Today I'm talking with Laura Anderson Kurk. If you know me, then you probably know by now, she and I are kindred writing spirits. Although she lives in Texas, and I live in Ohio, there are times when I grab my phone and start dialing before I've even thought about it, because I NEED to talk to her. And almost daily there are instances, when my fingers fly across my keyboard consulting, celebrating and commiserating with her over "writing stuff". Tomorrow she releases Perfect Glass, the sequel to her novel, Glass Girl. You will fall in love with it! Today we discuss how Perfect Glass came to be, so tomorrow you'll be ready to dive into a book that will absolutely absorb you.
You write Perfect Glass from two point of views, Henry and Meg. Was this difficult?
When I first wrote Perfect Glass, the entire story was from Henry's POV. I loved it. My agent and editor didn't. They felt the book would be enjoyed by more readers if I added Meg's voice. That's why you'll find the switching narration. And now that the book is done, I see how much stronger it is to have both points of view. Both stories show the development in Meg and Henry and allow readers to see Meg through Henry's eyes and to see Henry through Meg's eyes. Getting to write Henry's words as he describes Meg's beauty and how much he loves her, was my favorite part of writing this book.
Readers wonder if writing from multiple POVs is difficult. The difficulty (as you know) is in making sure you're staying true to each character's voice and tone. Readers are sensitive to the pitch of a narrator's voice and if they sense something off-key, it pulls them out of the story. Making sure I had the voices just right was the trickiest aspect of writing this book.
How did you stay in character?
I wrote Henry's entire story first and lived in his head for a few months. Then when I had it perfect, I wrote Meg's entire story. That way, I didn't have to force myself in and out of character. I think that would've made me crazy. Once I had both stories the way I wanted them, I joined them. Chapter by chapter, I wrote in connecting elements that made the two stories interlocking. The common ground came in the fact that both Meg and Henry are learning what it means to love people who are considered unlovable. They're both learning to put away selfishness and grow up. They're both struggling with ego, but learn a lot about themselves. The novel's epigraph is an old quote (paraphrased) "calamity is the perfect glass in which we can truly see and know ourselves." The calamity Henry and Meg each face becomes the mirror that lets them finally see themselves clearly.
Was one of their voices easier for you to write?
Believe it or not, I'm more comfortable writing Henry. I have a theory about this . . . I think it's because there's more of me in Meg and I've never been great at understanding the nuances of my own personality. Meg -- holy cow. She's just complicated and because she's a lot like me, it was hard for me to see her objectively. That dilemma actually lends a lot of truth to Meg's character, though, so I think she comes off as honest and raw and real. As an observer, I've known so many guys who are like Henry. I've studied them. I know their mannerisms and speech patterns. I know how their brains work and what affects them. So I was able to construct Henry with a really objective eye.
Meg and Henry are dealing with a long distance relationship. While Henry is out of town, a new student, Quinn (who is clearly interested in Meg) arrives. If you were Meg, which boy would you choose and why?
Oh, there's no question my heart would remain with Henry. But...can I be real? I have a weakness for boys who understand literature and poetry and songwriting. Boys who get Whitman and can talk to me about the Harlem Renaissance in easy conversation. In the same way, Quinn is definitely interesting to Meg. He reminds her of the urban, sophisticated kind of guys she knew in Pittsburgh. And he reminds her more importantly, of the brother she lost. She wants Quinn in her life, but she knows Henry is her future. Henry opened a new world up for Meg, and she's head over heels in love with him.
Most high school stories would be incomplete without the school dance, including yours. There is so much hype surrounding homecoming, prom, etc. Do you have a distinct high school dance memory?
Oh my lands. Yes, I do. Dare I dredge it up and share it with your readers? What to do...what to do...
I was a late bloomer. A wallflower. Not noticed by guys. Ever. But for some reason, my junior year, the best looking but most dangerous boy in my class took an interest in me. He would laugh now hearing how I describe him. He was tall, blonde, cocky, and WILD. At least that's my memory. He made me so nervous. I was timid, rail thin, and naive. You know, the girl who'd never been kissed.
He asked me to prom and I almost didn't say yes because I thought I'd die of nerves. My best friend talked me into saying yes. I was nervous the whole night and, when he drove me home, I was so afraid he'd try to kiss me goodnight that I almost threw up in his car. In fact, I had dry heaves sitting in his passenger seat. Loud, dry heaves that went on and on. Is there anyway to recover from that? Nope. You gotta live with that nightmare the rest of your life. No sanctuary from a dry heaving past.
What's your dream prom dress?
I'm not a follower of fashion, to be honest. I like when I see girls who dare to look different because it seems like, these days, every girl is trying to look like the same person. When I see a girl brave enough to look a little indie or alternative, I silently cheer for them in my head. (not out loud because indie types do NOT want to be noticed in that way.) My favorite formal dresses are always very vintage. I dress Meg and her friend, Abby, in vintage dresses for Winter Dance. I just think it's important to look like a class act, because you'll stand out in the sea of too tight, too short, too low cut dresses. And take care that you don't look like you're headed to a pageant, either, with the overdone makeup and stiff hair. Imagine how that looks from a guy's perspective. I think guys probably prefer soft makeup and natural, soft hair. Anything more and you just look plastic.
If I were seventeen and shopping for prom, I'd be looking for a dress like this.
I love the relationship Meg has with a painter in this story. I understand your mom is a painter. How much of her did you pour into this book?
My mom does paint and she's really good, but it's a hobby for her. So some of Jo Russell's thoughts and attitudes came from my mom, but the deepest and greatest parts of Jo Russell came from one of my best friends--Mara Schasteen. The book is dedicated to Mara. Our lives intersected in Texas when we were young moms together. I can't begin to tell you how indelible an impression Mara made on my heart and soul. We survived a lot of things together, but more than that, we met each other in a place where we were starved for beauty and art and kindness. We were able to enrich each other in a lot of ways.
Mara is a brilliant painter. I want people to see the world through her eyes. It's a beautiful, wondrous, God-filled place. I describe one of Mara's paintings in Perfect Glass. Henry dreams that Meg has painted it.
Much of the artistic words and phrases and technical aspects of painting that you find in Perfect Glass came from Mara. She's the one who described the wet dog smell of a studio full of primed linen canvas. She's the one who once pointed out that everything in the world has just a touch of ultramarine violet in it. It's not that I interviewed her. These are things that came to me from having a relationship with her and knowing her heart and her art. Jo Russell, the artist in Perfect Glass, is seriously one of my all-time favorite characters I've created. I could live in her world for a long while and never get bored.
What have you learned about the art of writing from Mara's and your mom's art?
I've learned all art is the impulse to create. That's an impulse given to all humans by the original Creator. Even Eminem was given the impulse to create by God. He may not realize it or acknowledge it, but that's where he got that desire.
From fine artists, I've learned that beauty is there for the taking and it's everywhere -- even in the things that look ugly at first glance. I've learned inspiration comes in the act of creating.
I've learned writers build stories in exactly the same way fine artists build a painting. If you watch an artist, you think they're crazy when they first start working on a canvas. They're staring at a waterfall and painting random crooked lines. But if you watch a while, it clicks. And you finally see what they've seen in their heads the whole time. Then it builds and builds. Mara says her favorite part of a painting is when she's almost done and she's adding the magic. Suddenly things move and shine and shimmer. Suddenly eyes look alive and faces look warm. Suddenly nature looks energetic like you could walk right into her trees. All this happens with calculated brush strokes.
It's the same with writing. I start with the bones, spare and barely there. Then I build the muscle and fat and skin. Then I add the curves and the meeting places, where parts of story meet like parts of a body meet. And finally I add the magic - the precise rhythm and heart of the story. The singular words that make a reader stop breathing for a second so she can hear me. That connection right there, between me and a reader, is beautiful and tender. It's a shared experience. Readers don't often realize that they're giving me as much as I'm giving them. Just imagining their thoughts as they read my thoughts blows my mind.
To experience Laura Anderson Kurk's magic first hand, download Perfect Glass by clicking on it's title or cover.
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