"Second Fiddle": A First-Rate Middle Grade Novel

Calling all fans of Heart of a Shepherd: Rosanne Parry made me cry...again! The first time was when she depicted the loving relationship between a ten-year old boy and his rancher grandfather near Oregon's Strawberry Mountains. This time, she did it when a trio of girls bond with themselves and others while playing ensemble in Berlin and Paris. (For the record, she also made me laugh and gasp and sigh.)

Second Fiddle (Random House, March 22, 2011) follows the adventures of eighth grader Jody and her two best friends who live on an army base in Berlin in 1990, just after the Wall has fallen. Jody and her family will soon be returning to civilian life in the U.S. and she dreads the thought of being uprooted and never seeing Giselle and Vivian again.  Before Jody moves, the three enter an ensemble contest in Paris as a string trio. Before their trip, they witness the attempted murder of a Soviet soldier,  rescue him and decide to help him escape to Paris.

Rosanne has artfully conjured a unique and engaging coming-of-age tale of an expat kid searching to find her way in the world. Lucky for us, Rosanne has stopped by to answer questions pertaining to political intrigue, resourcefulness, and the connecting power of music. 

AB: If you look in a school library for books discussing the cold war, you’ll be lucky to come up with anything. Why did you take on this mantle? Why did you set this story right after the fall of the Berlin Wall?

RP: Practical reasons first. When I was a kid I loved those stories where kids went off on their own and had adventures. Snow Treasure by Marie McSwigan, From the Mixed Up Files of Ms. Basil E. Frankweiler by EL Konigsburg,  and Treasure Island by Robert Lewis Stevenson all had kids doing dangerous and thrilling things all on their own. Here’s the problem. You can’t have an adventure if you have a cell phone. This is why my own children have a cell phone. If something goes wrong, they can call me or google the answer. Wonderfully comforting to me as a mother—DEATH to the tension in a story. Cell phones did not exist in 1990. So convenient!

Up until recently there has been a hole in the canon of historical fiction around the cold war era. However in the past 18 months or so, several notable titles have been published and there is a list of them here on my website.   

I am particularly excited to see these titles because they have much to say about the fear a repressive system engenders, what makes a government fall, and how a new system emerges. Given recent developments in North Africa, this topic is particularly timely.

From an artistic standpoint, the chaos and uncertainty of the months right around the fall of the Berlin Wall nicely mirror the upheaval my main character, Jody, faces as she leaves her friends behind forever when her family leaves the military for civilian life in the states.

AB: Were there any challenges to writing historical fiction about the end of the Cold War in the '90's?

Historical fiction is always a challenge because even though I lived in Germany in 1990 and learned lots of the information I used in the story from German newspaper articles, or from conversations with my neighbors, my publisher insists on documentation for everything. Fortunately it did not all have to be in English, but having lived an experience is not enough. You really have to have back up for everything—the price of a train ticket, the train schedule, the time it takes to walk from Checkpoint Charlie to the Brandenburg Gate. I mentioned the names many people who helped me with my research and some of the process on my website. 

If you are a writer working in historical or even realistic fiction, you should keep detailed records of your sources because if you are going to be traditionally published, you’ll need to provide that information. My own source list for Second Fiddle had more than 60 references on it. They included books, maps, websites, recorded music, sheet music, magazine and newspaper articles, radio broadcasts, and documentary films.

 AB: The theme that music can unite people regardless of language or background is beautifully interwoven into your tale. What led you to write a story about a girl in an orchestral ensemble?

RP: I played the violin when I was a kid and I never much cared for private lessons, but I loved playing in my school orchestra. I think joining the band or choir or orchestra or school play is one of the marvelously empowering experiences of middle school—an era not generally marked by either marvel or personal power. In these tough budget years I hope communities remember that music gives kids a voice and a community they would not find on their own.

One of the joys of working on this piece is that my editor, Jim Thomas, and my agent, Stephen Fraser, are both musicians and have been since they were boys, so they have an abiding appreciation for the power of making music with your friends. Jim was in the drum line in high school and when he moved to NY he started a band with some of his friends at Random House. Here’s a link to Jim’s band, Mr McGregor.

AB: Jody, your main character, struggles with her perceptions of being 'second fiddle' in her family, as well as with her best friends Giselle and Vivian.  In 'Second Fiddle' you also explore the theme of feeling in the background, like you are considered after others. Personally, it struck a chord with me, as I imagine it will with many readers. Can you tell me what led you to write about this particular feeling in pre-adolescence?

RP: When I was a girl I was in a children’s choir and stood next to a girl named Janet Chvatal, who lived down the street. Next to her I sounded like a squawkin’ chicken! She never said an unkind thing about my voice, but for ages I thought I couldn’t sing.

I found Janet again while I was living in Germany—this was pre-facebook; our meeting was due to the machinations of our mothers. I learned that Janet had come to Europe to study with a famous coloratura soprano, could sing brilliantly in 5 languages and was now singing the lead in The Phantom of the Opera in one of the finest opera houses in Vienna. She has since recorded many albums and you can hear an example of her amazing voice here.

We went to visit her in Vienna, and she got us seats in the loge (a spot normally reserved for reviewers and dignitaries). It was a magical night, and I realized that my childhood view of both of us had been completely wrong. Janet is so much more talented than I had guessed, and I have a perfectly adequate and occasionally lovely singing voice—but I’m not a professional singer and I’d never want to be one.

One aspect of “coming-of-age” is learning to see your talents for what they are and choosing which talents you want to spend a lifetime developing. In some ways that coming-of-age lasts forever. I could despair of ever writing as well as Patricia Reilly Giff or Katherine Patterson, or I could realize that I have my own themes to develop and that if I work very hard I can write something perfectly adequate and occasionally lovely.

 

AB: You write about a Ukranian soldier who hates what Soviet communism has done to his family, his country, and himself. But then the girls meet an American who runs a bookshop in Paris as a decidedly socialist commune. Did you intentionally decide to contrast these two characters and their perceptions of communism?

The one character I didn't invent is George Whitman, the proprietor of Shakespeare and Company Bookstore in Paris. George Whitman was too good a character to pass up. There is a fabulous video of George Whitman in his 80s giving himself a haircut by setting his hair on fire. Seriously! Could. Not. Make that up. He’s a man with a vision of how the art of reading and writing could be nurtured in the world and, like many visionaries, is a tad eccentric. 

I’m actually not very interested in making a commentary on Communism or Socialism. There’s plenty of information out there on both systems. I’m sure my readers are capable of making up their own minds. In fact I didn’t realize George Whitman was a socialist when I first decided to use the Shakespeare and Company Bookshop as a location in the story. I read a really interesting book about his life and the bookstore called Time Was Soft There by Jeremy Mercer. Once I understood his motivations for running the shop the way he did, it seemed natural for him to speak to the girls from his own point of view. I didn’t want him to be the “crazy American” living in Paris. There is more to him than quirkiness, and he deserves a fuller characterization, particularly since Mr. Whitman is still living in the rooms above Shakespeare and Company and his daughter is now running the store

 AB: When does Second Fiddle hit the shelves?/ an e-book near you?

RP: Second Fiddle will be out March 22^nd. It is also available in e-book and audio book and downloadable audio. I recorded the author note for the audio edition, and boy, was that a lot harder than you’d think! It took me an hour and a half to read 5 pages. I have heaps of respect now for my audio artist Bri Knickerbocker who read the other 224 pages!

Rosanne Parry

AB: Thanks for your time, Rosanne. Before we say goodbye, tell me: what's up next for you?

RP: I have a very busy spring and I am hugely grateful to the bookstores that have generously agreed to host Second Fiddle events. Lots of these events involve kid musicians as well as the traditional reading. Here’s a list of where I’ll be this spring and into summer. I’ve still got a few plans in the works, so please stop by my website if you don’t see a book event in your area.

If you are a writer, follow the links to the conferences. They all have open registration. I’ll be teaching Character and the 7 Deadly Sins, Collaborative Marketing, and What Makes it a Children’s Book this spring and summer. 

April 8 , 4:30 pm: Young Writers Workshop Powell’s, Beaverton, OR

April 9 , 2:00 pm: A Children’s Place Bookstore, Portland, OR - with Liz Rusch (FOR THE LOVE OF MUSIC, Random House, 2011) and musicians from Metro Youth Symphony.

April 12, 4:30 pm: Third Street Books, McMinnville, OR

April 15-17: Western WA SCBWI Conference, Redmond, WA

May 6: Northwest Fiddle Festival, Waucoma Books, Hood River, OR

May 14, 1:30-4:30pm: For the Love of Music & Books, Ethos Music ,Portland, OR, with Liz Rusch, Virginia Euwer Wolff, Trio con Brio, and the Portland Symphonic Girlchoir.

May 13, 4:30pm: Young Writers Workshop, Powell’s, Portland, OR

May 20-21: Paulina Springs Bookstore, Redmond & Bend, OR

July 9-17: Summer Fishtrap Writers Workshop, Joseph, OR

Aug 7-9:  Willamette Writers Conference, Portland, OR

Sep 8: Eugene Willamette Writers, Eugene, OR

Radiant Emily Whitman

There's something luminous about Emily Whitman. At least that's what I remember thinking when I met her at the book signing of a mutual friend last spring. Maybe it was her sparkling eyes, or the warmth and kindness in her smile that day.  But after reading her debut YA novel Radiant Darkness, I suspect Emily glows from the embers of a once rebellious teen still burning within her.  How else to explain how deftly she slips into the skin of her heroine, the young Persephone? And yes, you read that correctly- this Persephone is a heroine. She is no innocent victim, abducted and raped by lewd and lascivious Hades. Emily Whitman's Persephone chooses to assume her role as Queen of the Underworld. Why? Well, she loves Hades, for starters, and the realm of the dead is not as bad as you might think. Plus, she's sick of being coddled by an overprotective goddess - her mother.

I discovered that Emily comes from a rich family pantheon- of writers. But she's not interested in retreating to Mount Olympus and hoarding her creativity from mere mortals- she's ready to share her savvy with us.

AB: Congratulations on the publication of your book, Radiant Darkness (Greenwillow, 2009). Clearly, you have a passion for Greek myth and an aversion to smothering matriarchs.  I was captivated by your re-imagining of the ‘rape of Persephone’. What led you to write this story? 

EW: It came at me sideways. First, I realized I wanted to explore the time when you’re on the cusp of adulthood, straining at your chains, ready to break out into the world; and then I thought of Persephone, the archetype of a girl leaving home. In the myth, she’s kidnapped, raped, and then rescued by her mother. I wondered, what if Persephone wasn’t the ultimate victim, but a strong young woman with a choice? In Radiant Darkness, she finally tells what really happened, and why mortals got her story wrong.

 

AB: What was the timeline between the kernel of the idea to publication of Radiant Darkness? 

EW: In 2005, I was starting to write creatively again when a friend took me to an SCBWI conference in Portland. It helped me realize I wanted to tell Persephone’s story, and that meant a novel. I had no idea how to write a novel! I began throwing my characters into scenes, discovering how they talked, acted, felt. A month later I went to the Pacific Northwest Children’s Book Conference. I have a confession to make: I went because it was close to home, so I could dedicate a week to writing without paying for airfare or a hotel! Well, it gave me just what I needed: how-to, approaches, excitement, energy. Faculty members were supportive and positive. I was so inspired, I decided to come back in a year with a complete draft of a novel. In 2006, Steve Geck of Greenwillow was the visiting editor at the conference. He read my first ten pages and said he’d like to see the rest. After multiple revisions and much back and forth, it finally went to an acquisitions meeting in April 2008. The result was a two book contract. Radiant Darkness came out last April, and Wildwing  (Greenwillow, 2010) is coming out this September!  

AB: What led you to write for young readers in particular? What about children's fiction appeals to you?

EW: It had become the bulk of what I read! My son and daughter have always been ravenous readers, and between us we were inhaling a lot of great books. And at the library I was helping kids and teens find books to read, hearing what they liked. This is an amazing time for YA lit. I love its immediacy, power, and emotional curve. The pacing. That it’s about a time of transformation, of finding your strength.

AB: When at Harvard and Berkeley, did you study children’s lit while pursuing degrees in history and literature?

EW: I don’t think it would have occurred to me to study or write for kids at that point! But I loved anything to do with language and stories. I remember a great poetry writing workshop, and a tutorial on light verse. I studied French cabarets and song lyrics as a way to look at shifting notions of class. I loved reading fat 19^th century European novels. In grad school I became interested in finding the stories in history—but that’s a long time ago. This is a lot more fun!

AB: How helpful has being a part of SCBWI been for you? How about Linda Zuckerman’s Children’s Book Conference?

EW: Huge! I continue to be grateful and amazed by how supportive, talented, and friendly the kids/teens writing community is in Oregon. I strongly recommend that anyone interested in writing or illustrating kids’ books join the Oregon branch of SCBWI, go to their conferences, and get on their listserve.

The Pacific Northwest Children’s Book Conference was really what jump started things for me. It left me feeling, “I can do this!” It’s a very intimate conference, and something magical happens over the course of a week, getting loads of new ideas through talks, workshops, and conversations; and connecting at meals and through the day with faculty who are committed to teaching, and with participants who range from beginners to published authors.

AB: This summer, you’ll be on the faculty of the very conference you feel jump started your writing career- Pacific Northwest Children’s Book Conference. What will you be teaching?

EW: I’ll be giving a talk on character, and one on writing for young adults, as well as leading a workshop. The conference is sponsored by PSU and held on the Reed campus, July 19-23. Liz Bicknell, editorial director of Candlewick Press, will be there this year. You can check out the faculty, schedule, and registration info here. 

AB: Do you work with a critique group? What and/or who has been most helpful to you in developing your craft?

EW: I trade pieces regularly with two other writers. I also share work with a friend who’s a screenwriter. My daughter is a fantastic reader with spot-on insights into character. She calls it like she sees it. I’ve learned, though, not to share things during the early stages of writing. That doesn’t work as well for my creative process.

As for craft, I’m always hungry for new techniques, exercises, and ways of seeing. I gobble up inspiration anywhere I can find it: conferences, workshops, books about craft, and reading, reading, reading.

AB: Are you able to read much current middle grade/ YA  fiction? If so, what are some books published in the last 5-10 years that you've enjoyed? What makes you like it/them so much?

EW: Um, how much room do I have? I just read The Mysterious Howling—that was fun. Hunger GamesCatching Fire for their nonstop pace. Jellicoe Road. Black Juice—that tar story! Harry Potter. The Knife of Never Letting Go. The Porcupine Year and Diamond Willow were MGs I enjoyed. The Goose Girl for turning a victim tale into a heroine tale. Oregon authors are doing fantastic stuff. Laini Taylor’s Lips Touch was haunting, amazing. I loved Susan Fletcher’s Alphabet of Dreams. Check out books by Christine Fletcher, Sara Ryan, L.K. Madigan, Suzanne Young, Lisa Schroeder, Rosanne Parry, Linda Zuckerman, Suzanne Blackaby (poetry), and April Henry. 

AB: What about writing comes easiest for you? What is most difficult about the craft?

EW: I love the earliest part that’s like falling into a dreamworld, where I see and hear and touch everything and my pen is dashing across the page, and I’m not worrying at all if things are right or good because I know I can always fix it later. I also like the first slash-and-burn edit, where my pages turn into giant x’s and arrows and blue pools of scribbled inserts. More challenging for me is figuring out what makes a story slow down in places, rearranging things. And I do endless nitpicky edits, over and over, trying to get the little things just right. Those drive me insane. And the copy editing stage is a necessary evil.

AB:  Unless I’m gravely mistaken, you have a sister Lissa Rovetch, aka L. Bob Rovetch, who wrote the HOT DOG AND BOB series. Did you both always know you’d be writing for children, or did you come to it independently?

EW: Yes! Lissa is my wonderful, talented sister—and the author of Hot Dog and Bob, and “Ask Arizona,” a monthly feature for Highlights, Ook the Book, Trigwater Did It, Cora and the Elephants, and much more. She illustrated There Was a Man Who Loved a Rat and Other Vile Little Poems—said poems being written by my mother in her 80s! Lissa also teaches classes in writing and illustrating kids’ books, and in creativity, which makes sense, because she’s probably the most creative person I know. She was writing and illustrating kid’s books back when I still thought my future was in academics, and that’s a while ago. She helped me start on my own journey by convincing me to write some passages for a project she was working on. Thank you, Lissa! 

AB: What advice would you offer a writer who is just starting out?

EW: Write! Read! Write! Don’t expect it all to be good, just keep going and when something interesting appears, follow up. Let yourself be inspired by books, conferences, other people you meet on the writing path. Share your work with people who are both kind and insightful. Connect with the local writing community. Get used to saying “I am a writer.” 

AB: Emily, thank you so much for your time and thoughtful responses. One last question: can you tell us a bit about your upcoming novel WILDWING that will be on shelves in the fall? 

EW: WILDWING is a sweeping tale of love, time travel, and the wisdom of following your heart. The front flap says it really well: When Addy is swept back in time, she couldn’t be happier to leave her miserable life behind. Now she’s mistaken for Lady Matilda, the pampered ward of the king. If Addy can play her part, she’ll have glorious gowns, jewels, and something she’s always longed for—the respect and admiration of others. But then she meets Will, the falconer’s son with sky blue eyes, who unsettles all her plans. From shipwrecks to castle dungeons, from betrothals to hidden conspiracies, Addy finds herself in a world where she’s not the only one with a dangerous secret. When she discovers the truth, Addy must take matters into her own hands. The stakes? Her chance at true love . . . and the life she’s meant to live.

Rosanne Parry: Heart of a Writer

Tell me, what is it you plan to do

with your one wild and precious life?

When I finished reading Rosanne Parry’s fiction debut Heart of a Shepherd, I had a visitation of sorts. The above lines of Mary Oliver’s The Summer Day kept haunting me. Like Oliver, Parry challenges you to bear witness to nature and reflect on the spiritual. But unlike Oliver, Parry throws down the gauntlet to middle grade readers of fiction. In her slim, tightly woven prose, Parry succeeds  in keeping our attention and challenging our thoughts, long after we put the book down. I don't make comparisons to the work of Mary Oliver lightly. I can’t recommend Heart of a Shepherd highly enough. 

In Heart of a Shepherd, Brother, the youngest of five sons, must run the family ranch with his grandfather when his father’s reserve unit is called to active duty. This provides Brother with an opportunity to prove himself- to show his father and brothers he is capable, despite his own self-doubts. He and his grandfather withstand many challenges, and Brother ultimately gains insight into how he can best serve the spirit of the land, his family, and himself.

Lucky for us, Rosanne has decided to write with her "one wild and precious life." And she does it in a tree! And lucky for Portlanders, Rosanne is making her first appearance at Wordstock on Sunday October 11^th. Don’t miss her! Read on to learn about the genesis of her story, her craft,  and crucial advice for those of you who have searched your souls and found that writing is your vocation.

AB: Congratulations on the publication of your book, Heart of a Shepherd (Random House, 2009). I read it on a plane and tried in vain to hide my tears and puffy face from the person next to me. I was particularly struck by the realism in the story- Brother's family felt like my family, even though we've neither lived in Eastern Oregon nor raised sheep. What led you to write this story? 

RP: Thank you, I’m delighted that you enjoyed the book. I’m beginning to think that it should come with a little sticker that says, “Don’t read this book on a city bus!” I’ve actually gotten a few complaints on that score. It’s a real honor to have moved a reader, but I’m very sorry if you were embarrassed. If it makes you feel better, my editor refused to work my book in the office for exactly the same reason.

It’s sometimes hard to pin down one thing that inspires a story. I know plenty of ranchers and soldiers. That’s part of it. During the current war in Iraq, I’ve seen small towns deploying their most valuable community members overseas. The impact of their service on their communities seemed worth the attention of a novel. Ultimately though, I had a character I loved, and I was willing to follow him where his story led.

AB: What led you to write for young readers in particular? What about children's fiction appeals to you?

RP: There are so many things to love about kid’s literature. You will not find more attentive or passionate readers anywhere. I love it that children’s books are not about the writer, but about the reader and the story each reader constructs from her own abilities and experiences. I love school visits and letters from child readers, and I find the community of children’s writers a very inspiring place to be.

AB: What was the timeline between kernel of an idea to publication? 

RP: This story began as a poem I wrote about a boy and a grandpa playing chess at least 10 years ago. The poem became a short story that won a Kay Snow Award from Willamette Writers in 2003, the same year I met my editor Jim Thomas at the Oregon SCBWI fall retreat. Slowly, and with much pausing to work on other projects, the short story called The Chess Men became the first chapter of a whole novel. My editor made an offer on it in September of 2006 and it came out in January of 2009.  The audio book came out the same month as the novel, and I also sold the movie option for Heart of a Shepherd in January of 2009. It seems long but I’m lucky to have had the luxury of time to get the story just the way I wanted it to be.

AB: I have read your informative Cynsations interview. Could you tell me when you started becoming involved with SCBWI? How helpful has being a partof this organization been for you?

RP: I’ve been involved with SCBWI-Oregon for more than ten years. I count myself very lucky to be in the company of generous mentors at our region’s conferences and retreats. I met my Random House editor at one of our retreats, but far more importantly, I met friends who have supported and advised me in all the stages of my career.

AB: In 2004, you were the recipient of the Oregon Literary Arts fellowship for Young Readers' Literature. How did you hear about the Oregon Literary Arts fellowship?

RP: I made it a habit in the “pre-published” phase of my career to enter at least 3 contests a year. I was chatting with one of my SCBWI friends about what new contests I could enter, and she suggested OLA. It’s an amazing organization and a testament to the strength of the reading culture in our state.

AB: How did you find your agent, Stephen Fraser? Was it difficult to find an agent?

RP: I didn’t start to look for an agent until I had four finished middle grade stories, about a dozen finished picture book manuscripts, some published newspaper articles and the Kay Snow Award. I was at the point where I was consistently getting not form rejections but notes that said, “Thanks, good writing, but this is not what we do here. Please send us something else”.

I asked my friend Brent Hartinger, who loves his agent Jennifer Di Chiara, if she was taking new clients. He said, “Yes, but her list is very full. My editor at Harper Collins is becoming an agent in Jennifer’s agency. He’s great. Try him.” So I queried Stephen according to the guidelines. He got back to me in just a few weeks offering representation. So it wasn’t hard, but I believe that’s because I’d already done the hard work of creating not just one saleable manuscript but a body of marketable work and enough knowledge of the industry to have reasonable expectations and be an active partner with my agent.

AB: I understand that you work in a critique group. What and/or who has been most helpful to you in developing your craft?

RP: What I love most about my critique group is the variety of response. One member has a gift for copy editing. She has, with considerable patience, taught me much of what I know about the more complex elements of grammatical construction. She is also a genius at picking out the inconsistencies and errors in logic. I love that about her, and I depend on it. Another member is great at helping me sort out things like narrative distance and consistency in point of view. Yet another is great about telling me when I’ve hit the emotional nail on the head and where I’ve missed the mark. Perhaps most important of all, they are there year in and year out, expecting a new chapter from me every two weeks. It’s very motivating. Our group has changed membership over the years, but I can’t imagine how I’d get an initial manuscript into editor-ready shape without the help of other writers.

AB: I've read your website and know a bit about what you liked to read when you were younger. I've also checked out your "Goodreads" page. But I'm wondering: are you able to read much current middle grade fiction? If so, what are some middle grade books published in the last 5-10 years that you've enjoyed? What makes you like it/them so much?

RP: I wish I read more. My goal is to set aside at least one week and maybe two a year just for the purpose of keeping current in my field. I also try to keep up with what my children are reading both for fun and in their English classes. 

What have I read lately? I just finished Marcello in the Real World last week and found it one of the most absorbing books I’ve read in a while. I’m a big fan of Megan Whelen Turner’s books, The Thief, The Queen of Attolia, and The King of Attolia. I have enjoyed all of the books in my debut authors group the Class of 2K9.  One title in particular that stands out is the middle grade novel When the Whistle Blows by Fran Cannon Slayton. I could never settle on a favorite but those are what spring to mind today.

AB: How about current picture books? 

RP: I also need to go on a picture book reading binge this week. Two that I’ve read recently are Deb Lund’s Dinosailors and Deborah Hopkinson’s Apples to Oregon. I think the Olivia books by Ian Falconer are both visually interesting and great characterization.  I’ve been a fan of folk and fairy tales all my life so The Paper Dragon by Marguerite W. Davol, illustrated by Robert Sabuda, and St. George and the Dragon by Margaret Hodges and illustrated by Trina Schart Hyman are long time favorites.

AB: Daddy's Home  (Candy Cane Press, 2009) is a lovely picture book in rhyme that you wrote which came out last spring. How are writing picture books different from writing middle grade novels?

RP: I have loved poetry all my life, and I do think that picture books have more in common with poetry than with novels. It’s good for my writing to switch between novels and picture books. The novels remind me to make the picture book have a satisfying arc no matter how short it is, and the picture books remind me of the importance of reading my work out loud.

AB: What advice would you offer a writer (like me) who is just starting out?

RP: Two things spring to mind. The first is probably advice you’ve heard before. Read. I would add to that: read current books. Read at least a dozen books in your genre every year. Think about what you are reading. When you find a book you love, pick it apart and figure out what makes the story work. Spend a little time with books you hate as well, particularly if it’s a best selling book that you loathe. Think about why you have the reaction you do and what other readers are seeing that appeals to them.

The other advice is to develop a body of work. Finish at least 3 or 4 novels or a dozen picture books. Learn all you can about the craft of writing from these first books. Work with a critique group or partner. Figure out the kind of story you like best and practice the work habits you’ll need to sustain a career in publishing.

AB: What can your fans look forward to next? Can you tell us a bit about your upcoming novel that takes place during the cold war? 

RP: My next novel will be Second Fiddle, and it will come out in the spring of 2011. It's an adventure story about three girl musicians living in Germany just as the Berlin Wall has come down. They rescue a Soviet soldier from death at the hands of his own officers and help him escape from East Berlin to Paris. It's a complete change of pace from the first book, but still a thoughtful coming of age story about trust, friendship, and a girl who loves music finding her own voice.

AB: Do you ever do public readings or speaking engagements? 

RP: Yes! I just returned from a wonderful weekend in Enterprise Oregon leading the Fishtrap Children’s Literature Workshop. I was very impressed with the enthusiasm of the Fishtrap staff, the quality of the participants and the brilliance of my teaching partner, author and story teller Meg Lippert. This is an event that happens every fall.

I’ll be making my first appearance at Wordstock on Sunday October 11^th. I’ll be sharing the stage at my reading with Karen Cushman! How cool is that? I can’t wait to meet her. I’ll also be teaching a writing workshop called "Character and the Seven Deadly Sins." It’s a fun one. I’d love to see some friendly faces there, so stop by if you can. My reading is at 4pm on Sunday and my workshop is at 1:30.

I’ll also start scheduling my school visits and Skype visits. It’s my goal to visit 20 schools in the next school year. I’ve done two already in Wallowa and Enterprise, Oregon. I have Skype visits lined up in Chicago and Wisconsin. If you have a school that’s interested in an author visit, let me know. Interacting with readers is becoming my favorite part of the job!

AB: Thanks so much, Rosanne!