When I asked the Tall Poppies for speculative authors, I was given Janie Chang’s name. I fell in love with her two novels; read my reviews Dragon Springs Road and Three Souls, and eagerly anticipate her upcoming book.
Tell me about your writing process: schedule, environment, strategies, inspirations material and intangible, magic spells, and treats.
With only three books under my writing belt, I’m not sure that there is a defined process yet. Each has been a different journey. I’ve sold one novel on the basis of a synopsis, and then delivered a totally different book. I’ve also written a synopsis and stuck to it pretty closely.
I see stories everywhere, but when an idea keeps coming back, it’s the one I take seriously. It always begins with a “now wouldn’t it be interesting if…” or “but what if…” series of thoughts, and then I dive into research to determine whether I can make it work. For my first two books, the opening scene just came to me and that provided impetus. The third … well, I’m still revising the first chapter.
Research itself provides so many ideas, insights, and anecdotes that you pull into your work. I probably spend six months off and on for research.
When the writing begins, I treat it as a job. Its butt glue time. Or as Shilpi Gowda says more elegantly, ABC: Apply Bum to Chair. I write 6 days a week. My husband goes into “support the author” mode and makes dinner. Housekeeping standards nosedive. The cat thinks she’s finally trained me to sit still for hours so that she has a lap to sleep on. Because basically, you need to get words on a page before you know whether your ideas are any good. You can imagine all you want in your head, but without executing those thoughts, you really can’t tell. You have nothing to work with. You can always edit crap, but you can’t edit a blank page.
Describe your publishing process from final draft to final product, including publishing team, timeline, and expectations of you as the author.
Well, this is something I’m trying to change. I’ve been very much a loner during the writing process; mostly because in the early stages my manuscripts are so embarrassingly dog poop that I don’t want to inflict them on author friends, even the ones who’ve offered to be beta readers. Thoughtful reading and critique is time-consuming.
I’ve hired professional editors though, because you do need someone else to offer critique. You’re always too close to your own work. The first draft may not be 100,000 words yet ,but it needs to be the entire story from start to finish, so that the editor can see what you want to achieve with your story, characters, and themes.
Then I revise based on the editorial notes and a discussion with the editor to make sure I understand what she means. This is where the most extensive re-writing comes in. Many drafts. After that, I send the manuscript to my agent who gives it a yea or nay, whether it’s good enough to send on to my publishers. Then it’s working with the editorial teams at HarperCollins (my publishers)–substantive editing, line editing, copy editing (where historical facts are double-checked, among other things), and then the final proof reading.
But lately some author friends have managed to convince me that they really are OK with reading dog poop and I’m starting to think it would be better for my mental health to have writing friends to talk things over with rather than stew on my own while eating too much chocolate.
Talk about your support system online and IRL, especially how you (exciting!) came to be a Tall Poppy.
You definitely need to socialize with other published authors. They understand the business challenges, they nod sympathetically when you wail “But writing in third person is so hard compared to first person!”. I have a poet friend who is the loveliest, most non-judgmental person ever and we walk around the seawall talking about everything: adolescence, sexual abuse, the state of Canadian literature. I have a group of women novelist friends and we take turns hosting potluck dinners every 3-4 months. I love cooking, so whenever possible, I invite authors and friends from the publishing industry over. Sometimes my guests don’t know each other, so it’s a good way to help people network.
Social media is good for staying current, but email is the medium I use to exchange deep, dark thoughts with my really good author friends. And OK, it’s not all serious stuff. One of them has a new book coming out in 2019 and it’s going to be a killer. We’ve been sending each other ideas for which actors to cast in which roles for when someone buys the film rights.
As for Tall Poppies–I’m not sure of the process except that it’s by nomination. So I think my nomination might’ve been due to Weina Dai Randel. Then the others check you out. I first met her online when her duology about Empress Wu came out, when we were both part of an online group for writers of novels about Asia. Then she invited me to join her panel in Portland, at the annual Historical Novel Society conference, and that’s when we met IRL. I met about 20 Poppies in Chicago at PoppyCon and they’re all so smart and fun and NICE. It was like an instant sisterhood. You feel you can talk about any problem and everyone will care and offer good advice. The accumulated wisdom in that group is awesome.
The stories you share of your ancestors and China on your website are fascinating. It’s clear that this drives your work; how does your writing influence your life?
When you know how much work it takes to write 100,000 words, you really need to focus on the story that pushes its way to the front of your brain, the one that’s important enough to sustain your interest through the long months of writing to come. And so far, it’s the China of my parents’ childhood and the history of that era that’s pushing the hardest.
Writing has changed my life totally. You recalibrate your schedule and your relationships. Fortunately, I have friends who understand that writing books is not a hobby; it’s serious business. So I can’t travel with them or do as much with them as before. You need time for writing and mental space to let the story grow.
What do you love most about your creativity?
I live for those moments in the creative process when your characters take over and take your story in a different direction than what you had planned. This is why we write and write, to get enough of the plot and the characters and their challenges onto the page so that your subconscious has enough to work with. Then you get the reward, of those flashes of insight when you realize “Well of course this is how that character would handle the situation”–and then the next few pages almost write themselves and another piece of the puzzle has fallen into place. It feels like magic.
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