Announcing Editorial Services

Manuscript Evaluation and Consultations

Virtually all novelists ask for feedback on their manuscripts before they show their work to their agents and editors. I have had the great pleasure of helping many unpublished writers launch their careers. I believe the next best thing to belonging to a writers’ support group is to receive a professional manuscript evaluation from someone who has both a compassionate heart and a critical eye.

Evaluation of fiction manuscripts includes:

  • a comprehensive reading of the work with attention to character development, plot, story structure, prose style, and marketability
  • comments in the margins
  • a written report of 5–10 pages with recommendations for revision.

The cost is $2.50 per page (or roughly 250 words per page, formatted in 12-point Times Roman font, double-spaced with 1-inch margins). Phone, Skype, or in-person consultations during any stage of the writing and revising process may be scheduled for $35 per hour. I am happy to discuss projects at whatever stage they are in, and to also provide advice about finding an agent or publisher.

  

Writing Help for College or Private School Application Essays

Every young person has an important, unique, powerful story to tell. Through questioning and brainstorming, then breaking down tasks into components, I help students to overcome their nervousness about writing and to create original, authentic essays that will best reflect who they are. Authenticity and originality are what make essays stand out to admissions personnel.

My process involves helping students in all stages of writing:

– brainstorming ideas

– finding the unique story that is calling to be told

– tying the story to a theme

– creating an outline

– reviewing techniques of effective storytelling

– drafting with attention to narrative structure

– revising and polishing

 

The cost is $35 per hour.

Questions? Please send me a note through my contact page on katherinekirkpatrick.com/contact.

Interview with Katherine Kirkpatrick by Susan Hill Long

Susan: What made you realize you wanted to be a writer? Do you have any advice for aspiring writers?

Katherine: In the sixth grade, I wrote a story about vampire bats attacking a scientist. That year I won my first English prize, the first of many, and writing became “my thing.” I followed a family pattern. My mother did quite a lot of writing, and my brother Sidney (see http://en.wikipedia.org/wiki/Sidney_D._Kirkpatrick), sister, cousin, and grandfather chose careers in writing and/or publishing.

My advice to aspiring writers is to take all assignments, paid and unpaid. Contribute to your school’s alumni magazine and local newspaper. Think about what organizations you belong to. Blog. Write a heartfelt reminiscence when your favorite teacher retires. Volunteer your talents, make people laugh, feel appreciated, hone your skills. I’m so proud of the biography of my father I self-published, The Dale Kirkpatrick Story (http://www.lulu.com/spotlight/allegra1943).

Susan: Why did you choose to write historical fiction for young adults?

Katherine: My mother loved history and partly for that reason my parents chose to settle in a community rich in colonial and maritime lore, the Three Villages (Stony Brook, Setauket, Old Field), Long Island, New York. My family liked to tour historic houses and visit old cemeteries and our local carriage museum http://longislandmuseum.org/, which has a jauntily painted American gypsy wagon, circa 1870, that always captured my imagination. Once I took a children’s writing class held in the museum’s 18th-century one-room schoolhouse.

When I started to write novels, I found myself drawn to the coming-of-age themes of independence, discovery, maturity, and relationships in young adult fiction.

Susan: Where did you get the idea that sparked Between Two Worlds?

Katherine: In the Hall of Meteorites at the American Museum of Natural History in New York, I noticed a photo of four-year-old Marie Peary, the daughter of Arctic explorer Robert E. Peary, onboard a ship with a gigantic meteorite. After researching Marie’s life, I started a novel. I showed it to editor Mary Cash at Holiday House, along with stunning photographs of Marie in Arctic Greenland. With the photos in mind, Mary encouraged me to write a nonfiction book, The Snow Baby, http://www.katherinekirkpatrick.com/book_01.html, published in 2007.

Years later I returned to the novel. It took on new life when I decided to switch perspectives, telling the story from Billy Bah’s, an Inuk girl’s, point of view.

Katherine Kirkpatrick with Jessica Baloun, Third Place Books, Lake Forest Park, WA

Susan: I really enjoyed reading The Snow Baby! Can you tell us a little bit about your work writing both fiction and nonfiction, and how one approach may inform the other?

Katherine: I’d published four novels before I wrote The Snow Baby, so I brought to that photo essay/biography the novelist’s ability to think in terms of drama and scenes. After eight years of publishing nonfiction books, I returned to fiction with Between Two Worlds. Because I’d already researched Arctic Greenland, I focused on plot and character development without thinking so much about getting the history right. It’s been my tendency, like globbing on too much icing on a cake, to pile on historical details. This time around I started with the cake itself and with better results; Between Two Worlds has received excellent reviews.

It’s not a good idea, career-wise, to do the kind of zigzagging between genres that I’ve done. To establish a readership, it’s best to do the same kind of book over and over, preferably with the same publisher. But there’s value, too, in publishing individual titles. A friend of mine puts it this way: “Go to the party where you’re invited.”

Susan: Between Two Worlds is based on a true story. What’s real and what’s made up?

Katherine: About 80 percent of the book is based on historical events. Sixteen-year-old Billy Bah joined the Peary family on his ship Windward, which became locked in ice for eight months in 1900-1901. Just about everything but the triangle love story and conversations with the ancestor-ghosts is historically based.

Susan: Tell us about the real Billy Bah.

Katherine: Billy Bah, also known by her Inuk name, Eqariusaq, was born around 1884 in a remote coastal area of Arctic Greenland. When she was about eleven, she spent a year in Washington, D.C. with Peary’s family. She was both orphaned and married around age fourteen. Peary referred to her as his most expert seamstress. She sewed the fur coat that explorer Matthew Henson wore during the famed Peary expedition of 1909 to the North Pole.

Susan: The setting of 1901 Arctic Greenland plays a distinct and significant role in the novel. Also, you use a lot of Inuktun (Polar Eskimo) words in the book. Were these challenges for you, in terms of making Billy Bah’s story come alive for YA readers?

Katherine: The key to historical fiction is to put the past into the present, to bring out universal themes that a modern-day audience can relate to such as the desire to belong or the need for independence. No matter when, people have always shared many of the same core fears and desires. One common teenage dilemma is that at some point we must act under pressure and make difficult choices. The theme of romantic love is also powerful and universal. Billy Bah’s love affair with the sailor Duncan is the aspect of the book that I feel will most appeal to teen girl readers, fully drawing them into 1901 and the foreign world of Arctic Greenland.

In earlier drafts, I used a lot of Inuktun words. My editor Wendy Lamb cut out most of them, smoothing out the prose, while skillfully leaving in hints of the native sounds. Wendy also had me tone down aspects of traditional Inuit life that modern readers might find off-putting. I deleted the gory chapter in which Billy Bah’s people slaughter walruses and downplayed the cultural norms of uncombed hair, unwashed bodies, head lice, and body lice. Over five rewrites, Billy Bah became more assertive, more mature, and less historically Inuit in terms of personal hygiene.

Susan: What’s the most unusual thing you’ve had to Google for a work in progress?

Katherine: I researched Inuit women washing their hair with urine. It would have put off readers, so I ended up not including that info. Again, sometimes we need to sacrifice a little accuracy for accessibility.

Susan: We all struggle to maintain “balance” in our writing lives. Could you describe your typical writing day?

Katherine: I block out about fifteen hours of morning time, Monday to Friday, for writing, and this time is for writing only. I’ll work in email or phone calls before or after, and in between my family-related commitments, such as taking my 90-year-old father-in-law to his medical appointments and my two middle-school-age children to their music lessons and other activities. I also try to squeeze in exercise time. I like to cook and we make a sit-down dinner a priority. Though I don’t write in the evenings or on weekends, I’ll sometimes do work-related reading or editing. Evenings I like to relax with my cat and play the harp.

Susan: What are you working on now?

Katherine: My novel in progress is set in England and Egypt in 1922-1923, during the opening of King Tut’s tomb. Two years ago, with my sister, brother-in-law, and niece, I visited the book’s Egyptian settings. We toured archaeological sites by small boat on the Nile and flew over the Valley of the Kings in a hot air balloon. This past April, during a family trip to England, I visited my novel’s main British setting, Highclere Castle in Berkshire, outside of London, for the second time. Highclere is now popular as the set for the hit British TV series “Downton Abbey.” I’ve been enjoying myself researching and writing, and I hope that spirit of fun and adventure will go into the book.

Susan: What was it like to have the great Madeleine L’Engle as a writing teacher?

Katherine: Madeleine was the most extraordinary person I’ve ever known. Quite tall, regal, and magnificent in her long purple and blue dresses and exotic jewelry, she projected the same sense of wonder as her classic fantasy novel A Wrinkle in Time. She was more than a little like the three otherworldly presences Mrs. Who, Mrs. Whatsit and Mrs. Which. Her expansive vision included a belief in angels, whom she was sure appeared regularly to all of us. She emanated power, knowing, and love, and had a great talent for bringing out her students’ inherently good qualities.

As a writing teacher she wasn’t what you would expect. Instead of talking about plot, character, or story structure, she preferred more abstract themes about the larger role of writing and art in our lives, such as the concept of story being truth. Invariably she advised, “Write for an hour. Don’t think. Attempts to direct only interfere with creative work.” Her belief about writing was that it’s an entry into the larger Cosmos. Publishing books is a happy by-product, she said. The shared journey is what matters.

In the ten years I knew Madeleine, she taught me about the life of spirit and the value of community. I met most of my closest friends through her. To learn more about Madeleine as a teacher, see the book I edited, A Circle of Friends: Remembering Madeleine L’Engle ( http://www.katherinekirkpatrick.com/book_02.html ).

Thanks for interviewing me, Susan!

 * * * * *

This interview was previously published in abbreviated form on the fabulous historical fiction blog “Corsets, Cutlasses, & Candlesticks” http://corsetsandcutlasses.wordpress.com/ on June 30, 2014.

published by Wendy Lamb Books/ Random House, 2014

Celebrating Fifteen Years of Redcoats and Petticoats

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            Recently an envelope arrived in the mail from the literary agency that represented my earliest published work. Only one of those titles, my 1999 picture book Redcoats and Petticoats, remains in print.

When royalties start to dwindle, an out-of-print notice usually follows. It seemed to me I had a fifty percent chance of receiving disappointing news about Redcoats and, especially since I was about to leave for London the next morning, I decided not to open the envelope. Several weeks later, home again but caught up in busyness, I continued to shelve the envelope and any feelings of sorrow that might come from discovering its contents.

Finally, one evening I felt ready to face what the wheel of fortune had dealt me. As I took out my paper knife, a favorite Buddhist teaching popped into my mind: “The dharma wheel turns, pay no mind to it.” In other words, when we’re down we’re on the way up and vice versa, so knowing that ever-changing state of things let’s try to live with grace, trust, and equanimity. Somewhere, at the center of the wheel, I reminded myself, there’s always a place of peace.

I’d hoped to find a check of at least six hundred dollars. I feared I’d receive a hundred or less. The check in my hand amounted to nearly four thousand dollars. Woo-hoo! Score! I could hardly believe it. Then I remembered that the subject of my book, George Washington’s spies on Long Island, had been featured in a recent AMC television series, “Turn.” Obviously, the public’s renewed interest in the topic accounted for my boon in sales.

I laughed so hard I felt giddy. I told one of my daughters what happened. Grinning, she gave me the thumbs up. I giggled some more, at the sheer surprise of the news, but also at myself for the way I’d behaved by waiting to open the envelope.

Redcoats and Petticoats, published by Holiday House, Inc., and illustrated by Ronald Himler, has continuously been in print in hardcover since 1999. Privately owned and managed, Holiday House remains one of the few independent book publishers in New York.

 

* * * * *

            Redcoats and Petticoats tells the real-life story of a brave woman named Anna (Nancy) Strong who used her clothesline to help her group of fellow undercover agents relay news to General George Washington. I’ve known the story as long as I can remember. I don’t think it’s possible to grow up, as I did, in the Three Villages of Stony Brook, Setauket, and Old Field, on the north shore of Long Island, New York, without knowing of our beloved Setauket Spy Ring. This handful of heroic citizens, via a person-to-person assembly, on foot and by horseback, by rowboat, and finally by whaleboat across Long Island Sound to Washington’s headquarters in Fairfield, Connecticut, passed on news of Tory battle plans that secret agents had overheard in the tearooms and taverns of the city of New York. In Setauket, sixty-three miles from the city, Nancy Strong did her part by signaling to a fellow spy a code that indicated the rendezvous spot in one of the nearby coves, where the secret missives would be waiting for a whaleboat captain to row them across the Sound to Patriot shores.

As part of a fourth-grade school assignment, my mother took me to meet Kate Strong, a blind woman, by then well into her nineties, the great-great-granddaughter of the famous clothesline patriot. The essay I wrote subsequently won me my first award in a writing contest sponsored by the Long Island chapter of the Daughters of the American Revolution. No doubt this early recognition contributed to my becoming a writer.

bow

The locations in Redcoats and Petticoats, beautifully and accurately rendered by artist Ronald Himler, serve as fixed points in my childhood. The Setauket Neighborhood House on Main Street, where George Washington paid a visit, was where I’d taken ballet and where my mother attended historical society functions. In the waters off Strong’s Neck, near the spot where Nancy Strong hung her clothesline, I’d clammed its muddy shallows, rowed, sailed, and, with my high-school chum Elke Dee, learned to water-ski. In the summers during college, and after, I spent many happy evenings star-gazing, boating, and barbecuing with my dear friend Lisa Lesko and her family.

The book’s opening spread shows the Battle of Setauket on the Village Green, in front of the Setauket Presbyterian Church. Here my parents, Audrey and Dale Kirkpatrick, performed marionette shows at church fairs. And here, loudly bellowing traditional Highland melodies, a bagpiper opened and concluded our family weddings, including my own in the same year Redcoats was published. Six years later, in the church cemetery where the Tories camped and uprooted tombstones to use as cooking tables, my father was buried, and four years after that, my mother laid to rest beside him.

The present Setauket Presbyterian Church structure was built in 1812. Its graveyard dates to the 1660s.

The present Setauket Presbyterian Church structure was built in 1812. Its graveyard dates to the 1660s.

Walking the path of history.

Walking the path of history.

The Caroline Church of Brookhaven, on Setauket’s Village Green, was built in 1729.

The Caroline Church of Brookhaven, on Setauket’s Village Green, was built in 1729.

Writing the book put me in touch with our distant Revolutionary War past. Reflecting on the book now puts me in touch with my own past, the flow of my life, and the lives of many dear to me. Through beloved local landmarks, I see and appreciate the distances we’ve traveled, and the well-worn, age-old paths still ahead of us.

I’m so grateful that my book has beaten the odds in the competitive venue of publishing and I now celebrate its fifteenth anniversary. Viva Redcoats and Petticoats!

Checking proofs for Redcoats with editor Mary Cash.

Checking proofs for Redcoats with editor Mary Cash.

 

As Good as It Gets

The price of one of my young adult novels, throw in a few bucks for tax, is about what you’d pay for a bottle of wine to take to your host for dinner. People used to stop by the autographing party at the local museum’s bookshop to purchase Katherine Kirkpatrick’s latest young adult historical tearjerker, and then continue up the road a half mile, past the duck pond, through lush woods, to Audrey and Dale Kirkpatrick’s home and a gourmet meal. Anyone from the Three Villages (Stony Brook, Setauket, Old Field) of Long Island, New York, might be there: the tennis players, the bridge players, the bank teller, my mother’s hairdresser, the neighbors, some of the teachers my siblings and I had had at school, and people my parents knew through the Presbyterian church, puppetry, charities, real estate, Dad’s travel agency, or his heart surgeries.

Whether anyone read my books or not didn’t matter, not really, because I had the great satisfaction of selling a hundred hardcovers in an hour. Even better, the sense of celebration that filled the air was as palpable as the aroma of sautéed onions and mushrooms. The Kirkpatricks knew how to throw a party. Chicken cacciatore, anyone? Genoese seafood risotto? Champagne cocktail? In the octagonal living room decorated with carved screens from India, in pivoting chairs with colorful satin pillows, around a central coffee table and low-hanging lamp, the drinks and the conversations flowed.

Audrey and Dale Kirkpatrick.

Audrey and Dale Kirkpatrick.

Autographing copies of my first novel, Keeping the Good Light.

Signing copies of my first novel, Keeping the Good Light.

This was how my parents celebrated the publication of my first three books in the mid-to-late 1990s, when I was in my early and mid thirties, before I married, moved coasts, and gave birth to twins. Four other books for older children and young adults, both fiction and nonfiction, followed. But three thousand miles away from family, friends, and my New York writers community, I found it difficult to attract more than a handful of people to my book events. For a while I stopped doing signings altogether. I stopped celebrating. It was as if my last two titles dropped into holes the minute they were published.

There is nothing more depressing for an author than to sit at a table with a forced smile in front of a pyramid of books, facing a room full of vacant chairs. The feelings of loneliness and isolation of such situations can be intense.

I’m happy to say I’ve found a middle path, a joyous way of celebrating new books that comes in second to my mother’s former parties. Our Western Washington chapter of the Society of Children’s Book Writers and Illustrators (SCBWI) hosts a fabulous twice-yearly event called “The Inside Story.” In this event, fifteen or so local book creators share “the story behind the story” in short presentations of their new and upcoming books to independent booksellers, fellow authors and illustrators, and their families. Many school and public librarians also attend.

Our November 3, 2013, The Inside Story at Seattle’s Mockingbird Books drew several hundred people. In her introduction, Laura McGee Kvasnosky spoke of how The Inside Story has greatly expanded in scope and in popularity since she and fellow children’s book creator George Shannon launched the program on October 4, 1998. “I feel like the proud mother and George the proud father,” she said, “and I’ve enjoyed watching the event grow up.” I happened to be sitting near Laura in the crowd and, indeed, like a proud mother, she was smiling and smiling during the trivia prize awards and presentations.

The Inside Story #31 at Mockingbird Books.

The Inside Story #31 at Mockingbird Books.

I am so grateful to Laura and George for creating this wonderful community forum where we can give ourselves a boost. Book releases can be as stressful as they can be joyful, because of the expectations we set for ourselves and our publishing companies have for us. Knowing that I can bring my new young adult novel to the Inside Story when it comes out this spring transforms a responsibility into an honor, a burden into a celebration, a dread into a feeling of optimism.

Also, by the way, there are small mountains of fruits and cookies served at our Inside Story events. Next time, at Mockingbird Books on May 6, I’ll also contribute goodies home-cooked according to recipes left to me by my greatest literary supporter of all time, Audrey Kirkpatrick. She who cut sun-dried tomatoes into strips for me, who shredded prosciutto and grated Parmesan cheese for me, who invited everyone she knew to her home for me, would have enjoyed our Inside Story festivities and approved.

Audrey Kirkpatrick celebrates.

Audrey Kirkpatrick celebrates.