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Interview w/ Novelist Carla Laureano

Carla-LaureanoCarla Laureano is a bit of a Renaissance Woman. She has held many jobs—including professional marketer, small-business consultant, and martial arts instructor. Recently, she has added “published author” to her repertoire. Her first novel, Five Days in Skye, was recently chosen as a double-finalist in the RWA’s 2014 RITA Awards. Oath of the Brotherhood marks her fantasy debut. Carla graciously took some time to chat about her writing career, YA fiction, theology in storytelling, and the possible future of Christian publishing.

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MIKE: You’ve recently had back-to-back books published by different publishers in different genres. How’d that happen? And do you consider yourself a romance author or an epic fantasy author? Both or neither?

CARLA: It definitely wasn’t planned that way. My fantasy was out on submission, and given the difficulty in selling inspirational fantasy in this market, I didn’t want to start writing another epic speculative series. I took a few months to see if I could write a romance novel and discovered that not only was I capable of doing it, I enjoyed it. When ACFW time came around and I’d didn’t have any serious bites on the fantasy, I decided to pitch the romance. I came home with several requests for the full manuscript… and two days later found out that my fantasy was going to committee. I was then in the surreal position of having two contract offers almost simultaneously, and since the editorial calendars didn’t overlap, I accepted both.

It’s hard to call myself strictly a fantasy author or a romance author, because I truly love writing both. (Naturally, I would pick the two most polarizing love-‘em-or-hate-‘em genres in which to write.) I’m not going to lie—writing two genres simultaneously is more than challenging—but they’re so different that switching back and forth gives my brain a rest and lets me appreciate the things that are unique to each genre.

MIKE: There’s lots of “behind the scenes” things that happen to bring a book to publication – life issues, some sort of inspiration, a professional contact, a significant learning curve, etc. What are some of the most significant “behind the scenes” components that have led to your becoming a published author?

CARLA: I’ve had some people comment on my “immediate success,” Oath-of-the-Brotherhoodbut in truth, I’ve been at this for almost twenty years. I wrote fantasy for the general market for years, coming close with agents a couple of times, but I was never able to sell a book. I finally realized that in trying to remove all spiritual components from my stories, I was hampering my natural voice. Once I decided to let the stories be told the way they were meant to be told, I started to find some interest in my work in the CBA. I went from being a finalist in the ACFW Genesis contest to having six books under contract in only two years. But that would never have happened if I hadn’t put in the work of learning my craft, submitting, and learning from my mistakes for nearly two decades.

MIKE: So Oath of the Brotherhood is being marketed as YA. I’ve long contended that YA is a bit of an artificial construct. Because a significant swath of YA readers are adults, in some ways, labeling a book YA is a tactic to get adults and young adults to read it. In your opinion, what distinguishes YA fiction from adult fiction? And do you agree that the label is kind of nebulous?

CARLA: In some genres, like romance or mystery, I think the label is necessary. There tends to be a pretty big content divide between YA and adult in those types of fiction. But with regard to speculative fiction, I do agree that the YA label can be a little nebulous. It’s the nature of speculative fiction to deal with bigger issues that would appeal to both teens and adults. Add the fact that the bildungsroman has always been a favored vehicle for telling speculative stories, and the gap between them narrows even further.

That said, there are some specific differences between YA and adult in terms of storytelling approach that I’ve only recently identified for myself. Generally, YA takes one or perhaps two characters and filters the bigger plot through their point(s) of view. If adult speculative uses a wide-angle lens, YA takes a zoom approach. There’s also typically a stronger and more integrated romance thread that’s integral to the story, whereas in most adult speculative fiction the love story could be removed without too much damage to the overall plot. Additionally, YA tends to handle the issues of sex and violence with more delicacy and less detail than adult fiction.

So from that perspective, YA is very much its own genre. I think it’s more helpful to ask what it is about YA that draws in adults. What appeals to me is the visceral nature of a close-in approach to storytelling. It’s almost as if literature tells us when we graduate from YA to adult books, “It’s time to grow up now. Trade all feeling for logic, and toss out the idealism while you’re at it.” But the issues dealt with in YA still resonate with people of all ages: identity, the need for acceptance and belonging, feeling of helplessness in a world that is simultaneously too big and too small. There’s also a sense of hope in most YA speculative fiction that we lack in our more cynical adult fiction, the idea that the world is worth saving and that a single person can make a difference. Even in The Hunger Games, which I think we can agree takes a pretty dim view of human nature, the reader gets the sense that it’s meant as a cautionary tale—and by extension, that we must take action now if we are to avoid this horrible end.

MIKE: One Christian author, in writing about the limits of speculative fiction, recently suggested that zombies should be out of bounds for Christian fiction. Unless the fictional cause of zombie-ism is viral, there is no biblical precedent for the soulless dead returning to life. Of course, theology is important to a Christian writer. But how much theology do you think a Christian should impose upon their fiction? Should ANYTHING be fictionally out of bounds?

CARLA: I’m of the opinion that nothing should be imposed on a story that isn’t already there. I think that’s part of the complaint many people have with Christian fiction, that the religious aspect can feel tacked on or forced. Even a highly religious book in which the theology or the moral message is integral to the storyline or characters development will not feel preachy. But just like you can’t just decide to set a novel in space and call it science fiction, you can’t throw in a church scene and a conversion scene and call it Christian. It has to be organic to make sense.

That said, I’m quite conscious of the theology that I’m putting forward in my writing, both out of an understanding of the market and a sense of personal responsibility. If I put a Christian-like religion in a speculative setting and then through my story or characters imply that Christ is not the path to salvation, am I responsible for those who might be led away from the central tenet of our faith by those ideas? Possibly.

But does that mean that every book I write has to have an overt parallel to Christianity? No. And I don’t even think I have to have any recognizable religion in a book for it to have a Christian worldview. (It just might be a little harder to sell in the CBA.) I’m in an interesting position myself. Because the conflict between paganism and Christianity was a central one in the Celtic world upon which I based my setting, Oath of the Brotherhood has a pretty strong Christian slant. The other stories I’m developing have a much lighter spiritual thread. Will those books find a home with a traditional publisher? Only time will tell.

MIKE: I have been fairly critical of Christian fiction, its readers, and the strictures that govern it. It’s tilted predominantly toward women and women’s titles, the stories tend to avoid more edgy subject matter, and follow a traditional redemptive arc. What are your feelings about the current Christian fiction industry? Are you hopeful or skeptical?

CARLA: I’m not sure I have a good answer on this. Most days, I think we’re headed in the right direction. We’re seeing edgier titles (though mostly in the women’s fiction/romance arena), and I know of a handful of new speculative projects that have been contracted by Christian publishers in the last few months. Not to say that I think the books out there now should not be published—it would be egotistical to argue that others’ reading tastes are less valid than my own. But I am encouraged that we may see a wider variety of titles, genres, and subject matter in the coming years. It will be interesting to see if the continuing buyouts of Christian publishers by the Big Five result in more choices or fewer choices in Christian fiction.

What checks my optimism on the subject is the immediate backlash against the publication of Matthew Vines’ God and the Gay Christian by Convergent Books, a sister imprint of Waterbrook Press under Penguin Random House. Despite the fact that Convergent and Waterbrook have completely different editorial missions, some people immediately called for a boycott of Waterbrook as well. If decisions made by a progressive imprint can harm a press that is related only by business structure, I wonder if conservative publishers will compensate by moving in the opposite direction and becoming even more cautious in their acquisitions.

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You can find out more about Carla and connect with her at her website, on Facebook, Twitter, Google+, and Pinterest

{ 12 comments… add one }
  • Evangeline Denmark May 21, 2014, 8:24 AM

    I appreciate Carla’s approach to the religious element in any given story. I think I’m going to start quoting her line “nothing should be imposed that isn’t already there.” I know when I tried to add a significant faith element to appeal to a religious publisher, my efforts fell flat. But allowing any spiritual element to grow organically with the story as I write it has surprised and delighted me. Even if I never mention God by name, I find He is there in my stories nonetheless.
    The problem, of course, is marketing to an audience that feels, and may in fact be, polarized on the subjects of religion and what story elements are acceptable in speculative fiction. The only solution I can see, is to be authentic. Perhaps I’m naïve, but I have this goal of not engaging with those who might attack me for using magic or whatever in my story. Can I refuse the argument? Resist defending myself? Is that even an option?

    • Carla Laureano May 21, 2014, 8:31 AM

      Evangeline, you and I have discussed before, but I’m of the opinion that in terms of content, the only one we have to answer to is God (and our editors, I guess. 🙂 ). I respect others’ opinions and their right to disagree, but if I’m being authentic, I don’t think I need to defend myself. I’d much rather be criticized for something in which I truly believe than something I wrote because someone told me to.

      It’s the business of art to push buttons in some way, whether the response is positive or negative. I guess if my work makes people feel something and think more deeply, my job is done.

      • Morgan L. Busse May 21, 2014, 9:20 AM

        I loved that part too, and totally agree with it. Write the story the way the story is supposed to be told. Does it have a conversion scene? Great, write it in. Does it only hint at God? Great, write it in. Don’t force the story, let it flow organically, like you said 🙂

  • Carla Laureano May 21, 2014, 8:26 AM

    Thanks for hosting me today, Mike! You asked some interesting questions, and ones I’ve been pondering lately. Appreciate the chance to chat with you here.

  • Jessica May 21, 2014, 8:39 AM

    Thank you for sharing this insightful interview. I agree. Authenticity and letting the true voice of the story shine through is vital. But thank you most of all for introducing us to another epic fantasy writer who is a Christian! I look forward to checking out Carla Laureano’s work.

  • Gwynn May 21, 2014, 9:34 AM

    Good interview. The National Religious Broadcasters forced out Waterbrook charging NRB members with Multnomah and Waterbrook with “producing unbiblical materials.” Others have expressed similar concerns. Don’t you agree that their concerns are valid? Should Christian publishers align themselves in any way with publishers who produce unbiblical materials?

    http://www.christianitytoday.com/ct/2014/may-web-only/nrb-waterbrook-multnomah-god-and-gay-christian.html?paging=off

    • Carla Laureano May 21, 2014, 3:33 PM

      I read that this morning, in fact! Are the concerns valid? Absolutely. But I take issue with the fact that a single book could harm all the authors and ministries that are unrelated to the controversy.

      To put it another way, HarperCollins owns Zondervan and Thomas Nelson. They also now own Harlequin which publishes the Love Inspired line alongside very steamy romances. HC also publishes a fair amount of LGBT fiction. Should we write off TN and Zondervan because they happen to be owned by publishing conglomerate that puts out other books with which we don’t agree, even if they have clearly stated they have very different editorial missions? Frankly, it feels like a double standard to me. And if we’re going to treat all publishers equally, where exactly do we draw the line?

      • D.M. Dutcher May 21, 2014, 4:52 PM

        The problem is that those imprints usually don’t share editorial staff, and generally are separate enough that you don’t have to worry about things bleeding over. The problem with Convergent was that it used the same staff apart from allowing conscience exemptions so that people didn’t need to work on things they felt were immoral, and the two lines are too close and adversarial to be healthy. You have the editor approving orthodox Christianity on one hand, and allowing anti-fundamentalist books on the other. I don’t think that can be done in a healthy manner, and the NRB really isn’t wrong in saying that the imprints should be headed by different staff.

        I think another difficulty is that this woke people up to the dangers of Christian presses being owned by nonbelievers. I think Christian artists really need to have a talk about the ability to maintain the freedom to promote Christian works without secular interests driving the bottom line.

        • Carla Laureano May 21, 2014, 5:20 PM

          My intention was not to debate this particular situation, but to point out that if Multnomah finds themselves really hurt by the publication of this book, we may see publishers move the opposite direction to ensure they’re not offending their core readership. Sales are poor enough without giving readers a reason to boycott.

          But I do think you’re right in your assessment, D.M., and it does bring up the issue of having non-Christians involved in decisions on a Christian imprint. But I’m not sure the situation is as clear as we’d like it to be. Without naming names, I’m actually quite troubled by the theology of several best-sellers, which I find to be unbiblical and potentially harmful. I enjoy many other books published by these houses. Do I call for a boycott? Who gets to decide where the line is drawn? I think it’s a subject that doesn’t have any easy answers, but it’s still one that needs to be discussed.

          • E. Kaiser Writes May 26, 2014, 5:03 PM

            When you say “…I’m actually quite troubled by the theology of several best-sellers, which I find to be un-biblical and potentially harmful.” Are you referring (among them) to the Halflings produced by Zondervan? I was deeply disturbed by the core elements in that novel; several were blatantly unbiblical and yet it was masquerading as “Christian YA”… the extreme tie in to “sacred Catholic churches” and others themes could only have been palatable to those deeply entrenched in the Catholic faith, actually believing in a building that can defend against spiritual forces, instead of the Holy Spirit that is either with us or not where ever we go. I was shocked that an American, Christian claiming publishing house had editors that would let it across their table, not to mention that many reviewers were flattering it with praise.
            To say nothing about the shoddy characterization, trite plot devices and worn out scenes… and the very damaging potential role model situations it set up for impressionable tweens/teens.

            Personally, I can’t respect the author of that book, nor the publisher.

  • Jill May 21, 2014, 9:01 PM

    Thanks for the interview. Now I’m curious about Carla’s books and will have to check them out at some point.

  • Kat Heckenbach May 22, 2014, 5:12 AM

    Interesting interview. And congratulations, Carla!

    I’m not going to comment on the Christian fiction part of this discussion–instead, I am more interested in the definitions you give of YA. I agree with most of what you said here (and half-agree, half-disagree with Mike’s assessment that it’s a bogus label :P). I read gobs of YA and MG, and write YA myself, and you’re definitely right about the zoom-lens approach. I think, that the reason for it has to do with that teen novels tend to be more coming-of-age, so their focus is on “where is MY place in the world”–and I wonder if these days that appeals to adults as well, that whole sense of identity thing.

    The same goes for what you said about teen fiction having more hope than adult fiction. And along with that, the idea that teen fiction is usually about first experiences. We can read YA novels and forget for a while, even with deep, literary YA, even with dark, emotional YA, all the junk that piles up in our lives–physical and emotional junk–and face challenges with fresh eyes and fresh hope.

    My last comment is where I disagree with you–but not really–you’ll see…

    You said that romance is an integral factor in YA fiction, even spec-fic, and I argue that that is a false construct. I think romance has been pushed into YA fiction because of the adult readership. YA has become a bandwagon genre, now with a target demographic that matches the main demographic that the romance genre targets, with the teens reading the heavily romance-infused books being seen as the ones who will continue to read YA into adulthood for the romance element.

    I went to a writers convention with my 100%-non-romance YA fantasy and was told by an agent to make my mc older and put in romance because “teen girls like romance.” Well, I was a teen girl who didn’t want to read romance. I know lots of teen girls who don’t want to read romance. And I want my books to appeal to boys, too. Yep, there are actually teen boys who read, whether the publishers out there want to believe it or not :).

    There has been a push to make YA fiction “need” romance because of the audience that is now reading it–It is not, however, an element that “makes” a book YA. If anything, I think it is what changes a YA book into an adult-appealing book. (Not that there aren’t legitimately YA romance novels out there–just that the subgenre has taken over because that is the subgenre that appeals to most of the adult demographic reading YA.)

    I’m not criticizing you, or your assessment, btw–you noticed that romance is integral in most of the YA books out there, and so I can totally see why you put that in your definition. But that is more “what categorizes a book as YA these days” rather than “what defines a book as YA.” And I think that is the heart of why I agree and disagree with Mike on the idea that the YA label is a bogus one. It’s NOT a bogus label–there are books that are aimed at teens and written with very specific elements and perspectives that make them YA–but the label is being used in a bogus way to attract readers because YA is so hot among adults.

    Anyway–now that I’ve got that out, I do want to say I also found your thoughts on Christian fiction interesting, and I agree with the statement you made that everyone else here has commented on–not imposing things on a story that aren’t already there. And thank you for sharing about your personal journey. It can be really hard for aspiring writers and struggling indie writers to read about someone getting two first-deals at once, so sharing that there was twenty years of climbing uphill that led to that is important and appreciated! Glad it has paid off for you!

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