In the Spotlight: Dallas Woodburn
Author of The Best Week that Never Happened talks Motherhood, Living a Creative Life, Her Love Affair with Young Adult Fiction, and “How Every No Gets You One Step Closer to Yes” in Publishing
In Dallas Woodburn’s debut novel, The Best Week that Never Happened, Tegan, an 18-year-old girl, wakes up on the Big Island of Hawaii with no recollection of how she came to be there with no wallet, cell phone, purse, or plane ticket. The mystery deepens as Tegan and her childhood friend, Kai Kapule, search for answers about Tegan’s recurring nightmares, her unreachable parents, and the strange hourglass tattoo now residing over her heart.
In a brief week, Tegan experiences the heart-stopping crush of first love, a reconciliation with her past, and heart-breaking loss that peels away everything but what is most important to fully live. The lush, ethereal setting, resonant characters, and timeless themes remind us of our own humanity and how each moment during our current struggle with a pandemic must not be taken for granted.
I had the pleasure of speaking with Dallas via email where she discusses her process as a creative, the journey to publication, how motherhood has shaped her, her love affair with Young Adult Fiction, and how past sorrows can breathe life into writing.
Your debut novel, The Best Week That Never Happened, is YA Fiction. What drew you to the genre originally? How did you determine that YA was the best vessel for your story? I was curious as to whether you knew all along you wanted to write a YA novel and started writing with this in mind, or if it was something that came about once the story and characters began to take shape.
I have always loved Young Adult Fiction. I began reading the genre when I was a teenager and continued to love it as I have grown older and become an adult. I think many adults love reading Young Adult Fiction. For me as a reader, and also as a writer, it is such a freeing and wonderful genre for exploring characters, character growth, and character change. The teenage years are so intense in a lot of ways- emotional, dramatic. As teenagers we experience much for the first time: first love, self-discovery, trying to figure out who we are and what our place is in the world, what our dreams and desires are for our lives. I have always found it such a rich genre to write in.
For this book, I knew I wanted my characters to be 18 years old, so I knew I wanted them to have just graduated from high school. I wasn’t quite sure if it was going to be Young Adult or an Adult Romance, and I think when I finished writing it, I still wasn’t quite sure. I am pleased a lot of adults who have read the book have told me they don’t really read Young Adult, but they loved my book. I do think it is a story that resonates with teens and young readers, but with adults as well.
If readers are interested in writing YA, or maybe not sure if the story they are writing is YA or Adult, I would say write the story you most want to write. When you have finished it then you can go back, and decide where it fits into the marketplace. If you are thinking of writing YA, I would also recommend reading a lot of Young Adult because there are certain things- with tone especially- that are different in a YA versus an Adult book with young characters.
The novel takes place in Hawaii, which is beautifully and vividly described. Did you grow up in Hawaii or frequently visit the area? I was wondering if you could tell us more about the selection of place for this novel and how significant that was to the development of the overall story.
I grew up in a small beach town in Southern California. It was not Hawaii, but it was by the beach. I always felt really drawn to the ocean. It comes up a lot as a setting in my writing- not always consciously, but sometimes subconsciously. As I write about in this book, there is something everlasting, eternal, and mysterious about the ocean that I find really beautiful. Maybe it also serves as a symbol for the creativity inside all of us.
When I got the idea for the story, it just sprang up and it was set in Hawaii. It did not feel like a conscious decision I was making, but Hawaii is a place that is really dear to my heart. I have traveled there before, and it was really important to me to depict Hawaii in a way that was researched and respectful. The main character is a person like me who did not grow up in Hawaii. She is experiencing it as a tourist, and that was important because that was my experience, but I also wanted to make sure the other characters that are from Hawaii were portrayed in a realistic way. I did a lot of research by traveling to Hawaii, but also by reading books by native Hawaiian authors. I actually have a whole list of books on my website, http://dallaswoodburnpr.com/, books by native Hawaiian authors that I really love, and helped me understand Hawaii on a deeper level.
Another reason that Hawaii came forth in my consciousness as I was writing this story is there are themes of loss, love, grief and coming to terms with the meaning of life. Two of the biggest losses in my life are connected with Hawaii. My first loss was my grandmother, Auden. She died when I was five. She loved Hawaii. She and my grandfather traveled there often. I still associate her with Hawaii in my heart. When I imagine her in heaven, I picture her on the beach in Hawaii. My second big loss was my dear friend, Celine. She passed away in a car accident at the age of 26. She had just returned from Hawaii shortly before she passed away. We always talked about going to Hawaii together. I think that was why Hawaii kept springing up as a setting for my novel.
Take us through your writing process. How long did it take you to write the first draft of the novel? Were there any major adjustment periods where you decided to make extensive changes, or was everything planned out before you started writing?
Writing this novel was faster than some of the previous novels I have written. This is my first published novel, but my fourth completed novel manuscript. This one took me about six months whereas in the past, novel drafts would take me two years. The difference this time was I started, and nurtured a writing routine. I made it my priority to write every single day no matter what my obligations on the calendar. It was amazing when I blocked off that time for my creative writing, I felt like the creative process was so much more generous and generative for me. I immersed myself in the story, wrote every single day, even if it was only a few hundred words, but often I would get on a roll, and continue writing for longer. It helped me sink into the story, and made the writing process go much more quickly for me and made it a lot more fun.
That was the first six months of the novel. Then I spent another few months revising. I ended up getting a literary agent and publication deal less than a year after that, and then the novel went through multiple revisions including a big developmental edit. I made some bigger changes, for example the character has an hourglass tattoo and that did not come in until the developmental edit with my publisher. I would say the barebones of the story- the structure, the timeline, the seven days remained the same. But, I do believe the story became better, more nuanced, more cohesive with help from my agent and editor.
What was most important to you throughout the editorial process? I’d love to know more about what was imperative for you to keep and what you were willing to adjust as needed. And, as an editor yourself, what was the process of working with another editor prior to publication like?
I wanted to keep the structure of the book taking place over a week. Also, the ending was important to me, and I don’t want to give away anything, and I hope there is a lot of mystery and tension for the reader, but it felt important to me that the story end the way it does. It just sits right with my heart.
It was exciting to work with my editor. It’s amazing how there are things you are blind to when it comes to your own writing. It is so hard, no matter how many times you edit it yourself, to make your piece the best it can be if you don’t have any outside feedback. My editor helped me with my writing style. As writers, we all have certain tics we use that we don’t even realize. I overuse the word just, and I have some filler words. There were also some bigger plot points that made sense in my mind, but were not explained well in the book that she helped me smooth out and clarify. She also helped me with the characters’ relationship. I knew them so well and their thoughts and feelings were clear in my mind, but I had to make sure it was shown on the page as well. I am really grateful to be able to work with an editor, and I would recommend anyone reading this who has a project, work with an editor you trust . It helps take your work to the next level.
Your main character, Tegan, is lovable and familiar and vibrant. What do you love most about her? What aspects of her personality were easiest for you to write and which were the hardest?
I loved this character. She feels like a real person to me still. When I was writing, I put aspects of myself in her. I think there are parts of me in all my characters, but I also consciously tried to make her different from me. Some ways are small, for example, she really loves math and science- math and science were always challenging subjects for me in school. She also thinks of herself as being fearless, and I have never thought of myself that way. I am generally a pretty cautious person.
I didn't realize this as I was writing the first draft, but I think I put a lot of my dear friend, Celine who passed away, in Tegan. Celine was fearless, and in a lot of ways reminds me of Tegan. I think my favorite thing about Tegan is just how fiercely she loves the people close to her and fights for them. I admire that about her. The most difficult things to write about her personality were wanting to show the ways in which she was able to challenge herself, and grow within this limited time frame of just a single week. I wanted it to feel resonant and realistic to the reader, and not too abrupt. In the course of the book she goes through some really big revelations, and I wanted to explore the ways that would change her, but how she also remains herself at her core.
You encompass a multitude of genres in your writing portfolio, from creative writing to nonfiction to short fiction and everything in between. Is there one genre you prefer over all others? What advice would you give to writers who are still trying to find their voice and want to explore new genres?
I tend to gravitate towards fiction most of all, but I do love getting to write in all genres. It is good for our creativity to not box ourselves in. For example, I do not think I will ever publish my poetry. I don’t think I am a very talented poet, but I do love writing poetry for myself sometimes. Plays are really fun because of the challenge of trying to tell a story just through dialogue and the parameters of the stage. But, I would say fiction is where most of my ideas move towards. I especially love novels because of the breadth, and the scope of time you have with them. The time to really marinate in the story, get to know your characters on such a deep level, I feel like you have a lot of freedom with novels. In contrast, short stories are fun. I often find myself working on a short story or two during a bigger project like a novel as a break from the bigger project. And, practice telling a story in a tight and consolidated time frame showing narrative arc and character growth in 8-10 pages is a really interesting challenge.
As far as advice, I would say try not to put too much pressure on yourself to “master” any genre. We are all perpetual students who are still learning and growing continually. Sometimes, we put too much pressure to label ourselves as one type of writer over another. I don’t think that is helpful for our creativity. For example, I have tended to gravitate toward Young Adult novels and characters, but recently I have had this idea for an Adult Thriller story I have never written before. It is easy to say that that’s not my genre or comfort zone, I am just going to stay in what is familiar. If we never push ourselves, we won’t grow, and stretch creatively. I think telling the stories that feel most exciting, alive, and vibrant to you, no matter genre, is the best advice I can give in creating a fulfilling, exciting, and nurturing writing life.
Your daughter Maya is 15-months old. How has becoming a mother altered your writing routine? What new inspirations do you draw from motherhood in terms of creativity and story development?
Becoming a mother has changed my whole life, including my writing routine. I used to have more time, and much larger chunks of it to sit in front of the computer and devote my energy to writing. These days my writing happens during her nap times, and I never know when she will wake up. There is a sense of urgency, almost like a timer is going to go off, which has actually been helpful for me. I don’t really get writer’s block these days because I don’t have the luxury. I appreciate my writing time so much more. I think of it as my self-care time. Even though I get less time quantity-wise, I think my writing time has improved quality-wise. I make the most of every minute- no internet browsing. I just sit in front of that word document, and I start typing. I think I judge myself less. It is just about getting the story down, and I can go back and make it better later.
Before becoming a mother, I had written characters who were mothers, and I hope those characters stand up to the reality of motherhood. I think now that I am a mother I understand parenthood in so much of a deeper sense- the realities, the nuances of our feelings. I give myself a lot more grace for the complexity of my feelings. I can feel so happy and grateful to be a mother, and appreciate my daughter and the gift of motherhood, while at the same time, I can feel really overwhelmed or frustrated that she is throwing her food on the ground and not eating it. I think parenthood has helped me understand in myself, and in the characters I create, that we have many emotions swirling through us at once, and that is okay. I give myself plenty of grace for that as well.
You’ve been a winner and a finalist for several notable writing awards. What do you think is most helpful when entering these types of contests? How do you ensure that the writing you’re submitting for each award is competitive enough to become one of the final selections?
With contests there is so much that we cannot control, and so much that we don’t know about why our piece was or was not selected. All that we can control is making our piece the best that it can be. I think when you are writing your first draft it is important, as I said earlier, to write the piece most pleasing and meaningful to you. When you are going through the editing process, that is when you can bring in feedback from other people. Your piece should still please yourself and matter to you, but I think the editing process can help you try to make that piece as close as possible to your vision for it. You can also ensure it resonates with the reader the way you intend. I think beyond that it's all about having the courage to submit to contests, but try not to judge the value of your writing on the results of those contests.
I have been really fortunate to have been a finalist and a winner in different contests, but what you don’t see in my resume is all the contests I entered that I did not win. Remind yourself when you see contest winners and authors getting published, they have a long list of awards they didn’t win, and publications that rejected them behind those successes. You are not alone when you get those rejection letters. I remind myself every no I get is one step closer I get to the yes. My book, Woman Running Late in a Dress: a collection of short stories, I submitted to contests for years and years before it finally won the Cypress and Pine Short Fiction Award and was published by Yellow Flag Press. If I had given up after close to a decade of rejections, I never would have experienced the joy of having the book published, connecting with readers, and being able to share my stories. Submit to contests when it feels exciting and right for you, but also take breaks as well. You don't have to constantly be submitting, especially if it is affecting your confidence in your writing.
What is your most recommended book?
Such a hard choice, but here are a few.
A Heart in a Body in A World by Deb Caletti
This book blew me away with brutal honesty and courage. The author tackled the pain and grief her character is experiencing in such a vivid and life-affirming way. I could not put it down. I was immersed. I cried. I finished it, and felt rejuvenated. I remembered why I love to write, and what I hope my writing does for people as well.
The Complete Collected Poems of Maya Angelou
In quarantine, I can feel nervous and anxious like I am sure many do. Reading poetry, and especially Maya Angelou’s poetry, helps me feel more centered and like I can access the bravest part of myself.
Still Writing: The Perils & Pleasures of a Creative Life by Dani Shapiro
If you are interested in writing, one of my favorite books about writing is a memoir about the writing life. It is inspirational, and informative. Shapiro goes into the nuts and bolts of her creative life, but more than that it is about the internal process of creating a life that will nurture and sustain creativity through highs and lows, ups and downs, the surprises and the long drudging days of putting in the work. It is the one I go back to again and again.
What is the one thing you wish you had known at the beginning of your writing career that you didn’t know then but have since discovered?
When I first began writing, I placed a lot of my hopes and dreams, and values for my writing career on external factors. I was focused on getting published, winning awards, getting the accolades, and wanting a time when I had “made it.” As I have gone on in my career I see more and more none of that is nearly as important as the journey of writing. There will always be bigger awards or mountains you want to climb. If you place your satisfaction in your writing career in those external things it is a recipe for feeling restless and disappointed. If instead you focus on what you can control, which is the process of creating, and you find your fulfilment and joy in that, it is so much more sustaining and nurturing. It helps me to think of my own success in terms I have control over.
This is not to say those external things don’t matter anymore. I am so excited that The Best Week that Never Happened is being published. I hope it resonates with readers, sells a lot of copies and is successful externally so I can publish additional books in the future. But, what I think was the most exciting part of writing this book was getting to the end of the story, surprising myself, making myself cry because of the journey of these characters, and being so proud and grateful to be the vessel for their story. If you can approach writing in that way, where you are grateful for the opportunity to create, it makes everything a lot richer and more satisfying.
Dallas Woodburn is the author of the YA novel The Best Week That Never Happened and the linked short story collection Woman, Running Late, in a Dress. A former John Steinbeck Fellow in Creative Writing and a current San Francisco Writers Grotto Fellow, her work has been honored with the Cypress & Pine Short Fiction Award, the international Glass Woman Prize, second place in the American Fiction Prize, and four Pushcart Prize nominations. She is also the host of the popular book-lovers podcast Overflowing Bookshelves and founder of the organization Write On! Books that empowers youth through reading and writing endeavors. Dallas lives in the San Francisco Bay Area with her amazing husband and adorable daughter.
About the Interviewers
Sam Cohen is a writer and editor based in New England. She lives with her wonderful partner Caleb, and enjoys learning new languages, drinking lattes, and spending time with her loved ones. Sam is an avid reader who practices yoga and tries to laugh as often as possible. She hopes to be a published author one day. She can be found on Twitter and Instagram.
Carrie Honaker is a writer currently based in Panama City Beach, Florida. She studied Literature at Florida State University, but has worn many hats including restaurateur and teacher. Carrie is a voracious reader and kitchen sorcery addict who found her inner writer at the Blue Ridge Writing Project in 2010. Most days you can find her plowing through a book, writing or dabbling with a new recipe.
Carrie’s work has appeared in ALCA Lines, Virginia English Journal, and Digital Is. She also regularly writes about experiences in the classroom, moments in the kitchen, and all things travel & restaurants on her site, StrawbabiesandChocolateBeer.com. Currently, she is revising her foodoir about life growing up on a farm in Vermont interspersed with family recipes. You can find her on Twitter: @writeonhonaker, Instagram: @corkdorkva, on Goodreads & Trip Advisor.
