In the #232 May 2021 issue of Writers’ forum, I talk to Katya Balen about the way she uses emotion in her novel, October, October.
October, October is a story about a girl who grows up wild in the woods. She lives with her dad in a house he built, and her first friend is a baby owl she rescues. Her mother couldn’t handle the wildlife and left when October was four, but on her 11th birthday she returns. Tragedy strikes and October has to face life in a bright, loud city with a parent she barely knows.
Katya explained to me how children are brighter and braver than adults sometimes give them credit for – I love writing stories that appeal to that. She loves having the space to explore big feelings and deep meaning but also just have fun with stories and language. If you ask people which book has had the biggest impact on them, she has discovered most people say a book they read as a child. It’s wonderful to be a part of that.
Katya has very strong memories of being a child and she believes this ability to draw on her own memories makes it easier to create characters children can identify with – those small moments that feel so huge when you’re young – the things that mattered and the way those things made me feel. Those memories are so helpful in creating convincing characters.
Katya told me she thinks using a range of emotion in writing is important. She likes to use quiet moments to show the depth of complex feelings. She illustrated this for me with quotes from her novel, October, October.
‘The school term ends with an assembly where everybody sings songs without needing to read the words and I have to keep quiet until the same words start to catch in my brain and I whisper them into the swelling voices that reach up the roof.’Extract from ‘October, October’ by Katya Balen
She also uses longer, uninterrupted sentences as my character races through a feeling – an almost stream of consciousness style.
‘I burn and scream and stamp and shout and I know why she told me when I was already in the car and I still try to claw the door open until my nails are ragged and raw just like my voice but I can’t unlock the handle and I throw myself at the window and scream and she stares ahead with bright eyes.’Extract from ‘October, October’ by Katya Balen
Katya explained she prefers to focus on how the character feels bodily at that time – so many emotions give a physical reaction, especially in children.
‘I can feel a little spark of something start to fizz inside me for the first time since the crack and the suddenly empty sky and the whistle of Dad falling.’Extract from ‘October, October’ by Katya Balen
She loves writing stories about quiet children. Children who are a bit different, interior, sensitive and perhaps even strange. I love exploring the way they see the world and telling their stories. Katya told me she doesn’t think there’s any ‘one size fits all’ approach to writing. What works for one person might not work for another.
Her tip for other aspiring children’s book writers is that it’s important not to try to chase a trend. If there seem to be lots of books being written about dragons or unicorns or pigs, don’t change tack and start writing one of those books too. By the time it gets near a publisher, the trend will be gone or the market will be saturated. Write what you want to write – books that mean something to the writer are always much better. Set yourself a word count every day, or three times a week, whatever fits. It’s really motivating to get a draft done.
You can follow Katya Balen on Twitter @katyabalen
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