This week, we’re super-excited to feature debut author Kristen-Paige Madonia, whose literary YA novel, Fingerprints of You, hit shelves last week. The book centers on 17-year-old Lemon, who finds herself continuing the cycle of teenage pregnancy as she heads off on a cross-country journey to find the father she’s never known. The writing is sharp and vivid, and the Lemon’s coming-of-age is startlingly specific while being surprisingly universal. It’s definitely a book worth adding to your TBR pile!
We caught up with Kristen-Paige to chat about YA versus adult, whether an MFA is worth it, and the importance of having mentors through the publishing process.
Tell us a bit about yourself and how you became a writer?
Fingerprints of You is my debut novel, though my short fiction has appeared in such publications as Upstreet, New Orleans Review, American Fiction: Best Previously Unpublished Short Stories by Emerging Writers, Sycamore Review, and Inkwell. I was recently named the 2012 D. H. Lawrence Fellow and the 2011 Sewanee Writers’ Conference Tennessee Williams Scholar, and I have received fellowships from the Hambidge Center, the Vermont Studio Center, Juniper Summer Writing Institute, Virginia Center for Creative Arts, Hedgebrook Writers’ Retreat, the Millay Colony for the Arts, and the Studios of Key West. I’ve been writing and telling stories for as long as I can remember, but it wasn’t until I began applying to grad schools that I became truly focused on the craft. I received my MFA from California State University, Long Beach, and I currently live in Charlottesville, Virginia where I teach creative writing at the University of Virginia and the non-profit organization WriterHouse. In addition to teaching and writing, I’ve worked all kinds of jobs including positions as an assistant jeweler, a Barnes & Noble bookseller, a nanny, an assistant Kindergarden teacher, a receptionist, a wine pourer at a local vineyard, and an intern with a film and literary agency in Beverly Hills. Now that the book is launched, I’ve set aside a few months to travel so I can connect with readers in person at literary festivals and bookstores, but I’m looking forward to teaching again next spring.
Can you give us a quick synopsis of Fingerprints of You? How did you come up with the concept for the book?
Fingerprints of You follows the journey of Lemon Williams, a 17-year-old girl, as she searches for her father, a man she has never met. Lemon becomes pregnant in the opening of the book, and I wanted to use the novel as a way to explore that bizarre but beautiful phase in life when you realize the world is much larger than you thought, and that you have the ability to decide what kind of person you want to become. It’s set on the road and amidst the inspiring music and art scene in San Francisco, and the book explores the challenges of growing up in a single-parent home and the various ways we can confront our pasts, our skeletons in the closet. But at the heart of it, Fingerprints of You is about the comfort we find in one another and the security of family; not blood-born family necessarily, but the families we create for ourselves from the people we love and the people that love us back. My work is often inspired by what I call “stolen moments” – I people-watch and eavesdrop constantly, so if I’m lucky I’ll catch something in my surroundings that can be used to fuel a new project, and that’s how Fingerprints of You began. I first imagined Lemon and Stella when I was living in San Francisco, just after finishing my MFA. I liked to work in coffee shops in the city, and one afternoon I spotted a woman and a teenager crossing Fillmore Street in front of the cafe where I was writing. They immediately became Lemon and Stella: a feisty mother-daughter duo in the mist of that strange period of time when the child is becoming an adult and the parent is becoming, in the eyes of the child, an individual or person outside of their parent role.
I love the name Lemon — where did that inspiration come from?
Lemon’s mother, Stella, is a painter, and when the book opens it’s explained that each month she picks one color to base all of her work on; the September that Lemon was born was the month of “Lemon” — a pale yellow paint color she used for her art work during that time period. But for me it was always her name, from the first page of the first draft, though I can’t be sure why. Sometimes the writer doesn’t get to pick all the details, but instead is presented with them organically and then explores their origins as we write forward.
This is pretty gritty for YA — and called a literary YA on your site. Can you talk about the rap YA gets and why you wanted to write in this genre?
I love that word, “gritty” — it’s being used frequently to describe literary novels that are straddling the line between fiction for teens and fiction for adults. When you first write a book you don’t think about anybody reading it, at least I didn’t. I was writing for other reasons, so the idea of teens versus adults just didn’t cross my mind during the writing process. But once I realized there was a chance that Fingerprints of You may be marketed in that way, I started reading contemporary YA novels and was blown away by how smart and powerful some of the books are. John Green, Deb Caletti, Jay Asher, Laurie Halse Anderson… I was amazed by the exceptional level of writing and by the community of readers and authors involved in the genre. I think YA demands a specific kind of energy, a sense of urgency and immediacy. Teen readers won’t wait out a slow beginning – they must be engaged from the first page. They won’t hang around to see if the novel gets good in the fifth chapter — they’ll simply shut the book and tell their friends not to bother. And I love that. They demand a great deal from the author, as they should, and for that reason I find the books to be full of life.
It’s a lively conversation, this blurred line between adult and young adult readerships, and I’m finding that there really isn’t a clear definition of the genre, which is one of the things I like best about be called a YA writer. I’m honored to be categorized that way — the community of writers and readers congregating under that label is an inspiring crowd to run with, and there’s an increased recognition that the age of the protagonist doesn’t deflate the literary merit of a book. I’m guessing the blurred lines will become even more indistinguishable, and that’s a good thing – it means readers will be exposed to a wider range of work, and authors won’t feel confined to write inside a specific set of rules dictated by a label.
Of course in some venues there’s still a slight stigma attached to the YA label; there are certain magazines that won’t publish YA reviews, certain book awards that won’t accept YA submissions. Margo Rabb published an incredible article in The New York Times a few years ago entitled, “I’m YA, and I’m O.K.” — which I recommend to anyone writing fiction that straddles the line between YA and adult. Like myself, she wrote a book she imagined being labeled as adult literary fiction but was sold to a YA division. There are inevitably challenges that come with that process, and many adults still don’t realize the high caliber literature that can now be found on YA shelves. It’s an odd thing–these labels based on audience–and I find it fascinating that literature is the only art form that’s adopted the YA category; we don’t classify visual art, paintings or sculptures, for teens versus adults just as we don’t claim music to be one or the other. But at the end of the day I couldn’t be happier with the home that Fingerprints of You found at Simon & Schuster Books for Young Readers.
You’ve published a lot of short stories and done a lot of fellowships. How did you approach this, and what did you discover in this path? Advice for other writers?
I’ve been incredibly fortunate and have landed a number of successes that have changed the shape of my career, but I’ve also applied for almost every award and residency out there, so I’ve had my fare share of rejection as well! I tend to spend a great deal of time submitting my stories, so there is a lot of work involved, there’s a lot of waiting and dead-ends behind that list of successes you’re referring to. So in terms of advice, while there all kinds of tricks or tips I could share, I tend to keep it pretty simple. First off, there are no rules. None. There are writing techniques that may work and tricks that may help when you’re first starting out, but really there is no one way to do this magical thing we call writing. So no rules.
Other than that, I suggest you don’t bother doing it unless your heart is one-hundred percent invested, unless nothing makes you happier than finding that perfect sentence or writing that wonderful cast of characters you want to spend hundreds of pages with. A lot of people will tell you “no.” Rejection is inevitably a large part of the process, so you have to be doing it for you, not for “them.” You must have thick skin and a great deal of faith, but really it all comes down to doing it for the right reasons – because you love creating stories, you love throwing words on a page. And finally, if you can afford it, I always recommend attending conferences or joining a writer’s group or organization. It can be a lonely endeavor at times, and creating a community can make all the difference when it’s time to wade your way through rejection letters or celebrate the good news when it comes!
Having done it, MFA — yay or nay?
For me my MFA allowed me to focus on nothing but writing for two years, and that’s such a gift, it’s a circumstance that I’ll never be able to recreate, though I try by attending as many writing residences as possible. So yes, if you can afford the financial commitment and if you are in a phase of your life that allows you to attend an MFA program, I think it’s an invaluable experience. Absolutely. And of course there’s the benefit of working with other authors — while I’m not of the mindset that creative writing can be 100 % taught, I do think there are tools you can learn in a classroom that you cannot learn on your own.
In general, I don’t work well with outlines and tend to find them restricting… for me the process is messy and unpredictable and without rules, which one of the things I enjoy most about writing first drafts. I don’t usually know where a book is heading when I first start. It’s a process of discovery, and I like to allow the work to surprise me and to go places I hadn’t predicted or planned for. The days that I reserve for writing always start with coffee, and I try to work for at least a few hours before turning on the Internet, checking email, or logging onto Facebook or Twitter. My brain is clearer then, and it’s easier to connect with my characters before I invite any real-world chatter into my headspace. I write first drafts on my computer, but I always keep a journal with me wherever I go, and I use it for story and character notes, keeping book lists, eavesdropping in public places, and research. That journal gives me courage when it’s time to write, because I always know it’s filled with literary nuggets I can mine when I’m beginning new work. I break up my writing hours at home by reading or hiking. I live in a beautiful area, and I find that the best thing I can do for my fiction when I’m feeling stuck is to head to the mountains for fresh air and exercise. My iinspiration often comes from sensory details – the way a room sounds when it’s crowded, the smells of certain kinds of food, the way a person holds their body and what it might imply… those kinds of small images. I’m also greatly inspired by music, which certainly came into play with Fingerprints of You in terms of the rich live-music culture in San Francisco. And those stolen moments I was talking about — I often borrow clips of stranger’s conversations or something I’ve seen, an interaction or a specific setting, for inspiration for my work.
What has your path to publication been like? What’s been the most surprising part of the writing/publishing process for you?
I’ve been writing for as long as I can remember, and I have my MFA; I’ve attended writing conferences and workshops, I’ve read countless books about the publishing industry, and a lot of my friends are published authors, but no matter how much you think you know, there’s just no way to understand the process until you go through it yourself. I’ve been working with my agent for some time now, and when the Fingerprints of You manuscript was ready for submission, we emailed and talked on the phone quite a bit. Eventually we chose six editors to send it to, and S&S BFYR were part of that original six. I know that makes the sale sound easy, but it wasn’t. Editors have to pitch a submission to a number of different departments (sales, marketing, etc.) and they have convince rooms full of people that your book is worth the purchase before they can make an offer, so there was a lot of waiting involved. And of course selling the book is only the first step! We sold the manuscript in September 2010, and here it being released in August 2012, almost 2 years later. But it really can’t be rushed because each step is unbelievably important – editing, copy editing, proofing, finalizing the book cover, receiving blurbs… I learned so much with each step, and the book is so much stronger because of all the work we all put into it. I was amazed by how many people were involved and so very grateful for their help and support. From my agent to my editor to my publicity team at Simon & Schuster, everyone that has been involved in the release of Fingerprints of You has been one hundred percent professional and determined to support the book as much as they possibly can. Publishers are in the business because they love books, and it’s easy to forget that sometimes when you’re collecting rejection letters and reading heartbreaking stories about authors who get orphaned or novels that get lost in big houses. But my experience has been nothing but positive.
What’s the best writing advice you’ve ever gotten? What advice would you yourself give aspiring authors?
When my agent began sending out my first manuscript to publishing houses for submission, a novel that has yet to be sold, I became discouraged and contacted Judy Blume, one of my mentors and advocates, to ask for advice and feedback. At the time I was fearful we wouldn’t be able to sell the book and, consequently, my agent would lose interest, and my career would come to a screeching halt. And she said the most amazing thing: “It’s not your job to sell the book, that’s your agent’s job. Your job is to write the next one.” It was so obvious and simple, but I think of that whenever I’m feeling bogged down or intimidated by the business side of writing. At the end of the day, I’m a writer first. Nothing makes me happier than the process of creating the work, and that will always be the most important thing. So I like to remind aspiring authors that they must be prepared for rejection; they must be ready to hear “no” a lot. But as long as they’re writing for the love of the process, they’ll be able to carve their way through the phases of self-doubt and the fears of failure.
What was your favorite book when you were a kid/teenager? What are you reading now?
As a teenager, like many teenagers do, I fell in the love with the Beats, and part of my literary heart will always belong to Jack Kerouac’s On the Road. There’s something timeless about the spontaneous cross-country road trip, the jazz and the booze, the poetry, and the indulgent sex and drug binges. It’s a journey book, a genre I obviously favor, and the characters are on a quest for faith and love and friendship, as they hunt for a sense of an authentic and meaningful life.
Where Things Come Back by John Corey Whaley is a new favorite, and I was thrilled to hear the news when he won the William C. Morris Debut Award and the Michael L. Printz Award. It’s a super smart YA book, and I’ve been recommending it to everyone I know. I also recently read Model Home by Eric Puchner, which I loved, and Eleanor Henderson’s Ten Thousand Saints, a brilliant book and fascinating study of point of view. But right now Richard Ford’s Canada and Alice Elliott Dark’s short story collection In the Gloaming are on my nightstand.
What’s next for you writing-wise (and otherwise!)?
I just finished a first draft of another book, which means it’s kind of awful and really messy. It’s very different than Fingerprints of You. It required a lot of research, and I’m experimenting with point of view and the idea of memory and the filters of time. It has been a completely different process than writing Fingerprints of You, and that’s been challenging, but I think it’s been good for me and good for the work. So I’m letting that sit for a couple months now, and I’m starting to take notes for the book after that, a novel with a teenaged narrator that I imagine will be a YA book. But for now I’m just trying to enjoy the debut experience. I’ve been working on Fingerprints of You since 2008, and sending it out into the world is such an amazing thing, so I want to make sure I enjoy every moment of it.
Do you believe in being part of a “bloc” of writers? Are critique groups and writing communities helpful to you?
Absolutely. As a writer you spend a lot of time alone, so establishing a kind of community is crucial. I have a writers’ group that I meet with once a month, and it makes a world of difference to have that kind of support system, to remember you’re not the only one wading through this strange and unpredictable world of writing. I also teach at the literary nonprofit called WriterHouse, and I always feel invigorated and inspired after attending events and working with my students there.
Thanks so much for taking the time to chat with us!
Thanks so much for having me on Teen Writers Bloc, Sona!
Fingerprints of You Cover Courtesy Simon & Schuster Books for Young Readers