Today on Women’s Fiction Writers we have with us Susan Meissner, who has published more than a dozen novels! Of course I wanted to ask her the most important questions I could think of. Then, below, you’re treated to a Q&A about her latest novel, A FALLOF MARIGOLDS.
In answering one of my questions, Susan says that the goal of the author is “to satisfy and to be remembered.” What is your goal as an author? She also states that Women’s Fiction “isn’t obligated to provide a happily ever after.” She’s singin’ my song with that one! (I like to write hopeful open endings.) What do you think about THE END in Women’s Fiction?
Please welcome Susan Meissner to Women’s Fiction Writers!
Author Susan Meissner Talks About Women’s Fiction And What It Means To Be An Author Of Women’s Fiction
Susan: From my experience as a multi-published author in that genre, I believe what makes a novel a decidedly female read is a gray area, really. You usually don’t hear gals describe what they read as ‘women’s fiction’ and you won’t often find books shelved that way in Barnes & Noble. It’s more a label we writers use to describe what we write rather than what someone else reads. I think story lines that female readers are drawn to most are those that deal with human relationships, especially those found in the family, and women readers are all about relationships. Women’s fiction usually features a female character in the leading role, or at least a character that a woman can care about pretty much from the get-go.
Amy: What advice would you give to aspiring authors of women’s fiction?
Susan: Your goal as the author is to satisfy and be remembered. The female reader who reads women’s fiction usually wants a book that makes her think. She wants a book that she can discuss with other women at the water cooler or on the playground or at her book club. She wants a book that invites and even incites dialogue. When you can talk about fictional situations that made you ponder, you find yourself making sense of your own very real, nonfictional world. Fiction has that power. Women readers know this. For many women, novel-reading is only part escape — the other half is laboratory. I don’t think women’s fiction is obligated to offer happily-ever-after endings, but the ending must be one that satisfies. If you will remember, in The Notebook, Nicholas Sparks didn’t heal or save anyone, but the ending is nonetheless pleasing.
Susan Meissner is a multi-published author, speaker and writing workshop leader with a background in community journalism. Her novels include The Shape of Mercy, named by Publishers Weekly as one of the 100 Best Novels of 2008. She is a pastor’s wife and a mother of four young adults. When she’s not writing, Susan writes small group curriculum for her San Diego church. Visit Susan at her website: www.susanmeissner.com on Twitter at @SusanMeissner or at www.facebook.com/susan.meissner
The following Q&A was generously provided by Susan, and I’m sure you’ll enjoy reading about A FALL OF MARIGOLDS!
Q&A: SUSAN MEISSNER, AUTHOR, A FALL OF MARIGOLDS
Susan, tell us where the idea for this story came from.
I’ve long been a history junkie, especially with regard to historical events that involve ordinary people facing extraordinary circumstances. A couple years ago I viewed a documentary by author and filmmaker Lorie Conway called Forgotten Ellis Island; a hauntingly poignant exposé on the section of Ellis Island no one really has heard much about; its hospital. The two man-made islands that make up the hospital buildings haven’t been used in decades and are falling into ruins, a sad predicament the documentary aptly addresses. The documentary’s images of the rooms where the sick of a hundred nations waited to be made well stayed with me. I knew there were a thousand stories pressed into those walls of immigrants who were just a stone’s throw from a new life in America. They were so close they could almost taste it. But unless they could be cured of whatever disease they’d arrived with, they would never set foot on her shores. Ellis Island hospital was the ultimate in-between place – it lay between what was and what could be. A great place to set a story
What is the story about, in a nutshell?
The book is about two women who never meet as they are separated by a century. One woman, Taryn, is a 9/11 widow and single mother who is about to mark the tenth anniversary of her husband’s passing. The other is a nurse, Clara, who witnessed the tragic death of the man she loved in the Triangle Shirtwaist Fire in Manhattan in 1911.In her sorrow, Clara imposes on herself an exile of sorts; she takes a post at the hospital on Ellis Island so that she can hover in an in-between place while she wrestles with her grief. She meets an immigrant who wears the scarf of the wife he lost crossing the Atlantic, a scarf patterned in marigolds. The scarf becomes emblematic of the beauty and risk inherent in loving people, and it eventually finds it way to Taryn one hundred years later on the morning a plane crashes into the North Tower of the World Trade Center. The story is about the resiliency of love, and the notion that the weight of the world is made more bearable because of it, even though it exposes us to the risk of loss.
Why a scarf of marigolds? What is their significance?
Marigolds aren’t like most other flowers. They aren’t beautiful and fragrant. You don’t see them in bridal bouquets or prom corsages or funeral sprays. They don’t come in gentle colors like pink and lavender and baby blue. Marigolds are hearty, pungent and brassy. They are able to bloom in the autumn months, well past the point when many other flowers can’t. In that respect, I see marigolds as being symbolic of the strength of the human spirit to risk loving again after loss. Because, face it. We live in a messy world. Yet it’s the only one we’ve got. We either love here or we don’t. The title of the book has a sort of double-meaning. Both the historical and contemporary story take place primarily in the autumn. Secondarily, when Clara sees the scarf for the first time, dangling from an immigrant’s shoulders as he enters the hospital building, she sees the floral pattern in the threads, notes how similar they are to the flames she saw in the fire that changed everything for her, and she describes the cascading blooms woven into the scarf as “a fall of marigolds.”
What led you to dovetail the Triangle Shirtwaist Fire of 1911 with 9/11?
When I first began pulling at story threads, my first instinct was to tell a story about an immigrant struggling to remain hopeful as an unwilling patient at Ellis Island hospital. But the more I toyed with whose story this was, the more I saw instead a young nurse, posting herself to a place where every disease known and unknown showed up. It was a place like no other; a waiting place – a place where the dozens of languages spoken added to the unnatural homelessness of it. Why was she here? Why did she choose this post? Why did she refuse to get on the ferry on Saturday nights to reconnect with the real world? What kind of person would send herself to Ellis not just to work, but to live? Someone who needed a place to hover suspended. I knew something catastrophic had to happen to her to make her run to Ellis for cover. As I began researching possible scenarios, I came across the Triangle Shirtwaist Fire, which up until 9/11 was arguably the worst urban disaster to befall Manhattan. There were similarities between that fire and 9/11, including the tragic fact that many trapped workers jumped to their deaths rather than perish in the flames. For every person lost in disasters such as these, there is always his or her individual story, and the stories of those who loved them. I wanted to imagine two of those stories.
One important plot element is the moral dilemma Clara faces when she discovers something about the dead immigrant’s wife that he does not know. What led you to include this story thread?
A good story has to have tension; there has to be some kind of force tightening the screws, forcing the characters to react and respond. The main character of any novel wants something and the tension increases whenever what she wants eludes her. Clara is desperate to keep love golden, perfect in her mind, and without sharp edges. This moral dilemma I impose on her forces her to truly ponder what she thinks she wants. Is love really at its grandest when there are no sharp edges to it all? I don’t think so. I think to love at its fullest means we might get hurt. Probably will. But that doesn’t mean it’s not worth sharing, giving, and having. I include a line in the book that sums it up for me. “Love was both the softest edge and the sharpest edge of what made life real.” I think if we’re honest with ourselves we don’t want to settle for love being just as safe as “like.” Clara wrestles with what to do with her knowledge because she doesn’t want the beauty of love to somehow be tarnished; even it’s tarnished by truth.
Your last few novels have had historical components interwoven within a contemporary story. Why do you prefer that kind of story construction?
I think living in Europe for five years awakened my love for history. It’s like it was always there but my time spent overseas just woke it up. When I think back to the subjects I did well in and that came easy to me in high school and college, it was always English and history, never math or science. I appreciate the artistry of math and the complexity of science, but neither subject comes easy to me. History has the word “story” in it. That’s what it is. It’s the story of everyone and everything. How could I not love it? Study history and you learn very quickly what we value as people; what we love, what we fear, what we hate, what we are willing die for. History shows us where we’ve been and usually has lessons for us to help us chart where we’re going.
Are you working on anything new at the moment?
My next book is set entirely in England, mostly during The London Blitz. My main character starts out as a young, aspiring bridal gown designer evacuated to the countryside with her seven-year-old sister in the summer of 1940. Though only fifteen, Emmy is on the eve of being made an apprentice to a renowned costumer and she resents her single mother’s decision to send her away. She sneaks back to London – with her sister in tow – several months later but the two become separated when the Luftwaffe begins its terrible and deadly attack on the East End on the first night of the Blitz. War has a way of separating from us what we most value, and often shows how little we realized that value. I have always found the evacuation of London’s children to the countryside – some for the entire duration of the war – utterly compelling. How hard it must have been for those parents and their children. I went on a research trip to the U.K. in the fall of 2013 and I spoke with many individuals who were children during the war; some were separated from their parents, some were bombed out of their homes, some slept night after night in underground Tube stations, some watched in fascination as children from the city came to their towns and villages to live with them. This book explores issues of loss and longing, but also the bonds of sisters, and always, the power of love.
Where can readers connect with you?
You can find me at www.susanmeissner.com and on Facebook at my Author page, Susan .Meissner, and on Twitter at SusanMeissner. I blog at susanmeissner.com. I also send out a newsletter via email four times a year. You can sign up for it on my website. I love connecting with readers! You are the reason I write.