Introducing 2019 Debutante Joseph Moldover

On May 16th, at our 10th annual Literary Debutante Ball, One Story will be celebrating six of our authors who have published their debut books over the past year. In the weeks leading up to the Ball, we’ll be introducing our Debs through a series of interviews.

This week, we’re talking to Joseph Moldover, author of One Teen Story Issue #35, “Every Other Emily” and the novel Every Moment After (HMH Books for Young Readers, forthcoming April 9th).

Set in the fictional town of East Ridge, New Jersey, Every Moment After examines the far-reaching impact of an elementary school shooting that killed eighteen students. Over a decade after the tragedy, in the wake of high school graduation, survivors Cole and Matt are dealing with all the usual trappings of growing up—girls, college, parents, drugs, and hot air balloons—but are also still coming to terms with the effects the shooting has had on them and their town. While Every Moment After is certainly about the long-reaching aftermath of tragedy, it is also a generous and thoughtful coming-of-age story, in which we remember that the only thing certain is change.

Kaitlin McManus: Where were you when you found out Every Moment After was going to be published? How did you celebrate?

Joseph Moldover: I was at home when I got the call from my agent, Adam Schear. It was incredibly exciting; the best part of it was sharing it with my family. In terms of celebration…one nice thing about being part of a big family is that it keeps you grounded, so I think my wife and I hugged each other, said “this is amazing,” and then two minutes later shifted to figuring out who was doing pick-up from school and who was getting dinner ready.

KM: Every Moment After is largely about effects of a school shooting on a small New Jersey town, and rings very strongly of the tragedy committed at Sandy Hook Elementary School in 2012. What made you want to approach this subject matter? Did your day job have any influence on your decisions? (Joseph Moldover is also Dr. Moldover—a developmental neuropsychologist.)

JM: I believe that there is a story that we are not telling about the violence in our society. When there is a terrible incident—like a school shooting—the media covers it intensively for a little while, the pundits all chime in, and then we move on. But the people involved don’t get to move on in the same way, and I feel that there is a collective failure to pay attention to that, to acknowledge that the burden of violence is not just the loss of life in the immediate moment but the anger and sorrow and guilt that so many people have to bear for years and years after.

In my day job, I work with children and families who are struggling with very complex, painful issues. It’s made me aware of the ways in which we carry these things with us, how the layers of a family or a community can peel away to reveal memories and beliefs that cause enormous pain but aren’t let out into the open. That was part of what I wanted to explore in the fictional town of East Ridge.

KM: This novel is a bit different than others of its ilk in that it’s set more than ten years after the shooting. What do you see as the benefits of setting this book so long after this incident rather than in the immediate aftermath?

JM: I felt that it was important to distance both the reader and myself from the immediate horror of the shooting. I think that, particularly when dealing with violence against such young children, there is something unbearable about focusing on it too closely. I sometimes think about the story of Perseus, who approached Medusa by looking at her reflection in his shield because it was too terrible to look directly at her. This story is about the reflections of the shooting in the lives of many different people over a decade later, and maybe it had to be written that way because it was too terrible to look at the thing itself.

KM: One thing Every Moment After did particularly well was acknowledge that there’s no correct way to memorialize this kind of incident. The town diner is wallpapered with rejected gun control bills, which many characters dislike. There’s an unofficial monument in the woods that some believe is more about the shooter than the victims. And while everyone in the novel agrees that the victims need to be remembered, sometimes they just want to forget that they were ever part of something so horrifying. Can you speak to these conflicting feelings and how you struck the balance between them so wonderfully?

JM: I don’t think that was something I was doing consciously, but one thing that does obsess me is the question of how people go on with things that are too painful to carry but which can’t be set down. How do we try to make peace with things that won’t leave us alone? I think that the conflicting feelings you mention, and the efforts at memorialization by characters in the story, comes out of that preoccupation.

KM: Your book speaks openly about violence, drugs, sex, and other things that teenagers face—but that many are afraid to include in media for them—in an honest, reasonably healthy way. My mother would have lost her mind if I read this as a “young adult”, but there’s been a surge of serious, issue-focused young adult fiction in the past several years. Do you see a reason for this? And how do you think Every Moment After fits into that movement?

JM: When I wrote the book I wasn’t really aware of a particular movement, I was just trying to write honestly…and all of those things are part of the world that “young adults” are living in. Omitting them would be totally dishonest, and the book wouldn’t be worthy of the respect of people who are reading it in between lock-down drills in schools with major drug problems. 

I think that those of us who are older than “young adult” (which definitely includes me) are wrestling with the growing realization that we are handing a world riddled with incredibly large, complex, and serious problems to younger people. With that realization comes a sense of guilt—that we have not more seriously addressed these issues—and also responsibility to be honest about them. In the case of my book, I would say that if we can’t—or won’t—do something about the problem of gun violence, the least we can do is be honest about it.

KM: Lastly, what are you most looking forward to at the One Story Ball?

JM: I published in One Teen Story in 2015, and have read OTS and One Story for years. I’ve also taken a number of online classes with One Story instructors. I haven’t met the staff and teachers in person, however, and I’m really looking forward to putting faces to names!

Kaitlin McManus is a writer and editor based in Brooklyn—by way of Central Illinois. She earned her MFA in fiction from The New School in 2018 and her work can be found in Brooklyn Magazine, Vault, and elsewhere on One Story‘s blog. She is currently at work on a novel about the Nashville club scene of the near-future.

Introducing 2017 Debutante: Anne Corbitt

On May 12th, at our 8th annual Literary Debutante BallOne Story will be celebrating nine of our authors who have published their debut books over the past year. In the weeks leading up to the Ball, we’ll be introducing our Debs through a series of interviews.

This week we’re chatting with Anne Corbitt, author of One Story issue #129, “The Tornado Bandit”. Her debut novel, Rules for Lying, was released last September from Southeast Missouri State University Press after winning the Nilsen Prize for a First Novel.

In suburban Atlanta, Georgia, high school sophomore Langley accuses her classmate Kevin of sexual assault, which he denies. Rumors swell and the entire town forms their opinions on who’s telling the truth in the face of a stalling police investigation. The novel follows Langley, Kevin, and the people closest to them as this incident wreaks havoc on all of their lives. Rules for Lying makes us question the truth in situations, while Corbitt’s vivid prose and masterful cultivations of suspense make this small town come alive with intrigue.

Kaitlin McManus: Where were you when you found out that Rules for Lying was going to be published? How did you celebrate?

Anne Corbitt: As anyone who’s sent out a manuscript will tell you, for a few months there, I got in the habit of answering any unknown number that popped up on my phone. Friends I would send to voicemail, my mom would get a text back, but if it was an area code I didn’t recognize, I’d take the call in the shower. One night, though, I missed a call from a number that Google told me meant Missouri. It was too late to call back, so I spent the night telling myself that it wasn’t what I wanted it to be, that it was almost definitely a bill collector or a limited-time offer for a timeshare.

Then I got an email from Susan Swartwout at Southeast Missouri State University Press asking to schedule a phone call. It wasn’t the call, I told myself. There was no way.

When you’ve only ever really wanted one thing, it feels impossible to imagine a future past that wanting.

So the next afternoon, when I got on the phone with Susan, I didn’t even understand what she was telling me. “We picked your book,” she said.

“For what?” I asked.

Thankfully, Susan is kind, so she didn’t groan as she explained it all again. I remember crying. I remember trying to catch my breath.

“I don’t know if you’re a drinker,” she said, once I gave her the chance to talk again. “But you should go pop a bottle of champagne.”

We got off the phone, and I immediately drove to my parents’ house. They were having a new oven installed, so there were workers everywhere, but I made them sit in the living room, and then we were all crying. We Skyped with my sister in Philadelphia, who joined us. (My family is, obviously, way awesome.) I remember what I kept saying, out loud and in my head: It’s happening. It’s actually happening.

Then we went to dinner where I ordered a giant beer and sweet potato fries. It was perfect.

KM: You employ half a dozen narrators in this novel; all so distinct and yet each of their voices is so genuine. Was any one voice your favorite? Did you struggle with a particular character?

AC: They say first novels are often autobiographical, but mine definitely (and thankfully) was not. Still, I had some threads of connection with each character. Langley, for instance, became far easier to write once I realized she loved swimming at the same time that I was learning how to (in my thirties). That was our first bond.

Kevin was the hardest to write, and, even now, I feel like I wrote him from the outside. By that I mean I wrote him as a mix of all the boys I loved in high school. It’s hard to feel as connected to someone who never loved you back.

But hands down, throughout the entire eight years I worked on this thing, Eleanor was my favorite. She still is. She is so much stronger than she thinks she is, so much wiser too. Despite the bad choices she makes (and, boy, does she make some stinkers), she seemed the most grounded to me, the most likely to come out the other side with both feet firmly planted. I’d love to think I was like her when I was fifteen (I did have a picture of Edward Furlong in my locker), but really, she is so much cooler than I’ve ever come close to being.

KM: One of the things I loved most about this novel was that we don’t know until nearly the end if Langley is telling the truth. You just push on, and tell us how all the characters are trying to get on with their lives. What challenges did this present as you were writing?

AC: From the novel’s inception, I knew I wanted to keep readers guessing. The biggest failure I could imagine was a story that came down strong and loud on either side. So I didn’t let myself “decide” the outcome. That old adage about no surprises for the writer meaning no surprises for the reader definitely cycled through my mind. If it didn’t know, I hoped that readers wouldn’t either.

That said, it was consistently challenging to write Langley’s and Kevin’s chapters without knowing the answer—especially any scenes that recalled the event. That’s where my love for murder mysteries became an asset. I’ve annotated dozens of pages of P.D. James, Agatha Christie, Henning Mankell, Jo Nesbo, Tana French, trying to figure out how they write crimes and crime scenes without ruining suspense. I’m still not entirely sure how they do it, but I tried to follow their lead as much as I could.

KM: Rules for Lying takes place in suburban Atlanta, where you currently reside. What was it like writing a novel that takes place in your own backyard?

AC: I actually don’t live in suburban Atlanta. I’m a city girl, through and through. (The distinction matters in Atlanta, though to anyone else, it’s precisely as unimportant as it sounds.) And that’s why I created the fictional suburb of North Oak. I wanted a place close to me, in a region I understood, but I wasn’t ready to write my city, at least not overtly. So I tucked Fulton High School about 25 minutes from where I grew up, which felt a safe distance.

To the question of writing about the larger Metro Atlanta area, this aspect of the novel was another one I knew from the start. I love Southern literature—Faulkner, O’Connor, Larry Brown, Barry Hannah, Eudora Welty—but I’ve only rarely read fiction about my South, the urban/suburban South. It’s a complex, dark, beautiful, conflicting, confusing place. I can’t imagine a better setting for fiction.

And just to say it: I wasn’t ready to write Atlanta then. I think I am now.

KM: Rules for Lying examines situational and emotional truths, even while the characters search for a more literal truth. What was it like, creating this balancing act?

AC: This question is the trickiest to answer because, truly, I don’t know. Because writing a novel is hard. Like, really hard. And it also feels ridiculous and foolish most of the time. So the short answer is this: it was tough. I cried some. I got really good at staring out the window.

But that’s just writing a novel. To the more specific question on balancing truths, I have to cite my two biggest literary influences: Southern fiction and mysteries. William Gay and Tom Franklin in one ear, Laura Lippman and Megan Abbott in the other. I wanted to do both traditions proud. I wanted a story that allowed characters to interact with their histories, to reach for the lost, to feel out of place, somehow, in the world where they’ve always lived, all while crafting a plot to keep them moving, to keep them uncomfortable, to give them a forward momentum that would propel them somewhere new and strange and not innately bad but not obviously good either.

In short, I wrote a lot of crap. Then I made it better.

KM: What are you most looking forward to at the One Story Debutante Ball?

AC: Writing fiction can be such a lonely vocation. You spend hours alone, working with characters no one else can see, constructing scenes that have never happened. Even when you emerge from your desk, you interact with such a noisy world, one that often undervalues the necessity of what you do. A good group of friends, particularly writers, can help. Other people’s books can too. A fully-stocked liquor cabinet. A dog. But nothing quite beats the high of standing in a room of people who share your passion for and belief in the written word. It’s a rare and thorough joy. It’s life-giving.

Also, I get to wear a fancy dress.