Adrianna Cuevas is the author of the Pura Belpre honor book The Total Eclipse of Nestor Lopez and Cuba in My Pocket. She is a first-generation Cuban-American originally from Miami, Florida. A former Spanish and ESOL teacher, Adrianna currently resides in Austin, Texas with her husband and son. She is represented by Stefanie Sanchez Von Borstel of Full Circle Literary.

What typically comes first for you: a character? An era? A story idea? How do you proceed from there?

I always begin my story brainstorming with a ‘what if’ question. The Total Eclipse of Nestor Lopez, the question was ‘What if you could talk to animals?’ and for Cuba in My Pocket, it was ‘What if you had to move to another country by yourself?’ From there, I think of what type of character would be the most interesting to place in that ‘what if’ situation and then what type of setting would make that hypothetical situation the most dramatic. 

How do you conduct your research? 

For Cuba in My Pocket, I interviewed several family members regarding their immigration to the US. I had a prepared set of questions and then contacted them to ask follow-up questions as I began writing. I also read several books by Cuban-American authors regarding their immigration experiences as well.

At what point do you feel comfortable beginning to draft? How does your research continue once you begin writing?

I completed a loose outline of Cuba in My Pocket before beginning research in earnest because I knew the broad details of my dad’s immigration story. After completing my outline, I could see what gaps in information existed and conducted the necessary research to fill in what I needed.

What’s your least favorite thing about research?

It’s too easy to waste time chasing information that really isn’t critical to your story. An author can also fall victim to spending a lot of time researching a particular topic, only to realize it won’t work in the story. Research, while critical to a story’s authenticity and accuracy, is time-consuming and can often keep an author from their favorite part of the process- actually writing the story.

What are some obstacles writing historical fiction brings?

Moment of honesty– I don’t like writing historical fiction. My mind deviates too often to the magical and ridiculous. Being constricted by true events stifles the story I really want to tell. The main reason I wrote Cuba in My Pocket was because I wanted to preserve my father’s immigration story, not because of some deep love for writing historical fiction. I have quickly returned to writing contemporary fantasy– my comfort zone.

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Inspired by stories from her father’s childhood, Cuevas’ latest is a triumph of the heart…A compassionate, emotionally astute portrait of a young Cuban in exile.
― Kirkus, STARRED REVIEW

Cuevas’ intense and immersive account of a Cuban boy’s experience after the failed Bay of Pigs Invasion brings a specific point in history alive … Drawing from her father’s boyhood experiences, Cuevas does an outstanding job of eliciting the confusing array of emotions Cumba feels as he is thrown into life in a new country.
― Booklist, STARRED REVIEW

Cuevas packs this sophomore novel with palpable emotions and themes of friendship, love, longing, and trauma, attentively conveying tumultuous historical events from the lens of one young refugee.
― Publishers Weekly, STARRED REVIEW

Ann Clare LeZotte is the author of the Schneider Family Book Award-winning novel Show Me a Sign, which was named a best book of the year by NPR, Kirkus Reviews, School Library Journal, the New York Public Library, the Chicago Public Library and American Indians in Children’s Literature, and was a finalist for the New England Independent Booksellers Association and the Jane Addams Children’s Book Awards. A passionate advocate for the Deaf and Hard of Hearing, as well as underserved youth from marginalized communities, Ann worked for many years as a youth librarian in Gainesville, Florida. Set Me Free, a standalone companion to Show Me a Sign, will be released in September 2021. In her free time, Ann enjoys yoga and walking her dog Perkins.

What typically comes first for you: a character? An era? A story idea? How do you proceed from there? 

Absolutely an era—more specifically, an important period in Deaf history. I’ve been reading about Deaf history and sign language linguistics since I was a teenager. Even though I was born deaf and have been completely deaf for most of my life, it’s not something I was taught at home or school. So, it’s a near obsession of mine to write books for young readers about Deaf history, culture and language!

How do you conduct your research? 

I like to have visited a place, so I have an impression of it when I start researching. I already know it appeals to me. In the case of Show Me a Sign (and the upcoming, standalone companion book Set Me Free), I lived on Cape Cod in the 1990s and took a number of trips to Martha’s Vineyard. I liked to go in the winter when there were few tourists. It was a cab driver who told me about the island’s history of genetic deafness. I took another cab to the Chilmark Library and the librarian shared resources with me. I also bought local literature on the subject. Now keep in mind this was decades before I stared writing the book. Ideas percolate a long time in my mind.

Do you have a specific system for collecting data? 

I keep notebooks. Because my mind doesn’t think in long English prose sentences, I often use notations to indicate my sources and indicate the key data I’m collecting. I go back to my initial notes many times. 

What kinds of sources do you use?

I use general history books and Deaf history books. All the central books I used were published by Martha’s Vineyard presses except for Nora Groce’s ethnography, EVERYONE HERE SPOKE SIGN LANGUAGE: Hereditary Deafness on Martha’s Vineyard (Harvard University Press, 1988). Thomas Dresser’s history of the Vineyard included stories about privateers and sheep farms along with information about Jonathan Lambert and the Deaf community he helped to create. At the beginning of my research, I naively believed I was writing about a white Deaf utopia. Once I realized that the Aquinnah Tribe of the Wampanoag Nation would feature prominently in my book, I knew I needed to consult with Native experts. I was lucky to find Afro-Indigenous writers and advocates, because the book features a formerly enslaved Black man and intersectionality of the day. My cultural competence readers were enormously helpful and shared family stories and details that I couldn’t have found in books. Because Martha’s Vineyard Sign Language is an extinct language and there isn’t much data about the Deaf community, anyone who was willing to talk to me was invaluable. I consulted Tom Humphries, a notable scholar in Deaf community who co-wrote an ASL textbook I’ve used for years! I also studied old maps for the topography. 

How long do you typically research before beginning to draft?

I did a lot of reading for both books before I began to draft. I was also a fulltime youth librarian and fulltime caregiver, so it was hard to find time to write. But I don’t feel the need to rush from research to writing. As I’ve said, I read Deaf history for pleasure. It helps me connect with who I am in my life and the larger world. 

At what point do you feel comfortable beginning to draft? How does your research continue once you begin writing?

Once I can see it in my mind, I start to draft. Of course, that’s an exploratory process. I absolutely continue researching. A new book on the Wampanoag Tribe of Gay Head was published after I’d already started. I devoured it and it changed my original course in some ways. I use cultural competence readers throughout my different drafts. Frankly, I started with cringe-worthy Native stereotypes and became more educated. I’m open to criticisms during the draft process—I need them. SHOW ME A SIGN had many drafts. I was learning to write a novel and strengthening the storyline and characters, including many historically accurate details.

What is your favorite thing about research?

I guess it’s a typical response but learning things I didn’t know. 

What’s your least favorite thing about research?

Nothing, really. I could be stuck in the stacks of a big library for a long time without becoming restless!

What’s your favorite thing about writing historical fiction?

Recovering chapters of history that have never been told before but are essential to an understanding not just of Deaf culture but U.S. history in general. Breathing new life into it so some young readers can see someone like themselves in a book for the first time and others can put themselves in a perspective they may never have thought of before. 

What are some obstacles writing historical fiction brings?

Because we can only know so much about a people and place from a different time. Also, it’s a real challenge to write accurately about another time but with an awareness that you are writing for young readers today. To be authentic but also appealing to contemporary sensibilities. As you well know, that takes some careful finessing!

What’s one of the most interesting things you’ve learned while researching?

I learned about a spy for the British during the War for Independence—a girl called Miss Jenny.  Her story would make a fascinating book. 

Has your research ever affected the overall trust of your book? How so?

Late in my drafting process, I came across a repulsive detail. Chilmark Deaf community founder Jonathan Lambert worked on the slave ship Tyral. He helped hunt down escaped, formerly enslaved Black people in Canada. I told my editor who initially said, “That’s a bit heavy.” But we both knew that once we’d discovered it, we couldn’t pretend we never saw it or leave it out of the book. Ultimately, the revelation makes the book stronger. 

Because life isn’t always clear cut, the motives behind our actions don’t always make sense. But stories need to follow a logical path. What sorts of decisions have you had to make about “muddy” historical figures or events in order for your book to work?

Actually, I run toward that type of truthfulness and ambiguity! I think it’s important that white marginalized people address not only our privilege but imperialism in writing historical fiction rather than simply posing ourselves as victims. My Deaf and hearing characters cover a broad spectrum of diversity and settler colonialism thought and belief. I think at any time in history people have conflicting beliefs (we can certainly see that today!), some more forward-thinking than others. 

Why is historical fiction important?

To quote one of my favorite writers, Carole Boston Weatherford: “Why do I write about forgotten history and heroes? Because teachers can’t teach what they don’t know. With my nonfiction books, teachers, parents and children can learn together.”

Erica George is a writer of young adult fiction. She is a graduate of The College of New Jersey with degrees in both English and education, and is currently an MFA student at the Vermont College of Fine Arts. She resides in scenic northern New Jersey, but spends her summers soaking up the salty sea air on Cape Cod. Many themes in Erica’s writing rotate around environmental activism and helping young people find their voice. When she’s not writing, you can find her exploring river towns, whale watching, or engrossed in quality British drama with her dog at her side.

What typically comes first for you: a character? An era? A story idea? How do you proceed from there?

I think that a character definitely comes first for me. For Words Composed of Sea and Sky, I knew that I wanted a contemporary poet on Cape Cod writing about someone from the past. I’ve always been fascinated by whaling (with complete and total disgust), and I thought it might be interesting to combine whaling with a mid 19^th century poet, thus the relationship between Leta Townsend and Benjamin Churchill was born. Leta’s words are what matter most, and her discovery that she never needed to hide behind the name of a prominent male sea captain really is the arc of her story.

How do you conduct your research? 

Again, it all starts with the characters. First, I need to know what my historical characters must accomplish within their own stories. Once I know their storyline, I’m able to narrow down what historical elements I have to research. In the case of Leta, I was constantly researching the style of 19^th century American poets. I researched the fashion of the 1860s. I needed to know what the etiquette was for people attending high society balls. For Ben, I did a lot of research about what it must have been like for a young man who spent his life whaling. I visited the houses (now museums) of actual whaling captains, I read books and firsthand accounts of whaling in the 19^th century. I studied what whales frequented the shores of Cape Cod in the 1800s, and I’ve gone on more whale watches than I can count. I climbed the real Highland Light and learned about the life of lighthouse keepers. I think the more one can literally immerse themselves in the lives and history of their characters, the more authentic the story will be.

What kinds of sources do you use? The more specifics here, the better!

I start with the internet, just to get a surface level idea of what the time period I’m researching, or the specific elements being featured in the book. Once I know what I don’t know (which sounds funny, but it’s so true!), I can do a deeper dive into the research. At that point, I head to the library and take books out, or I find primary sources. One of my favorite sources I stumbled across was a reprint of a book written by a whaler to his son, describing his whaling journeys. Along with books, I love firsthand experiences. As I said earlier, visiting lighthouses and whaling captains’ houses across Cape Cod was instrumental in my research.

At what point do you feel comfortable beginning to draft? How does your research continue once you begin writing?

I’m a very dedicated plotter! I start by writing a very general synopsis of the book, then move on to outlining chapter by chapter. At this point, hardly anything is researched. I might leave myself notes within the outline in order to remind myself of what needs to be researched in order for the book to make sense. Once I know where the story is going, I begin drafting, again leaving myself notes throughout to remind myself during revisions what needs more detail or which facts I’m still uncertain of.

What is your favorite thing about research?

My favorite thing about research is stumbling upon a fact or a story that I didn’t expect! I go into the writing process with a general idea of how the book is going to go, but there are always bumps along the way. It’s one of the most exciting things to find a historical fact that alleviates a plot hiccup, creates an exciting twist, or helps a character complete their journey.

What’s your least favorite thing about research?

My least favorite thing is when I come across a topic that I can’t seem to find enough detail about. For example, there’s a ballroom scene in Words Composed of Sea and Sky, and I had no idea what the proper etiquette was for ladies and gentlemen at a ball in New England in the 1860s. There are plenty of online resources describing Victorian ballroom etiquette, but did that pertain to America or just England? I knew the rules to Regency ballroom etiquette, but were they the same some fifty years later? Probably not. At that point, I choose to include the details I’m certain about, knowing that ultimately, the reader is more interested in the story rather than every rule of the ball (I hope!).