My first novel for young readers was C. C. POINDEXTER, about a misfit. I felt I had a lot of experience in that department. Then I wrote EULALIA'S ISLAND based on that summer on St. Lucia, where my 13-year-old son John befriended a local kid named Eulalia. When I found the diaries my dad kept when he was in college and in love with a girl named Peg (I had his photo albums too, so I knew what she looked like), I wrote from the point of view of a young girl in the 1920s who had found her brother's diary: THE SUMMER I LEARNED ABOUT LIFE.
Meanwhile, I kept my hand in the non-fiction area, because I had found that I really liked doing research. In the late 1970's I drove across the country to a writers' colony in Taos, New Mexico. I had visited California, but I had never been in the Southwest, and the experience was life-changing. After a few months, I decided to relocate.
I bought a tiny house in Santa Fe, loaded up a U-Haul, and drove across the country to my new home. Everyone thought I was crazy, and probably I was. Nevertheless, I settled in. When I met the girl next door who showed up in the middle of the city on her horse, I started my next novel, THE LUCK OF TEXAS McCOY. (Research for that project involved learning to actually ride a horse.) I was still associated with the Institute of Children's Literature, working my way through a batch of student assignments that arrived every week . Money was always tight; one summer I got a job producing a weekly half-hour TV show called "ArtScene" that paid me the princely sum of $100 a week and left me exhausted with no time to write.
Burned out with Santa Fe after five years of struggle, I moved to Albuquerque, hoping to get freelance work or a part-time job. At one point I considered film school in Los Angeles with the goal of becoming a screen writer. But then life took another sharp curve. (To be continued)
Meanwhile, I kept my hand in the non-fiction area, because I had found that I really liked doing research. In the late 1970's I drove across the country to a writers' colony in Taos, New Mexico. I had visited California, but I had never been in the Southwest, and the experience was life-changing. After a few months, I decided to relocate.
I bought a tiny house in Santa Fe, loaded up a U-Haul, and drove across the country to my new home. Everyone thought I was crazy, and probably I was. Nevertheless, I settled in. When I met the girl next door who showed up in the middle of the city on her horse, I started my next novel, THE LUCK OF TEXAS McCOY. (Research for that project involved learning to actually ride a horse.) I was still associated with the Institute of Children's Literature, working my way through a batch of student assignments that arrived every week . Money was always tight; one summer I got a job producing a weekly half-hour TV show called "ArtScene" that paid me the princely sum of $100 a week and left me exhausted with no time to write.
Burned out with Santa Fe after five years of struggle, I moved to Albuquerque, hoping to get freelance work or a part-time job. At one point I considered film school in Los Angeles with the goal of becoming a screen writer. But then life took another sharp curve. (To be continued)