Matthew de la Peña is an American writer of children's books who specializes in novels for young adults. He won the Newbery Medal in 2016 for his book Last Stop on Market Street.
To me, if the writing doesn't have rhythm, it feels dead. I lose all confidence. The music has to emerge to feel confident enough to move on to the next major chapter.
A lot of people think that they are really cool because they don't outline. In my writing group, they would say, "I will never outline. I let the characters take me. " C'mon, man - I outline the story, but it's only like one page. It's a list of possible reversals in the story, like things where everything will just change because of this certain reveal or this certain action. Then I start really digging into the character because, to me, I don't care what the story is.
When I'm there, it's pure silence. There are other writers there, too, and I get super competitive. I have this weird fear that some guy next to me is writing this amazing novel, so I got to compete.
People always think there's this huge hundred-foot-high barrier that separates doing good from doing bad. But there's not. There's nothing. There's not even a little anthill. You just take one baby step in any direction and you're already there. You've doing something awful. And your life is changed forever.
When I finish a book, I'll go to that file and look through them. And I'll say, these are three that really excite me and I want to do them next. You have the business part; of those three, is the publisher excited about one? Is the agent?
All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.
But mostly I remember every morning before school. How she'd say "Hey, honey!" just I was walking out the apartment door. And me stopping and turning around and saying "What?" And her saying "I love you. " And me rolling my eyes like I just wanted to hurry up so I didn't miss the bus. I'd start going again and she'd say "Hey, honey!" and I'd pretend I was so annoyed 'cause she was wasting time and I had to go catch the bus. And how secretly it was my favorite part of every day.
Growing up as a mixed-race kid myself, when you are in the middle of it and you're young. . . you don't think about it consciously. It's your reality.
I always thought books were just the canon, things I couldn't identify with. And then I was introduced to really amazing multicultural literature - it was all things I was trying to do unsuccessfully in my poetry. It really just changed everything. I was introduced to authors like Sandra Cisneros, Gabriel García Márquez, Junot Díaz, and a lot of African American literature, as well.
I was really drawn to spoken-word style poetry. I loved the rhythms, and for some reason, I was just drawn to this poetry as a way of expressing my feelings, because I didn't have any other outlet.
When I was in school, I was very much into just sports, mostly basketball, and didn't really see myself as much of a student. But once I got into college, I figured I wasn't going to be play beyond college. I started to think what was I going to do, since I wouldn't be able to make a living with basketball. There were a couple of things I liked to do. I wrote poetry, spoken word mostly.
I worked in a schizophrenic home when I was an undergrad. You learned to be jaded to the crazy things they would say to you, but there was one man that I always gave crazy respect to, even though he would say the exact same thing to me every single day.
When I'm following what a character does in a book I don't have to think about my own life. Where I am. Why I'm here. My moms and my brother and my old man. I can just think about the character's life and try and figure out what's gonna happen. Plus when you're in a group home you pretty much can't go anywhere, right? But when you read books you almost feel like you're out there in the world. Like you're going on this adventure right with the main character. At least, that's the way I do it. It's actually not that bad. Even if it is mad nerdy.
Being the first to go to college in my family was a great thing, but it was also a source of guilt. I felt like almost a sellout going to college.
I guess I don't really know what I want to do, either. Sometimes I feel like a shook-up bottle of soda. Like, I have all this passion that wants to explode, but I don't know where to aim it yet.
But when you read books you almost feel like you're out there in the world. Like you're going on this adventure right with the main character. At least, that's the way I do it. It's actually not that bad. Even if it is mad nerdy.
The whole guilt thing of not feeling Mexican enough was a big deal, too. On the one hand, you have your grandmother who is anointing you as a chosen one because you are light, but then you feel like you're less because you are lighter than your cousins, who are more down on the streets. You know? So that confusion was all I wrote about.
The Color Purple really floored me. That book was just incredible because I loved the language. The biggest deal of that book was that I loved the poetry of broken English. Broken English and vernacular. It just floored me that you can actually capture the way people really talked. And I also really connected to the social class element.
Cormac McCarthy is my favorite author in the world. I love him so much. There's one book that informs me more than The Road - it's called Suttree. That book is a huge influence on me. I'm not smart enough to emulate him, but he inspires me. He never infiltrates my writing directly. He writes incredibly intelligently about people that are marginalized.
Once I start writing, I am a huge reviser. To me writing is revising. I probably turn over every sentence that I write, to see if I have the rhythm right. That's why my first drafts take a really long time.