Thomas
Wolfe haunted me on my way to Geneva, Alabama. Wolfe wrote You Can’t Go Home Again, which was published after his death. The
main character is an author, who discovers he’s not welcome in his
hometown. He’d written about his town and its people, and they are angry enough
to kill him.
Thinking
about this, my imagination went wild. As many writers, I’ve used creative license and the backdrop of my hometown Geneva, for scenes in Sex,
Love and Murder and Hurricane House.
In
my latest book, A Message in the Roses,
I wrote about a murder trial I covered as a reporter. That book is set in
Atlanta, but many of its characters share traits and backstories of people I’ve
known.
Before
I arrived in town, the Geneva Reaper
ran an article on me and my books. The newspaper also stated that authors, craftsmen and artists would descend on
Robert Fowler Memorial Park to celebrate Total Recall, Oct. 10. Anyone who had ever
attended school in Geneva had been invited back. Tents and tables would be set
up, where a variety of vendors and alumni were expected to gather.
Homecoming
day in Geneva was hot and humid. No breeze rustled the stalwart branches of the
Constitution Oak.
Breeze
or no breeze, I eagerly anticipated visiting with old friends, even though one friend had asked,“Remember the lady you mentioned in your first book, the one who hated
your mother’s piano playing, the one who slept with the preacher?”
I
froze, unable to respond.
“I
knew that woman,” she added.
In
light of what happened in Thomas Wolfe’s book, I felt the need to explain myself.
“I made up that story. I’m always making up stories in my head. As a child, I
entertained myself by making up stories.”
As
my friend quietly studied me, I expounded on my entire writing process. I
wanted her to know, I didn’t intentionally defame real life people in my books.
I went on to explain how I write a back story for the main characters and give detailed
descriptions. “I outline on note cards. Outlining keeps me on track,” I told
her.
“When I begin
the process of writing and typing the story, I’m in a zone,” I said. “I think I
know my characters, but they’re always surprising me.”
“How long does
it take you to write a book?” she asked.
“It depends. Once
I’ve completed a rough draft, I read through the story again and fill in gaps.
If I find common themes, I try to accentuate and weave those themes throughout.
I’m always trying to create more conflict. And I ask my husband to read it and
give suggestions. I also ask my writer friends to be brutally honest with their
critiques. I’ve learned I can’t shove my baby out in the world before she’s
ready. It’s helpful to let the manuscript sit for a week or two and come back
to it with fresh eyes. Then I rewrite and rewrite and pray for perfection.”
After I finished explaining my
writing process, my friend said, “Hurry up and finish the sequel to A Message
in the Roses. I want to know what happens to Carrie Sue and Marcus.”
I hugged her and thanked her for reading
my books. “It was great seeing you again,” I said. “Wonderful being
back home in Geneva.”
And indeed it was.
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