Then I came across my earlier attempt to fictionalize my grandmother’s story, and was surprised by how deeply it still resonated. I realized this was the story I most needed to tell in that moment.
Suzanne Moyers – 13 September 2022
The Back Flap
When her beloved father mysteriously vanishes, sixteen-year-old Leola Rideout has little time to question why. With the 1918 influenza epidemic in its second year, social turmoil raging across Texas, and poverty a constant threat, it’s all she can do to keep her young sisters–and dreams–alive. Only when Papa returns in haunting visions decades later does Leola finally confront this loss, leading to a remarkable family discovery that could bring the peace she seeks.
About the book
What is the book about?
Set against the rich, often troubled, history of Blacklands, Texas, during another era of pandemic and social unrest, ’Til All These Things Be Done offers a unique yet eerily familiar backdrop to a universal tale of loss and redemption.
Even as dementia clouds her memory, eighty-three-year-old Leola Rideout can’t forget her father’s sudden disappearance when she was sixteen. Now, as Papa appears in haunting visions, she finds herself reliving the circumstances of that loss: the terrible accident that steals Papa’s livelihood, plunging their family deeper into poverty; a scandal from Mama’s past that still wounds; and Leola’s growing unease with her cruelly bigoted society.
When Papa vanishes while seeking work in Houston and Mama dies in the ‘boomerang’ Influenza outbreak of 1919, Leola and her young sisters are sent to a highly-regarded orphanage halfway across the state. Little does anyone imagine that an ugly secret lurks beneath the Home’s pristine image, one Leola has no choice but to expose…even if it means sacrificing a valuable clue to Papa’s fate.
That choice echoes over Leola’s lifetime, as new details about her father suggest a betrayal so painful, she vows to forget him forever. Only in old age, with visions of Papa growing more realistic, does Leola finally confront her unresolved grief, leading to a remarkable family discovery that might hold the key to forgiveness.
When did you start writing the book?
I actually wrote two chapters of the novel in my early twenties, then put them away. Meanwhile, I taught school for eight years, became an editor for educational publishers, and raised two children. In my late 40’s, I began writing fiction in earnest, completing a YA novel. After getting rejection from a slew of agents, I knew that book needed revision but struggled to find the motivation. Then I came across my earlier attempt to fictionalize my grandmother’s story, and was surprised by how deeply it still resonated. I realized this was the story I most needed to tell in that moment.
How long did it take you to write it?
Altogether, about 8 years!
Where did you get the idea from?
As a teenager, I’d watch my grandmother, Eula, cry out to the ghost of her father: Papa! Why did you leave? She was in the early stages of dementia but these Ghost Papa episodes, as I called them, felt utterly real. My grandmother had rarely spoken of her father and, after learning more details about the story, I understood why. Around this time, my mom discovered a strange twist to the saga, one that was playing out precisely as my grandmother began “seeing” her long-lost father. That eerie coincidence informed the fictional resolution of the novel, offering closure to Leola’s story that my grandmother didn’t have but that I like to think could be true.
Were there any parts of the book where you struggled?
In an earlier version, I’d merely touched upon the specter of white supremacy that was a reality in Texas—as elsewhere—during Leola’s (and my grandmother’s) lifetime. Researching the setting of my book, I had to imagine what it was like to be marinated in that toxic culture from birth. Sensitive white adolescents like Leola must’ve found it deeply conflicting, being raised in a dominantly Protestant, ‘Do Unto Others’ environment while this brutal hypocrisy played out around them on a daily basis.
Writing from the POV of a white character, I was nervous about presenting this reality without seeming officious, patronizing or, worst of all, reinforcing racist stereotypes. I didn’t want to soft-pedal that history just to make it more comfortable for readers nor did I want to represent all southern whites as hate-mongering racists—which I knew from experience and research was not true. While someone like Leola would never have played the “white savior,” her burgeoning conscience of racial disparity is as much a part of her character arc as grappling with her father’s disappearance.
What came easily?
Nothing! Writing, like life, is a messy, often laborious, process—not an easy reality for a perfectionist to accept. Over time I learned that the mess is necessary, if not essential, to the process. In fact, this realization has helped in other areas of my life—like becoming a skilled metal detectorist. While learning to detect, I’d spend hours in the hot sun, getting filthy, being devoured by mosquitos, only to unearth a few pull tabs. But every hour I spent practicing added up until now I find something interesting every time I search. The same is true of writing. Each crappy page you write—even if you delete it—makes you a better writer.
Are your characters entirely fictitious or have you borrowed from real world people you know?
Leola is loosely based on my grandmother, though historical research and my own imagination helped me craft an entirely unique individual. Of course, every character in my book contains some aspect of my own psyche, informing how a certain character will react in a given situation. EL Doctorow once said, “The historian will tell you what happened. The novelist will tell you what it felt like.” In relating to my characters’ flaws, quirks, and strengths, I hope readers will connect emotionally to people whose lives and experiences are very different from their own.
We all know how important it is for writers to read. Are there any particular authors that have influenced how you write and, if so, how have they influenced you?
Among historical novelists, they include Amy Belding Brown, Geraldine Brooks, Elizabeth Crook, Emma Donoghue. These writers use historical details to immerse the reader in a unique world without overpowering the more universal themes of the story. I’m also inspired by memoirists like Cheryl Strayed and Raynor Winn. Like my favorite fiction writers, these authors use personal experiences I might never experience—hiking solo on dangerous trails, say—to delve into relatable issues like grief and identity.
Do you have a target reader?
Ideally, I think the book will appeal to readers who want to be immersed in an unusual, long vanished culture—in this case, the ‘blacklands’ region of Texas during the early 20th century. I’m also perfectly happy if folks are simply entertained by the journey of an ordinary young woman seeking answers to important questions.
About Writing
Do you have a writing process? If so can you please describe it?
First and foremost, I try to get those ideas down. Once I know the basic plot points, I start writing, trying not to monitor myself as I go. Then—even if it’s a few hours or days or weeks later—I go back and edit. It’s like being a sculptor, carving out the basic shape then whittling it down or adding to it as necessary. In fact, that’s one of the most rewarding parts of the process for me.
Do you outline? If so, do you do so extensively or just chapter headings and a couple of sentences?
I alternate between pantsing and plotting. It’s helpful for me to have an idea of where I’m going, to know the major twists and, if possible, the resolution. But I try to be flexible. Sometimes, even when I have a detailed outline, the writing takes me places I didn’t expect.
Do you edit as you go or wait until you’ve finished?
In spite of what I said above, there are days I just can’t get my creative juices flowing, so refining a story or chapter is better than doing nothing. Sometimes while editing I’ll think of a new idea or angle, and that fires up my creativity in turn.
Did you hire a professional editor?
I have used professional editors, yes. My critique group and writing teachers have been 100 per cent essential in that process too. It’s really painful for me (see perfectionism, above) to be criticized, but I’ve come to see it as the gift that never stops giving. I’d recommend that, no matter where they publish, all writers invest in a top-notch developmental or copy editor before submitting to agents and possibly even after.
Do you listen to music while you write? If yes, what gets the fingers tapping?
In scenes of rising action, I always turn to the soundtracks of intense movies. One of my favorite composers is Hans Zimmer, who wrote the soundtracks for movies like Interstellar and The Last Samurai. Music with forward momentum and intensity drives me to get the words down and be in the moment of my imagination.
About Publishing
Did you submit your work to Agents?
I submitted this novel to about 25 agents without success. I know people who submit to hundreds of agents before finding one, but I’d worked a long time on this book and was ready to launch it into the world!
What made you decide to go Indie, whether self-publishing or with an indie publisher? Was it a particular event or a gradual process?
My excellent writer teacher, the novelist Michelle Cameron, had published traditionally but released her second novel through SWP. She had a rewarding experience, as did other writer friends.
Did you get your book cover professionally done or did you do it yourself?
She Writes Press has an excellent cover design department. They offered me about 15 different ideas, I chose my favorites, and we hashed out the end product. When I showed the final cover to the owner of our well-known local bookstore, she thought it was beautiful and quite different from others she’d seen recently. That was reassuring, as I wanted something that would stand out.
Do you have a marketing plan for the book or are you just winging it?
I am working with a PR team at Booksparks, and have a comprehensive media plan. My PR people have an ‘in’ with various media outlets and social media influencers, so they can pitch the book and find opportunities I might not know about. I’m also trying to sign up for a lot of book fairs and events where I can market and sell my book in person. It helps that I have a close group of writer friends who have recently published. We keep each other informed about potential marketing opportunities.
Any advice that you would like to give to other newbies considering becoming Indie authors?
Explore all your options and talk to a lot of people who have published through different platforms. Understand that there’s a steep learning curve and, depending on the publisher you choose, a degree of legwork that might not exist if you publish traditionally. Make sure your book is as polished as possible before submitting anywhere—not just because you want options in publishing but because you want your book to be ready for the world. Don’t rush the process.
About You
Where did you grow up?
Mostly on Long Island, though I spent a lot of time visiting both sets of grandparents in Texas, where my parents grew up. I’m blessed to have had a foot in both worlds, to understand there’s no such thing as a typical “southerner” or “northerner.”
Where do you live now?
About 12 miles outside New York City. I’m privileged to be able to hop on a train a block away and be in Manhattan in 40 minutes, but also have easy access to nature and small-town life.
What would you like readers to know about you?
There’s a quote by Sylvia Plath hanging on my office bulletin board: Self-doubt is the enemy to creativity. I’m a chronic self-doubter who can find a million reasons not to take creative risks. It’s only by ignoring those negative inner voices that I feel free enough to take those risks. If I can do it, anyone can!
What are you working on now?
I’m exploring several ideas. One is a thriller based on an actual crime in which a church-going suburban mom enlisted her golden child to kill the rest of their “ne’er-do-well” family. I’ve also done substantial research about a family of Dutch female traders in New Amsterdam and their mysterious connection to the great Lenape sachem, Chief Oraton. The latter would be much harder to write but who am I kidding? I’m a sucker for history.
End of Interview:
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Get your copy of ‘Til All These Things Be Done from Amazon US or Amazon UK.
