“A lovely and captivating debut . . . Holczer writes with depth, heart, and a poetic lilt . . . nuanced characters engage from beginning to end.” —Publishers Weekly, starred review
“Holczer expertly crafts the characters and dialogue to create a story readers will identify with, and thoroughly enjoy… More than simply a book about grief and the death of a parent, Grace’s story is about the search for identity. An essential purchase for middle-grade collections.” —School Library Journal, starred review
Please tell us about your book.
The Secret Hum of a Daisy is a story about love and loss and what it means to be a family. It takes place after the sudden death of twelve-year-old Grace’s mother. Grace is forced to live with a grandmother she’s never met in a small town she’s never heard of. A town Mama left years before—with Grace in her belly and a bus ticket in her pocket—and never looked back. It doesn’t take long before Grace desperately wants to leave, too.
Until she finds the first crane.
A mysterious treasure hunt, just like the ones her mother used to send her on, takes Grace on a journey to find home. And it might just be closer than she thinks.
What inspired you to write this story?
I read a blog post recently where it talked about artists being “fundamentally inconsolable.”
This knocked my socks off for about two days while I thought about the reasons I sit in my chair to write. While “fundamentally inconsolable” isn’t the way I would talk about my life—I’m rather happy, actually—I do find that in my artist’s heart, this is very true. I feel compelled to write about themes of love and loss and belonging. These are deep rooted and wind in and out of my earliest memories, so when I sat down to write about Grace, it seemed natural to draw upon these themes that have special meaning to me.
Could you share with readers your writing process?
While I’m writing, my brain resembles something of a Jackson Pollack painting. Actually, even when I’m not writing, my brain tends to look like that. Ha! So, mostly, the writing process consists of me trying to figure out the order of things. As an instinctual writer, outlines don’t particularly work for me, but with my second book, I’m finding Blake Snyder’s beat sheet to be very helpful.
My books always start with a character and a situation. Family comes next and how that character interacts with the world. Once I see whatever it is that particular character yearns for, in their most secret heart, then the story begins to unfold. So the first few months of a book has me chasing down dead end roads and backtracking, and chasing down more dead end roads. It’s a little crazy making, but it’s what I’ve got. I am completely lacking a left brain, it seems.
What are some special challenges associated with writing contemporary middle grade?
Plot is so very tough for me to wrap my mind around. Especially in a contemporary story where the character isn’t questing for anything on the outside, like winning a competition or landing the lead in the school play. I mean, how to you write about yearning for a ten and up audience and keep them engaged? So, what I do is read writers who have mastered this. Kate DiCamillo. Linda Urban. Sharon Creech. Then I pray that things rub off.
What topics does your book touch upon that would make it a perfect fit for the classroom?
There is poetry from Robert Frost and from the main character, brief clips from different poems that felt very true to the themes of the story. I liked the idea of using clips since they can be easier to grasp and might encourage young writers to start small, as Grace does. The poetry also lends itself to the bigger idea that great sadness is always healed little by little, clip by clip.
The book touches on Sadako Sasaki and her thousand paper cranes, how we all have to find our own ways to heal. Magical thinking is part of that and children are so very good at it.
It would also tie in well with abstract art.