I’m quite a fan of Jennifer Donnelly (author of The Tea Rose, The Winter Rose, A Gathering Light, Revolution and more) because her books always transport me to faraway places – which is one of the reasons I read in the first place, I love the escapism. I hopped onto her website for the first time today and read through some of her responses on the FAQ page. I thought some of them might be of interest to you, so I have copy and pasted them below. I found them very enlightening, and not just because I love to peek inside every writer’s head.

What struck me the most was the research aspect. Donnelly writes historical fiction, but I have noticed among some authors, the lack of research into books written for the present day. I once read a novel (it was YA so I doubt that very much of the intended audience was thinking as critically as I was) that had aspects to it that were so unbelievable that I spent days wondering how the hell this person could have gotten published. As some of you know, I am working on my own YA work, and although it is set in 2006, I am paying a lot of attention to the little details that might make it a better story (songs, places, events) but that didn’t exist in the time. I don’t know if it’s my journalism background doing all the fact-checking or just the importance I place on credibility, but I seriously value this kind of effort in creative work.

Anyway, if you’d like to read all of Donnelly’s answers, visit her website. There you’ll also find out about her lovely stories, thoughts and latest projects. She’s a brilliant author, and worked on her novel for ten years before it was published. If that doesn’t give us all hope, I don’t know what will.

What advice do you have for young writers?

There’s only one thing that makes you a writer – and that’s writing.

Writing – any kind of writing: journals, term papers, letters to your grandmother – will hone your ability with words. As you keep writing, you’ll learn how to do more with less. You’ll get a feel for simplicity and elegance, when to let rip and when to hold back, and how the subtle art of suggestion can lend incredible power to a paragraph or scene. These are all things I still struggle with. I have a tendency to overwrite, but when I do nail a scene, I can sense it, and it’s a tremendous feeling.

Reading is also incredibly important. It shows you how other writers do it, how they succeed and where they fail. Whether it’s a novel, a newspaper article or the copy on the back of a cereal box – it’s all writing. Someone had to think about it and make choices. It’s your job as a reader to decide how well the author did. You may not be aware of it, but every time you get lost in a story, or intrigued by a magazine article, you’re also picking up pointers on structure, plot, and style. I couldn’t afford to go to grad school, or take a workshop when I started trying to write, so I used what was available to me – good books.

Another crucial key to writing is finishing what you start. Lots of kids, and older people, too, tell me that they have so many stories started. Started is good. Beginnings are good. But you have to finish. Finishing is what makes the difference between ideas and books. Force yourself to sit down at your desk – glue your butt to your chair – and work through the problems. It’s very important. It’s very good discipline. It forces you to see an idea through from beginning to end and to do the hard work of bringing the various threads of the story together in a satisfying way. Do this and you’ll become more confident in your ability to tell a story. The problems of structure and plot and narrative drive may not get easier for you – they certainly haven’t gotten any easier for me and I’m on my fourth novel – but with experience and a bit of confidence, you’ll become braver about facing them…and besting them.

Lastly, listen to your own thoughts and feelings very carefully, be aware of your observations, and learn to value them. When you’re a teenager – and even when you’re older – lots of people will try to tell you what to think and feel. Try to stand still inside all of that and hear your own voice. It’s yours and only yours, it’s unique and worthy of your attention, and if you cultivate it properly, it might just make you a writer.

How do you do your research?

For me, research is more an art than a science.

I usually start out with a good, general history of the time period I’m researching to give me a solid grounding in the era. Then I roll up my sleeves and get dirty. I visit archives, libraries, museums, and historical societies to try to dig up as many primary sources as I can.

Diaries. Memoirs. Oral histories. Census records. Tax records. Photographs – tons of old photographs. Newspaper articles. Paintings. Old clothes. Old books. Menus. Bills. Magazines. Letters and postcards. I need to see all of these things, as they all help me clasp hands with people from the past, and understand them, and fully inhabit their world.

It’s also important for me to physically spend time in the place where a story is set. Sometimes I’m talking to people, asking them about their experiences and feelings. Other times I’m looking at old buildings, walking old streets, figuring out where characters worked and lived. Sometimes I’m sitting in a pub, listening to the rhythms of local speech, studying faces and body language, or watching the Thames flow by. Always I’m trying to see and hear and smell what my characters would have seen and heard and smelled.

It’s important to me that the history is there, in my novels, and that it’s correct, but I want it to feel seamless and smooth, natural not intrusive.

I love to research and if there were no such thing as a deadline, I’d probably never stop. I don’t know how to explain how I know I’ve done enough, but I do know I can’t start writing before I feel sure and easy in whatever time period I’m writing about.

How do I get published?

First and foremost, write a good book.

Once you’ve done that, find an agent. Yes, you do need one. Most publishing houses are swamped with unsolicited manuscripts and most editors have no time to read them. Some houses won’t even accept them anymore. Instead, they depend upon literary agents, with whom they have relationships, to know what they’re looking for and to send them good, polished manuscripts.

To find an agent, I consulted the Writer’s Market guide, which lists agencies and their agents, and gives a bit of info on who and what they represent. I also read Publisher’s Weekly, a weekly trade journal with columnists who report on literary deals and the agents making them. The Society for Children’s Book Writers and Illustrators can also be helpful, if you’re writing for kids. Read, research, do your homework. Educate yourself as much as you possibly can. When you’ve decided upon an agency you’d like to approach, write a stellar pitch letter. And I do mean stellar. A pitch letter tells the agent about your work and invites him or her to read a sample. It should be brief, mistake-free, and utterly compelling.

There are many guides, like the Writer’s Market guide, that can give you tips on how to write a pitch letter. You can find them in the publishing reference section of your local bookstore, through your library, or through online bookstores. Spend time on this. Write and rewrite your pitch letter until it’s perfect. Agents, like the rest of us, are busy people with demanding jobs and lives. You only have seconds to capture an agent’s attention with your words, so make those words shine.

When you’ve found an agent, get a thick skin. You’ll need it, for he will have criticisms. Nobody’s work is perfect; everyone can use constructive comments. Your agent is presumably smart and talented – after all, that’s why you chose him, right? – so listen to him. You both want the same thing – the best possible book. And when the book is sold and you have an editor as well as an agent, listen to him, too. Be open. You don’t have to make every change that is asked for, but you must understand why the change is being asked for before you can decide whether or not to make it.

A word on money – reputable agents do not take money from you until they’ve sold your work. After a sale, they charge a percentage of the gross, usually 15%. For foreign sales, the domestic agent will typically charge 10% and the foreign agent 10%. Agencies usually charge for expenses as well – things like postage, printing, etc.

Within an agency, you may work with several agents. I have one agent for my adult books, another for my children’s books, and I work with a foreign rights agent as well.

Choose your agent wisely and well. This is an extremely important partnership – one that will affect you artistically and financially. This person will become at the very least a business partner – and possibly an editor, advisor, sounding-board, confidante, and if you’re as lucky as I’ve been with my agents, a friend.

Lastly, keep faith with yourself. We all read about the writers who wrote their first novel in two weeks, sold it in ten minutes, and hit the bestseller list in five seconds. They are the exceptions, not the rule. Writing is hard. Publishing is hard. The book world is, in my opinion, the very best one to be in, but it’s also a business and as such is challenging and competitive. You need to be tough to weather the inevitable rejections and setbacks. When trying to get published, stubbornness is a virtue. Cultivate it.

And as Winston Churchill said, “Never, never, never give up.”