“When I’m really entrenched in my writing, I seem to go through mini-writer’s block cycles that usually last a week or so. They make me moody. My husband has a routine to help me get through the blocks. He forces me to take a day off, and he insists on my relaxing and taking in other forms of art to recharge my creativity. It actually works really well, but whenever I’m that into my work, I won’t take a day off willingly.

I do have a system for when I have a novel idea. I like to research a whole lot first and take notes by hand, and then I outline and figure out the plot based on the history and research. Next, I write everything I can as quickly as I can without worrying about grammar or even writing well. Then, I go back and read through and start fixing things. It’s kind of like a process to create the framework then I can go back in and make other layers shine.

Making the rest of the layers, really known as the editing process, is where things get crazy. I don’t have a system for it because it’s kind of a journey of discovery. I’ll know things are wrong, but I won’t always know how to fix them. When I discover the solution, it might take the story to a place I never would have guessed.

That happened a lot for A White Room. In the beginning I only had the idea for the first half of the story and just the story of Emeline – none of the subplots or stories of the other characters were there yet. Not even John’s story. It was just Emeline up until the point of her escape. I didn’t even know the second half. That all developed over several years through research, feedback, and discovery.”