Ask the Author: Maria Padian
Answered Questions (11)
Maria Padian
Ooh, I did a whole blog post on my summer reads, which you can find at www.mariapadian.com But most recently I've read some terrific books: I just finished THE OTHER HALF OF HAPPY by Rebecca Balcarcel, a debut middle grade novel about a 12-year old girl who is half Guatemalan/half Anglo. I also just finished Kathy Izard's book THE HUNDRED STORY HOUSE, which is about her work to provide housing for the homeless in Charlotte, NC. Right now I am loving Colum McCann's novel DANCER and also reading Jason Reynold's new book LOOK BOTH WAYS.
Maria Padian
First: THANK YOU! I'm thrilled you felt strongly about OUT OF NOWHERE. That community, and the kids who were the inspiration for that story, are very special. Re. my no-stars thing: it's personal. I know a lot of these authors, plus I know what it takes to put-it-out there with your writing. I can't grade them, I just can't. Instead, I'll celebrate/share what's special about each book, and what works well and what inspires. If I don't review or mention a book, it probably means I haven't read it yet or ... I didn't have anything positive to say.
Maria Padian
Once upon a time there was a spoiled, self-absorbed prince who cared about money, power and himself more than anything or anyone else. He became President of the United States.
Maria Padian
Without question: Elizabeth Bennett and Mr. Darcy.
Here's why: they are complete equals. They spar, they forgive each other, they make mistakes and move on. Even though Mr. Darcy is far richer than Elizabeth, she loves him because he is kind and generous. He loves her because she is smart, outspoken and honest. Even though these characters were created in the 19th century, Jane Austen created a throughly "modern" couple.
Thanks for this question! I loved thinking about it.
Here's why: they are complete equals. They spar, they forgive each other, they make mistakes and move on. Even though Mr. Darcy is far richer than Elizabeth, she loves him because he is kind and generous. He loves her because she is smart, outspoken and honest. Even though these characters were created in the 19th century, Jane Austen created a throughly "modern" couple.
Thanks for this question! I loved thinking about it.
Maria Padian
Hi Ariel,
Great question.
Realistic fiction. Sort of like Jumbo Shrimp, right? The whole GENRE is an oxymoron! We walk a fine line between the requirements of fiction ... which is to tell a character-driven story ... and the obligations of truth.
The best of these do not romanticize or soft-pedal reality. A few greats that come to mind for me are "The Memory of Light," by Francisco Stork; "The Spectacular Now," by Tim Tharp; "Wintergirls," by Laurie Halse Anderson; "The Fault in Our Stars," by John Green.
Even in "Fault," which contains improbable dialogue and an unbelievably perfect romantic lead character in Augustus, those elements are necessary to leaven the punch of the reality. I remember years ago seeing the play "August: Osage County," which was simultaneously horrifying and hysterically funny. I learned something from that play: artistically, you need to give your viewer/reader something which they can bear, something they will continue to watch. If you only kick them in the gut, they will turn away. In "Fault," we are able to bear the pain of Augustus's and Hazel's very realistically portrayed symptoms and inevitable deaths because we are also given humor, joy and love.
It's hard to pull off. We don't want to romanticize tough issues, but we also don't want to turn our fiction into bibliotherapy.
Hope that gives you some food for thought! Thanks for asking,
Maria
Great question.
Realistic fiction. Sort of like Jumbo Shrimp, right? The whole GENRE is an oxymoron! We walk a fine line between the requirements of fiction ... which is to tell a character-driven story ... and the obligations of truth.
The best of these do not romanticize or soft-pedal reality. A few greats that come to mind for me are "The Memory of Light," by Francisco Stork; "The Spectacular Now," by Tim Tharp; "Wintergirls," by Laurie Halse Anderson; "The Fault in Our Stars," by John Green.
Even in "Fault," which contains improbable dialogue and an unbelievably perfect romantic lead character in Augustus, those elements are necessary to leaven the punch of the reality. I remember years ago seeing the play "August: Osage County," which was simultaneously horrifying and hysterically funny. I learned something from that play: artistically, you need to give your viewer/reader something which they can bear, something they will continue to watch. If you only kick them in the gut, they will turn away. In "Fault," we are able to bear the pain of Augustus's and Hazel's very realistically portrayed symptoms and inevitable deaths because we are also given humor, joy and love.
It's hard to pull off. We don't want to romanticize tough issues, but we also don't want to turn our fiction into bibliotherapy.
Hope that gives you some food for thought! Thanks for asking,
Maria
Maria Padian
Goodness, I hope I never write a scathing review! Honestly, if I read something I don't like I'll simply forego commenting on social media. This business is too tough for us to be taking pot shots at each other. As an author, I really try to use my online presence to promote and support other writers and their work.
That said, I'm often surprised and dismayed by the tone of many reviews in the "blogosphere." They seem like/feel like mean girls on the middle school playground instead of professionals discussing literature. At worst, they read like the comments section of a local newspaper.
I remember once getting upset over a review which ripped one of my books, and my editor at the time (a very experienced, smart person at Knopf) said to me, "Maria, don't you think I know what I'm doing? I'm a pro. If I thought those things were lacking in your book I would have flagged them and we would have worked through them during revision"
So true! It was the reminder I needed that a traditionally published book has gone through MULTIPLE revision passes, not only at the agenting stage but at the editorial stage and copy editing. And wow, copy editors are STICKLERS. Talk about tough love. But ... I am always so very, very grateful to my copy editors.
Reviewing is not creative writing, but I do think it is an art in itself. I enjoy reading great literary criticism and there are definitely reviewers whose work falls in that category. But in the Wild West of Goodreads you encounter ... well, let's be kind and call it The Wide Range of Reviewing Talent and Abilities. As an author you learn how to parse the useful feedback from the ... useless.
Thanks for your interest in my work and taking the time to read my books .
That said, I'm often surprised and dismayed by the tone of many reviews in the "blogosphere." They seem like/feel like mean girls on the middle school playground instead of professionals discussing literature. At worst, they read like the comments section of a local newspaper.
I remember once getting upset over a review which ripped one of my books, and my editor at the time (a very experienced, smart person at Knopf) said to me, "Maria, don't you think I know what I'm doing? I'm a pro. If I thought those things were lacking in your book I would have flagged them and we would have worked through them during revision"
So true! It was the reminder I needed that a traditionally published book has gone through MULTIPLE revision passes, not only at the agenting stage but at the editorial stage and copy editing. And wow, copy editors are STICKLERS. Talk about tough love. But ... I am always so very, very grateful to my copy editors.
Reviewing is not creative writing, but I do think it is an art in itself. I enjoy reading great literary criticism and there are definitely reviewers whose work falls in that category. But in the Wild West of Goodreads you encounter ... well, let's be kind and call it The Wide Range of Reviewing Talent and Abilities. As an author you learn how to parse the useful feedback from the ... useless.
Thanks for your interest in my work and taking the time to read my books .
Maria Padian
I'm in the baby steps earliest beginnings of a new novel and it's too soon for me to talk about it. But in order to feel like a somewhat useful member of society I've been purging/cleaning/painting closets in my house. It feels SO GOOD to get rid of junk and the immediate gratification of a freshly painted wall is pure joy.
Maria Padian
I'm pretty linear, so I write a novel from beginning to end, then revise. However, if I'm stuck and truly miserable, I'll give myself permission to skip ahead to a scene I've been looking forward to writing. Sort of like pushing the green beans aside and digging into a big fat piece of chocolate cake. I'll indulge myself with plenty of adverbs and sloppy, over the top language (all of which will most certainly be revised out later!) and just write and write that fun scene then call it a day. When I return to the manuscript, I'm usually in a better mind frame to tackle the stuff that blocked me, plus I've got the added bonus of "catching up" to the scene I wrote out of sequence and finding the work already done!
Maria Padian
I don't wait for inspiration: this is my job. My work. I have to sit down and do it every day, whether "the Muse" visits or not. Some days the words flow and I feel that rush of excitement when I discover something new. Other days are pure slog, and it's hard.
Maria Padian
Making my own schedule! I love the freedom and independence.
Maria Padian
Invest in a good chair. I wrote my last book in a cheap folding chair and my back is still killing me.
Honestly, though, the best writing advice I ever got was from my college advisor, a very successful published poet. He told his students, “Most art isn’t very good and most art doesn’t last.”
Not what an aspiring twenty-something novelist wants to hear, right? But it was empowering. Because it liberated me from the burden of greatness. I didn’t need to write perfect poems or bestselling novels or prize-winning short story collections. I simply needed to write my best, truest, most authentic stories without worrying about how my work “measured up.”
So write from your heart, then rewrite as if your life depended on it. Not because you want to be famous or make a lot of money or get great reviews, but because you care about it, deeply. Sherman Alexie says he writes in blood because he knows how it feels to bleed. So that’s it, really: write in blood.
- See more at: http://algonquinyoungreaders.com/auth...
Honestly, though, the best writing advice I ever got was from my college advisor, a very successful published poet. He told his students, “Most art isn’t very good and most art doesn’t last.”
Not what an aspiring twenty-something novelist wants to hear, right? But it was empowering. Because it liberated me from the burden of greatness. I didn’t need to write perfect poems or bestselling novels or prize-winning short story collections. I simply needed to write my best, truest, most authentic stories without worrying about how my work “measured up.”
So write from your heart, then rewrite as if your life depended on it. Not because you want to be famous or make a lot of money or get great reviews, but because you care about it, deeply. Sherman Alexie says he writes in blood because he knows how it feels to bleed. So that’s it, really: write in blood.
- See more at: http://algonquinyoungreaders.com/auth...
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