Laura created the lighthearted and witty series Desperately Ever After. Her novels drop in on a group of well known fairy tale princesses—after their honeymoons are over—and shows the reader that it’s not all sunshine and roses after the first kiss. I’m delighted and honored that Laura thought of me for this interview.
What am I working on?
I’m working on a third novel, tentatively titled DO NO HARM.
DO NO HARM follows three women whose lives intersect, due to their connection to a massive pharmaceutical trial in Malawi. Stella is married to George, the celebrated humanitarian and infectious disease specialist who runs the trial. She puts her impressive career on hold to support her husband’s. In writing Stella, I was interested in exploring the question of whether a family can survive two hyper-ambitious personalities, or will one always need to yield? The second woman, Melody, is young doctor from a poor family in Boston. The more she accomplishes, the more she disconnects from her roots. Melody works for George, and her plot explores the line between aid and exploitation. The third voice is a teenager named Princess, a village girl George and Melody hire to work in their clinic. Princess dreams of education and escape, but her father, a powerful and conservative clergyman, has other plans for her. Princess’s story line looks at stereotypes and expectations, and the steep personal costs of unorthodox ambitions.
How does my work differ from others of its genre?
I struggle with the idea of genre, though I suppose all my work could be classified as contemporary women’s fiction. I write mostly about young to middle aged professional women who find themselves in wacky situations.
My first novel, THE HAZARDS OF HUNTING WHILE HEARTBROKEN, fits the chick lit category, albeit with an unusual twist at the end.
I call my second book, THE K STREET AFFAIR, as a political suspense novel, but it’s also an adventure caper, in that my heroine—like James Bond, for example, or some of the earlier John Grisham heroes— stays alive much longer under her circumstances than a similarly situated lawyer in real life would expect to survive. THE K STREET AFFAIR delves into political corruption and the idea that multinational corporations are eclipsing governments as the power brokers of the world.
But unlike most thriller protagonists, Lena has to contend with friendships and family relationships, which tilts the novel back into women’s fiction territory. I knew when I wrote THE K STREET AFFAIR that I was writing a really quirky novel. While I think that makes it a more interesting read than THE HAZARDS, I never shopped the manuscript to traditional publishers, because the novel didn’t fit any genre pigeon hole. Looking back, I admit that was a big mistake—especially every time a reader tells me she or he would love to see the movie.
Maybe the third time will be the charm, because DO NO HARM fits the contemporary women’s fiction, or book club, genre. It’s also a much more “literary” project than my first two books, which could both be classified as “commercial fiction.”
See? Hard question.
Why Do I Write What I Write?
I write about characters, places, situations, and questions that interest me. My books differ wildly from each other, because I think I suffer from some bizarre form of attention deficit disorder. I love to lose myself completely in the world of a group of characters for a year or two, and then move on to another world.
That said, both THE HAZARDS and K STREET ended on notes that left the door open for sequels, without demanding them. It might be fun to revisit those characters and story lines in the future.
How does my writing process work?
In my perfect rhythm, I’d work for three or four hours in the morning, then take a break for a few hours to eat, exercise, rest, go outdoors, etc., and then work another three or four hours from afternoon into early evening.
But that’s not how my life works, because I have a little kid whose routine conflicts directly with my natural working rhythm. For now, I write while he’s at school. I’m much more of a morning person than a night owl, so if I need to find extra hours, I am more likely to get up early than to try to create anything after his bedtime.
I like to work in large (at least an hour, preferably more) chunks of time. I work at my desk at a window in a small office in our apartment, an alcove gated off and accessible only to me and the more agile of our two cats. I don’t write with music playing, and I envy the legions of mom writers who can pen brilliant scenes in their minivans, or at Starbucks, or at Chuck E. Cheese.
I don’t write from an outline, but I create a chapter by chapter summary in a separate document as I work. I write a messy, over sized draft from start to finish, then go back and revise, then solicit opinions from beta readers, then revise again, before showing my editor the more polished draft.
Now it’s my turn to point you towards two other writers. I chose them because I know their processes differ wildly from mine.
You may not know the name Richard Fifield yet, but look for his debut novel, The Flood Girls, soon. If I had to bet, I'd say that one day in the not too distant future, he'll be every bit as much a household name as that Franzen fellow.
Wendy Walker is one of those supermom writers who writes novels in her minivan. Her books, Four Wives and Social Lives, examine the fallout of the sexual divisions of society we create when one partner earns and the other stays home. Wendy encouraged me to keep writing years ago, when all I had was a messy first draft of a first novel and no knowledge of the publishing industry whatsoever.