Interview with Cynthea Liu

by debbi michiko florence

Cynthea Liu is the author of teen novel THE GREAT CALL OF CHINA for Speak’s bestselling S.A.S.S. series; a humorous middle-grade mystery novel PARIS PAN TAKES THE DARE (G.P. Putnam’s Sons); and WRITING FOR CHILDREN AND TEENS: A CRASH COURSE (Pivotal), a popular nonfiction book for aspiring writers. She is also the founder of AuthorsNow! (http://www.authorsnow.com), the largest collaboration of debut children's and teen book authors and author groups in the U.S., and the woman behind Writing for Children and Teens, a top ten Web site on the subject.

Congratulations on your MG novel, Paris Pan Takes the Dare! I know this isn’t your first published book, but can you tell us about “the call” when you found out an editor was interested in your manuscript?

My agent called me and told me I had received an offer for PARIS PAN, I was pretty stunned. We went through a year of submitting that manuscript together, and I thought the day would never come. There was much squealing and rejoicing to be had. Then I remember hearing “two-book-deal.” Which put me into total shock. And then “multiple offers.” I subsequently stroked. There was a small bidding process that went on for what felt like months. But I think it was only a week. And then I had to interview the editors before deciding. THIS WAS TORTURE because who wants to reject an editor? YIKES. After that was done, I thought *I* was done. But a couple of weeks later, Speak bought my S.A.S.S. book. (My agent and I had pitched that one a few months before).

How was writing this story different from writing your other novel, The Great Call of China? How was it similar?

PARIS PAN was my second completed novel that I had written to date. THE GREAT CALL was my third (even though THE GREAT CALL came out before PARIS PAN). They were both challenging, but in different ways.

I started PARIS PAN about a year into my career, which mean this novel was the one where I learned how to pull a book together. It was revised a zillion times with feedback from my critique partners, Tammi Sauer and Beverly Patt. And revised some more with my agent Jen Rofe at Andrea Brown Literary agency. After it was sold, it went through revision again. And again. And again. And again! So the overall process was long, arduous, and extremely educational.

THE GREAT CALL went much more quickly; it was sold based on three sample chapters and an outline, so I had some idea of how the story would play out. I also knew that the series demanded a much quicker revision schedule so I didn't really allow myself to mess around too much. The actual writing of the book was incredibly more difficult than PARIS PAN since I had to adopt the style of the series, which feels different from my own. So that was a whole new ballgame I hadn't played before.

Now, having had both experiences, I feel like I can do almost anything!

In Paris Pan Take the Dare, Paris wants friends at her new school badly enough that she agrees to participate in a rather creepy dare. I sympathized with Paris immediately. How did Paris’s story come to you?

Really, I started with absolutely nothing. I just sat in front of my computer with the intention to write a novel and waited for the first thing to pop into my head. That thing was a scene of a girl who looked a lot like me as a kid, on her first day at a new school. I started there and I knew that some of the kids at her school would be trouble. And trouble plus kids = peer pressure = DARE. Thinking up the exact details of the Dare wasn't difficult because I knew the setting of that small school. Similar to a place I lived in Oklahoma when I was young. Deep in the woods.

Like Paris, I am jumpy when it comes to ghost stories and sounds in the night. Paris is braver than I, as I’m pretty sure I’d never agree to spend the night in the woods where the ghost of a dead girl is reported to haunt the area. (As I type this I’m getting chills down my back.) Are you like Paris Pan?

I LOVED spooky books and movies as a child. A favorite childhood book? THE DOLLHOUSE MURDERS by Betty Ren Wright. I also ate up everything she wrote.

As an adult though my heart can't handle it. I saw THE GRUDGE and forever gave up scary movies. Though I'd probably read a scary book because I can close a book more readily than a movie and I can control when and where I want to read it. Like in a crowded place in broad daylight.

I have to warn you though. PARIS PAN TAKES THE DARE is rated CG-13. PARENTS ARE NOT ADMITTED unless accompanied by a child under the age of 13. The kids can take it, I assure you. They are reading PARIS PAN all over the country and calling it a favorite. So parents: if you are afraid to read the book, make sure your kids are around to hold your hand and read it with you. :)

All the characters in the story come alive off the pages. How do you get to know your characters? Did any character give you trouble as you wrote?

All of the characters are based upon bits and pieces of personalities from people I have known throughout the years. The Pans themselves are patterned off of my own family. The Lius, thankfully, embrace the book as if THEY are actually the characters in the book.

Mayo is a combination of so many mean girls I have known in the past. And Robin is that girl who was always picked on or blatantly ignored in every grade, every year of my school life from 3rd grade to high school. Tom is every boy I would have crushed on from Day One. And Jay is every boy that would gross me out. Dana was probably the most difficult to write simply because she is a lot like Paris, in that they both are afraid of the dominant friend in their group. It took some exploration to figure out how to create her own story that would show a point of view that was slightly different than Paris's.

How many drafts did you write until you felt comfortable enough to share with an editor? Do you have an agent? A writing group?

With an editor? I think I revised PARIS PAN with my critique partners about three times (I'm talking major start-to-end revisions) before I submitted it to an editor. The editor requested the full, then rejected it with a nice personal letter. That same version got me my agent, we revised the manuscript five more times in total between submission rounds before it sold. But if you were to look at the number of versions of PARIS PAN that I have on my computer - it's like close to a million. Any time I made a substantial change, I would save it off. My computer files were a nightmare.

Paris Pan is Chinese-American, living in Oklahoma. While it’s apparent that she’s Asian, it’s not the central heart of the story. The story is about friendship and family, and being brave – something most if not all kids can relate to. As a Japanese-American, I would have loved to read a book exactly like this when I was a kid (and loved reading it now as an adult). How much of your own experiences went into creating Paris and her story?

Thanks, Debbi, for noticing that PARIS PAN's Asianness is not the central heart of the story. The book isn't about being Asian or making some sort of statement about Asianness, other than: here's a story that ALL kids should enjoy reading, regardless of race. Since the book's release, I've been surprised by how people have viewed the book as a statement about Asianness, to the point of making comments about the Pan parents' broken English.

That has been disappointing to me, and I want to tell other writers who are working on books featuring characters of color to STICK WITH YOUR GUNS and write what you believe to be true for you and the children of today. Despite what the market wants your book to be. Despite what they might say about your book. We need your books out there. We need to keep challenging misguided perceptions and expectations about our books of color.

Paris Pan could have easily been me as a kid, who happened to have parents who spoke broken English. While my Asianness is part of the fabric of my experience, it's not the only thing that defines me as a person or an author.

I was a regular kid, dealing with all the regular stuff that many kids today deal with--crushes, friendships, family issues, and the ultimate quest to be "cool." That's what PARIS PAN is about. I hope that one day, everyone will be able to read it and see that, too.

Have you always wanted to be a writer? What made you decide to write for kids? Can you share with us your journey to becoming a published author?

I grew up, never liking writing very much, but I did enjoy telling stories. After working as a corporate consultant for six years after college, I felt I needed to start using the more creative half of my brain. Through this time, I had always enjoyed watching animated films - I always thought that was weird as an adult - why on Earth did I like TOY STORY sooo much? So it made sense that I should explore writing my own children's story. When I finally left my job, I did just that and I haven't looked back.

What is your writing schedule? Do you write at a certain time of day? Where do you write?

These days, I am working mostly on other author jobwhich include booking school visits, speaking at conferences, etc., When I am writing, I prefer BIG blocks of time - like 4 hours - to really crank something out. I can write practically anywhere. A coffee shop, my writing office, and the kitchen are the most common places you'll find me working on my next book.

What is the best thing about being a writer?

Well, the fan mail is pretty awesome. When things get really tough and just plain exhausting, fan mail perks me up in an instant. Emails and letters from readers reminds me that my books need to be out there, that I am making a difference. The hard work is worth it. So kids AND adults, are you hearing this? SEND ME FAN MAIL. You can send it via my website at www.cynthealiu.com/contact. Anyway, next to fan mail is hanging out with other writers and helping other writers online at www.writingforchildrenandteens.com.

I really enjoy critiquing and teaching adults and kids. I guess that still ties back to "making a difference." I have considered teaching as a potential career but have always dismissed it because of all the paperwork involved. :) However, now as a writer, I can do that with very little paperwork. So I've finally found the best of both worlds!

What is the most challenging thing about being a writer?

Wearing the PR hat, too. A lot of people assume that public relations is not the writer's job. In most cases, unless your book is a lead title OR you hire a publicist, you will be responsible for the majority of the public relations involved as author. I wouldn't have a problem with all the PR work if I had loads of time. But since my schedule is so tight, it's been a hard balancing act.

What are you working on now?

I am really excited about a YA novel in progress. It's kind of serious. Very different from PARIS PAN, but in all my books, I enjoy keeping the reader (and myself guessing) as to what will happen next. Mystery and suspense! Oh!

How can fans, teachers, librarians contact you?

Fans can contact me at http://www.cynthealiu.com/contact. I try to answer all fan mail but sometimes it can be hard to get through all of my email quickly. :( Event organizers can email me directly about school visits, conferences, and book festivals at events AT cynthealiu DOT com. These emails are usually handled before others since they may be very time-sensitive.

Anything else you’d like to share?

Writers, please join me on Facebook and Twitter to see what I'm up to now. In addition to being an author, I am also a serious procrastinator, and when I'm writing, you can usually find me online. A LOT. I look forward to seeing you there!

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