Today’s special treat is an interview with Blythe Woolston, author of Black Helicopters, a brilliant new YA novel that tells the story of Valkrie White, an American teenager raised to be at war with the government. The novel, published by Candlewick Press and set for release on March 26th, explores the charged issue of domestic terrorism from the terrorist’s point of view. I had the privilege both of reading the ARC (Advance Reading Copy) and getting to spend some time with Blythe in Seattle. Blythe’s earlier book, The Freak Observer, won the William C. Morris YA Debut Award, which celebrates “impressive new voices in young adult literature.” In Black Helicopters, Blythe puts that impressive voice to good use in creating the character of Valley, whose sense of herself and her mission are crystal clear, if terrifying.
I asked Blythe several questions about Black Helicopters, which aside from having a strong main character and powerful subject matter has an interesting structure – moving from the past to the present to show us what is driving Valley to do what she does.
Q: I loved the way you handled time in the book, bouncing between the past and present. What made you use that structure?
A: I have no idea how to handle backstory gracefully. This structure—with a single day’s events in alternating dialogue with the past—is my clumsy way of revealing what the reader needs to know to understand Valley’s motives and background.
Q: Many of the facts in the book are slippery. What Valley thinks she knows, she doesn’t necessarily know, and yet you were able to convey some of the truth in subtle ways. Did that take a lot of strategizing, or did it come naturally?
A: I suppose part of this is a reflection of how I experience and make sense of the world. I am my own unreliable narrator.
It does bring up an aspect of my writing experience that may be very odd or nearly universal—who knows? I don’t strategize much. I never have an outline or any idea of what will happen in a story when I begin writing it. I just write in scraps, then later I piece them together, like a person making a crazy quilt. Like a person making a quilt, I notice patterns that start to emerge after a while. When that happens, it becomes a more intentional process.
I don’t want the process to sound effortless. It isn’t. I spend most of my energy at the sentence level worrying over word choice. I let myself have a lot of latency time, and, as a result, I write very slowly. When I read other authors’ posts about word count, I sometimes feel ashamed of my lack of productivity and discipline. But this is just the way I have to work to make the stories I have to tell.
Q: Your first book, The Freak Observer, is also about a girl in crisis. What draws you to such intense characters?
A: I can’t say that I’m drawn to intense characters, per se, but I do think that writing YA means stripping away the insulation and dealing with the raw current. YA is full of intense characters. It is the nature of the beast.
Q: What’s next?
A: At this moment, I have another book out with my editor at Candlewick, Liz Bicknell. That book is an experiment—a departure—for me. It began as a short story I wrote while I was at Clarion West last summer. It isn’t a contemporary realistic story; it is historical and unnatural and may be an utter failure. While I’m waiting to hear back on that book, I’m working on a new book and on revising some short stories.
Even though Black Helicopters is my third book, the whole publishing adventure remains unpredictable. That makes it interesting.
With much thanks to Blythe, I’ll end this post with my favorite thing she said, which is on the subject of talking about books in general.
“Imagine a potter selling a bowl. Once that bowl passes to the hand of the new owner, it could find many uses: It could be used for salad, or keys, or to hold water for a cat. The person who bought it may intend to give it to someone else or they many intend to take it home and smash it with a hammer so they can use the broken pieces to make a mosaic. Only a crazy potter would say, ‘This is how this bowl ought to be used: It should be filled with apricots.’
I feel that way about books. When I read a book, I am contributing my own imagination and brain cells to understanding it. Reading triggers connections and memories and ideas in me that are unique to me. There is no definitive reading.
Books may be made of pages, black and white, but stories worth thinking about are full of ambiguity. This is, I hope, true of Black Helicopters.”