Interview with an Author: Jan Eliasberg

Our January guest is Jan Eliasberg.

Jan Eliasberg is an award-winning writer-director devoted to telling the stories of exceptional women robbed of their rightful place in history. Eliasberg is a graduate of Wesleyan University, the Yale School of Drama, and the Warren Wilson MFA Program. Hannah’s War is her first novel. She lives in New York City.

If you would like to purchase Jan’s book, Hannah’s War, you can find a copy here.

Tell us a little about your writing journey. Have you always wanted to be a writer? 

I grew up in Manhattan, in a family that valued culture, education, and literacy. I read the doorstop-heavy edition of the New York Times every Sunday morning. I believed that the greatest thing in the world would be to have a novel in the Book Review section. I knew I was a storyteller from a very early age, but it took me a number of years to consider myself a “real” writer.

Was there a certain point you remember where you felt empowered to call yourself a writer? Or have you always felt like you were a writer?

I was the obnoxious older sister who arranged musicals, and made-up plays casting my brother and sister and neighborhood friends. I told my siblings made-up stories to make them feel safe. So, I knew I was a storyteller. I knew I was a director. I knew I was a screenwriter. But it wasn’t until I wrote Hannah’s War that I was able to call myself a writer.

Your book, Hannah’s War, was inspired by the true story of Dr. Lise Meitner, the real physicist who was the inspiration for the character of Dr. Hannah Weiss. How did you first learn about her and ultimately make the decision to write about her story?

I was in the New York Public Library doing research for a screenplay I was writing for Nicole Kidman and Cameron Diaz about the W.A.S.P. (Women Air Service Pilots) in WWII. I was thinking of ending the screenplay on the day the war ended so I looked up the August 7, 1945 issue of the New York Times. There was a massive, bold headline: FIRST ATOMIC BOMB DROPPED ON JAPAN; TRUMAN WARNS FOE OF A ‘RAIN OF RUIN.’ 

Below that, I found an article that traced the simultaneously terrifying and wondrous development of the atomic bomb, its scientific history, and the race between the Allies and the Germans to attain the ultimate weapon. Somewhere under the fold, buried in a dense paragraph, this sentence appeared: “The key component that allowed the Allies to develop the bomb was brought to the Allies by a female, ‘non-Aryan’ physicist.” Who was this woman? I wondered. 

Who was the female Jewish physicist responsible for the single most important scientific discovery of the twentieth century whose work had, literally, changed the world? And why isn’t her face staring out of every science textbook? I felt as if the mysterious, unnamed “non-Aryan” physicist reached out of history, grabbed me by the lapels, to insist that I needed to tell her story.

The character Jack Delaney also plays a major role in the story. How did you research both Jack & Hannah’s characters and weave them together so intricately?

Jack’s character is entirely fictional, although there were certainly Military Investigators and William “Wild Bill” Donovan was hand-picking an elite and slightly bizarre team of spies who would become the O.S.S. and, later, the CIA. 

In the original outlines, Jack was more of a literary device – someone questioning Hannah so that her story in Germany could reveal itself. But I quickly realized that I needed the investigator to become a major character. 

Since so much of the book is about keeping secrets, and whether to hide or remain true to oneself, the idea that Jack would be “passing” was irresistible. My father, who is Jewish, had told me how difficult it was for him to get a job, and how entire swathes of the business world were closed to him as a Jew. In fact, he had even considered changing his name. Once I put those pieces together, I was off to the races.

I’m intrigued by the field note confidential sections – I love details like this that break up a lengthy text. Why did you decide to use them, and how did you determine where to place them throughout the book?

There actually were Field Notes (almost like telegrams) and a lot of them were very frank and funny, and filled with pungent language and expressions. So, I loved adding that slightly comic, cynical, and very testosterone driven POV to the book. 

Also, I hate writing bald exposition and I wanted Jack to be cunning and clever in how he went about his business of finding the spy. I realized that the Field Notes could give the reader the exposition they needed and keep them from getting too confused about what Jack was up to. So, they served many purposes. I was originally going to have many more of them but, in the end, I put them where I felt they were necessary to serve the story.

Describe your writing and/or creative process.

I spend a long time doing what we call in film and television “breaking story.” I have a structural template that I use, and I write scenes out on index cards, tracing character arcs, plot points, act breaks, and plot twists. I end up with a massive collection of index cards, which I move around on my wall; they look like the ravings of a crazy person but they’re incredibly clear and cogent to me. 

Many of the cards are filled with research, descriptions, and even lines of dialogue. While I’m creating that outline – the structure of the story – I’m also researching more deeply and incorporating details of that research into the outline. Then I will do a written outline (which is almost like a screenplay version of the story). That’s my way of testing the structure to see if it works, to find the plot holes, the weaknesses, and the missing beats for each character. 

DON’T GET IT RIGHT, GET IT WRITTEN.

By the time I’ve finished that, I’m ready to actually sit down and write a first draft. I cancel all my plans, alert my friends and let them know that I might well cancel plans at the last minute. I put myself in a little greenhouse with very few distractions and write. I have an actual cardboard sign that I tape up on the wall of my office – above all the index cards – that says: DON’T GET IT RIGHT, GET IT WRITTEN. That’s the way I give myself permission to write badly because I know that first draft isn’t going to (and doesn’t have to) be great. 

But, you can’t start to revise unless you have that first draft written. Because I’ve done so much work on the structure and the outline, the draft will often come quite quickly.

I’m a sucker for a good ending, and the novel kept me wondering what would happen throughout. Did Hannah’s story actually turn out like that? Or did you take some creative liberties?

 Hannah and Dr. Lise Meitner’s stories deviate long before the ending. Meitner never went to Los Alamos, so that entire part of the story was a product of my imagination. Although I suspect that Lise Meitner had a creative crush on her lab partner – that kind of collaborative work is extremely intimate, almost like a love affair or a marriage – she was never in love with him, nor he with her. So, the love story, too, deviates completely from Meitner’s life. 

I did always know that I wanted Hannah to have faith in Stefan and for him to validate her faith. I was very much intrigued by the puzzling fact that the Germans never did get the atomic bomb, never even came close. No one has ever been able to give a satisfying explanation as to why they were so far behind when the initial discoveries of atomic fission were made in Berlin at the Kaiser Wilhelm Institute.

I wanted to put all the characters (and the reader) through the wringer on the journey. I wanted the “happy” ending to be earned and to come at some real cost

I knew I wanted Jack to realize at the very last second that Stefan was a better, more courageous man than he himself had been – that was very much part of Jack’s journey. So, I wanted that “Casablanca” ending, and I always hoped that the reader would want Jack and Hannah to end up together until they, too, understood who Stefan really was, and what a risk he and Hannah had taken out of their love for each other and their shared desire to heal the world. 

But I wanted to put all the characters (and the reader) through the wringer on the journey. I wanted the “happy” ending to be earned and to come at some real cost (in this case, to Jack). One thing I hear consistently from readers is that the ending comes as a complete surprise, so I’m delighted that I succeeded in that regard.

What was your biggest writing obstacle and how did you overcome it?

The biggest obstacle was finding the faith and courage within myself – which means finding a story I cared about so deeply that I simply HAD TO write it. I had to divorce myself from other people’s opinions and from the validation of the outside world. 

In the case of Hannah’s War, I had to get to the point where I felt that, if I didn’t write the book, I would regret it for the rest of my life. Obviously, I hoped someone would publish it, but I felt that I needed to write it whether or not it ever saw the light of day.

What is the part of your published work or writing process you are most proud of?

I’m proud of the complexities, depth, and layers in Hannah’s War; there are stories within stories; and I had to master the basics of nuclear physics as well as the intricate details of that period in history in order to create it. People read it very quickly because of the espionage thriller aspect; it’s a page turner. But it’s also a delicate and highly complex piece of literary architecture which one appreciates more upon reading a second or third time.

I’m also proud of the writing itself on the level of the sentence. I think the language is evocative and vibrant; the language allows readers to be immersed in the worlds I’m creating.

Finally, a little thing that meant a great deal to me: after I’d done my revisions for my editor at Little Brown, the book went through two separate copy edits. Both of the copy editors were extraordinary, catching tiny little details that I wouldn’t have caught in a million years. And both copy editors wrote me personal notes after they’d finished working on the book; they were quite effusive about how beautifully it was written, how proud they were to have worked on the manuscript, how much they had come to care about the characters. That meant so much to me because copy editors read everything – good, bad, and indifferent. I was told by my editor that copy editors rarely want to engage with novelists because they are usually intensely critical of the way a book’s been written. And they should know…so I treasure those responses more than any reviews I’ve gotten.

Do you have any plans for another book or writing project? If so, could you tell us about them?  

I’m currently writing the screenplay for Hannah’s War – adapting my own book for film. And I have a strong outline for my next book as well, which is a companion piece to Hannah’s War; it grew very organically out of the work I did writing Hannah’s War, as well as out of reader’s responses to the book.

What motivates you to keep writing?

I love the process, plain and simple. And there are a lot of stories I want to tell – they’re lined up like airplanes in a holding pattern, circling the airport waiting for the signal to land.

What is the biggest piece of advice you would give to aspiring writers?

“Don’t listen to advice; listen to your own intuition.” Advice is about how other people did something; you need to discover what works for you. Get very quiet so you can hear those internal whispers; those whispers are going to take you where you need to go. But they are very easily drowned out by the ruckus of the outside world and the concern about what other people will think. Taking a risk is always scary – and that’s exactly when magical things happen.

Taking a risk is always scary – and that’s exactly when magical things happen.

If you would like to purchase Jan Eliasberg’s book, Hannah’s War, you can find a copy here.

If you know an author (or of an author) you would love to read an interview with, email me at rachel@capturingyourconfidence.com or submit a suggestion through the contact page!

Interview with an Author: Rebecca Wilson Macsovits

Our December guest is Rebecca Wilson Macsovits.

An accomplished business leader and creative professional, Rebecca Wilson Macsovits, is the author of “Guion the Lion,” a children’s book that celebrates differences and encourages empathy. Throughout her career, Rebecca has led initiatives to help companies engage with clients in rewarding and productive ways, and her creative spirit has led her to extend her talents to the children’s literature space.

Rebecca is a Colorado mother of three, including her oldest son, Guion, who has Down Syndrome. He inspired her to create the world of Guion the Lion, which shows children – and adults, too – how being curious about others and opening their minds to different perspectives can lead to new adventures – and fun!

When Rebecca isn’t busy dreaming up new adventures for Guion the Lion, she’s Chief Brand Officer of Kemmons Wilson Companies where she supports corporate and the portfolio companies in their efforts to refine their brands, build awareness, grow sales, and strengthen their employee engagement programs. She also sits on the board of Kemmons Wilson Insurance Group.

Rebecca earned an MBA in Finance and Operations from Vanderbilt University and a Bachelor of Science degree in Mathematics from Wake Forest University.

Committed to improving her community, Rebecca is Secretary of the Board for the Denver Zoo, Finance Chair for the Kemmons Wilson Family Foundation, a member of Constellation – a philanthropic group focused on early childhood education in Colorado – and organizes a team for the Step Up Walk for Down Syndrome.

If you would like to purchase Rebecca Wilson Macsovits’, Guion the Lion, you can find a copy here. 

Tell us a little about your writing journey. Have you always wanted to be a writer? 

Honestly, no. I was a math major because I loved the black and white nature of the work – there is always a right answer. When I had Guion, I had the idea of a children’s book to really share my message and express my thoughts. I started studying how to write for children. I attended several writer’s conferences geared towards children’s books, participated in a few writers circles where we shared manuscripts and offered feedback and I read a ton of children’s books to get a better handle on how I wanted to approach my story. 

Was there a certain point you remember where you felt empowered to call yourself a writer? Or have you always felt like you were a writer?

I really felt empowered when I finished the manuscript and published the book. That being said, I think I’m always evolving and striving to become better as a writer.

I really felt empowered when I finished the manuscript and published the book.

Your book, “Guion the Lion,” was lovingly inspired by your son Guion. When you initially thought of the idea to write about him, what does it mean to you that you chose the lion figure?

That’s a fun question. First, I love animals and children often connect with them so that’s how we got to animals as characters. Why a lion? These beautiful creatures are known for their courage and I wanted a character that would embody that characteristic – I got lucky that it rhymes with Guion. 

The illustrations do an amazing job of showing your powerful message. What was it like to work with an illustrator, and/or were you able to help conceptualize the characters?

I was grateful to work with a local illustrator and working with Milena Kirkova was a dream - not only is she an amazing artist but she is extremely creative and thoughtful in her approach. She took conceptually what I had thought of these characters – all inspired by family members – and brought them to life.

Why did you choose to write a children’s book versus another genre?

I had a specific message to share and children are my audience. Judgements are formed at an early stage in children’s development. My goal was to reach out to kids when they are still forming their opinions to impress upon them the importance of staying open-minded and listening to others.

The bonus is that at this age, parents are typically reading the stories to their kids and learning along side them.

I thought a beautifully illustrated and written children’s book that engaged a child with adventure would be most impactful. I think we got it right, as the feedback we have received is that people can identify with the different characters and this allows us to get our message out even more.

Describe your writing and/or creative process.

We (I worked with my team) started with the end in mind. We asked ourselves what is our message and then asked how can we best get this message across? Once we identified our message, we explored a few different story lines before landing on the one we published. We always kept our goal in mind to ensure we had a meaningful and desired impact.

How long did it take you to write the book? 

9 months or so – we were deliberate and wanted to get it right

I love the questions about the book at the end, and the family activities. What inspired you to include those pieces?

It’s a quasi-lesson plan to help parents better engage their children with the message of the book. I know for sure I wish I had more of these when my kids were younger. And we included the activities to encourage families to reinforce the learnings outside of the book.                                                                          

What was your biggest writing obstacle and how did you overcome it?

Yikes! For me, the editing process. I view my work critically and am constantly challenging myself to make sure things are to the best of my ability. I found that self-imposed deadlines can be helpful to keep the process moving.

I found that self-imposed deadlines can be helpful to keep the process moving.

What is the part of your published work or writing process you are most proud of?

The publication of the book and the initial response to the book has been so rewarding. 

What motivates you to keep writing?

I really want to make a positive impact on as many lives as I can and that inspires me to keep pushing my mission. As I shared, the initial feedback has been really positive and has encouraged me to continue on this path.

What is the biggest piece of advice you would give to aspiring writers?

Work on your craft. Conferences may not be as accessible today, but look into webinars, research writers’ groups, network with others in the same space, and be open to feedback. When you take the time to listen to someone’s perspective you might find your own improving. And schedule time in your calendar to actually write!

When you take the time to listen to someone’s perspective you might find your own improving.

If you would like to purchase Rebecca Wilson Macsovits’, Guion the Lion, you can find a copy here. 

If you know an author (or of an author) you would love to read an interview with, email me at rachel@capturingyourconfidence.com or submit a suggestion here!

Interview with an Author: Sandy Lo

Our November guest is Sandy Lo.

Sandy Lo is an entertainment magazine editor and digital marketing manager from New York City. She enjoys sharing heartfelt, fun romance stories and the occasional supernatural tale. Follow Sandy on all of her social media. @AuthorSandyLo

If you would like to purchase Sandy Lo’s book, Fanning the Fame, you can find a copy here.

Tell us a little about your writing journey. Have you always wanted to be a writer?

I think my first dream job was something to do with animals, but by the time I was in junior high, I knew my career would be something creative and having to do with storytelling. I used to create family newspapers that I would distribute outside my siblings and parents’ bedroom doors early Sunday mornings. As a teenager, my writing turned into fun screenplays and later novels based off of my best friends and myself.

Fiction writing was always a pastime while I developed my dream of becoming an entertainment journalist. By my mid-twenties, I started to take novel writing more seriously and decided I wanted to share my stories with other people, hoping to offer an escape to the world like my writing has provided for me.

Was there a certain point you remember where you felt empowered to call yourself a writer? Or have you always felt like you were a writer?

I started calling myself a writer when I was about 16 and my first article was published in my high school newspaper. I remember it was about Hanson’s new album. But I think the first time I realized how powerful my writing could be was the summer before my senior year of high school. It was the first time I ever wrote in a novel format. The story was semi-autobiographical and semi-fictional.

While my writing style was choppy, there was something satisfying about getting all of my fears, scars, hopes, and private jokes down on paper, especially at that time in my life.

While my writing style was choppy, there was something satisfying about getting all of my fears, scars, hopes, and private jokes down on paper, especially at that time in my life. I was going into my last year of high school and having to make a lot of decisions about life at only 17. Plus, my parents were divorcing on top of it.

Every night after dinner, I would read chapters to my mom and sisters. They were all characters in the story and would laugh or scoff at the words I wrote about them, but they loved it all the same. That first rough story gave me a sense of pride and made me realize I had a knack for storytelling. I even gave it to my AP English teacher to read and she was delighted with my interest in writing.

Your book, Fanning the Fame, is the 7th book of a series called the Dream Catchers Series. Can you talk a little bit about the rest of the series and how this book fits within it?

The Dream Catchers Series is a rock star romance series that focuses on the alternative band Tortured and the people in their inner circle. Books 1 and 2 are all about Tortured’s lead singer, Jordan, and sheltered rich girl, Haley’s love story unfolding, as well as the rise of Tortured from indie band to hitting #1 on the Billboard charts.

From there, the focus shifts to some of the other characters, like Tortured’s band manager, the tough as nails Cami, who was married to the band’s bad boy drummer, Danny D., throughout the series. They have a rocky relationship that ends in Take Me Home (Book 4), which is also the book that paparazzi pop princess Topaz is introduced as a minor character.

Fanning the Fame (Book 7) is Danny’s redemption story and reveals there is more to Topaz than her ditzy party girl image that has been sprinkled in throughout the past books.

The book switches perspectives back and forth from Topaz to Danny so readers get a bigger picture of the story. How did you balance writing multiple perspectives in one book – especially when the main characters were opposite sexes?

It was actually easier than I expected it to be. I think keeping it one point of view would have made the story harder for me to tell. Danny and Topaz are both quick to jump to conclusions and I think without being inside both of their heads, it would be hard to figure them out. I know these characters so well by now – Danny has been a big part of the Dream Catchers Series since book 1 and Topaz made her first appearance in Book 4, so I feel like I know how they think.

It was actually easier than I expected it to be. I think keeping it one point of view would have made the story harder for me to tell.

As far as the sexes go, Topaz is obviously easier because I understand being a woman, especially with some of the insecurities she’s dealing with. But with Danny, I think it helps that I am close with my brother, who sometimes, whether I like it or not, talks to me like I’m “one of the guys”, so I know when to add in little touches of jerky masculinity, haha. Seriously though, most guys I know hate exposing their sensitive sides, but when they do, it’s something special, and I think earlier on in the series, we got to see a lot of the hot headed macho side of Danny, and now we get to see the person underneath all of that.

Do you have any other books or writing projects planned for the near future?

I always have a million ideas and works in progress waiting. Currently, I’m focusing on the sequel to my novella, Decaf For The Dead. That’s going to be a trilogy. I’m also working on book 8 in the Dream Catchers series.

I try not to work on more than one book at once, but the Dream Catchers characters are hard to ignore when they’re calling. By 2023, once I’m finished with the Dream Catchers series, I’m hoping to be fully immersed in a witch/vampire series I’ve had in my head for over a decade.

Describe your writing and/or creative process.

It’s actually pretty simple. The smallest idea will come to me in the shower, while I’m trying to fall asleep, in the middle of watching a movie, or on a walk, and then I take that little idea and keep expanding on it. For instance, the Dream Catchers series started with “a girl gets on the wrong bus.” At the time, I was in college traveling home by Greyhound and I worried I would get on the wrong bus. That fear became the opening of a book that I had no idea what would happen next until I sat down to write it.

I’m not a plotter/outliner. That feels like work or school to me. I like to be surprised where my characters will go and what they’ll do.

I’m not a plotter/outliner. That feels like work or school to me. I like to be surprised where my characters will go and what they’ll do. Sure, as I go, little scenes and ideas pop into my head, but that’s as far as any planning goes. I usually pour myself a cup of coffee, sit down at my laptop, put on some music, light a candle, and start typing.

There are a lot of interesting details about the reality of being famous. How did you go about researching this aspect, and how (if at all) did personal experience play a role in how you depicted Topaz & Danny’s world?

To be honest, I didn’t have to research anything because I’ve always been around fame in some way due to my career in entertainment journalism and marketing. Growing up, one of my relatives was a celebrity in my hometown and I saw how people reacted to him and to me because of it. On top of that, I’ve always been a fangirl myself of John Travolta since the age of 3. I read entertainment magazines as early as I can remember. As a teenager, I became a huge fan of the Backstreet Boys and was outside TRL with all of those screaming girls back in the ‘90s.

By the time I was 18, I became the editor of StarShine Magazine and met and interviewed tons of celebrities, including the Backstreet Boys. 20 years later and I still work with many people in the spotlight through StarShine as well as taking them on as clients with my own marketing company, Sandy Lo Media.

So, writing about famous characters feels pretty natural for me from a professional, personal, and fan perspective.

What was your biggest writing obstacle and how did you overcome it?

I would say overall my biggest writing obstacle is confidence in myself. It’s so easy to get in your own head and tell yourself you’re not good enough and that is oftentimes what causes writer’s block. In those moments, I have to remind myself that all that matters is if I’m enjoying what I’m writing. If I enjoy it or find something valuable in it, then most likely, others will too.

What is the part of your published work or writing process you are most proud of?

I’ve had some pretty amazing moments, like Dream Catchers and Lost In You making it to the to the top 100 bestselling lists in their genre on Amazon.

But something that really meant a lot was when I was publishing my first novel, Lost In You. I gave a copy to Denise Solis, AJ from the Backstreet Boys’ mother. She’s a friend and used to write for my magazine. I wanted her honest opinion, especially since that book had a boy band in it. Her words back to me brought me to tears. At the time, AJ had been struggling with his sobriety, and she thought my character JT captured his personality and feelings perfectly. It was scary knowing she would see the similarities between the two. I didn’t know how she would feel about that, but she went on to write a review of the book saying such wonderful things about it. I was so grateful to have her support as a first-time published author.

Writing is my therapy. Imagine a person or an animal in your life that you look forward to seeing every morning or at the end of each day, that’s how writing is for me.

Another standout moment was when I had this amazing Dream Catchers book release party at one of my old high school hangouts. All of my family, friends, and fans came out. It was such a great turnout and I had performances from some of my friends, including James Manzello, who wrote the song “Haley’s Letter” with me for the book. He performed the song, and it was the first time anyone had heard it. On top of that, Jeff Timmons from 98 Degrees sent over a video to be played congratulating me on the book! It was one of those pinch me nights. Jeff has even read my books and wrote the forward for a special collector’s edition, so I am extremely grateful for his love and support over the years.

What motivates you to keep writing?

Writing is my therapy. Imagine a person or an animal in your life that you look forward to seeing every morning or at the end of each day, that’s how writing is for me. That’s my motivation – I know writing will relieve any stress or anxiety that’s been building. Writing helps me dream bigger, expel past pain, and it teaches me something new about myself, as well as other people since it helps me think from different perspectives.

What is the biggest piece of advice you would give to aspiring writers?

Let go of perfectionism. You will never be perfect. There will always be a critic who hates what you write, but if it makes you happy, that is all that matters. Above everything else, write like no one will read your work. That will remove your fears of what people will think of you. It will give you freedom to say what you really want to say.

If you would like to purchase Sandy Lo’s book, Fanning the Fame, you can find a copy here.

If you know an author (or of an author) you would love to read an interview with, email me at rachel@capturingyourconfidence.com or submit a suggestion through the contact page!

Interview with an Author: Karisa Keasey

Our surprise November guest is Karisa Keasey.

Award winning artist, Karisa Keasey, has been using her paintings to raise awareness and funds for the most marginalized people in the world for over 6 years. After visiting an orphanage in India during college, she could no longer paint without a purpose. After earning a degree in studio arts from George Fox University in 2013, she began her philanthropic journey of creativity by giving a percentage of all her proceeds to charitable organizations. Karisa currently lives in the greater Seattle area where she paints and speaks full time.

If you would like to purchase Karisa Keasey’s book, When You Can’t Go Home, you can find a copy here.

Tell us a little about your writing journey. Have you always wanted to be a writer?

Before this book, I never considered myself a writer. I’ve always struggled with grammar and conventions, so the idea of others reading my writing was a huge fear of mine. I feel more comfortable telling stories through my paintings. However, when I came up with the idea for When You Can’t Go Home, I decided it would be most powerful with both the paintings and the written story. I had to overcome some of my fears to write it, but I am very pleased with how it turned out in the end.

Was there a certain point you remember where you felt empowered to call yourself a writer? Or have you always felt like you were a writer?

I would still say I am more of a story-teller than a writer. I have always endeavored to tell stories through my paintings and writing became another medium to tell people’s stories. The shift for me was that I saw a need to spread empathy for my refugee neighbors and meeting that need was more important than my own comfort zone. Sometimes it just takes finding purpose greater than your fear to write.

Sometimes it just takes finding purpose greater than your fear to write.

What was the process of writing the refugee’s stories in your book, When You Can’t Go Home? Did they help you with the descriptions when you were writing as if they were still in the moment, or was that more of your own creative writing take on their story?

Throughout the entire process of writing, I checked with the families on each draft to make sure I was telling their story in a way THEY were comfortable with. I combined my extensive research with their story to give context to the situation. The point of the book, and this project, is to amplify their stories, not mine. 

It made the writing process longer and more tedious, but it was a humbling and an emotionally intimate process with each of the book participants. I wanted to make the stories as beautiful and expressive as I could, while maintaining the reality of the stories. I am so thankful that each participant trusted me with their story and allowed me the liberty to bring it to life.

Along with writing these stories, you also painted pictures of each of the refugees. How do you think that changed your experience with them overall? Did it pull you deeper into their lives/stories and/or connect you with them more?

I’ve been painting professionally for ten years, and every time I paint a portrait I feel an empathetic connection to that person. I often use that time to pray for them, think about how they impact my life and the world around us. Art has the power to generate empathy both in the maker and the viewer, and that is my goal— to humanize the refugee experience.

How has your experience talking with refugees impacted you as a writer and artist?

I initially started this project with a hope to correct other peoples’ misconceptions of refugees. However, I quickly realized that I had my own misconceptions that needed to be addressed. I had unconsciously developed an expectation that I would somehow “save” them.

As a writer and artist, I think it is important to keep my expectations in check and humbly listen and not speak on anyone’s behalf.

It was tempting to force a particular narrative or lead it in a way that I thought would work better. The truth is, I only play a small role in the lives they are building for themselves. As a writer and artist, I think it is important to keep my expectations in check and humbly listen and not speak on anyone’s behalf.

“Kadijah & Umair” - A painting from When You Can’t Go Home

Describe your writing and/or creative process.

Relationship is important to me and is at the center of all that I do. It was a priority of mine to get to know each participant as a person and friend before I wrote about them. We met multiple times over tea, picnics, and even musical jams before I jumped into the writing and painting process. It took me two years to complete the 30 paintings and 10 stories. We brought my talented friend, Natlie Malis, with us to take photos as we talked with the participants. I directed the photo shoots while I interviewed the book participants. 

Once we had finished the initial interviews, I started painting. I love watercolor and playing with the contrast between hyper realism and impressionism on the same piece, creating a focal point on the faces. I work slowly, using many layers to create a sense of depth. The writing process was definitely the hardest part, as I had never done it professionally before. I wanted to give each family the honor and respect they deserve. I had to do many drafts and had friends, family, and the participants read them over and give me feedback as I wrote.

What was the research process like for your book? How did you find the people whose stories you told?

A few years ago, I became aware of a massive disconnect between how refugees are often portrayed and who they actually are. The media often portrays refugees as villains, saints, or victims. They are none of these. They are everyday people just like anyone else. I contacted World Relief, a nationwide non-profit that helps refugees resettle in the US.

The media often portrays refugees as villains, saints, or victims. They are none of these. They are everyday people just like anyone else.

Everyone in the book came through World Relief to resettle and jumped at the opportunity to share their story in a way that would help other refugees like themselves. I made sure to choose participants from various countries, religions, and experiences to show how broad the refugee experience can be. I learned that no two are identical and we can’t put them in a box. I spent a lot of time reading articles from many different sources and watching documentaries to get a fuller sense of the circumstances many refugees are facing.

What was your biggest writing obstacle and how did you overcome it?

I wanted to make sure that there are as many cultures and religions represented as possible in When You Can’t Go Home. Experiencing and learning about other cultures was one of the most enriching and humbling parts of the whole process, and also one of the biggest challenges. Lingual and cultural barriers made it difficult to communicate at times and forced me out of my comfort zone.

I remember the feeling I had before my first interview with Taghreed. Even though she was the most welcoming host one could ask for, I was painfully nervous. I didn’t know much about her culture and I didn’t want to say or do something that would offend her. After our visit, my husband and I climbed back into our car. I told him that I didn’t think I could do this project. I felt like I was too awkward, uninformed, and unequipped. Were my resources and gifts adequate enough to take on this challenge? Suddenly, I realized the hypocrisy of my words—what I felt for those two short hours is only a sliver of what refugees feel every day.

Suddenly, I realized the hypocrisy of my words—what I felt for those two short hours is only a sliver of what refugees feel every day.

Refugees are forced from their homes and placed in a drastically new country. What side of the street do cars drive on? How do they enroll their children in school? Go grocery shopping? Pay taxes? Rent? And for some, they may not even know how to use running water. Refugees don’t get the privilege of wondering if their resources and abilities are enough. They have to use whatever they have to survive. I made blundering mistakes. Multiple times I had to take a necessary piece of humble pie to realize that this project was not about me. It was, and always has been, about amplifying the voices of refugees. 

Karisa with paintings from When You Can’t Go Home

What is the part of your published work or writing process you are most proud of?

Merhawi, another one of the book participants, thanked me tearfully when I finally got to hand him the finished book. He told me how meaningful it would be to share his story with his children someday as they flip through the pages. Another participant was able to use the book as part of his application for a college scholarship that he earned. These and many other moments like these make me feel so privileged to have been able to work on this project. These are the people I want in my community and I am so proud to help other people see them that way too.

What motivates you to keep writing?

Relationships. The most important moments of this project are the conversations I have had with strangers and change their hostile views of refugees to compassionate ones. As long as I can hold a paint brush and form words I can be a conduit for justice and empathy in my community and world. Art, both writing and painting, generates empathy and empathy is the weapon of social justice.

What is the biggest piece of advice you would give to aspiring writers?

When I first came to World Relief with the idea of writing this book, I was met with a bit of skepticism. I was expecting them to be as excited as I was about the project, but they did not seem to be. I later learned that many people come to them offering up grand, exciting ideas, only to abandon them before they are finished. People are often quick to pitch ideas, but rarely execute on them. 

My biggest advice to aspiring artists and writers would be to be the kind of person that shows up, and keeps showing up, even when it gets hard.

I slowly gained their trust over the two years that it took to finish When You Can’t Go Home by working through the struggles and showing up regularly. My biggest advice to aspiring artists and writers would be to be the kind of person that shows up, and keeps showing up, even when it gets hard. A finished book is better than a perfect book that never gets finished.

If you would like to purchase Karisa Keasey’s book, When You Can’t Go Home, you can find a copy here.

If you know an author (or of an author) you would love to read an interview with, email me at rachel@capturingyourconfidence.com or submit a suggestion through the contact page!

Interview with an Author: Margarita Meyendorff

Our October guest is Margarita Meyendorff.

The daughter of a Russian Baron, Margarita Meyendorff (Mourka) was born displaced, far from the opulence of Imperial Russia that was her birthright. A series of wars destroyed this privileged existence, and Margarita’s life became a series of extraordinary moves. Her childhood ran like a roller coaster of highs as a performer and lows in her personal life. Her journey is thrillingly personal, yet universal - the journey we all take to find our true selves and safe haven. Margarita Meyendorff is always, even in the most frightening situations, a spirited traveler - and a survivor.

If you would like to purchase Margarita’s book, DP: Displaced Person, you can find a copy here.

Tell us a little about your writing journey. Have you always wanted to be a writer? 

I never dreamed that I would write a book someday.  My artistic endeavors were mostly in the performing arts – theatre, music.  I enjoyed writing and wrote journals when I was traveling but I never considered myself a writer.

Was there a certain point you remember where you felt empowered to call yourself a writer? Or have you always felt like you were a writer?

My writing journey began in the early 1990’s when I hired a friend who was an actress and a writer to co-write a one-woman play based on my life entitled “Mourka.”  I wrote the story and she stylized it into a play.  The play ended up going to off-Broadway theatres in New York.  Sigrid, my friend, directed it and I did the acting – memorizing 24 pages of script.

I didn’t realize it at that time, but “Mourka” was the beginning of my memoir.  Later, another actress friend started a theatre company called TMI (Too Much Information) where we wrote 10-minute pieces and performed them.  It was then that I realized I was writing chapters for a book.  I only felt empowered to call myself a writer when I finished DP.

Your book, DP: Displaced Person, is a memoir, and shares a lot of interesting, but intimate details. What was it like writing so openly about your life?

Through TMI, I realized that by telling/writing/performing the most intimate, often scary moments of my life, I was empowering other people to do the same – to face their fears and demons and start owning their feelings through the writing process. By accepting and witnessing our deepest fears, we eventually let go of them and can heal emotionally. 

I realized that by telling/writing/performing the most intimate, often scary moments of my life, I was empowering other people to do the same – to face their fears and demons and start owning their feelings through the writing process.

Writing intimate details in DP enabled me to clearly see my life – the “why’s” and the “therefores” and make sense of why I did what I did.  Writing DP helped heal me from depression and a great deal of anxiety.  I might add that I was in therapy while I was writing the book to help me look back and relive the darkest moments of my life.  I also had full support from my wonderful husband who has read everything I have ever written.

Your voice in the book is so powerful, but you do share stories that some people might find shocking. What was the reaction from your family and friends, especially considering that you come from a religious family?

I was extremely surprised at the incredible positive support I received from my Russian religious relatives in Nyack, NY where I grew up.  I was concerned that I would get a backlash of negativity and anger but instead I received a great deal of compassion from them. 

I’m not sure about the Lutheran relatives in Fort Wayne and in Wyoming.  Outwardly, everyone was nice to me and understanding, but I never felt that I received their true feelings.  My brother George thinks that the Lutheran “relies” put me up as an example of what happens to people when they don’t have a tight family or strong faith in religion.  If that is the case, then they did not follow the thread of healing through writing as a viable option.

I understand you’re working on a collection of short stories. That’s exciting! Could you tell us a little about it? 

I am very excited about “Flipping the Bird,” my new book.  Although it is not a memoir, it is still a collection of short stories based on my life and rooted in rebellion, survival, and fight against injustice.

Describe your writing and/or creative process.

I feel fortunate never to have experienced a writer’s block.  When I begin to write, I am certain of what I want to say.  The creative part is choosing how to put your thoughts down on paper.  I just let it rip and write.  I re-read sentences and paragraphs over and over until the writing feels right. If I get stuck on a word or a thought, I just write down what comes to mind and as I re-read, usually the thought finally gets articulated. 

I believe that if an idea is too difficult to articulate, it may not need to be there at all.

If a passage is particularly difficult, I throw it out.  I believe that if an idea is too difficult to articulate, it may not need to be there at all. I don’t struggle with it.  It’s counterproductive. I must add at this point, that I have an excellent editor who I trust.  I feel that a good editor is invaluable to a writer; that it is necessary for writers to have editors in the same way that plays have directors. 

There must be an objective eye on any artistic venture.  Not that I always agree with the editor, but for the most part, a good editor will enhance good writing. 

What was the research process like for your book? You were able to pull from your memories, of course, and some documents in the surviving family suitcase, but you give a lot of very interesting details from before you were born. Tell us a little more about how you were able to paint such a broad picture that serves as the background for your own story.

My brother George was an incredible source of information about the family’s history before I was born.  Of course, I knew a great deal from my parents as well.  I connected with childhood friends via email and asked questions like, “did this really happen?”

I connected with relatives all over the world. I used the internet for historical and general information.  I did a great deal of research on places and people and would not leave a stone unturned for fear of misinformation.

What was your biggest writing obstacle and how you did you overcome it?

My biggest writing obstacle was how to deal with my children (now grown) with the honesty and the integrity with which I was writing.  We had a therapy session together with my therapist one day when I read to them passages of the book that was particularly difficult for them to hear.  One of the most beautiful ramifications of my writing DP is that my children and I have become closer since my writing; we love and understand each other better and our relationship is invaluable to me.

What is the part of your published work or writing process you are most proud of?

I am very proud of writing DP Displaced Person.  For me, it was an incredible achievement with immense positive ramifications for my mind and spirit.  I understand now the healing power of writing.  I have learned how to be a better writer by working closely with my editor.  I am blessed with a creative mind and I thank my parents for bringing me up and surrounding me with art and culture.

What motivates you to keep writing?

Interesting and fun ideas motivate me to write.  I love the writing process – putting thoughts on paper into a cohesive manuscript that people might find interesting and valuable. For example, my third writing project will be entitled, “Gypsy Travel Guide for Senior Citizens.”  This project will allow me to pull together all my journals about my husband and I’s travel experiences with our VW Westfalia camper van, not only in the United States but in Europe as well. 

My advice to aspiring writers is to write about what inspires them; to write about what they find interesting and fun in this world.

The book will include recipes on how to cook gourmet meals on an open campfire, information on how to survive day to day road travel, information on places to camp and places to visit in the United States and Europe.  Because I enjoy the freedom of being on the road, I will enjoy writing about it.

What is the biggest piece of advice you would give to aspiring writers?

My advice to aspiring writers is to write about what inspires them; to write about what they find interesting and fun in this world.  If it is non-fiction – to be honest.  If it is fiction, then enjoy the freedom of the ride.

If you would like to purchase Margarita Meyendorff's book, DP: Displaced Person, you can find a copy here.

If you know an author (or of an author) you would love to read an interview with, email me at rachel@capturingyourconfidence.com or submit a suggestion through the contact page!

Interview with an Author: Dr. Vanessa Rapatz

Our August guest is Dr. Vanessa Rapatz.

Vanessa Rapatz is an Assistant Professor of English at Ball State University. She studies and teaches early modern British literature as well as studies in drama, and special topics on sexuality, gender, and performance. She is the author of Convents and Novices in Early Modern English Dramatic Works: In Media Res. She has also published in Studies in English Literature and co-authored a chapter on women's collaboration in Shakespeare for an Ashgate edited collection.

If you would like to purchase Vanessa Rapatz’s book, Convents and Novices in Early Modern English Dramatic Works: In Media Res, you can find a copy here.

Tell us a little about your specialty studies.

I study early modern (Renaissance) British literature with a focus on drama. I am particularly interested in gender, performance, and material culture in the context of religious/political shifts and upheavals.

Tell us about your writing journey. Have you always wanted to be a writer?

I definitely always practiced writing and realized that it was something I had a knack for in high school, but it took some time to realize that it might be something I could do professionally.

I was drawn to theater and journalism initially, but I ended up feeling at home in my college English courses and particularly found that I thrived on discussing, or really arguing and about, the possible interpretations of literary texts. My best writing happens when I feel like I’m engaging in a complex conversation.

Where did the idea or inspiration for your book Convents and Novices in Early Modern English Dramatic Works: In Medias Res come from?

The simple answer is that it developed out of my dissertation project that, itself, was inspired by connections between plays I was reading in a graduate seminar and plays that I was teaching to undergraduates. I kept thinking about these dramatic women who found themselves at the thresholds of convents or marital alliances in plays that were written after Catholicism had been outlawed in England.

The women weren’t demonized or made fun of as so many Catholic figures were in the wake of the Protestant Reformation; so I became interested in the types of options their performances might allow us to imagine both in the historical context of the plays themselves and in our own contemporary discussion of gender and/as performance and the ways spaces affiliated with Catholicism were converted, much like the patriarchy represented in these plays sought to convert the women themselves.

I’m a feminist critic; so, I’m always looking for traces of female agency in texts that try to subvert such agency. Of course, I was most likely drawn to these Catholic figures and the convents they might seek to inhabit because I was raised Catholic and have been steeped in that culture. Digging into this religious history helped me understand family and hometown traditions as much as it helped me think critically about the plays I was analyzing.

Are there other books you’ve authored or collaborated on? If so, can you tell us a little about them?

This is my first book. I did co-author a chapter on female collaboration in Shakespeare with John Garrison and Kyle Pivetti for a book of collected essays titled Attending to Early Modern Women: Remapping Routes and Spaces published by Ashgate.

What was your process for writing the book?

Because I was revising my dissertation, I basically charted out the chapters that I felt were the most polished, that needed a bit less revision than the others, and started with those first. I also needed to update my scholarship and theoretical frames, because I finished the dissertation back in 2011.

I am lucky to have various support networks of colleagues and friends. So, each chapter would get sent off to at least one friendly reader as I pushed on to the next. I could then go back to the reader feedback and make sure I was making through-lines and improvements across all five chapters. That’s the big picture of the process.

On the micro level, I figured out deadlines and made writing and research schedules to try to meet those deadlines. It took a community and a lot of structure to create the book.

Academic writing, and oftentimes creative writing, requires a lot of research! Can you describe a little bit about how the research process works with your writing?

Research is my favorite part of the writing process! It’s like detective work. I’m a sucker for a good detective narrative and maybe wanted to be Clarice Starling when I was in junior high school. I love having a stack of books on my desk and searching through databases to compile a literature review.

Pages and pages of notes on literary criticism, historical analysis, and theory ultimately help me shape my initial research questions into the beginning of an essay or a chapter, as I make connections that I wasn’t expecting. The only tricky part is knowing when to stop, when to stop reading (never, really) and digging to focus on the writing. 

Describe your biggest writing obstacle and how you overcame it.

I don’t think I want to answer this in the past tense. My biggest obstacle is finding regular time to focus on my writing and holding myself accountable. My dissertation advisor always said that I had a great deal of task energy, by which she meant that I would often delay my writing process by directing my attention to more manageable and completable tasks.

One of my friends calls this virtuous procrastination. It’s that moment when you’re sitting in front of your computer feeling stuck and frustrated and instead of working through that block, you think, “there’s a pile of dishes in the sink, if I washed them at least I’d be accomplishing something.” And, honestly, sometimes you do need to get the tasks out of the way to clear up headspace to focus, but those things can also keep you from getting into the habit of sitting down and pushing through.

Sometimes you really do just need to put your butt in the chair. Starting with my dissertation, I found one of the best ways to do this was through accountability groups. I’m the member of a Facebook group that focuses on writing every day, which involves logging daily word and time achievements and providing support and advice to other writers. I also participate in a writing group made up of Ball State English department colleagues; we take turns sharing and responding to each other’s writing. During the COVID-19 pandemic, I’ve been attending regular Zoom sessions with two of my close friends from grad school. We check in, set goals, and then mute our Zoom for a set time and check in on what we got done.

Could you talk a little bit about the publishing process? How does it work, how long it typically takes, etc.

This varies quite a bit depending on publishers from what I can tell. In my case, I first sent a book proposal to a general editor in answer to a call for manuscripts that related to the series “Late Tudor and Stuart Drama: Gender, Performance, and Material Culture” that Medieval Institute Publications was launching. At that point, I had the dissertation, but had only really substantially revised two chapters.

The series editors were interested in my proposal and asked for sample chapters, so I sent off what I had. Based on the samples, they wanted to see more. Most often this means you finish the full manuscript and resubmit it for review, but because I’m on the tenure track and need proof of publication progress, my general editor worked with me to secure a contract based on my introduction and a revision of the sample chapters.

Once the manuscript was submitted it was sent out for anonymous peer review and then back to me to respond to reviewer comments. Once the series editors were satisfied with my revisions, the monograph went into pre-production (copy-editing, choosing the cover, etc.) and then finally to production and publication. I was teaching full-time throughout the process, which took about three years.

What is the part of the book (or process) you are most proud of?

Holding the actual thing in my hands! But also, I am really proud of the way my thinking and writing has developed through the process and over time. It’s a substantial revision that shows my development as a scholar.

Do you have plans for another book or additional published writing in the future?

Absolutely! I currently have a chapter for a volume about the religious marketplace in early modern England under review. I’m also in the early reading and research phases of a new project that focuses on English Civil War dramas.

Do you, or would you ever consider, doing creative writing? If so, how do you think that differs from your academic writing?

Honestly, creative writing is not my thing. I so admire my colleagues and friends who build fictional worlds and so eloquently turn out beautiful poetry and prose. I will continue to devour and teach their work. My creative outlets are focused more in the kitchen, I think.

Since your audience is primarily academics for this book, how do you think your writing & process differs from how it is in other writing contexts? Or maybe the better question is, is there a difference for you in how you approach this formal academic writing versus writing for other audiences?

Definitely. When you’re writing for an audience of scholars and students, you are using specific conventions and terms. In less formal writing, I’m much more conversational, as I am in this interview. That said, I do still strive to maintain a balance in my academic writing. I still want to be clear and engaging in any context. Sometimes I succeed.  

What do you want the world to know about you as an author?

Wow, that’s a tough question. I guess I want them to know that I’m an inquisitive author. That I think about learning and critical thinking as a constant process. My writing and analysis evolves through that process and hopefully makes it onto the page in a way that opens up a conversation with which my readers might want to engage.

What is the biggest piece of advice you would give to aspiring writers?

First, find out what excites you, what you obsess over and want to live in for as long as you can stand it. Then, keep working at every day.

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If you would like to purchase Vanessa Rapatz's book, Convents and Novices in Early Modern English Dramatic Works: In Media Res, you can find a copy here.

If you know an author (or of an author) you would love to read an interview with, email me at rachel@capturingyourconfidence.com!

Interview with an Author: Angela Jackson-Brown

Our July guest author is Angela Jackson-Brown. Keep reading all the way through for a giveaway opportunity with her new book!

Angela Jackson-Brown is an award winning writer, poet and playwright who teaches Creative Writing and English at Ball State University in Muncie, IN. She is a graduate of Troy University, Auburn University and the Spalding low-residency MFA program in Creative Writing.

She is the author of the novel Drinking From A Bitter Cup and has published in numerous literary journals.  Angela’s play, Anna’s Wings, was selected in 2016 to be a part of the IndyFringe DivaFest and her play, Flossie Bailey Takes a Stand, was part of the Indiana Bicentennial Celebration at the Indiana Repertory Theatre.

She also wrote and produced the play It Is Well and she was the co-playwright with Ashya Thomas on a play called Black Lives Matter (Too). In the spring of 2018, Angela co-wrote a musical with her colleague, Peter Davis, called Dear Bobby: The Musical, that was part of the 2018 OnyxFest in Indianapolis, IN.

Her book of poetry called House Repairs was published by Negative Capability Press in the fall of 2018, and in the fall of 2019, she directed and produced a play she wrote called Still Singing Those Weary Blues. Her new novel, When Stars Rain Down, to be published by Thomas Nelson, an imprint of HarperCollins, is forthcoming in 2021.

Tell us a little about your writing journey. Have you always wanted to be a writer?

I have dreamed about writing stories since I was first able to hold a crayon in my chubby little hands. I would write the words I knew how to spell and then I would get my daddy to write the “big words” in my head. I would put on elaborate shows with my baby dolls, creating alternate universes before I even knew that was what I was doing.

Was there a certain point you remember where you felt empowered to call yourself a writer? Or have you always felt like you were a writer?

I felt empowered to call myself a writer when I saw Maya Angelou’s face on the back of her book, I Know Why The Caged Bird Sings. Up until that point, I honestly didn’t know Black people wrote books. Yes, I was empowered by Laura Ingalls Wilder’s books and Louisa May Alcott’s books, but those characters didn’t speak to my experiences as a little Black girl from rural Alabama.

When my first Black teacher, Mrs. Kennedy, showed me Dr. Angelou’s book, I felt free to be me and truly step into the idea that being a writer was a possibility for me.

So, for the longest time, I just thought my scribblings were strange or different and not reflective of what my reality could be. When my first Black teacher, Mrs. Kennedy, showed me Dr. Angelou’s book, I felt free to be me and truly step into the idea that being a writer was a possibility for me. After discovering Maya Angelou, I went on a quest to discover other Black writers like Toni Morrison, Alice Walker, Zora Neale Hurston, and the list goes on and on. All of these writers fed into my desire to write as well.

Where did your idea for your novel, Drinking from a Bitter Cup come from?

This novel was personal. Although it was fictional, so much of what the protagonist, Sylvia Butler, experienced, mirrored my own. This book was truly me “writing what I knew” as opposed to writing a story about someone whose life experiences were radically different than my own. I even set the story in places I knew like my hometown of Ariton, AL and surrounding towns like Ozark and Dothan. I felt safe writing about those places because they were so real to me.

What inspired your poetry collection House Repairs?

House Repairsis my autobiography in verse. Poetry, for me, has always centered around my pain, and in some cases, my happiness; but it always represented my emotions on steroids. So these poems span my lifetime. I don’t know if I will ever have another poetry collection because these poems seemed to tell everything I had in me to tell about my life experiences and my view on life in general.

Poetry, for me, has always centered around my pain, and in some cases, my happiness; but it always represented my emotions on steroids.

I wrote about being given up for adoption. I wrote about being adopted by a woman who didn’t ever truly “see me.” I wrote about a loveless marriage, and finding love for the first time. I wrote about my phenomenal son and about my journey to self-love and self-discovery. So, I ask myself, what is there left to say about Angela? It’s all in this book.

Describe your writing and/or creative process.

Because so much of my writing now revolves around contracts and deadlines, I try to be a very disciplined writer. I still find the pleasure in writing because with or without a contract, I would still write. But now that I know that writing is also my “business,” I have to treat it as such, which means I schedule my writing into my day and I keep my butt in the seat until I accomplish what needs to be accomplished for that day.

I write with an outline, which allows me to stay focused. I always start with the research…sometimes spending months getting to know my characters and researching the historical details I need to make my stories resonate with an audience.

What creative or procedural differences, if any, are there between working on a novel versus a poetry collection?

For me, my poetry has always been emotion driven. It is seldom that I can just sit down and write a poem. Usually something happens or some memory is triggered and as a result of that, I write. With the novels, I am far more tactical. I can get an idea, and then plan out. I still utilize emotions, obviously, but the emotions are far more in check with the novel writing than with the poetry writing.

Was there any research involved in your creative works? If so, could you tell us about how that occurred and how it was (or not) different from academic research?

There is always research involved in my writing. Whether it be about the current events taking place when my novel is set, or researching what clothes my characters would be writing, or what restaurants or department stores they might eat or shop at in the book. I always begin my process with research because it allows my stories to feel more real to me, which means they will feel more real to my readers.

I don’t know how any writer can write without doing an extensive amount of research. The research is what makes the stories real.

Academic writing for me has always felt a little distant or esoteric. Even as I did the research for academic papers, I never really felt connected to the research like I do when I am researching details for a short story or a novel or even for a historically based poem. I don’t know how any writer can write without doing an extensive amount of research. The research is what makes the stories real.

Describe your biggest writing obstacle(s) and how you overcame it.

I am my biggest writing obstacle. I know people talk a lot about “the muse” or “writer’s block” but I truly think those are constructs that writers come up with to absolve themselves from the fact that they are the ones who either jump start or stall their writing process. On the days when my writing is not working for me, I know it is usually because I didn’t do the work necessary to get myself into a good writing space.

Sometimes that means getting good rest or making sure my writing environment is conducive to good writing (clean desk, candles, no distractions, etc.). Other times it means I do the work ahead of time like outlining or free-writing so that I can actually connect with my characters on an intimate level.

Could you talk a little bit about the publishing process? How does it work, how long it typically takes, etc.

The publishing process is different for every project and really it depends on who your publisher happens to be. My first book, Drinking from a Bitter Cup, was published by a small publishing house called WiDo. They are a family owned publishing house and I was able to pitch my book project to them without an agent. I did not receive an advance from them and I was responsible for the marketing of my book. They handled the editing and distribution, but I had to be the one to make sure my book got the attention it needed.

The publishing process is different for every project and really it depends on who your publisher happens to be.

Likewise, when I published my book of poetry, I published with a small press called Negative Capability Press. They consisted of a handful of people,so again, I had to be responsible for getting out and promoting my book, which is the case with any publisher, but the larger the publishing house the more likely you will have financial support from them to promote your book in a significant way.

My upcoming novel is going to be published by Thomas Nelson, an imprint of HarperCollins. I was fortunate enough to get an advance that allowed me to go from teaching full-time to part-time for the next year or so. This is invaluable because it frees up my time to be able to give sustained attention to writing my next book and promoting the book coming out in the spring of next year. So, receiving an advance is one big difference but I also had a phenomenal agent this time around, Alice Speilburg, who fought for me, and because of her diligence, I can take some time to just focus on being a writer. 

Since you have published work in more than one genre, how do you decide which creative project to work on next?

Deadlines are driving me right now. I just submitted my revised draft of my next book to my editor at Thomas Nelson, and I am working on completing my second novel with them. AND I am working on a book proposal for a nonfiction book that my agent will be pitching in the next few months. But all of those projects are driven by deadlines. I have to finish things on time in order to keep up on all of these writing projects I am juggling.

What is the part of your published work(s) or writing process you are most proud of?

I am most proud of my drive. I deal with a lot of anxiety and depression, and yet I have found ways to write myself through and around both of those demons. I taught myself from an early age that my emotions are not the boss of me. Of course I have bad days, and of course there are days when the writing is not easy to access, but I never give up trying. I always strive to at least put one word on the page.

I taught myself from an early age that my emotions are not the boss of me.

My mentor/friend, Katy Yocom said, “Strive to write one sentence per day. That way you know you will always have an attainable goal.” That is what I do. Most days, I do much more than that, but if I don’t, I still know I had a good writing day. I think that is why I can write while in the midst of a panic attack. I can channel good energy when I need it. If I couldn’t do those things, I wouldn’t finish any of my projects.

Tell us a little bit about your forthcoming two-book series that was just announced? How exciting!

Thank you for asking. My next book is called When Stars Rain Down and my book after that is tentatively titled Political Choices. I am excited to work with the incredible HarperCollins team. It has been a dream come true so far. Both books involve characters from the fictional town of Parsons, Georgia. When Stars Rain Down is about a soon-to-be eighteen year old Black girl called Opal Pruitt. Through Opal’s eyes we get to see the racial disharmony and the sense of community that exists in Parsons.

The story is set in the summer of 1936 during a terrible drought. The lack of rain, the hot weather, the fiery tempers all culminate in a racist explosion that affects the Black and white community for generations to come. The second novel is still a work-in-progress but it involves one of the minor characters mentioned in When Stars Rain Down. It is a political drama and a love story. It also tries to address and acknowledge some of the racial disharmony referenced in When Stars Rain Down.

How do you typically promote your work and find your audience?

I have a strong presence on social media, so that is one way that I connect with my audience. Social media has become an invaluable tool for writers to reach audiences that before they may not have reached. Also, I depend on word of mouth. I actively seek out opportunities to speak or teach and then, there are wonderful people like you who give me a platform to share and talk about what I do. So to you, I say, thank you. We couldn’t do what we do without bloggers and other social media advocates.

Social media has become an invaluable tool for writers to reach audiences that before they may not have reached.

What do you want the world to know about you as an author?

I want them to know that I take the written word very seriously. I labor over every word, every phrase, every sentence, and every paragraph. I think about my readers and try to give them a story that will sit there in spirit long after they read the final page. If I can do that, then I know my writing was not done in vain.

What is the biggest piece of advice you would give to aspiring writers?

Write because you can’t imagine not writing. Writing for publication is a good goal, but your primary goal should be you write because it frees your soul.

To Enter the Giveaway

1. Pre-Order Angela's book, When Stars Rain Down here to be entered to win a $50 gift certificate at Irvington Vinyl & Books!

2. Sign up below to be entered to win FREE access to my brand new 8 week intensive writing program launching in September AND FREE 1:1 writing & creative confidence coaching from me!

If you would like to purchase Angela Jackson-Brown's novel, Drinking from a Bitter Cup, you can find a copy here.

If you would like to purchase Angela Jackson-Brown's poetry collection, House Repairs, you can find a copy here.

If you know an author (or of an author) you would love to read an interview with, email me at rachel@capturingyourconfidence.com!