you can sell alcohol.

Learning about Prohibition and its effects on the U.S. beverage industry has been surprising. The really surprising thing is that the U.S. wine industry’s roots were in Maryland. During Prohibition you could make wine at home, and there was a guy in Baltimore who experimented with vines during Prohibition and wrote a book about it. That was the basis for California winemakers—he was the father of the American wine industry.

Q: What do you think are some of the most common perceptions and misperceptions about the D.C. region's local foods?

A: Probably the most common is that it’s very expensive to buy from local farmers or shop at farmers’ markets. That is a misperception. There’s a difference in food value in buying local. If you’re used to Costco, the prices are different—but not always.

If you know what’s in season where you live, you can probably find peaches at a similar price at the farmer’s market and the store. In July and August, watermelons are in the store. They probably are local. Maryland’s Eastern Shore is a huge producer. You can still be eating local. I choose not to buy out of season as much as I can.

Another misperception out there is what a farmer’s market actually is. Amish markets have some farm-raised food, but not necessarily from local farms. Sometimes there’s a lot of candy. It’s not what I meant by “farmer’s market.” They all have their places; you just have to understand what you’re buying.

Q: How does the D.C. area compare to other areas when it comes to eating local?

A: We are fairly strong. Maybe we were a bit later to the scene, but that gives you a chance to learn from other regions. The D.C. area has an affluent, highly educated consumer base.

That’s where the perceptions [about the high prices] come from, but the other side is that those people make it possible to sell to other markets. For example, the Dupont Circle market makes it possible to sell in other areas around D.C. and not worry as much.

We also have relative proximity to small farms. There’s not a lot of commodity farming; it’s not like the Midwest. For the most part, it’s smaller to mid-sized farming, the scale at which farmers can do direct to consumers. And it’s a fairly temperate climate.

In New England, the local/regional food structure is stronger, despite a smaller growing season. They’ve been doing it for longer, and have built resilience around the food system. Smaller farmers are not completely dependent [on the food system].

The job I’m in now, at Sustainable Agriculture and Food Systems Funders, is based in Santa Barbara.

I’ve been going to farmers’ markets in the Pacific Northwest and the West, which is a whole different experience as well. There’s a lot of farming, and opportunities to hold markets with the milder weather. There’s significant support to tie into the farm to school [market], and to food banks. It’s amazing seeing avocados at farmers’ markets because they grow there!

Q: What do you see looking ahead when it comes to eating local?

A: The answer could have been very different [a few] months ago. There are conversations going on in the sustainable agriculture movements now. On one hand, the farmers and the restaurants that buy from small local farms, people in the food system, have been hammered by the pandemic.

The silver lining is that it exposed a lot of the fractures in our food system. People have been trying to deal with it for decades. Now it’s front and center. I hope we can harness that awareness into building more local food system resilience.

Hopefully some people will have good experiences with the food they got [locally during this period] and will miss it, and realize their eggs look different, or wonder why the peanut butter they buy doesn’t taste as fresh. They might miss the personal touch of having food brought to them.

We’re hoping that the levels of participation to buy from local farmers [will not decrease], that restaurants who source local will not go back to the pre-pandemic [approach], and we can look at policy changes to make it easier for people to go into those businesses.

Policies that work for larger organizations don’t apply. For PPP loans, many small restaurants and farms may not have relationships with banks [that would make it easy to apply]. The pandemic saw the biggest foundations lead and the smaller ones right behind. These are changes people have been asking about forever. Now, let’s not go back to the old ways.

Q: Are you working on another book?

A: I’m not. I did the first one because I missed being involved with this world. Now that I’m working in it again, I think I’m doing [what I can that] supports the growth of this sector I’m passionate about. I’m happy to be supporting it. But 10 years from now, in retirement, who knows.

Q: Anything else we should know?

A: What’s really important is for people to learn as much as they can about what’s available, what their own interests are, what their level of interest in shopping is—and find ways into local food that are comfortable for them. It doesn’t have to be all or nothing, but every little bit helps.

--Interview with Deborah Kalb

May 27

ON THIS DAY IN HISTORY
May 27, 1894: Dashiell Hammett born.

Tuesday, May 26, 2020

Q&A with Natalie Jenner


Natalie Jenner is the author of the new novel The Jane Austen Society. A career coach and consultant to law firms, she founded the independent bookstore Archetype Books in Oakville, Ontario.

Q: How did you come up with the idea for The Jane Austen Society, and what did you see as the right blend between the actual people who created the society and your fictional characters?

A: I sort of back-ended into writing this book!

I had been coping with a very difficult medical diagnosis for my husband by rereading Jane Austen, whose works have always comforted and calmed me, and then found myself wanting to read and understand more about Jane herself, especially given the difficult circumstances (poverty, grief, crippling ill-health) under which she had written.

I was also at the time binge-watching a ton of British period dramas, including Downton Abbey.

When my husband’s health started to stabilize and we could look forward again, I was very surprised to feel both hope and the impulse to creatively write. At first I thought I would write a book about a group of people who come together to save an old British estate house.

And then one day, after attending a conference in Philadelphia on Jane Austen, everything came together and I knew the book would be about her cottage, which is now the Jane Austen’s House Museum.

But even though I knew that the first real-life Jane Austen Society had started in 1940 with the mission to acquire this cottage, I wanted my book to be a work of fiction that explored themes of grief and community, and how a shared passion can bring different people together.

Most of all, given where I was myself in life at the time, I wanted my characters to emerge from past loss and trauma with a sense of newfound hope and purpose.

Because I was not trying to document the real historical founding and purpose of the Society, I very quickly decided to fictionalize everyone involved, so that I would not be constrained by the real-life events and arcs of the original founders’ lives, or disrespect them in any way.

And because I don’t plot or outline before I write, this approach also liberated me to follow my characters in whatever directions they chose to go.

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

A: My research for the book was primarily unintentional, as it stems from all the reading I was doing for pleasure and distraction during that difficult time. This was a new experience for me, because usually I research as I write.

But I do think that a lot of what I learned, and was surprised by, seeped into some critical aspects of the plot.

For instance, I had not intended for a Hollywood film actress to be part of the society. But when I started writing the auction scene in Chapter Three, I recalled the wonderful story of singer Kelly Clarkson acquiring Austen’s turquoise ring at auction (now part of the museum’s own collection through a fascinating chain of events).

This made me appreciate how Austen’s fans have historically traversed all strata of society, income, and education, and this emboldened me to include a film star in the plot.

The other thing that surprised me was the extent to which men had been some of her earliest and most influential fans, and I wanted to also pay homage to that in my book.

This is one reason why, I think, the farmer Adam and the auctioneer Yardley are two of the most rabid and literal Austenites among my characters.

Q: What first intrigued you about Jane Austen’s writing, and do you have a favorite book?

A: I think the very first thing that intrigued me about her writing was how remarkably fresh it sounded, especially to my 12-year-old mind reared on Nancy Drew and Happy Days. I was definitely a precocious reader as a child, but even back then I felt her books had an immediacy and clarity of voice, and such wonderfully human and recognizable characters.

My favourite of Austen’s books is Pride and Prejudice, but with Emma almost too close to call. With both books there is such a range of comic characters and tales of personal growth to learn from, but at the heart of each pulses a romantic love story that always sweeps me away, no matter how many times I read it.

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

A: It’s very simple, in a way, and it’s set out near the end of the book: that sometimes it feels like everything we are holding onto in life has been stripped away, or lost, and that hope is all we are left with. But that sometimes—and I am living proof of this—hope can also be just enough.

The key thing is not to give up, but to do the absolute minimum you can to keep moving forward—whether that be by reaching out to a new experience or new person in your life, or even something as simple as trying a new type of book.

One never knows where anything might end up leading to in life, but the only way to get there is to keep moving forward.

Q: What are you working on now?

A: I seem to gravitate towards stories with large casts of characters, usually set in the past, at least far back enough not to have to deal with iPhones and other advances in technology! Thematically I am also very interested in the role of both place and art in our lives.

This awful pandemic situation we are dealing with has brought home to me, all the more, how important culture is, and how lucky we are that people before us, often under similarly distressing circumstances, have created art that we still enjoy today—or saved little bits of history for us to visit and take solace from.

Q: Anything else we should know?

A: One thing I am particularly excited about is the audiobook narration of The Jane Austen Society, by British actor Richard Armitage. I have listened to a clip from Chapter One, and I honestly can say that no one could have done a better job narrating my book.

Of course, Mr. Armitage was slightly set up to succeed in that area, only because I heard his voice in several of my male characters as I wrote!

This is just one of many examples of the dreams made true by the interest in, and support of, my book, and I can’t wait to share it with the world.

--Interview with Deborah Kalb