Interview: Deborah Reed
by Sharon Harrigan
Deborah Reed is the author of Carry Yourself Back to Me, published originally by Amazon Encore in September 2011, then reissued by Houghton Mifflin in January 2012. She also writes suspense novels under the pen name Audrey Braun. A Small Fortune was released by Amazon
Encore in July 2011, became an immediate bestseller, and was reissued by Houghton Mifflin in February 2012. Its sequel, Fortune’s Deadly Descent, will appear in September 2012. Carry Yourself Back to Me was a Best Book of 2011 Amazon Editors’ Pick as well as a bestseller, and
Publisher’s Weekly called it “a triumph.” The Library Journal called Reed “a writer to watch,” whose “lovely, lyrical prose” is “as rare as snowfall in Florida.”
Reed and I were graduate students together in Pacific University’s low residence MFA Program in Creative Writing. We have workshopped with literary legends David Long, Mary-Helen Stefaniak, Tayari Jones, Jack Driscoll, Mike Magnuson, Bonnie Jo Campbell, and Ben Percy, learning to give our verbs more muscle, our stories more heart and speed, and to line edit as if our lives depended on it. Reed’s work is distinctive for its lush settings, musical cadences, and tightly woven plots that manage to be credible yet surprising, moving yet unsentimental. Her literary work is suspenseful, fast-paced, and tightly plotted; while her suspense work is literary, with rich characters and complex family relationships. She is a rare hybrid. We discussed her unusual path to publication, her double identity working in two genres, and the journeys her characters take, across Europe, Mexico, and the United States.
Silk Road: Many writers consider publication the ultimate goal of an MFA. Since you already had book contracts while you started your MFA, what was your goal? How did the program help you reach it?
Deborah Reed: I entered Pacific University as a self-taught writer with a lot of discipline and determination but no formal education in creative writing. My undergrad degree was in Anthropology and German, so I came to writing in a patchwork way, which included a smattering of conferences and workshops and a local writing group. I could see my skills improving over the years (slowly), but there were gaps in my understanding of the craft. I couldn’t fully articulate why something did or didn’t work on the page. Gaining a critical voice has not only helped me zero in on my own failings and strengths, but also allowed me to help others. And the solutions come faster. What may have taken months of staring at a passage, knowing instinctively that something was wrong, now happens more quickly.
It’s important to note that the low residency model allowed me to work as a writer while getting my degree, unlike a traditional MFA. With low residency, you learn how to juggle a writing life against the backdrop of work and family. Another difference is working one-on-one with a mentor each semester, which is an intense and focused way to learn.
SR: Your path to publication was a bit unorthodox. I think writers worried about the state of the publishing industry can take heart from your story.
Deborah: I began through the traditional channels with an agent who was shopping around Carry Yourself Back To Me. This was in 2009, when the publishing industry was imploding and no one was willing to take on a new author. We were coming to the end of publishing house submissions after a line of very nice rejections letters and I could see that my novel was about to get put into a drawer and forgotten. I decided to secretly enter it into Amazon’s Breakthrough Novel Award Contest, while at the same time I wrote A Small Fortune in a nervous frenzy, as I waited to hear back from my agent. I then went on to self-publish A Small Fortune and within weeks it became an ebook bestseller on Amazon, climbing as high as #3 in the entire Kindle store. It was madness. At the same time behind the scenes, an editor from the newly developed publishing house owned by Amazon, called simply Amazon Publishing, pulled my manuscript out of the contest slush pile because he liked the title.
He started reading it and things got crazy from there. Amazon Publishing had also noticed A Small Fortune by Audrey Braun was selling like crazy and they were about to get in touch with her for a book deal. The editor finished Carry Yourself Back To Me in two days and called me, Deborah Reed, to offer me a book deal. He had no idea I was also Audrey Braun. Hilarity ensued. By the end of the phone call I was offered a three-book deal, one that included the thriller follow up to A Small Fortune, called Fortune’s Deadly Descent, which will be released in
September 2012. Not long after my first two books were published, Houghton Mifflin Harcourt approached Amazon Publishing and bought the paperback rights to them. I now have two publishers and couldn’t be happier.
SR: Your books take us on intense, sometimes exotic, voyages to landscapes that are so rich they are almost characters. In Carry Yourself Back to Me, you use the lush setting of Florida tangelo groves threatened by freakish snow to heighten emotional landscape. In A Small Fortune, you take us to Puerto Vallarta, Mexico, with its seductive glassy water and pristine beaches that hide danger below the surface, and then you lead us into jungles no tourist brochure ever warned against. In Fortune’s Deadly Descent, you begin in picture-postcard Switzerland, then lead us to St. Corbenay, France, a quaint Provencal village whose castles and saturated colors inspired the French Impressionists. Why did you choose these settings, and how do they inform your writing?
Deborah: Foreign places exhilarate me. I love the challenge of figuring out how to get around in a country I’ve never been to, maneuvering through a language I don’t speak, meeting people different from myself, and being surrounded by an aesthetic that inspires me. When it comes to writing, it’s a pleasure to infuse my novels with places where I’ve spent time, allowing me to go along for the ride just like the reader. With thriller writing in particular, foreign settings throw my protagonist off balance. She’s already in dire circumstances, so setting her in a place she’s never been, surrounded by a language she doesn’t speak, compromises her capabilities further, which gives the story another layer of tension. It becomes an adventure as well as a mystery.
SR: Both your literary novels (the one that published and the one in progress) are set in Florida, where you lived as a teenager. Do you think of your characters and books as Southern?
Deborah: I definitely think of my literary characters as Southern. My family on both sides comes from the South and they are great oral storytellers and musicians and have impeccable timing, which makes them funny as hell.
There is a rhythm to their speech, a lyrical cadence that I find comforting, and there is also a restraint in the content of what they say, or don’t say, and all of this is so beautiful to me, an art form really.
SR: One thing that distinguishes your suspense novels from your literary novels is setting. The former are in Florida, the latter outside America. Is this one way you keep your writing identities separate?
Deborah: It is. And I’d even go so far as to say that they make up the two sides of me. I lived in Germany for many years and love to travel. This is a large part of who I am and I take a lot of pleasure in bringing that to the page with my thriller novels. The other part of me is deeply rooted in The States, as I mentioned, my family is from the South and have been there for centuries. I grew up mostly in the Midwest but was surrounded by an enclave of Southerners, and they too are very much a part of who I am.
SR: You’ve lived in Michigan, Florida, Germany, and Oregon. How do these distinctly different locales inform your writing?
Deborah: I’ve yet to set a novel in Michigan but I’ve begun planning one in my head, so stay tuned. I feel as if I’ve lived many lives. This makes for good stories.
SR: You’ve said one of your biggest influences is Per Petterson, and especially his novel Out Stealing Horses. What is it about this book that feels so feel so at home, even though it is translated from Norwegian and set in Norway?
Deborah: I’ve read this novel about six times. I finally understood that the rhythms in particular are what I’m drawn to. I read an interview with Per Petterson where he talks about rhythm being the most important quality he is trying to bring to his writing. He felt one should be able to tap a foot to the whole novel. It hit me then that this was the quality I was so drawn to in this novel. A musical cadence close to my heart. The characters are subtle, showing a lot of restraint, especially the men, and I drew the men in Annie’s family in Carry Yourself Back To Me the same way.
SR: The Sun Post Weekly says: “It isn’t very difficult to imagine Patsy Cline or June Carter Cash voicing the sentiments” in Carry Yourself Back to Me. How did music influence the plot of this book and its style? And can you elaborate on the title and epigraph?
Deborah: The Sun Post Weekly’s comments were so flattering, the best compliment I could have hoped for, and yet it’s somehow frightening, too. I idolize those women, so for someone to suggest my writing was in line with something they might sing, left me, well, I guess I felt an awful lot like Annie in the novel when she gets compared to some of the greats: “The comparisons flattered her for the first few minutes but after that and ever since she’s done nothing but worry about measuring up.”
The title of the novel is taken from Bob Dylan’s song, “Boots of Spanish Leather”:
There’s nothing you can send me my own true love, There’s nothing I wish to be ownin’ .
Just carry yourself back to me unspoiled, From across that great big ocean.
After I’d finished the novel and was trying to name it, I happened to hear this song, which I’ve heard hundreds of times over the years, but suddenly I heard it in a way that made me realize the narrative arc of my novel matched that of the song. I immediately looked at the lyrics and the instant I came across the “carry yourself back to me” line, I knew that was it.
SR: Book List magazine calls Carry Yourself Back to Me “Part whodunit, part romance, part family drama, and part childhood remembrance.” I think that’s good way to summarize the ambition and scope of the book. Did you conceive of this book as weaving those four different strands?
Deborah: This is exactly what I did. I can be a pretty melancholy person and I wanted to capture that by writing a novel about yearning, nostalgia, missed opportunities, regrets and mistakes. Romantic love and familial love embody all the categories Book List mentions, and all the themes I was going for. I structured the novel so two story lines are running nearly parallel with one another. The backstory is meant to illuminate what is happening in the present so structurally the novel weaves back and forth between past and present. The past by itself is a coming of age tale of Annie and her brother Calder. The present day follows the two over the course of two weeks. By the end of the novel past meets present and brings everything full circle.
SR: Your work is full of sensory details. What struck me the most is the way it is infused with smells, which are known for evoking emotional memory. I can’t think of any book that does this quite the way you do. Why is smell so important in your work?
Deborah: You hit it exactly: smell evokes emotional memory. This is precisely why I used it. I live in the Northwest now, but when I go back to Florida the first thing I’m struck by are the smells, whether it be from my mother’s cooking or the grass, trees, and flowers, or hot sun on the concrete after a rain. Memories come flooding through me every time.
SR: Dialogue is very tricky, and I admire the way you use it to express the subtext, or what lies below surface and is too difficult for characters to express directly.
Deborah: I find dialogue most interesting when people are saying one thing and meaning another. There is a messiness there that reveals human emotion so much more poignantly than pointing to it. The woman angry with her husband for not paying enough attention to her doesn’t say, “I’m angry at you,” she says “I’m sick of seeing your toothpaste in the sink.” When the reader knows something that perhaps the characters themselves aren’t even quite aware of yet themselves, a connection takes place between the reader and the story, a kind of insider knowledge that pulls the reader closer in.
SR: One of the things I loved about A Small Fortune is the spot-on characterization of a prickly relationship between Celia and her teenage son Oliver. Since I have a teenage son myself, I was sure you were reading my mind. How has your experience as a parent informed your writing?
Deborah: In this particular incidence, greatly. Celia’s struggles with Oliver are not unlike my own with my teenager. Those moments of pulling away are hard on everyone, done under the guise of disdain and humiliation on the teenager’s part, but really it is the natural course of bonds needing to break apart and reconfigure. And what a paradox. They hate us but they need us. I came across a book on raising teenagers called, Get Out of My Life, but First Could You Drive Me & Cheryl to the Mall. I didn’t read it but I think I could have written it.
SR: How do you balance working in two genres–literary and suspense? Do you work in only one genre at a time? How do you prep yourself to become your pseudonym?
Deborah: The past couple of years I’ve been switching back and forth between the two genres simultaneously. I prefer not to do that but I was on a deadline and had no choice. I like to focus on one at a time for the pure reason that each genre requires something different of me. When writing literary work, I only read literary novels, and the same goes with thrillers. I’m very sensitive to influence and it’s important for me to feel in line and inspired by the work I’m reading.
I’m also far more meticulous and slow when writing literary fiction. I self-edit, perhaps too much, and I’m far more critical of myself. When I switch to Audrey Braun I write quickly and with more confidence. I discovered this about myself by accident when, as a fluke, I tried my hand at writing a thriller. I never assumed anyone would ever read it so I wrote with complete abandon and the entire first novel flushed out of me in four months, compared to the six years it took to write Carry Yourself Back To Me.
SR: How do you keep your aesthetics and persona separate for each genre? How do you deal with credibility issues for writers who stretch beyond one genre? Are there still people who don’t take “genre” work seriously?
Deborah: This is a great question. While there are still people who question the credibility of genre fiction, the lines between genres have all but disappeared these days. So many articles have been written about this lately. How, for example, does one categorize someone like Dennis Lehane? Is he a crime writer or a literary writer? What about the great Patricia Highsmith? Is The Talented Mr. Ripley a mystery or literary novel? And then there are novels like The Tiger’s Wife or The Night Circus that infuse folklore, fantasy, and magic into what are otherwise categorized as literary novels. A writer friend of mine from Russia once told me how baffled she was by all the categories we Americans put our novels in. She said in Russia they don’t have all of this.
They only good books and bad books. I love that. I can think of so many novels that could potentially fall into so many genres. Ultimately, the decision comes down to the publishers and how they want to market a book. Mystery and thriller sell much better than literary. So there’s that.
SR: Why did you decide to use a pen name?
Deborah: Initially it was because I’d never written a thriller so I decided to self publish A Small Fortune just to see what would happen. I figured if it turned out to be a flop no one would ever know it was me. It succeeded beyond my wildest dreams. I’ve since kept the pen name as a way to distinguish between my literary writing and what has now become my thriller series. The fact that I’m both Deborah Reed and Audrey Braun isn’t a secret. It just helps my readers know what they’re getting when I have a book released.
SR: Who are some other writers, besides John Banville, who write both literary and genre fiction?
Deborah: I think what is more interesting are what are being referred to as the hybrids. Many people are surprised by the fact that Tom Perrotta wrote The Leftovers, a tale of the apocalypse. Colson Whitehead wrote Zone One, a post-apocalyptic novel about zombies. Stephen King, of course, writes everything under the sun, including his most recent historic thriller, 11/22/63. As for history and horror, how about Abraham Lincoln: Vampire Hunter by Seth Grahme-Smith? The lines have crossed and there’s no turning back.
SR: Who are some of your biggest influences? For literary fiction and for suspense fiction?
Deborah: For literary: Per Petterson, Raymond Carver, Kent Haruf, Annie Proulx, Marilynne Robinson, Flannery O’ Connor, William Gay, Tom Franklin, and Barry Hannah. For thrillers: John Banville, Kate Atkinson, Harlan Coben, Lisa Unger, Patricia Highsmith, and Laura Lippman.
SR: Who are some of the literary finds you’re excited about now? Anybody you’re reading at the moment?
Deborah: Books I’ve recently read and loved are Crooked Letter, Crooked Letter by Tom Franklin, We The Animals by Justin Torres, The Cove by Ron Rash, and Florida by Christine Schutt. All filled with lush original prose and masterful storytelling.
SR: I heard a rumor that your dog helps write your books.
Deborah: It’s true. My Springer Spaniel is a wonder. She lays at my feet while I write and gets emotionally involved by whatever cues I’m somehow emitting to her. When I realize I’ve hit a sweet spot in the writing she gets up and puts her face in my lap. She is so tuned in to me it’s scary.