Tuesday, November 4, 2014

November 2014 Issue of 

The Scribblers Newsletter




Welcome to the November issue of The Scribblers. In this issue we have new writing prompts, part 7 of Sisters by Jamie Baker and a look at author Wayne Stinnett. 


November Writing Prompts

Each month we try to provide prompts for you to use to generate stories. Pick one or more and write 500 to 1,000 words using the prompt/s as the basis of your story.  Above all, have fun with it.  

1.  Looking for a simpler life, a weary intelligence agent assumes a new identity.

2.  While writing an autobiography, a gossip columnist uncovers a hidden family secret.

**For those of you who like to write from prompts, and we hope you do, I have found a book called The Amazing Story Generator.  It makes developing your own writing prompts quick and easy. 


Sisters

Part 7

by Jamie Baker

The others were just 2 blocks from the apartment when Ken and Penny Crow pulled up in their VW bus, Ken tapping a couple of short blasts on the VW’s signature horn.    

“Hey, hippies,” Ken called out the driver’s window, “we’re on our way to a party.  Climb aboard.”

Penny reached back and unlatched the side door, sliding it open with a strong push.

Ginger and Marci flopped onto the rear bench seat, while Cartwheel packed their shopping bags into the space between the two front seats and crouched behind them.

“Where’s the party?” Ginger yelled over the whine of the engine.

“Your place, of course,” Penny laughed back, dangling a small bag of pot over Cartwheel’s head.

Ken and Penny are cousins, the son and daughter of Denny and Lincoln Crow, a pair of brothers who married a pair of sisters, Rose and Charlotte.  Ken and Penny look nothing alike, surprising since they are cousins both maternally and paternally.  Penny is blond and dimpled, rosy-cheeked and blue-eyed.  Ken is built similarly, only an inch or two taller than Penny, but his coloring is startlingly different.  With thick black hair and deep-set dark eyes on either side of a hawkish nose, he looks Mediterranean compared to Penny’s Nordic looks.   They grew up together, their respective families living only blocks away from each other, and now in their early twenties, they share a small cottage a few blocks from the University, where Penny is an early childhood development major and Ken works in the maintenance department.   It’s rare to see one without the other somewhere close by.

Penny, Ken and Carol crowd into a corner of the kitchen, around an old 1950’s dining set.  The Formica top is scarred with scratches and a few cigarette burns and the vinyl seats are split, but the tubular chrome legs look like they could last another 50 years.  Carol, closest to the window that looks out onto the courtyard, pulls the curtains closed. 

Penny nods at her, “Good idea.  I’m Penny and this is Ken.” Penny dumps the bag of pot into a shoe box lid that Ginger pulls from one of the kitchen cupboards. 

“That’s Carol,” Marci calls from the living room where she is flipping through a stack of LPs.  “She lives upstairs in number 32.” A few seconds later, Cream’s Strange Brew cranks up on the turntable.

“Jesus H. Christ, turn it down,” Ginger, at the sink filling a large pot for spaghetti, yells.  “That’s all we need,” she says to the stream of water, “the neighbors bitching and moaning and calling the cops.”

The decibel level drops significantly.
 
“Mellow out,” Ken says, handing her a joint and matches, “here light this.”

“What’s the H stand for?” Carol asks when Ginger hands her the joint.

Ginger holds her breath for several seconds before answering. “Herbert.”

Carol laughs a blast of smoke through her nose. 

The joint passes from hand to hand and for a few minutes the only sounds heard over Ginger Baker are the whistling pull of inhales and strangled coughs. 

Cartwheel hands the joint to Carol, turning back to the counter where he is slicing a fat loaf of sour dough for garlic bread.

“I guess our steak connection fell through,” he says through wisps of smoke he tries to hold back.

“Oh, shit,” says Marci, “I forgot about Roy.  I wonder what happened.”

“Who cares,” says Ginger.  She gets up and pulls a quart bottle of tequila out of an upper cupboard.  “Get the shot glasses out of that cupboard, Cartwheel.”

“We saw Roy on our way over here.  Over on Grant.  He was talking to some straight dude, so we didn’t stop.”

Ginger pushes mismatched shot glasses around the table and then reaches the bottle out and fills each one.

“What straight dude?” Cartwheel asks.

“I don’t know, just some block head with a crew cut.  He reminded me of that recruiter who came to our high school.”  Ken says.  He leans back in his chair and downs the shot with a quick twist of his wrist.

Penny takes a big sip of her shot and shivers.  “I remember him,” choking a little on the tequila.  “All ‘Uncle Sam wants you’ and patriotic and shiney.”

“I doubt Uncle Sam wants Roy ‘Reno’ Brown.” Ginger says.

“How come you’re so pissed at Roy?” Marci says.

“Because he’s an asshole.  Look at that shit he pulled in the store.”

“Well, just because he’s a shop lifter, doesn’t make him an asshole.”

“Not a shop lifter, a steak lifter.” Carol volunteers and the others laugh.

“Look,” Ginger says with a grimace, downing her shot, “he could have got us all in trouble.  And Carol is a minor.   I’m sure she doesn’t want the police knocking on her parent’s door.”

“Gees, Ginger lighten up; they didn’t even know Roy was with us.” Marci says.  
       
“Besides, he’s an asshole because he’s such a bull shitter.   Thinks he’s such a lady killer.  He puts the moves on every girl he sees.    I bet he even tried to hit on Carol and she’s a kid.  I wouldn’t fuck that dick weed for a million bucks.”

“For a million bucks?” Marcie is leering suggestively.  “Hell, I would.”

“Too late, you already did.  And for free.” Ginger said, pouring out another round of shots. “And from what I’ve seen, once Roy ‘Reno’ Brown’s got your notch on his belt, he’s done with you.”


A Short, Short Story

This is more a brief scene than a short story

The Party

by Colleen Weikel

The party had just gotten underway when Frank and Janet arrived. They were the perfect couple, always teasing each other, doting on each other.

I met them in the foyer, "Hi, you two! Come in. Have a drink and mingle."

"Can I bring you a drink, Honey?" Janet asked, gliding toward the bar, almost out of earshot by the time Frank responded.

"Please." Frank turned to me smiling a friendly smile. "So, how is Steve? Still making the mega bucks?"

"Steve is wonderful, but he's gone so much," I replied.

"That's too bad, you must miss him. Maybe he'll take you along on his next trip," he smiled again.

"Perhaps," I replied as Frank touched my hand, "He's leaving Friday for London. He'll be gone two whole weeks," I said, breathless, watching Frank's expression. 

He looked toward the bar where Janet was standing, waiting for their drinks and talking to Ben Miller, our neighbor who fancies himself a ladies' man. Frank reached behind me, lightly brushing my shoulder, and leaning against the door frame, smiling down at me.

"London? Nice city," he smiled, "I suppose you'll be working on the fundraiser for the football team while he's away?"

I almost laughed, "Of course. Steve's absences give me a chance to really concentrate on my favorite causes."

His hand found the small of my back and rested there. "What time is he leaving? Maybe I can drive him to the airport."

"He must be there by 9:00 a.m. With all the new regulations since 911, one must check in very early at the airport when going overseas."

Frank tipped his head ever so slightly to the left and, looking directly into my eyes, said, "one must."


A Look at Wayne Stinnett

Last year I found a series of books on Amazon.com by author Wayne Stinnett.  They are very different from what I usually read, but I've read and thoroughly enjoyed all 5 in the series and became curious about the author. 

Wayne Stinnett has 5 novels to his credit, his first published in 2013:  Fallen Palm, Fallen Out, Fallen Mangrove, Fallen Pride and Fallen Hunter.  I have read and enjoyed all of them.

Wayne Stinnett was born in West Virginia. At age 12 his family moved to Florida where he grew up in a town called Melbourne. There he and his brothers explored the Indian River lagoon and all of the waterways that flow into it . At 16 he began exploring further and soon found that long island chain known as "The Keys". 



Graduated from high school in 1977, he enlisted in the Marine Corps.  He visited northern Europe and the Far East, but returned to Florida.  Spending much of his free time scuba diving and fishing, he wrote fictional short stories in the early eighties and compiled an extensive list of beach dive spots. He has explored many shipwrecks along what us known as the Treasure Coast.


After his second marriage failed, he bought a sailboat and lived on it in Boot Key Harbor in the Florida Keys. He has also lived on Andros Island in the Bahamas and on Isla de Cozumel in Mexico for short periods while working as a divemaster.

He now lives in the foothills of the Blue Ridge Mountains near the small town of Travelers Rest.

After working for twelve years as a truck driver and writing in his free time, he published his first novel, Fallen Palm, in 2013.  The story was based on short stories he had written in the 1980's.

Married for the third time in 2001, the Stinnetts have four children, three grandchildren, two dogs, and a flock of parakeets. They also grow much of their own food in a garden behind their house.

Stinnett still gets down to Florida every now and then, but often it's via his imagination as he writes. 

Set in the Florida Keys, the protagonist of all of his books is a retired Marine, Jesse McDermitt, a charter boat Captain who lives on a small island north of Big Pine Key where he explores, dives, and fishes the Florida Bay and the Gulf of Mexico. 

Glimmer Train New Writer Contest

New Writer Award: 1st place $1,500 & publication in Issue 96. Deadline: 11/30. click here

This category is open only to emerging writers whose fiction has not appeared in any print publication with a circulation over 5000. (Seven of the last eight 1st place New Writer winners have been those authors' first print publications.)

Second- and 3rd-place winners receive $500/$300, respectively, or, if accepted for publication, $700. Winners and finalists will be announced in the February 1 bulletin, and contacted directly the previous week.

Most submissions run 1,500 - 6,000 words, but can be as long as 12,000. Reading fee is $15 per story. Please, no more than three submissions per category. Writing Guidelines: click here

And Finally...


We are always looking for articles and short stories to publish, as well as suggestions for the newsletter. Please send any ideas, stories, etc. to Colleen.  We'd love to see any contributions you'd like to make to The Scribblers.


If you no longer wish to receive this newsletter, please email Colleen with the word 'unsubscribe' in the subject line and we will remove you from our mailing list.

Sunday, October 5, 2014

October 2014 Issue of 

The Scribblers Newsletter


Welcome to the October issue of The Scribblers.  In this issue we have new writing prompts, part 6 of Sisters by Jamie Baker, Sir by John Matthews.
September Writing Prompts

Each month we try provide prompts for you to use to generate stories. Pick one or more and write 500 to 1,000 words using the prompt/s as the basis of your story.  Above all, have fun with it.
 to
1.  Max stepped off of the train bumping into another passenger.  When he looked up, it was like looking into a mirror.  Who was this guy?

2.  Ben slammed the door as he left the house for the last time and all Ann could think about was how glad she was that he was gone.

3.  Fourteen year old Kellie was on her way home.  It was dark and there was thunder and lightening all around her.  Through the sounds of the storm, she could hear footsteps getting closer to her.  She began to run.

Sir

by John Matthews

(This story was written as an entry to the iStory contest sponsored by Narrative magazine.)

     John never addressed anyone as “Sir.”

     Not doctors, not ministers, not even traffic cops in the process of giving him a speeding ticket. 

     He was a polite person otherwise, and was often addressed as “Sir” by waiters, bank tellers, and even traffic cops in the process of giving him a speeding ticket.
Nano
   But the use of the term always seemed to John as part of an insincere script.  He never considered it a term of respect. 

     His feeling began during his stint as a Navy officer.  At one duty station each morning he passed by the desk of a sailor who was awaiting orders for his discharge. 

     “Good morning, Abbott.”

     “Good morning, sir.”

     “Get your orders yet?”

     “Not yet, sir.”

     Each day, the exchange was the same until one day,

     “Good morning, Abbott.”

     “Hi, John.”

    “Got your orders, then?”


     “Yep.”

Nanowrimo is Almost Here!

     National Novel Writing Month is almost upon us so now is the time to start thinking about what our novel-in-a-month is going to be about.  To sign up go to:  nanowrimo.org and get started November 1st.  You have 30 days to bring your novel to life.


Sisters
Part 6 by Jamie Baker

After the Christmas holidays, my life suddenly got a lot better.  My brothers started going to the Boys club after school and Mom got a waitressing job at Sizzlers.  While the boys did all their yelling and screaming at the Boys club, I had the apartment to myself.   Mom left notes for me almost every day, chores she wanted done and instructions for simple dinners.   Dad picked up the boys on his way home from work and helped me make dinner.  After dinner I cleaned up the kitchen and then I could do whatever I wanted until 10:30.   That was when Mom usually got home.

One evening, down at Marci and Ginger’s apartment, Roy Brown was there and another guy everyone called Cartwheel.    Marci said she needed to go grocery shopping, so we all went down to the Safeway a few blocks from the apartments.

Walking across the parking lot to the store entrance, we stopped to get a cart. 

“I feel like having a steak.” Roy said, yanking a cart out of the cart corral.  “I think I’ll get one.  Maybe a nice New York strip.  Anybody else want steak for dinner?”

Cartwheel put his hand on Marci’s arm, “Get your own cart, Marci,” he said and pulled a second cart out of the line.

“Carol,” Ginger said, hanging back with Marci and Cartwheel, “stay with us.”

Rolling up and down the aisles, the four of us goofed around, laughing and being a little rowdy.  Marci left a package of sanitary napkins in the bread section.   I didn’t see Roy Brown again until we got to the meat section.

Cartwheel was holding up a package of foot long hot dogs and waving it at Marci.  We were all laughing.  Roy was at the other end of the meat case.  His cart was almost empty.  He picked up a wrapped steak, checked the label.  Glancing down the length of the case, he saw me and winked.  He put the package back in the freezer, picked up another one and shoved it down the front of his pants, where it was hidden by his flannel shirt.   An involuntary bark of laugh chirped out of me.  I was both shocked and thrilled.   

“Let’s keep moving, chicks,” Cartwheel said.

A few minutes later, with Cartwheel pushing Marci’s half-full cart, we made our way towards the checkout counters.  Roy Brown was already there, in line behind a stooped old man who was carefully placing each of his items on the conveyor belt.  Cartwheel went to another register, getting in line behind a couple with two little kids.  The conveyor belt was crowded with disposable diapers and boxes of breakfast cereal. 

We were still in line when Roy Brown sauntered to the exit, his near empty bag swinging from his hand.  A beefy guy in a sports jacket stepped up to him, gesturing towards the back of the store.  I could hear his voice, a low buzz, but I couldn’t make out the words.  Roy glanced towards the exit but the man stepped in front of him.  Roy’s face got red and then he walked towards the back of the story, the beefy guy on his heels.   I turned back to the others.  Cartwheel looked at me and shook his head slightly.  We stayed quiet until we were back outside in the parking lot.

“Will they bust him?  Do you think they’ll call the cops?” Ginger asked.

“I’d be surprised if they didn’t,” Cartwheel said, “Fucking Roy Brown.  Always thinks he can break the rules and get away with it.”

“He wasn’t always like that.  Not when we were in school.”

“You went to school with him?” I asked Marci. “I thought he was from Reno.”

“His Dad’s lives in Reno, he’s a pit boss there.  Mostly, Roy grew up here, lived with his mom and his grandparents, over on Seven Hills Road.    We went to school together.  Third grade right through high school.” Marci answered.

“Yeah, he was a little runt and a crybaby.  Couldn’t play any sports for shit.  Then in high school, he got a weed connection and suddenly he was all cool.”

“Kind of a late bloomer, huh?” Ginger laughed.

“Yeah, but I think he’s gonna peak early.” Cartwheel said. 

Roy ‘Reno’ Brown let himself be corralled by the store cop.  At the door to the manager’s office, he glanced back and watched while the others left the store.  

“They’re leaving without me,” he thought, “slinking out, nice and quiet, like they don’t even know me.  Hey, that’s cool.”

The store security man crowded him into the office, shut the door hard and then pushed Roy down into a chair in the corner furthest from the door.  Keeping his eyes on Roy, he stepped around the desk and picked up the phone.  Neither broke eye contact while the store cop dialed the phone.

“Mrs. Petris?  This is Gerald, at the store.  Sorry to bother you, Mr. Petris left for lunch, any chance he’s at home?”

After a short pause, Gerald spoke into the phone again.

“Hey, Mr. Petris, this is Gerald.  I’ve got a shop lifter here.  He’s got a steak shoved down his pants.  Took it out of the freezer case.  Must be freezing his balls off by now.”

Another short pause and Gerald turned away from Roy and lowered his voice a notch.

“Of course, I’m sure, I watched him through that one-way glass right over the freezer case.”
 
While Gerald was turned away, Roy reached up and with a sharp tug ripped open the shoulder seam on his flannel shirt.  When Gerald’s head swiveled back at the sound Roy was sniffing and scratching at his nose. 

Gerald continued speaking into the phone.  “No Bernie didn’t see it.  He was wrapping some meat at the back counter.  You want me to call the cops?” Another pause.  “Ok, then, I’ll wait for you.”

He hung up the phone and sat down at the desk, pulled open one of the drawers and propped his big shoes on it.  Leaning back, he fished a pack of Winstons out of his jacket pocket.  Roy and Gerald sat looking at each other while Gerald smoked.  Finally, Gerald spoke.

“The boss is coming back from lunch.  We’ll call the cops then.  We prosecute shop lifters.  Every time. No exceptions.”

“Yeah?  That’s cool.  I guess if you think you’ve got a righteous bust, you do what you gotta do.”

“Your package must be shriveled up like a salted slug.”

“No, my package is just fine, but thanks for asking.”

 “Don’t try pulling that out of there, we’re waiting for the cops.  The boss likes to have an official witness.”

“Sure, I understand, you need to follow evidentiary procedure.”

Ten minutes later, the door opened up and the store manager stepped in.  Mr. Petris was a first generation Greek, with a ruler-straight part in dark thinning hair.  His white short-sleeved dress shirt was clean and crisp, his tie solid black to match his pants.  Gerald stood, sliding the desk drawer closed.  Gerald had begun to worry about this bust.  The shop lifter hadn’t shown any discomfort, not even worry.  With a piece of frozen meat shoved down the front of his pants, the guy should be shivering by now.  But he’d just sat there, relaxed, even friendly in a quiet way.  Hadn’t tried to make conversation or even bum a cigarette.  

“I’m Mr. Petris, the store manager.  What’s your name?”

“I’m Mr. Brown, the store customer.”

“Let’s call the cops now, Mr. Petris, this wise acre has wasted enough of my time.”

Mr. Petris held up a hand to Gerald, a gesture to stop.   He addressed Roy.

“Mr. Brown, have you taken something from this store that you have not paid for?”

“No, Mr. Petris, I have not.  My purchases are in this bag.  I have nothing else.”

“Tell him to open his pants.  I saw him put that steak down his pants.”

Roy stood up and pulled his shirt up to show the front of his pants and his bare torso.  A leather belt and a silver buckle in the shape of an up-ended horse shoe cinched his jeans tightly at his hip bones, 3 inches of white jockey shorts exposed above the belt. 

“Please do call the police, Mr. Petris,” Roy said, “so that I have an official witness when I can press charges against Gerald here.”

“What the hell are you talking about?” Gerald stepped past Mr. Petris and bolted at Roy, stopping only when his face and chest were only an inch from Roy’s.  It was Gerald’s face that was red now, a purplish beet red that flared from the back of his bull neck, up across his throat and face and into the short hairs of the greased flat top above his high forehead.   Roy stepped back as far as the chair would allow and reached up to the torn shoulder of his shirt.   Pulling the flannel fabric down, he exposed a tattoo on his upper arm.  It was of small cartoon worm, standing upright on its hooked tail.  It had short little stick arms that ended in white stubby hands, one holding a fat cigarette, the smoke curling up around the worm’s top hat.  The hand held the ace of diamonds.   Underlining the worm was tattooed ‘Reno Brown #21.’  This tattoo was red and inflamed, obviously infected and painful. 

“Gerald shoved me around in here.  He tore my shirt and irritated this fresh tattoo.  Call the cops and we’ll both tell our sides of this story.   But I’ll be the only winner.”

“This is bullshit.  I never touched him.”

Mr. Petris opened the door and gestured to Gerald.  “Gerald, take your lunch break.”

“But Mr. Petris, I’m telling you, I know what I saw.  Check his pants for Christ’s sake.”

“It’s ok Gerald, I’ll handle this.  Go get lunch.”

Gerald grabbed his cigarette pack up from the desk and glared at Roy as he passed him.

“I better not see you in here again, asshole.”

“You probably won’t.  But that’ll be my choice, not yours.  Have a nice day, Gerald.”

Five minutes later, Roy was strolling across the parking lot, two $20 bills folded into the coin pocket of his jeans.

“For the inconvenience, Mr. Brown, and for a new shirt.”  Mr. Petris had said.

A few watery red drops were just starting to splatter onto the pavement with each step of Roy’s right foot, where the 12-oz New York strip was fastened to his cowboy boot with 2 thick rubber bands.

“By the time I get back to Ginger’s place,” Roy thought, “my dinner should be defrosted. Perfectly.”

And Finally...


We're always looking for articles and short stories to publish, as well as suggestions for the newsletter. Please send any ideas, stories, etc. to Colleen.  We'd love to see any contributions you'd like to make to The Scribblers.


If you no longer wish to receive this newsletter, please email Colleen with the word 'unsubscribe' in the subject line and we will remove you from our mailing list.




Sunday, August 31, 2014

September 2014 Issue of 

The Scribblers Newsletter


Welcome to the September issue of The Scribblers.  In this issue we have new writing prompts, links to free, yes free, writing courses and an interview with Lois Lowery.

September Writing Prompts

Each month we try to provide prompts for you to use to generate stories. Pick one or more and write 500 to 1,000 words using the prompt/s as the basis of your story.  Above all, have fun with it.

1.  Hiking along a dirt road winding through the mountains, Dave came upon an elderly nun who was studying the engine of her ancient, broken down pickup truck as though it was a snake poised to strike.

2.  Mike left the store to make a delivery and found the man who had earlier tried to rob his store in the back seat of his car.  

3.  Sadie marched to the corner, eyes straight ahead, clutching the bank bag that she was supposed to put in the night deposit slot of the bank across the street.


Links to Free Writing Classes

I don't know about you, but I like getting something without paying a lot of money for it.  There are so many writing courses online that may or may not be good, but which charge the proverbial arm and a leg. We may need a good class, but we don't necessarily want to load up our credit cards for them.

Out of curiosity I did a Google search for 'free online writing courses' expecting no results and was surprised to find a number of sites that offer their courses for free.  

How good the courses are remains to be seen, but I took a class locally last spring that I wouldn't recommend to anyone, so I thought I'd share.  

These are the links that I found on Google:

10 Universities Offering Free Writing Courses Online:



Bubble Cow:  (The name is intriguing):  http://bubblecow.com/free-online-writing-courses

Interview with Lois Lowry, 
Margaret A. Edwards Award Winner

By Anita Silvey on June 1, 2007
School Library Journal

The Edwards Award-winner talks about The Giver’s controversial past and, yes, its enigmatic ending.
Who would’ve guessed that the author of a sci-fi masterpiece would live in a Federal Colonial house with a picket fence? But then again, it’s never wise to second-guess Lois Lowry. 

In the early ’90s, in a radical departure from her previous 20 novels for young readers, Lowry wrote The Giver (1993), the tale of a futuristic society that appears to have everything under control, including war, poverty, and old age. The story charts the awakening of 12-year-old Jonas, who becomes an apprentice to the Giver, the keeper of the community’s suppressed memories—a steep price to pay for social stability.

Wildly successful with reviewers and readers, The Giver won the 1994 Newbery Medal and sold more than 3.5 million copies worldwide. Over the years, the provocative novel also has been among the American Library Association’s most challenged titles, with parents alleging that it encourages euthanasia and undermines motherhood, among other things. In late January, Lowry was awarded the Margaret A. Edwards Award for The Giver. 

The award, administered by the Young Adult Library Services Association and sponsored by School Library Journal, honors an author’s lifetime contributions to young people’s literature.

As a girl, Lowry says she dreamed of becoming a writer and “always scribbled stories and poems in notebooks.” Her father was a dentist in the United States Army, and the family lived all over the world, including Hawaii, Tokyo, New York City, and Pennsylvania. Before Lowry began writing children’s books in the mid-’70s, she worked as a freelance writer and photographer, and her photographs appear on the covers of Number the Stars (1989), the winner of the 1990 Newbery Medal, The Giver, and its sequel Gathering Blue (2000, all Houghton). I visited Lowry at her home, in Cambridge, MA, shortly after she learned about the Edwards Award. While we talked, her Tibetan terrier, Alfie, frequently presented his ears and belly for inspection and admiration.

What led you to write The Giver?

In 1992, my mother and my father, both in their late 80s, were residents of the same nursing home in Staunton, VA. My mother was blind and very frail but her mind was completely intact. My father was healthier, physically, but his memory was going. I would frequently fly down from Boston to see them. On one particular visit, my mother wanted to tell me the stories about her life. I sat and listened to her talk about her childhood, her college years, and her marriage to my dad. In the course of retelling those anecdotes, she related the details about the death of her first child, my sister Helen, clearly her saddest memory. But she wanted to retell it.

How did your father react to those visits?

My brother and I had prepared a photograph album filled with images to spark his memory. In 1956, he had had a green Chrysler that he loved. When he saw a picture of it, his eyes would always light up. That day, he came upon a picture of two little girls, and he said, “There you are with your sister. I can’t remember her name.” I told him her name was Helen. He looked a little puzzled, a little confused, and asked, “What ever happened to her?” I had to tell him that she had died; for him it was as if her death had just occurred. I turned the pages to show a house we had lived in, a dog that we had had. But within five minutes, there was another picture of the two daughters. He lit up again and said, “Oh, there you are with Helen. I can’t remember what happened to her."

How did you incorporate those experiences into The Giver?

Driving back to the airport that day, I began to think about memory—how we use it, how painful it can be, yet how necessary. What if we could manipulate it? What if I could leave my mother with all those happy memories of puppies and picnics and take away the sad memory of the day her daughter died? I began to play with the idea of people who had learned to manipulate memory.  I realized such a story would have to be set in the future. I began creating a community quite different from the ones we now have. I never thought of the book as a science-fiction novel or that I might need to explain its technology. I still get letters from readers, usually boys, asking for specific details of how the weather was controlled or color removed from objects. But I didn’t feel a need to put technology in the book. Nor would I have known how to figure it out!

Did you always know that the society you were creating was going to be a dystopia?

In creating that community, I had to figure out what their world would consist of and what they had been able to control. They were without war, poverty, crime, alcoholism, divorce—and without the troubling memories of those things. Only gradually did I begin to understand that I was not creating a utopia—but a dystopia. I slowly understood that I was writing about a group of people who had at some point in the past made collective choices and terrible sacrifices in order to achieve a level of comfort and security.

Did you ever imagine The Giver would become a classroom favorite?

What I did not know then—and what I have over the years come to realize and been surprised by—is the number of political questions that their society raises. That’s why teachers love using the book. They can find many books with as compelling a plot as The Giver. But they can’t find many books that provoke adolescents—who are tough nuts, anyway—to see issues that confront their world and to be passionately interested in them. The inclusion of this discussion material, however, was not purposeful on my part.

What about the theological symbolism that some find in the book—those Old Testament names Jonas and Gabriel?

I wasn’t conscious of adding any theological symbolism. If I had begun to think in literally Christian terms, I would have backed off of the project because I have no interest in writing “religious” books. Still, clearly, the theology is there, inherent in the story. Many Christian churches have taken The Giver up as part of their religion curriculum, and many Jewish people give it as a bar mitzvah gift.

At the same time, some fundamentalist leaders want it removed from everyone’s hands. I am still, I must be honest, mystified by the challenges from the very conservative churches. I think, on one level, the book can be read supporting conservative ideals—it challenges the tendencies in any society to allow an invasive government to legislate lives.

Can you talk a little about your writing process? You have an amazing ability to create descriptions that seem specific and yet are general enough to give readers a chance to create their own images.

I tend to be very visual; I see things as I am writing. I select the details that I am seeing to help the reader envision the same scene. I got a letter many years ago from a child in Denver who said she wanted to be a writer. She had read A Summer to Die (Houghton, 1977). She talked about the meadow scene in the book, and said, “I could just see that meadow. How did you make it possible for me to see that meadow?” I wrote back and said I can’t describe everything, so I have to choose details that will create a scene in a reader’s mind. The meadow that she was seeing would not be the one I am seeing, but I had put enough details for her to envision her own meadow. Later I got another letter from her, with a folded page of the Denver Post. Her picture covered half the page, and the caption read, “Blind child wins writing award.”

How many drafts did The Giver go through?

I always rewrite as I write, so there was never any moment in the writing of a first draft that I went back and redid the whole thing. I intentionally left the ending ambiguous. I then presented Walter Lorraine, my editor, with what I considered a finished version of the book. (I always know, of course, that he will react to a manuscript and then I will rewrite.) Because the book was so different from anything else I had written, Walter had two other editors prepare full editorial notes on the manuscript, something that only happened on this one [book].

What changes did you make?

In the original manuscript, the boy sees color for the first time in a red ball. One of the editors raised the question as to why this community would be manufacturing items with color when they have no color. I changed the object to an apple, and then when Jonas sees color, it occurs in a natural object. In the end, I left most of the manuscript as it was, including the ambiguous conclusion.

Is there anything you wish you had done differently?

I always wish I had expanded that final section after 
Jonas leaves the community. It was supposed to encompass a great deal of time and distance, and it feels too fast-paced for me, finished too quickly. But the book was approaching 200 pages. At some point, I had been told that if a book went over that length, the price of the book had to go up, and in retrospect, I think I was overly concerned about that. However, if I had made it an extended journey with only two people in it, there might not have been enough happening to hold the reader’s interest.  

I liked the ambiguity of the ending, but I always felt that there was optimism to it. It never occurred to me that people would believe that Jonas had died.

How do you feel about the way the book has been adapted for stage and screen?

It has been adapted for the stage and performed in a number of cities, and a musical has been written. I saw the musical version in production in New York last fall before they took it on the road. The music is terrific, somewhat Sondheim-like. The movie has been in the works for years, being developed by Jeff Bridges along with others. But movies are always dependent upon financing, and there is some question about whether the film will actually ever be made. Three screenplays have been written, and the current one is excellent. I have no rights over the script, but they have allowed me to read each version. The screenwriter even asked for words, and at one point, I wrote the anthem that the schoolchildren chant. Naturally, they have had to add visual elements not in the book, but everything is very true to the [story].

If the movie gets produced, will the opening sequences be in black and white?

Yes, they intend to desaturate the film and create a black-and-white world. 

Onstage in Milwaukee, where they recently performed the play—and invited me to come—they used a particular kind of lighting that made the people and set all appear in grays, whites, and blacks, very monochromatic. Then very gradually, at first with an apple and then with books, by shining a light to permeate this world, color was added. It was quite dramatic, quite amazing.

What attracted you to writing books for children?

Melanie Kroupa, then at Houghton Mifflin, saw a story of mine in Redbook and asked me to consider writing a novel for young people. The resulting book became A Summer to Die. I was divorced the year that the book appeared, and for the first time I had to earn a living, not something easy to do as a writer. A Summer to Die won the International Reading Association’s children’s book award, and I started to hear from readers. Their letters were very moving, and I began to think that writing children’s books could be not only a viable way to support myself, but also a way of affecting young people at a time when they are vulnerable and open.

What are some of the most memorable things you’ve heard from readers of The Giver?

An eighth-grade teacher in South Carolina, who worked in a poor rural area, wrote to me about a day when they had had snow. Snow was so rare there that the schools closed down. She’d been reading The Giver to her class, and the worst troublemaker, the most disruptive boy, called her at home and demanded that she read the next chapter to him. He said he couldn’t live another day without hearing more of the book.

Another boy came up to me at a recent book signing. He had just graduated from high school, and he gave me a letter and asked me to read it later. In this note, he told me that he went to a private school, and in senior year each student had to speak to the entire school at an assembly. When his turn came, he went up on the stage and said that he learned more from reading one book than anything else that had happened at school. It affected him more than any class he had taken or any lecture he had heard. Consequently, he wanted to share that book with the assembly. He began to read The Giver aloud; the 30 minutes for his speech time came and went. But then he said, “I am going to read this whole book; you can come and go as you want.” Many got up and left, and some stayed, and some came back. Over the course of the next several hours, he read the complete text of The Giver.

Why do you continue to write for young people?

Although I enjoy writing lighthearted stories—like the books about Anastasia, Sam, and Gooney Bird Greene—I love knowing that I have also written books that can affect young people’s lives. That knowledge keeps me at it. That, and the entire book community, which has become something of a family—the most supportive kind of family—to me over the years. The Margaret A. Edwards Award is a kind of culmination of that support. But I would like to think that it doesn’t imply a conclusion, and that when it uses the term “lifetime,” it is with the awareness that my lifetime is still going strong, and that there are a few more books yet in me!

To watch a video of Lois Lowry discussing The Giver, visit TeachingBooks.net/Llowry.


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