Rhoticity within American English a guest post by Zachary Cagle

Zachary Cagle is a senior at Southern Oregon University, where he will be graduating this spring with a degree in English. After graduation, he plans to pursue a career as a writer, and this essay is his first published piece.

Dating back to the 15th century, non-rhotic speech (a variety of English in which /r/ is not pronounced unless followed by a vowel) originated in Southeast England in a handful of Old and Middle English words. By the seventeenth and eighteenth century, the postvocalic /r/ began to be deleted systematically, and by the 1790’s, postvocalic /r/-less pronunciation became common within London; although, it wasn’t until the early 19th century that this Southern British pronunciation became the British prestige standard and, subsequently, a fully established non-rhotic variety. However, due to the rising popularity of the /r/-less pronunciation in the early seventeenth century, as the English began to immigrate to America the majority of settlers came from areas of non-rhoticity. Ergo, the areas of Boston, New York, Richmond, Savannah, and Charleston all became /r/-less, with the only exception being Philadelphia. Consequently, the majority of the Northeastern and Southern areas of what would later become the United States of America were largely influenced by this non-rhotic variety, which ultimately became the accepted standard and remained so until the 1940’s. In essence, the end of World War Two triggered a shift in prestige from non-rhotic to rhotic speech within American English, resulting in a transition from /r/-less to /r/-full speech within the North and later the South due to a variety of socioeconomic/regional factors.

In contrast to the adoption of the British English non-rhotic standard in the seventeenth century, the change in prestige that occurred after World War Two was a result of the declining influence and prestige of England in America. This change in prestige, rather than evolving slowly over many generations, was abrupt, occurring first in the North with the South following suit shortly after, and resulted in a loss of the /r/-less pronunciation within three generations. However, the social motivation behind this transition differed between the Northeastern and Southern populations. In the North, this realization of the rhotic norm occurred within the upper middle classes and was, therefore, a case of change from above, whereby r-lessness received a negative connotation and consequently low social evaluation. Whereas in the South, due to a history of /r/-less speech gaining prestige among the upper classes with the spread of the plantation system from 1750 onward, the change to /r/-fullness was and is, consequently, a case of change from below – both below the level of consciousness and moving from lower to higher social classes.

The question, therefore, is: how did this transition occur systematically and, secondly, how did such drastic change occur in such a short span of time? Two studies – one conducted by Crawford Feagin on the dynamics of sound change within the South, and a second study conducted by Thomas Schönweitz on the role of gender and the postvocalic /r/ in the South –provide answers to these questions. And, despite focusing primarily on the loss of the postvocalic /r/-less pronunciation within the Southern United States, they nonetheless provide insight into some of the factors that likely played a role in this transition within the North as well.

In the study titled “The Dynamics of a Sound Change in Southern States English: From r-less to r-full in Three Generations,” Feagin examines the changes that were taking place in the realization of /r/ within the community of Anniston, Alabama. Using the interviews of ten informants “divided by age, sex, social class, and – for the older informants – urban/rural” (Feagin 130), Feagin deconstructs the linguistic ordering of change – i.e., the /r/-shift – and examines it for four linguistic environments representing the various degrees of rhotic speech (three vocalic environments, one postvocalic), after which he extracts and analyses all words containing potential /r/ in said environments. For example, “Environment 1. Stressed vocalic r followed by a consonant as in work, person, university, Environment 2. Stressed vocalic r in word-final position as in fir, her, were” (132-133), etc. In essence, Feagin’s findings corroborated the former prediction by linguist C.J. Bailey regarding language change:
Change appears – variably – first in restricted environments, begins slowly, then simultaneously speeds up and expands to more and more environments, going to completion in first one environment then another, until the change has gone through all linguistic environments for all members of the community (qtd. in Feagin 132).

Accordingly, Feagin identifies four stages regarding the degree to which an individual integrates rhotic pronunciation within their own speech: “Stage 1. No vocalic or postvocalic tautosyllabic r at all, Stage 2. Low occurrence of r in Environment I, stressed vocalic r followed by tautosyllabic consonant, with even lower rates of r-occurrence in Environments III and IV, Stage 3. Categorical pronunciation of r in Environment I, with rapidly increasing proportions elsewhere, Stage 4. Nearly 100% r in all positions” (137). These stages illustrate the way in which the transition from /r/-less to /r/-full speech occurs systematically.

Before delving into Feagin’s analysis of the social ordering of change, it is important to first address the study by Schönweitz, titled “Gender and Postvocalic /r/ in the American South: A Detailed Socioregional Analysis.” In this study, Schönweitz looks at the correlation between sex, ethnicity, age, education, social status, and region with regard to an individual’s level of tendency towards standard pronunciation features within speech. In essence, Schönweitz set out to determine whether the general consensus regarding these traits, which is prevalent in the results of various small studies conducted in the past, holds true for all of the Southern states, and whether /r/-fullness is observed in a variety of social groups in all the Southern regions concerned. These characteristics are highlighted in a study conducted by Levine and Crocket (1966):

Women, young people, the newer residents, and higher status persons take the national /r/-norm as their speech model, while the linguistic behavior of males, older people, long term residents, and blue-collar respondents is referred to a southern prestige norm – the /r/-less pronunciation of the coastal plain (qtd. in Schönweitz 260).

Furthermore, most studies also showed that those with higher educations tended to be /r/-full, that the higher the social class the more likely for individuals to be /r/-less, and that whites tend to be more /r/-full when compared to blacks.

Utilizing information on more than 100 words and phrases collected from more than 1,100 interviews of informants, which was conducted during the late 1960’s and throughout the 1970’s for the Linguistic Atlas of the Gulf States (LAGS: a linguistic map describing the dialects of the American Gulf states), Schönweitz used multiple programs to analyze the data in order to determine if the characteristics of rhotic pronunciation were an atlas-wide phenomenon; i.e., a pattern seen throughout the majority of the Southern states and, therefore, not confined to the restricted environments of previous studies. It was discovered that some of the overall patterns found in the LAGS area – regarding the aforementioned social factors – are not present when the data is broken down by sector; however, this doesn’t mean that they didn’t still have a considerable role within the transition, such as the case with social class. In other words, some social factors may not be atlas-wide according to Schönweitz analysis, but they still played a significant role within the transition from /r/-less to /r/-full speech within both the South and the North. Therefore, these findings should be taken with a grain of salt. Nonetheless, Schönweitz analysis found that only sex, ethnicity, and age showed consistent atlas-wide patterns with regard to rhoticity and the pronunciation of /r/. The results of the study are as follows: females are more rhotic than males, whites more than blacks, and young more than old.

In relation to Schönweitz findings, Feagin’s analysis of the social ordering of change provides some insight into how this transition occurred so rapidly and why it was, and still is, characterized by the social factors illustrated by Schönweitz and others. In one southern family studied by Feagin, the grandmother showed 0% /r/ pronunciation while the grandson showed 91%; however, interestingly, they were both from the upper classes. According to Feagin, there are a variety of factors that likely contributed to the rapid transition, which emanated from the general trend regarding the change to rhoticity, especially within the South; that is to say, “the change began in the urban working class…spread out to the rural working class and welled up socially to the upper class teenagers” (Feagin 138). Given the level of prestige associated with /r/-less speech within the South, the transition originated with teenage girls in the urban working class, which, as Feagin points out, adheres to the normal pattern in developed countries in the west with regard to language change. However, the conclusion of World War Two brought prosperity to the South and, subsequently, new opportunities that gradually influenced speech through social change. And when these effects became prominent, it sparked a rapid transition from /r/-less to /r/-full speech due to the fact that this transition – as a result of a variety of social factors – now had influence on the upper classes. Accordingly, Feagin postulates that there were four factors that likely contributed to this rapid change: a rise in association of /r/-lessness with femininity; the amount of contact between whites and blacks decreased; an increase of mixing with people from other areas; and more travel, which exposed children to a larger variety of speech.

Looking specifically at the factor of ethnicity, Feagin suggests that “Southern White /r/-lessness might have been reinforced by the /r/-lessness of the large black population” (Feagin 139). In essence, prior to World War One Southern upper-class children had close relations with blacks due to their presence as servants within households. However, after World War Two “contact with blacks was curtailed, both because of black migration to Detroit and other Northern cities and because of the institution of minimum wage laws” (140). As a result, the majority of children studied during this period were almost 100% /r/-full, while those who still had black servants were noticeably more /r/-less.

In looking at these studies, it becomes apparent why any remaining non-rhotic speech within American English is currently typically found amongst older Southern and Northeastern speakers, and even then only in a few select areas, with the exception of a few dialects from New England, Boston, Main, New Hampshire, and Rhode Island. In essence, the current nature of non-rhotic speech within American English is due to the fact that this transition began amongst the youth – largely due to a variety of social factors that arose at the end of World War Two, as aforementioned. However, one question remains: Why then is non-rhoticity a staple feature of African American Vernacular? In short, according to a study by John Myhill, much like how the rise of /r/-full speech had ties to the relations between blacks and whites, the retention of non-rhoticity among African Americans is directly correlated to their level of integration and association with the white community. Hence, the more interaction between African Americans and whites the lower the probability of /r/-deletion, and vice versa.

While the topic of Rhoticity and the transition that occurred may seem daunting and overly complex due to the myriad of factors at play, in the end, they are merely a handful of interworking socioeconomic/regional factors that had the combined effect of bringing forth a transition from /r/-less to /r/-full speech. This transition ultimately emanated from a decline in England’s influence and prestige within the United States at the end of World War Two. And, consequently, a shift in prestige occurred that swept the Northeastern and Southern United states, which was a change from above in the North and below in the South with regard to the factor of socio economic status and the realization of the rhotic norm.

Works Consulted

    Elliott, Nancy C., A Sociolinguistic Study Of Rhoticity In American Film Speech From The 1930S To The 1970’s. n.p.: Dissertation Abstracts International, 2000. Art Full Text (H.W. Wilson). Web. 12 Mar. 2016.

    Feagin, Crawford. “The Dynamics Of Sound Change In Southern States English: From R-Less To R-Ful In Three Generations.” Development and Diversity: Language Variation across Time and Space. 129-146. Dallas: Summer Inst. of Ling. & Univ. of Texas at Arlington, 1990. MLA International Bibliography.
    Web. 12 Mar. 2016.

    Lass, Roger (1999). “Phonology and Morphology”. In Lass, Roger. The Cambridge History of the English Language, Volume III: 1476–1776. Cambridge: Cambridge University Press. pp. 56–186.

    MacNeil, Robert, and William Cran. “Toward a Standard: Putting the “R” in “American”” Do You Speak American? New York: Doubleday, 2005. 49-87. Print.

    Myhill, John. “Postvocalic /R/ As an Index of Integration into the BEV Speech Community.” American Speech: A Quarterly Of Linguistic Usage 63.3 (1988): 203-213. MLA International Bibliography. Web.
    12 Mar. 2016.

    Schönweitz, Thomas. “Gender And Postvocalic /R/ In The American South: A Detailed Socioregional Analysis.” American Speech: A Quarterly Of Linguistic Usage 76.3 (2001): 259-285. MLA International Bibliography. Web. 12 Mar. 2016.

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An Interview with Michael Copperman, author of Teacher: Two Years in the Mississippi Delta

author photo: Ed Croom

From 2002 to 2004, Michael Copperman taught fourth grade in the Mississippi Delta through Teach For America. Today, he teaches writing to students from diverse backgrounds—primarily low-income and first-generation college students—at the University of Oregon. Michael also frontlines The Oregon Writers’ Collective, which fosters a vibrant writing community where emerging writers can connect with one another, discover audiences, and develop their craft.

His writing has received awards from the Munster Literature Centre, the Oregon Arts Commission, Oregon Literary Arts, and Bread Loaf Writers’ Conference, among others. Some of the places his work appears include The Sun, The Oxford American, Guernica, Creative Nonfiction, and Copper Nickle.

Michael’s recent memoir Teacher: Two Years in the Mississippi Delta illuminates his experiences teaching in rural black public schools in Mississippi, depicting clashes between educational ideals and realities. Mario Alberto Zambrano (Lotería: A Novel) called the book “heartbreaking and crucial,” and Katie Williams (The Space Between Trees) called it “a work of tremendous skill, honesty, and heart.”

Allie Sipe is a senior at Southern Oregon University who will graduate at the end of June, after which she will teach in Rhode Island through Teach For America.

AS: Tell us a little about your background. How did you come to serve as a corps member for Teach For America in the Mississippi Delta?

MC: I graduated Stanford, where I’d been a college wrestler and also the chair of the Hapa Issues Forum, a multiracial Asian-American advocacy group—that is, I was driven and social justice oriented.  TFA sounded like a good next step, a worthy cause.

AS: Can you talk about translating your experiences with Teach For America into writing a memoir? What did that process look like?

MC:  It took me many, many years to write well about the experiences—I needed the clarifying distance of time to be able to reflect and reckon with what the experience came to mean.  I wrote long emails to family and friends when I was there which was valuable source material—and I wrote many of the pieces of the memoir discretely, publishing piece by piece.

AS: Did you discover anything intriguing or surprising about your time in the Delta when revisiting your experiences to write your memoir?

MC: I found that while I thought I was full of regret and guilt, what I was finally experiencing was longing to be back there with the kids I taught, who I cared about so much that I had been unable to let go of.  I found out that perhaps I had been a good teacher after all.

AS: When reading your book, I was particularly struck by the gap between educators’ idealistic goals for students and the incredibly difficult realities those students endure. At one point, you refer to this as teaching “children with so much promise and so little opportunity.” Can you speak a little more about that?

MC: I went to Mississippi imagining that I could remake the world—take the burden and consequences of slavery and racism and segregation and poverty and create justice, which is to say, give deserving children a chance to learn and so realize the American dream through education.  That proved far more difficult than I knew, as teaching is an art, and while what teachers do does resonate out of sight, it does so invisibly through years and years.  I left believing I’d failed.

AS: One of my favorite parts of your book was reading the notes that students wrote to you and left in your mailbox, as well as reading the poems students wrote in class. Especially in the poetry assignment where students used metaphors to write about their past, present, and future, students’ authentic voices came to life. Why was poetry such an appropriate vessel for students’ voices and stories?

MC:  Those kids, who spoke AAVE in the particular Delta variation of Southern idiomatic English—well, they had style and verve and an ear for rhythm, and they knew the world they inhabited, which was rough and bleak at times, but also beautiful, and richer for the intensity of their experiences.  Their voices were dazzling because poetry freed them from the burdens of grammar conventions which were not native, and because poetry, when freed from the stuffy halls of academia, values life and affirms it, raw and vital and present.

AS: Near the end of your book, you write that, “Teach For America’s merit is that it bridges the gap between worlds.” After reading your book, your work now as a professor at the University of Oregon who works with low-income, first generation students seems to be a commitment to this work of bridging gaps. How would you say that your experiences with TFA in the Delta inform you as a writing teacher today?

MC: The lessons I learned in Mississippi are the lessons I relearn today, again and again, in teaching students who have often come from difficult backgrounds—not to make assumptions, but to listen.  To value students’ experiences and try to make them matter in how learning happens, so that one’s identity is not erased.  Patience, compassion, kindness.

AS: Do you have any advice for emerging teachers and writers?

MC: Teach with passion—if you don’t care, why should your students?  Write from the heart—puffery, tricks, and cleverness don’t hold up, but the truth does, even it is itself insufficient.

AS: Thanks so much for talking with us.

 

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An Interview with Jan Wright

Jan Wright is the founder and director of Wright Research and Archives, the archivist for Harry and David in Medford, Oregon, and the former Director of the Talent Historical Society. She is the author of Images of America: Talent (Arcadia, 2009). She is working on a book project to be titled Imperfect Apostle John Beeson, Advocate for Native Americans.

EB: Can you tell our readers a little bit about John Beeson?

JW: Injustice made John Beeson squirm. When he saw something that inflicted pain or wrong on any group of people, particularly the American Indians, he took action. Regardless of the personal consequences to himself or his family, he went straight to the source of the problem and confronted politicians, Indian agents, volunteer Indian fighters, newspaper editors and unfeeling ministers. His fire kept a smoldering camp of Beeson haters who belittled him and his mission whenever they could. Somewhat of a mystic, he fell into Spiritualism and was visited by ghostly messengers who guided him from beyond the grave.

EB: How did you get interested in his story?

JW: I resisted John Beeson for years. I was more attracted to telling the locally significant story of his son, Welborn Beeson, as it unfolded from his amazing diaries. Of course, Welborn wrote about his father’s whereabouts in the east and what he said about the father son relationship fascinated me. My research trips to New York, Illinois and DC turned up so much information about John Beeson that I gave way to the story that had a more national appeal and was so intertwined with the fate of Native Americans.

EB: Beeson wrote the Plea for the Indians in 1857. How was that received?

JW: Written after he was forced to leave Oregon, a Plea for the Indians launched his long career as an advocate for the Indians. He used the book effectively as an introduction to the the East Coast lecture circle. To the city dwellers, he was considered a credible witness of the far west experience but generally the people of the West, derided and condemned him as too soft on “savages.” He eventually became a reliable speaker at suffrage gatherings, abolitionist meetings, churches, government councils and as a form of entertainment with a troupe of Indian singers. One of his speeches in Buffalo, NY was attended by President-Elect, Abraham Lincoln, on his way to his own inauguration. After Lincoln moved to the White House, John Beeson, was invited as a guest to deliver his Indian message along with his favored Indian songstress, Larooqua.

EB: He returned to Oregon later. How was he received by his family and the community?

JW: After being gone for 8 years 8 months and 1 day, John returned (in 1865) to his family on Wagner Creek near present day Talent, Oregon. It was not an easy adjustment to be once again in a rural setting with farm work to do. He was used to crowds of people paying to get in to see him, to making appeals before Congress, to organizing peace groups at the Cooper Union in New York, but on Wagner Creek he was a farmer behind the plow like the rest of his neighbors. His attempts to give lectures in Jacksonville and Ashland were not well attended and though people tolerated his presence, he was out of his element and not generally respected.

His wife, Ann, died while he was home but she only wanted her son, Welborn, to be at her side. John was in the field plowing corn and was unaware of her death until he saw the neighbors gathering at their home to prepare her body for burial.

In the fall of 1867 John left for the East Coast again, hoping he could still be of use to the Indians on a national level. He was 77 years old and nearly deaf on his final return to Oregon in 1880.

EB: His life—and his story–seem to be very relevant today, I think. What connections do you see to current affairs?

JW: He told the truth as he saw it, blew the whistle when he had to, and was willing to stand alone to face his enemies. He envisioned an America that stuck to its stated values and principles and engaged in a non-stop quest for justice as a full-time occupation. He lived on the stranger’s dime, traveled in stage coaches, trains and on foot to school houses, churches, state houses, mansions and cabins to organize a national movement to seek a better outcome for the Indians. His story was a microcosm of what was going on all over America. He walked up the steps of each state capitol, each neighborhood, and visited each congregation with the news of the day and with the same old story. He wore the mantle of leadership without seeking exorbitant compensation. That kind of leadership is manifest in today’s organizations (such as Indivisible) that keep the pressure on local representatives to mind the will of the people. Beeson’s struggles show us that each generation adds a personal narrative and a new baseline from which to start but each has to vigilantly improve the workings of democracy and combat greed, corruption and racism.

EB: There must be some interesting local sources on Beeson in the Talent and Southern Oregon Historical Society archives. What sorts of material are you finding?

JW: The Welborn Beeson diaries are the single most outstanding source of information about the Beeson family and the historical, social and political events in Southern Oregon. They span the years 1851-1893 and began when the Beeson’s still lived in Illinois. The diary was tucked away at the University of Oregon Special Collections until 2006 when the Talent Historical Society had them microfilmed and repatriated to Talent.

Southern Oregon Historical Society has a photo album which includes some photos of John Beeson and his family and copies of correspondence from friends and relatives. The living descendants of John and Ann Beeson are very much engaged with the progress of the book and have shared family photos and archived information.

EB: Are there important sources about Beeson elsewhere? I understand he lived in New York for a time.

JW: British born John and Ann Beeson arrived in New York in 1830 on the ship Samuel Robertson. John who had been trained as a confectioner in England, followed that occupation in Ithaca and Troy, NY until the family moved to Illinois. I have visited the New York state archives in Albany to do research on the Beeson family and have been in contact with the New York Public Library and the Cooper Union to obtain more information about John while he lived in that state.

I also visited the site of the farm in Illinois where Beesons lived for over 20 years and corresponded with the family who live on that property. My sister and I did extensive research at the courthouse in Ottawa, IL and elsewhere to document that portion of their lives. Newspapers from Maine to Rhode Island, from New York to Philadelphia, from Minnesota to Illinois and of course, Oregon all have multiple articles about John Beeson’s lectures and performances, his resolutions and petitions.

EB: You’ve launched a kickstarter campaign to support the research project. What was that experience like?

JW: The Kickstarter experience has changed the way I view the book. When the campaign ends on June 12th, I will know precisely who my audience is. I feel an overwhelming sense of gratitude and responsibility to make the book meet expectations and to follow the truth with accuracy and finesse. From the Mayor of Talent to a widow lady in Ashland, from my former boss, to my own children, people have come through for me and joined in the dream to resurrect John Beeson’s voice. I acknowledge that my journey has been a bit backwards, that the cart is before the horse when I talk about a book that does not yet exist.

In a sense, I am taking up my mission in much the same way as John Beeson did by asking for financial help to relieve me of the worry of earning my daily bread with a 9-5 job while I write the book.

Community support has made me a bit nicer and more disciplined and made me more likely to support others in their dreams as well.

EB: Thanks for talking with us.

JW: It’s been a pleasure. Thank you.

https://www.kickstarter.com/projects/235507129/imperfect-apostle-john-beeson-advocate-for-native

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An Interview with Allison Brennan, a guest post by Kelly Brennan

New York Times and USA Today bestselling author Allison Brennan believes life’s too short to be bored, so she had five kids and writes three books a year. She’s currently writing two series–the Lucy Kincaid thriller series about an FBI agent who believes the rules are there for a reason, and the Maxine Revere cold case mystery series about an investigative reporter who believes the rules are meant to be broken.

Her upcoming release SHATTERED brings her two series characters together for the first time.

Allison lives in Northern California with her family and assorted pets.

Kelly Brennan is an Interdisciplinary Studies major emphasizing in English and Graphic Design at Southern Oregon University.

KB: How did you decide to make a career in writing?

AB: I’ve always wanted to be a writer. When I was 13, I read THE STAND by Stephen King and wrote him a fan letter. I told him I wanted to be a writer “when I grew up.” He sent me back a post card that said, “If you want to be a writer, write.” It took me years before I understood what he meant.

Life happened. I dropped out of college and got a job in the California State Legislature. I got married, had kids, had a career. After my son was born in 2001, I reflected that I was over 30, unhappy in my job and dissatisfied with my life. I read 77 books (all fiction) while on maternity leave and remembered my dream of being a writer. Two books in particular inspired me – THE THIRD VICTIM by Lisa Gardner and THE SEARCH by Iris Johansen. I gave up television for three years and wrote every night from nine until midnight. It took mey five manuscripts before I found an agent who then sold my book in a three-book deal. I quit my day job and never looked back.

KB: You’ve written thirty books in several series—how do you keep all the series and characters straight?

AB: Short answer: I don’t. I’ve made several mistakes over the course of my longest running series (the Lucy Kincaid series now with 12 books.) I’ve inadvertently changed minor details in the physical description of my characters (Lucy’s brother has had three different eye colors!) and another minor character started out as a Marine vet and is now an Army vet.

I wish I had kept a “book bible” as one of my writer friends calls it. Essentially, a journal of all characters and basic physical description and backstory. I don’t mess up my main characters – they feel very real to me, so even if I don’t mention something, I already know it. But the minor characters? Yes, I’ve made mistakes.

Recently, I finished writing SHATTERED (on sale August 22, 2017) which is a cross-over book starring my two series main characters. Before I wrote it, I re-read several scenes from previous books to make sure that I got certain details right. This was crucial because the book is about the twenty-year-old cold case murder of Lucy Kincaid’s nephew when he (and Lucy) were only seven. I knew readers would remember the details because it was a turning point in Lucy’s life, so I had to make sure that I didn’t get something wrong.

KB: Is there a theme that runs through all your work? Justice, perhaps?

AB: Yes, probably justice. I don’t write with a specific theme in mind, but my books always have a happy (or bittersweet) ending. I think in life we often see that justice isn’t served. That the bad guys get away with awful crimes and innocent people suffer. While people suffer in my books (otherwise I wouldn’t be writing crime fiction!), the bad guy always gets what’s coming to him. My mother pointed out that I kill off all my bad guys at the end of the book. That’s not completely true … but it’s mostly true. 🙂

Another theme that shows up in most of my books is the idea that we’re not an island. My main character often feels that they are the only person who cares about solving a specific crime, or that they can do it by themselves. Over the course of the story, they realize that they are not the only person that cares, and that sometimes they need the help of others to save the day – that asking for help is not a crime.

KB: You seem to have a lot of fun writing, sometimes even putting real people in the books. Tell us about that.

AB: Yes, I love writing. Doing what you love as a way to earn a living? There’s nothing better.

I don’t put real people in books per se, but there have been times I’ve used people’s names. I’ve done a lot of charity fundraisers (for example, the Sacramento County Friends of the Library) where patrons will pay a lot of money to have their name in a book. I don’t use anything about them, just their name, and they have to sign a disclaimer. For example, one person became an underage prostitute; another became a cop; and friends of the family became victims of a serial killer.

I did, however, use traits of my brother-in-law Kevin Brennan as the basis of creating my serial killer in THE HUNT. I interviewed Kevin as research – he’s a wildlife biologist, and my killer was a wildlife biologist. He helped me make my bad guy very realistic, and gave me some great technical and geographic information that helped my good guys identify and stop the killer. Kevin also helped with my book CUTTING EDGE that started with research ducks being released by eco-terrorists, ultimately threatening an entire species.

KB: What sort of research goes into the books? Do you have FBI or police consultants?

AB: I love research. Other than the actual writing, research is my favorite part of writing!
I extensively research for all my books. I learned the hard way in one of my earliest novels that getting the details right is important not just for me, but for reader enjoyment. (I got a medical detail wrong and several nurses emailed me about the same error.) I have several friends who are in all areas of law enforcement who I can call upon at any time, which is my primary source of information. I have a library of more than fifty books about crime, the criminal justice system, forensics, and criminal psychology. I’ve toured the morgue, viewed an autopsy, been on ride-alongs with local law enforcement, participated in the FBI citizens academy, have been a role player in numerous FBI-SWAT training exercises, and participated in the Writer’s Police Academy where I was invited to speak about how to research when you’re not an expert on anything.

While researching STALKED, for example, I visited the FBI Academy at Quantico and toured the facility. This was my second trip east for research purposes. I was able to walk around the campus, question the media representative, talk to some of the recruits and trainers, watch drills, and learn as much as possible about what it’s like to be an FBI Agent-in-Training without actually going through the process. All this helped immensely in writing a story about a murder at Quantico.

One of my favorite research books is BOOK OF POISONS put out in the “Howdunit” series by Writers Digest. I’ve used it extensively, and recently have been perusing it to find the perfect weapon to kill someone slowly.

KB: What do you enjoy most about writing, or about being a writer?

AB: This is a surprisingly difficult question to answer. It would be easy to say, “I love writing” because it’s true, but that’s not really an answer. I love creating a story filled with characters that readers can believe—at least for a short time—actually exist. My favorite fan letters and reviews will say that I kept them up until the wee hours of the morning. That makes me feel like I’ve done my job – that I’ve given someone a reason to keep reading past their bedtime.

KB: What’s the worst part of being a writer?

AB: Sometimes, the stress of life makes writing next to impossible. Whether it’s worries about finances, or health, or my kids – if I have a major issue to deal with, creativity takes a backseat. When I have a deadline, this is doubly stressful because I know I HAVE to write to meet my deadline, but the situation makes it impossible to focus and create. Anytime you make your living through the creative arts, outside pressure can have a devastating affect on the end product. I think this is why many creative people develop chemical dependancy (drugs or alcohol) because sometimes to push aside the personal conflicts the creative person uses artifical solutions. In the short term it works. In the long term, it creates even more problems.

KB: How do you juggle five kids while writing full time?

AB: I have worked full-time since I was 20 years old and dropped out of college. There are many working mothers out there – women who work 9-to-5 or more—in order to provide for their family. Writing is my job – it’s how I make my living. And while in some ways it is more demanding and stressful than when I was working 9-to-5 in the Legislature, I have more flexibility. I can, for example, take a few hours off to go on a field trip or drive a kid to practice. I make up the writing time at night or early in the morning.

I would much rather have flexibility than to be stuck in one cubicle for eight hours straight.

KB: What is the editorial process like for you? What kind of feedback is most helpful?

AB: I have been blessed with great editors.

My first editor, Charlotte, taught me the most – she taught me how to self-edit and how to recognize story flaws. She made me a better writer. I’m with a different publisher, but the editorial process is similar: I write a good book. My editor reads the book and asks questions about the character and story that help me revise my book into something much, much better.

The editorial process is not really a simple process. To create a book worth publishing, I go through several steps:

    1) I write the first draft. This is my “sloppy copy” – because I don’t plot, this is basically a rough draft that I also keep notes in. Meaning, if I don’t think something is working I might write notes to myself to look at certain scenes or threads.
    2) My rewrite. Though I edit as I write, when I get to “the end” I will go back to the beginning and do a more thorough edit/rewrite and address any major story problems I can see.
    3) I send this next draft to my editor. She sends me notes, sometimes with the manuscript attached, and I then revise the entire book.
    4) Copyedits. Most of the time, I only go through one round of editor revisions before the book goes to copyedits. This is the stage where the copyeditor conforms the book to house style, identifies any grammatical issues, and queries potential plot problems. (For example, in my first novel I had a character exit the same scene twice!) I get to review the copyedits and make any additional changes. I might tweak the book a bit – word choices, trimming repetition, etc. I might add/delete a scene but not any major revisions.
    5) Page Proofs/Galleys. The revised copyedits go back to my publisher to be set for print. I get a set of proofs before they go to print. This is where I look for minor errors (mostly in typesetting) or tweak content to make it as strong as it can be.

KB: What are your favorite books/writers? Who inspires you the most?

AB: I read a lot of mysteries growing up. I was born in 1969 … we didn’t have a Young Adult genre. The YA section was a mere shelf in the library. I started with Encyclopedia Brown and moved on to Trixie Belden then Two-Minute Mysteries and Nancy Drew and then my mother’s Agatha Christie collection. When I was 13 I read THE STAND, my first Stephen King novel, and never looked back. King is the master of character and suspense … few have come even close.

As an adult, I’m most inspired by Lisa Gardner, J.D. Robb, Michael Connelly, Lee Child, and Ray Bradbury. FAHRENHEIT 451 is still one of my all-time favorite books. Though I write crime fiction that focuses on the thriller elements of writing, my dream is to write a utopian/dystopian series. I have always been drawn to the “what ifs” in the world around me.

KB: What advice do you have for aspiring writers?

AB: My advice changes with my mood. The first bit of advice? Write what you love. Never write to trends because by the time you’re done, the trend will have passed.

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