Tag Archives: Hispanic fiction

An Interview with Natalia Sylvester

21 Jul
Natalia Sylvester's debut novel, Chasing the Sun, is set in Lima, Peru, during the terrifying years of the Shining Path. It tells the story of a marriage -in-crisis that is pushed to the brink by a kidnapping.

Natalia Sylvester’s debut novel, Chasing the Sun, is set in Lima, Peru, during the terrifying years of the Shining Path. It tells the story of a marriage-in-crisis that is pushed to the brink by a kidnapping.

Natalia Sylvester was born in Lima, Peru, and came to the U.S. at age four. As a child, she spent time in south Florida, central Florida, and the Rio Grande Valley in Texas before her family set roots once again in Miami. A former magazine editor, Natalia now works as a freelance writer in Austin, Texas, and is a faculty member of the low-res MFA program at Regis University. Her articles have appeared in Latina Magazine, Writer’s Digest, The Writer, and NBCLatino.com. Her debut novel, Chasing the Sun, was named the Best Debut Book of 2014 by Latinidad, and was chosen as a Book of the Month by the National Latino Book Club. Her second novel, Everyone Carries Their Own Water, is forthcoming from Little A in 2018.

In this interview, Sylvester discusses restarting a novel after setting it aside for six years, the things that pull a marriage apart, and what happens when you pitch to American editors a novel set in Peru with an all-Peruvian cast of characters.

To read an exercise on moving the plot forward in a novel and an excerpt from Chasing the Sun, click here.

Michael Noll

I know the novel is based in part on the kidnapping of your grandfather in Lima in the 1990s. I’m sure that’s a story that you’ve been thinking about for a long time, not just what happened to your grandfather but the larger political situation in Peru at the time. What finally allowed you to turn that story into a novel? Was it a question of finding the right backstory for the kidnapping?

Natalia Sylvester

I think more than anything, it was time that allowed me to tell this story. I started writing it as part of my undergrad Creative Writing thesis back in 2005/2006, and back then (like I’d been most of my life) I was hesitant to talk to my family about my grandfather’s kidnapping. It’s something I’d known about and wondered about, but since we rarely spoke about it in much depth, I didn’t ask. I let all my questions pile up and even when I wrote the first drafts of Chasing the Sun, I wrote it quietly, keeping all my questions between me and the page.

Not surprisingly, the story didn’t come together the way I’d hoped. (Also, I was 21, newly engaged, and trying to write a story about a troubled marriage. I don’t really buy into the “write what you know” belief, but when I write I do need to find an access point into a story, and for me it can be almost anything, as long as it feels true.)

I set the book aside for nearly six years. I had no plans to ever revisit it, but my husband had read parts of it and would constantly insist, based on one scene he loved, that there was something there. This time I approached it with a heavy emphasis on research—not just on Peru and its political situation and the years of terrorism it experienced, but also the main thing I’d been avoiding all along, which was talking to my family about the kidnapping. Though none of the characters are based on my family, having their insights (and now I realize, their support) was so necessary because I wanted to restart this story from a place of truth and honesty.

Michael Noll

Speaking of the backstory, I loved the relationship between Andres and Marabela—it’s so complex. Even after Marabela is kidnapped, I found myself wondering not whether she’d survive but what would happen after she returned. This seems like a real accomplishment—to create a story that can rival kidnapping for suspense. How did you come up with it?

Natalia Sylvester

Natalia Sylvester's debut novel, Chasing the Sun, is a literary thriller that has drawn comparisons to Gillian Flynn's blockbuster Gone Girl.

Natalia Sylvester’s debut novel, Chasing the Sun, tells the story of a kidnapping and its effects on a marriage. A USA Today review called the book “a page turner.”

Thank you, I’m really touched by that. Their relationship took me by surprise from the very first draft. I’d originally written my thesis as a set of linked short stories, all told from different POVs, about Marabela’s kidnapping. I started with Cynthia’s POV, then Consuelo, then Ignacio, and then finally, Andres. When I got to his story, it was like they’d been keeping their troubled marriage secret from me all this time. And I thought that was pretty fascinating, because life never happens in a vacuum, even (or maybe especially) the kinds of things we most fear. I wondered if Andres would be able to compartmentalize, and not let his feelings about his failing marriage affect the decisions he makes as he tries to save Marabela. Their relationship became almost like an additional character I wanted to explore and dissect and understand.

Also, in the six years that I’d set the story aside, I’d gotten (happily!) married but seen a lot of marriages around me fall apart. So I became kind of obsessed with how that happens. How does something as huge as two lives, lived side by side for decades, fall apart to practically nothing? I thought it’d have to be something equally big and traumatizing, like a kidnapping, when really it’s the little things, the everyday, mundane gestures and regrets that can build up and pull us apart.

Michael Noll

I love the way the beginning of the novel sets up Andres’ value system (hard work pays, be assertive in business, honor your promises) and also the holes in that system (he doesn’t really pay attention or express concern for his family’s domestic employees). How important was it to establish those values early in the novel?

Natalia Sylvester

It’s interesting that you mention it because a huge chunk of that early scene, I didn’t end up writing until after the book had sold and I was working on my first round of revisions for my editor. Looking back, I feel very lucky the book sold like that, because I think it’s crucial to establish who a character is, what they stand for, and what world they’re living in, before you disrupt it all with something as earth-shattering as a kidnapping. What good is the “after” picture without the “before”? In fiction we’re often told, “Start with the inciting incident” but the false sense of security in the calm before the storm is equally rich in possibility.

Michael Noll

It’s not unusual to set novels in “exotic” locations, but it’s less common for American novels set in one of those places (in this case, Peru) to follow a cast of characters that doesn’t feature any Americans. I wonder if you encountered any resistance to the fact that it’s truly a Peruvian novel, about Peruvian characters. Did anyone, a reader or agent or editor, ever say, “Gee, couldn’t you make Andres an American?”

Natalia Sylvester

Not in exactly those words, but yes, several publishers that rejected the story expressed concern that it wasn’t tied at all to the U.S. Some wished there could be an American character, or maybe at some point, they go to the U.S. And you know, if there’s one thing I wish I could unlearn about publishing, or that I could make other aspiring authors unlearn, it’s this. Because I was blissfully unaware as I wrote Chasing the Sun that it being so Peruvian was unusual. I just thought, I’m writing a story, and of course I’m going to set it here, and these are the people who live in that world. It never occurred to me that they’d be seen as “difficult to relate to” because I’ve always believed we’re more alike than we are different, and that universal stories are just that—they can belong to any of us.

I’m very lucky that my publisher understood this; they actually loved that the book was so Peruvian. But my heart breaks when I realize what a struggle it was, and what a struggle it still is, for us to get our stories heard because they’re not perceived as part of the mainstream world.

First published in July 2014

Michael Noll

Michael Noll is the Editor of Read to Write Stories.

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An Interview with Natalia Sylvester

10 Jul
Natalia Sylvester's debut novel, Chasing the Sun, is set in Lima, Peru, during the terrifying years of the Shining Path. It tells the story of a marriage -in-crisis that is pushed to the brink by a kidnapping.

Natalia Sylvester’s debut novel, Chasing the Sun, is set in Lima, Peru, during the terrifying years of the Shining Path. It tells the story of a marriage-in-crisis that is pushed to the brink by a kidnapping.

Natalia Sylvester is a Peruvian-born Miamian now living in Austin, Texas. Her debut novel, Chasing the Sun, follows a frail marriage tested to the extreme by the wife’s kidnapping in 1990s Peru. Booklist called the novel’s ending “smart and unexpected.”

In this interview, Sylvester discusses restarting a novel after setting it aside for six years, the things that pull a marriage apart, and what happens when you pitch to American editors a novel set in Peru with an all-Peruvian cast of characters.

To read an exercise on moving the plot forward in a novel and an excerpt from Chasing the Sun, click here.

Michael Noll

I know the novel is based in part on the kidnapping of your grandfather in Lima in the 1990s. I’m sure that’s a story that you’ve been thinking about for a long time, not just what happened to your grandfather but the larger political situation in Peru at the time. What finally allowed you to turn that story into a novel? Was it a question of finding the right backstory for the kidnapping?

Natalia Sylvester

I think more than anything, it was time that allowed me to tell this story. I started writing it as part of my undergrad Creative Writing thesis back in 2005/2006, and back then (like I’d been most of my life) I was hesitant to talk to my family about my grandfather’s kidnapping. It’s something I’d known about and wondered about, but since we rarely spoke about it in much depth, I didn’t ask. I let all my questions pile up and even when I wrote the first drafts of Chasing the Sun, I wrote it quietly, keeping all my questions between me and the page.

Not surprisingly, the story didn’t come together the way I’d hoped. (Also, I was 21, newly engaged, and trying to write a story about a troubled marriage. I don’t really buy into the “write what you know” belief, but when I write I do need to find an access point into a story, and for me it can be almost anything, as long as it feels true.)

I set the book aside for nearly six years. I had no plans to ever revisit it, but my husband had read parts of it and would constantly insist, based on one scene he loved, that there was something there. This time I approached it with a heavy emphasis on research—not just on Peru and its political situation and the years of terrorism it experienced, but also the main thing I’d been avoiding all along, which was talking to my family about the kidnapping. Though none of the characters are based on my family, having their insights (and now I realize, their support) was so necessary because I wanted to restart this story from a place of truth and honesty.

Michael Noll

Speaking of the backstory, I loved the relationship between Andres and Marabela—it’s so complex. Even after Marabela is kidnapped, I found myself wondering not whether she’d survive but what would happen after she returned. This seems like a real accomplishment—to create a story that can rival kidnapping for suspense. How did you come up with it?

Natalia Sylvester

Natalia Sylvester's debut novel, Chasing the Sun, is a literary thriller that has drawn comparisons to Gillian Flynn's blockbuster Gone Girl.

Natalia Sylvester’s debut novel, Chasing the Sun, is a literary thriller that has drawn comparisons to Gillian Flynn’s blockbuster Gone Girl.

Thank you, I’m really touched by that. Their relationship took me by surprise from the very first draft. I’d originally written my thesis as a set of linked short stories, all told from different POVs, about Marabela’s kidnapping. I started with Cynthia’s POV, then Consuelo, then Ignacio, and then finally, Andres. When I got to his story, it was like they’d been keeping their troubled marriage secret from me all this time. And I thought that was pretty fascinating, because life never happens in a vacuum, even (or maybe especially) the kinds of things we most fear. I wondered if Andres would be able to compartmentalize, and not let his feelings about his failing marriage affect the decisions he makes as he tries to save Marabela. Their relationship became almost like an additional character I wanted to explore and dissect and understand.

Also, in the six years that I’d set the story aside, I’d gotten (happily!) married but seen a lot of marriages around me fall apart. So I became kind of obsessed with how that happens. How does something as huge as two lives, lived side by side for decades, fall apart to practically nothing? I thought it’d have to be something equally big and traumatizing, like a kidnapping, when really it’s the little things, the everyday, mundane gestures and regrets that can build up and pull us apart.

Michael Noll

I love the way the beginning of the novel sets up Andres’ value system (hard work pays, be assertive in business, honor your promises) and also the holes in that system (he doesn’t really pay attention or express concern for his family’s domestic employees). How important was it to establish those values early in the novel?

Natalia Sylvester

It’s interesting that you mention it because a huge chunk of that early scene, I didn’t end up writing until after the book had sold and I was working on my first round of revisions for my editor. Looking back, I feel very lucky the book sold like that, because I think it’s crucial to establish who a character is, what they stand for, and what world they’re living in, before you disrupt it all with something as earth-shattering as a kidnapping. What good is the “after” picture without the “before”? In fiction we’re often told, “Start with the inciting incident” but the false sense of security in the calm before the storm is equally rich in possibility.

Michael Noll

It’s not unusual to set novels in “exotic” locations, but it’s less common for American novels set in one of those places (in this case, Peru) to follow a cast of characters that doesn’t feature any Americans. I wonder if you encountered any resistance to the fact that it’s truly a Peruvian novel, about Peruvian characters. Did anyone, a reader or agent or editor, ever say, “Gee, couldn’t you make Andres an American?”

Natalia Sylvester

Not in exactly those words, but yes, several publishers that rejected the story expressed concern that it wasn’t tied at all to the U.S. Some wished there could be an American character, or maybe at some point, they go to the U.S. And you know, if there’s one thing I wish I could unlearn about publishing, or that I could make other aspiring authors unlearn, it’s this. Because I was blissfully unaware as I wrote Chasing the Sun that it being so Peruvian was unusual. I just thought, I’m writing a story, and of course I’m going to set it here, and these are the people who live in that world. It never occurred to me that they’d be seen as “difficult to relate to” because I’ve always believed we’re more alike than we are different, and that universal stories are just that—they can belong to any of us.

I’m very lucky that my publisher understood this; they actually loved that the book was so Peruvian. But my heart breaks when I realize what a struggle it was, and what a struggle it still is, for us to get our stories heard because they’re not perceived as part of the mainstream world.

July 2014

Michael Noll

Michael Noll is the Editor of Read to Write Stories.

Using Dialogue to Create Conflict

14 May
Rene S. Perez in The Acentos Review

“Lost Days” by Rene S. Perez II first appeared in The Acentos Review and is included in his debut collection, Along These Highways, which won the Alfredo Cisneros Del Moral Prize and was published as part of the Camino del Sol series by the University of Arizona Press.

If you close your eyes and listen to people—your family or friends—you’ll discover that they don’t all talk the same. They use different diction, different cliches, and sentences of different lengths. Yet in fiction, we too often write dialogue as if everyone talks the same.

Not Rene S. Pérez II. In his story, “Lost Days,” he creates characters with distinctive speaking styles, and those style become the center of the conflict. The story is a great example of how character, when fully realized, can drive plot. “Lost Days” is included in Pérez’s collection, Along These Highways, and was first published in The Acentos Review, where you can read it now.

How the Story Works

Let’s take a look at a key paragraph from “Lost Days.” In it, you’ll see how Bobby talks differently than his mother and father and how the story comments on this style. Both are important in using character to create plot.

“I don’t mean to disparage the whole of Corpus as being ‘ghetto,’ because that connotes a certain socioeconomic status,” he said, trying to backpedal as delicately as he could out of a comment he’d made at the dinner table that offended Beto, her husband, his father. He had always spoken that way; Stanford didn’t do that to him. “It’s just that there’s a culture here which is such that one can’t be challenged or even stimulated intellectually. There’s no art, no progress toward it or high culture. It’s a city of… of… philistines.”

Bobby’s diction (disparage, connotes) and phrasing (which is such that) suggest not only that he is smart but that he’s trying to be smart, that he feels a need to prove his intelligence. His speaking pattern has a whiff of desperation, and so it’s no surprise that he ends up calling his hometown stupid and dull. In life, people generally say what they feel. It’s hard to maintain a true shellac over our inner selves. In fiction, you can use this tendency to create plot by having characters say what they think (in their unique voices) to the people most vulnerable to those opinions. Perez has established in one paragraph an entire family dynamic and conflict.

Perez turns this conflict into a narrative arc by focusing Bobby’s desperation on a single point: Starbucks. At first, he says, “I mean, this town doesn’t even have a Starbucks.” But later in the story, as his mom drives away from the town’s first Starbucks, he’ll say, “Starbucks is the Wal-Mart of coffee shops. I bet the opening was in the news and everything.”

In some ways, this is a story about that old saw, “The more things change, the more they stay the same.” All it takes to make the story work is a few words from one character and a cup of coffee.

The Writing Exercise

This exercise is really more of a writing habit. The first part you may have heard before, but the second will likely be new to you.

  1. Begin writing down snippets of dialogue. The speakers can be anyone: people in line at the grocery store, customers at a coffee shop, drinkers at a bar, your kids or spouse or parents, your friends. Try to write down a few sentences verbatim. Don’t worry about capturing an entire conversation. The back-and-forth may sound amazing, but on paper, it will almost always last too long and wander from its point. It’s more important to capture the essence of how the person speaks.
  2. Try to impersonate those people. Say aloud what you have written as they said it. Imagine that you’re an actor on stage. You may find that in order to fully capture the voice, you must delete or add words or change their order. Remember: Dialogue needs to sound lifelike, not be lifelike. Once you’ve captured the person’s voice, write down the dialogue as you speak it. Add attributions (she said) or descriptions (she wiped her nose) to help provide the rhythm of the voice.

Have fun.

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