SeniorNet Books is honored to be able to interview author,
Mary Alice Monroe.
Mary Alice Monroe replies September 1, 2005
From Marjorie in California:
2. How do you know where to start your books? which character, what part of the plot, etc.
The old axiom is to begin your book at the time something changes. Or as the Greeks put it, in medias res (in the middle of things.) Young writers often make the mistake of explaining the back history of the characters at the beginning of the book. I guess they think the reader won’t get the story if they don’t. This is death to an opening because it is dull and slow. The writer has to trust that the reader can wait for this information.
The beginning sentences of a novel are critical. Writers must capture mood and tone. We must capture the readers’ interest. Then, in the beginning pages we introduce the primary characters, their motivations and conflicts. For example, in SWEETGRASS, the story opened the day Preston received news of the tax increase that slammed his lifelong effort to maintain the family property. This resulted in tragic consequences that affected not only him but all the characters.
From GinnyAnn in Ohio:
3. Hi From Ohio ~~ I would like to know: Do your characters talk to you as you? Do you need to go in a different way then planned because of these conversations with the characters?
It always sounds funny, I know, when we writers say we "hear our characters' voices." I know that I’m really into the story when I can get into the character’s head, (their point of view) and see the world through their eyes and feel what they feel. Often, in the writing of a scene, the characters divulge fascinating information that leads me in a direction I had not planned on. This is allowing your imagination to take flight. Later, however, when the “editor” in me approaches the same pages, I decide if the section/scene I wrote will stay in the book or be cut. I make the decision based on the needs of the novel, not where the character takes me. I admit that it’s sometimes hard to throw away lovely scenes, so I cut and paste them into a special file. In the end, however, I rarely use them.
From Seniornet.
4. Each of your books seems to address a theme. You have done a world of good pointing out serious causes that need addressing. Which is most important to you, your concern for the causes in your books or the novel itself?
What a fascinating question! You’re correct that I derive my inspiration for a novel from theme. This has always been true for me. In my novels I explore problems and issues that are at the heart of women and men everywhere: a mother-daughter reconciliation, our connection to the earth, the disillusionments in a long marriage, the ties that bind a family. In telling these stories against a backdrop in nature that parallels these struggles, I’ve been able to add incredible depth and meaning to them. The bonus, if you will, of the book is to bring to light these environmental issues and hopefully inspire others to learn more. That I’ve succeeded in this aspect has brought me great satisfaction and joy.
So to answer your question, my personal interest in wildlife conservation is an ongoing, life-long one. However, as a writer, I will continue to write novels that inspire me regardless of the topic or theme. I’m first and foremost a storyteller. And I have so many stories I want to tell!
From Pedln in Missouri:
5. Both Beach House and Skyward focus on environmental issues, the loggerheads and raptors. Are you as involved with raptor protection and healing as you are with the turtles? Do you envision including other environmental issues with future novels?
I do a great deal of hands-on research for all my books. In SKYWARD, for example, my volunteering with the SC Center for Birds of Prey and doing all manner of jobs-- from the dirty scrubbing of mutes to the glorious release of a hawk— allowed me to bring the reader into that world with authenticity and insight. However, as I write more and more novels, I cannot continue to volunteer at every organization. I’d never have time to write the book! This is a sad reality for me as I become very attached to the people and the organization I work for. My contribution is to be able to bring awareness to the serious and crucial work that these organizations are doing and, happily, my readers have donated much needed time and money to the organizations in response. Currently, I am at the SC Aquarium to learn about the rehabilitation of injured and sick sea turtles. When I finish the novel TURTLE BEACH, I will move on to a new arena. However, I am still and always will be a “turtle lady” here on Isle of Palms!
6. Your early novels took place in the Chicago/Wisconsin area, while the more recent ones are located in South Carolina. Do you now consider yourself a "daughter of the South" or are you open to other settings for future works?
My stories have also taken place in California, Vermont and London. My recent novels are set in the lowcountry of South Carolina, my home. I always say that a good writer is a better listener. It is my job to listen, to reflect, to pay attention to the world around me. I love the lowcountry, but I am also open to other settings if my story requires it.
7. What goals or visions do you have for your future writing. Is there one particular book that you have always wanted to write, but have not yet done so?
I have a Japanese historical novel in me that lies in wait. (How’s that for another setting?) I majored in Japanese language and culture in college and graduate school. I have a few other ideas, too!
8. In what ways do YOU think your current writing has changed or shown growth from your earlier works?
In re-reading my earlier work, I see that my style has matured along with me--which I’m pleased to see. Consider the alternative! But my voice is the same. The most significant change in my work has been since I wrote THE BEACH HOUSE. This was a decided effort on my part to educate the readers about the plight of the loggerhead sea turtles in a way that did not hit them over the head with the cause. That’s not good story telling. My intent was to use the nesting saga as a vibrant backdrop to the mother-daughter relationship. Perhaps I didn’t “change” as much as discovered my own niche. The success of this book green lighted my subsequent books, SKYWARD and SWEETGRASS and my upcoming novel, TURTLE BEACH.
9. Do you ever find that readers confuse you with Alice Munro or another writer by the name of Mary Monroe?
Yes, this sometimes happens. In particular, the missing “Alice” for Mary Monroe has meant my books are listed with hers and hers with mine. Readers please note! There are three separate authors: • Mary Alice Monroe • Mary Monroe • Alice Munro
From Judy in Washington State:
10. How do you figure out what to put in the little blurb that you put before each chapter? I enjoy them very much and look forward to each new chapter.
I wanted to provide information in such a way that would augment the story and not interrupt the pace. This was a challenge. The chapter headings provide accurate and up to date information. For example, the history of sweetgrass baskets. It can also provide a parallel to the action in the chapter.
I’m so glad you enjoy them! In SWEETGRASS, I especially enjoyed the quotes of the sweetgrass basket makers. It was my way of honoring these artists and providing a forum for their craft.
From Andrea (ALF) in Florida: When we lived in Myrtle Beach my son's high school class was very much involved in helping protect the loggerheads "territory" after they had laid their eggs.
11. My question is do you or Barbara or the team address these concerns and/or educate the students in the Junior high/high schools in SC?
Dear Alf, Sea turtle volunteers all along the southeastern coast monitor the nests throughout the entire nesting season: from locating tracks and nests, to protecting nests during incubation and finally to watch and record the hatchings. These activities and the information submitted is all carefully monitored by the Department of Natural Resource authorities. Both Barbara and I are licensed by the state of South Carolina as part of the core team for Isle of Palms/Sullivans Island. Fortunately, we have many volunteers signed up to walk the beaches, so we do not have to enlist support from schools or elsewhere.
We certainly recognize the importance of education. We do our best to answer questions, we print educational hand-outs every season and distribute them, we participate in the local “lights-out for sea turtles”campaign, and occasionally team leaders will speak to local groups and classrooms as well. Our primary purpose, however, is to monitor and protect the sea turtle nests on our islands.
From Marjorie in CA:
12. Have you always wanted to be a writer?
Dear Marjoie, Yes. Ever since I was a little girl, I wrote stories and made them up as I sang to my little brothers and sisters. I also wanted to be a ballerina. At least one of my dreams came true!
How old were you when you wrote your first story?
When I was eight years old I wrote a story about a whale named Willy. I also wrote a song about it-- I wonder if my siblings or children remember it? I’ll have to ask. I am forever grateful to my third grade teacher, Mrs. Crawford, who told me that I was a gifted writer and asked if I every thought about being a writer when I grew up. Her question took my breath away. She had voiced my secret dream and somehow made it seem real, even plausible. I believed I really could be a writer someday. Teachers and mentors can be powerful!
How do you find the theme for your next book? (I am not a writer and don't have a clue.)
The theme of the novel comes from the topic I am researching. For example, with Sweetgrass, I began researching this indigenous grass that was disappearing from the lowcountry. This led me to themes of loss: loss of property, loss of home, loss of tradition. As I moved into the research of sweetgrass baskets, the image of a woman weaving together the disparate strands of grass to create something beautiful was the metaphor I held in my mind and heart as I wrote a story about a mother pulling together her children and husband to weave together her family.
From Hats in Tennessee:
13. What led you to think of Sweetgrass baskets as a part of your plot? Are these baskets a part of your childhood? Have you ever made a Sweetgrass basket?
I would also like to know did you form and enjoy a personal friendship, during the writing of the book, with a Sweetgrass basketmaker? If so, would you share that story?
Dear Hats, I was speaking at an event with a woman who spoke about sweetgrass baskets. As I listened and watched her with her art, I knew immediately that this was what would tie together my themes of writing about loss of land/habitat. The image of the mother's strong hands weaving together the grasses into a unified, strong basket was one that inspired me during the writing of the novel.
I met several basket weavers, but one woman in particular, Elizabeth Bennett, has become a friend. She is quoted in the novel and has accompanied me to several book signings. Elizabeth's family has been making baskets in the Mt. Pleasant area for generations.
While speaking to the weavers and hearing their stories, I often wrote down phrases that I heard spoken. For example, one woman was describing the sweetgrass that was planted further inland in South Carolina as an experiment. The basket sewers did not like the sweetgrass that was grown in the fertile soil. It was flatter, like most grasses. The sweetgrass that grows in the miserly soil off the coast is curled and strong and pliable. She said, "the grass has to live a hard life to be right for the baskets." I found that statement profound and moving in light of the parallel of the African American history in the Carolinas. As I say, a good writer is a better listener! I know when I hear what I need.
From SpringCreek Farm in Alabama:
14. How do your themes evolve from events in your own life?
I know you are actively involved in turtle rescue. You wove that so well into a family tale of redemption and love. I'd love to hear you talk about how you develop characters and plot which fit so well with your themes. Sue
Dear Sue, Issues in the story often evolve from those in my personal life or those that I am interested in. For example, I nursed and cared for my mother during her struggle with lung cancer. I drew from this experience to develop Lovie in The Beach House. Naturally, Lovie is not my mother, but many of the insights and experiences were gleaned from what I learned during that difficult but very moving, special time. I feel honored to have been called upon to be there for her. In the end, The Beach House was a love letter to my mother.
The Four Seasons is about four sisters. I am one of five sisters and had a lot to share about that topic. I've been in book clubs for many years. My friend's child has juvenile diabetes. And of course, I volunteer to work with wildlife. I do not write about my own life, but I do look to my experiences for authenticity and realism.
From Andrea (ALF) in Florida:
15. Mary Alice, you told us in January that Barbara wanted you to entitle your new book Ocean Boulevard. How did you talk her out of that choice and agreeing with Sweetgrass?
Dear Andrea, Ha! Barbara still gives me a hard time about that. Actually, it was the title not for Sweetgrass but for my next book, which is the sequel to The Beach House. This book is Turtle Beach. We both like this title, too!
From Ann in Ohio:
16. Its my understanding that the availability of the grasses has become a real problem due to all the building on the coast. I heard somewhere that the folks use a different grass now that comes from Florida??? Is that right?
Dear Ann, The sweetgrass used for the baskets in South Carolina, muhlenbergia filipes, is fast disappearing from the coast. This species grows from Texas to North Carolina. Lately, local basket makers find they must travel to Georgia and Florida for the grass, but it is the same grass. The art of basketmaking originally came from Africa and has endured as an art form from the descendants of slaves.
From Ginger in Michigan:
17. Mary Alice, How long did it take you to write Sweetgrass, with all the interviewing it must have taken a long time?
Dear Ginger, It took two years to write Sweetgrass, but the interviews and research for the book began years before that. At one point I thought the book would take another five years to write because the research into the history of the basket making was so interesting!
From Mary A in Western New York:
18. Have you lived in the low country of S.C.? You write about the area and the people like someone who has.
Dear Mary, Indeed, I live in the lowcountry! My feeling for the landscape runs deep and strong and I believe that sentiment is expressed in my novels.
From Ginger in Michigan:
19. I would like see "Sweetgass" as a movie with all the basket weaving, land, en al. Is there any possibility?
Dear Ginger, Me too! But no plans yet.
From Eloise in Canada:
20. When you are far from the ocean shore, do you still hear the waves like if they were a permanent fixture in your mind? Ocean waves stays in my mind long after I am far away from them and I love the sound of it.
Dear Eloise, What an interesting question! I have to stop and think about that. Hmmm.... No, the waves are not a permanent fixture in my mind. I know that because every time I go out on the front porch and hear the waves pounding I get a thrill. Often the waves are quiet, just lapping the shore. But especially in the winter, the roar can be crashing!
From Ginny in South Carolina:
21. You have a new book coming out in the spring of 2006!? How do you manage to find time to write with your incredible schedule? Are you like Agatha Christie, able to write anywhere, or are you more like Wally Lamb who sets aside part of every day for writing on a strict schedule? Or do you have your own pattern?
Dear Ginny, I've learned that I cannot write anywhere. I've tried! I find it much too distracting to write while, say, in Starbucks. I can get ideas anywhere, however--especially on airplanes. I can also edit on the road. But when I write I have to be in my cocoon at home and let go. I am disciplined and come to the desk to write every day. That said, it varies how much I write at any one time.
From SeniorNet Book Clubs:
22. Your new novel Sweetgrass is wonderful. It is full of so many themes people can relate to, which impact so many people's lives! It will be a joy to discuss, and an honor to have the author to talk to about it. In fact, it's hard not to talk about it now, but maybe some broad questions will be ok before we begin the book discussion October 1. Where did you get the idea for the book initially? Was there a particular event or person who inspired the book? Is it based on real people or is it entirely fictitious?
Dear Seniornet book club: I wanted to write about loss of habitat in the southeast, a serious concern as development encroaches upon so much of the marsh and coastal region. Sweetgrass is an indigenous grass that is disappearing in the lowcountry due to development. One day I was listening to a lecture about sweetgrass baskets and while watching the woman's strong hands weave the sweetgrass into a basket, I had that "aha" moment and knew I had the theme of my novel.
From Denjer in Michigan:
23. I am wondering how much time you spend on revising something you have written versus the actual writing?
Dear Denjer, It depends. I have a wonderful editor, Martha, and we meet to discuss the novel and her edit ideas. Then I go back to the book and at that point I am re-energized and re-inspired. I love revisions. It is a time in the novel process where I use craft to polish and tighten the story. I am quite fast at revisions and can finish them in a month's time or less. The writing takes a year or more of intense work.
From Hats in Tennessee:
24. Would you take a trip to Japan while planning the book? Have you already visited Japan? What makes you feel so excited about the Japanese culture? What time period would this historical novel cover?
Dear Hats, I was in Japan many years ago and would LOVE to return. I hope I will someday, perhaps for a book event! There is too much to describe here about what excites me about the Japanese culture. Simply put, I feel "at home" in the culture. When I plan/write the Japanese historical, I will, indeed, go to Japan.
From Ginny in SC:
25. How does it feel to create something or someone on paper that people feel so strongly about, that they feel is a living person?
26. You mention that as you write more and more novels you can't be as involved in volunteering in every organization as you were, and that your "contribution is to be able to bring awareness to the serious and crucial work that these organizations are doing," and how your readers have responded, donating much "needed time and money." That's a wonderful gift you're giving, yourself.
I was very impressed with the volunteers at the South Carolina Aquarium, they made volunteering look powerful and important, a model for anywhere. SeniorNet is an organization also run on volunteer power. How do you feel about the general effectiveness and importance of volunteering in general?
Dear Ginny, I am a strong believer in volunteering. It is not only a force for social good, it is a tremendous source of empowerment for the individual who donates time. My life has been enriched, my experiences widened and my career furthered all by volunteering. Today, so many of us are isolated by life style, career or environment. Volunteering brings people together and opens new doors. As we help others, we so often are surprised at how we help ourselves.
Thank you for the compliment on my characters!
From Hats in Tennessee:
27. To work with birds of prey, what type of personality must a person have? Can an eagle, owl or osprey really feel the fear in a person's hand or voice?
Thank you to all who have been so kind with your comments. Barbara and I both thank you! We, too, had a wonderful visit and Barb deserves most kudos for her tour of the aquarium!
Re: birds of prey I don't think there is a personality type that tends to work with birds of prey. Rather, it is a committment. One must have a calm disposition and a real love for raptors. They are magnificent creatures, proud and fierce. They are wild, and man is a natural enemy, so it is normal for them to try to avoid contact with us. Raptors must be handled with great care and respect. If you see a wounded raptor, don't try to handle it yourself. Call your local rescue center.
From Judy in Washington State:
28. When we were at the Isle of Palms I was very disturbed over the fact that the houses at the beach where we stayed were where they were. I thought it was tragic that the zoning commission and whoever would alow people to build on the beach in that fashion. I took some pictures home to my oldest son of some places under construction and he was floored...But to disturb the beach like that for profit??? Are there any restrictions that protect the beaches from construction?
Dear Judy, What a timely question. The Isle of Palms is currently looking at zoning ordinances to protect the island's natural beauty. This is a concern not limited to our island. Today the government passes legislation that weakens the Environmental Protection Act. We must all be vigilant to protect our environment!
From Ginny in South Carolina:
29.You mention James Clavell's Shogun as a fabulous novel (and it is!). But you put your own historical novel of Japan away in the drawer after you read it. You mention being in bookclubs. Do you read a lot of other writer's books while you're in the process of writing or do you feel that they might overwhelm you and interfere with your own thoughts? What are your thoughts on reading the work of others as you are trying to create?
Dear Ginny, I think many writers are like me in that we do not read other novels while in the thick of writing our own for the very reasons you cite. I read a lot of non-fiction during that time. When I'm on vacation I take a stack of books and swallow them whole! At the time I was writing my Japanese novel, I did it in a haphazard manner while I was in graduate school. It was nothing like the intense writing schedule I follow now. As for my Japanese novel--I will indeed get back to it someday!
From Ginny in South Carolina:
30. Do you remember your first publishing contract? How did you go about finding a publisher and getting your first book noticed?
31. What advice would you give to a beginning writer?
Dear Ginny, Yes I remember my first publishing contract!! It is a euphoric moment, unlike any other. It is a validation, a crossing of a line between published and unpublished. I didn't care how much money was offered! (and it wasn't all that much...)
I would advise a beginning writer to keep the faith. So often writers get so discouraged. They write their best effort, send the work out again and again, only to get rejected again and again. Often, today's writer cannot even get an agent.
We all have to remember WHY we write. This challenge to our authenticity is one that resurfaces many times in the course of a writing career, whether published frequently, or not at all. In the end, a writer is a writer, whether published or not.
From Marjorie in California:
32. In your last post you mentioned that your first books was The Long Road Home. When I went to your website, that book was not listed. I have read the ones that were listed Sweetgrass, Skyward, The Beach House, The Four Seasons, The Book Club, and Girl in the Mirror. I will see if I can find The Long Road Home as a used book somewhere. I may be mistaken but my guess is that it is not listed on your website because it is now out of print. Have you written any other books?
Dear Marjorie, The Long Road Home is my first novel and currently out of print. I believe it will be out again, but I would like the time to review and edit it first. I've also written two books as Mary Alice Kruesi, published by Avon. These are romantic fantasies that I absolutely adore! I have one more fantasy in me that I hope to write very soon.
From Hats in Tennessee:
33: Under your Acknowledgements in "Skyward" you mentioned Anne Rivers Siddons as a "fellow osprey lover." I have enjoyed some of Anne Rivers Siddons books. She is another great southern writer.
34. Could you say some words about your friendship with Anne Rivers Siddons? Also, how did you meet Anne Rivers Siddons? Why do you and she love the osprey so much? If you would like to add any comments, I would love to know more about your writing relationship with Anne Rivers Siddons. What is your favorite book written by Anne Rivers Siddons?
Anne Rivers Siddons is an icon among southern writers. She is as gracious and heartfelt a lady as she is a writer. I am a great fan of her work and was greatly honored by her quote for SKYWARD. It is hard to choose a favorite book now because I just finished reading her latest novel, SWEETWATER CREEK. At the moment, that novel just bumped up to my favorite, right ahead of UP ISLAND. I highly recommend this poignant, powerful coming of age story to everyone. It is Anne Rivers Siddons at her best!
Additional Questions for Mary Alice about "Sweetgrass"
1. Why did you choose Wofford, why not Converse for Mary June and Adele, that would seem to me to be more likely for Mary June given her background?
Answer: I should have had Adele and Mary June go to Converse in the 1950s!
2. Why did you choose the name "Mama" June for Mary June? She calls herself that, what did you hope to convey in using that name or is that something we need to wait to discuss?
Answer:The name June with a precedent name is common here. ie: Sarah June, Mary June. And calling a mother "mama" is also common. When I heard someone referred to as Mama June, it all clicked. I KNEW that was her name.