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Speaker 1: Hello.

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Speaker 2: I think we got disconnected somehow by modern day technology.

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What is up with that?

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Speaker 1: I know?

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Speaker 2: And is that a beautiful accident which goes great with

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the title of your book?

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Speaker 1: Yes, it does.

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Speaker 3: How are you doing this morning, Lourie?

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Speaker 1: I'm good. How are you?

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Speaker 2: Absolutely fantastic and very excited to share a conversation with

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you because you've got something here that's going to create

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water cooler conversation, and I often wonder if authors are

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still reaching for that.

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Speaker 1: Of course, I would like to create as much conversation

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as I can.

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Speaker 2: Yeah, because you know how readers are. They will sit

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there and say, oh my god, Lourie, that was a

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great book. I like the accident. I took it to

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the book club, but they never ask you, Lurie, where

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did this come from?

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Speaker 1: That is true?

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Speaker 3: So where did it come from?

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Speaker 1: I will tell you Well. One thing that inspired this

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particular story. I've always wanted to write a novel. I

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just didn't know what that novel was going to be.

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But this particular story was in part inspired by the

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fact that there was a tragic accident in my town

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around the time that I wrote it, in which a

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vanful of adults crashed into a car driven by a

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teen and two of the adults died, and while the

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teen was not at fault, I couldn't help feeling really

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sad for this young person who would have to forever

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carry this burden and the knowledge that they had been

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in an accident that killed two people. So when I'm

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trying to couple with story ideas, I always consider a

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series of what ifs, And I started thinking, what if

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the teen was responsible for a fatal accident, and what

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if heear she decided to keep driving, And what if

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someone in their family knew of their involvement? What would

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they do with that knowledge? And I would think that

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a family member would want to protect one of their own,

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But how do you keep a secret like that? So

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in my book The Accident, my fifteen year old protagonist

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Hannah thinks her brother and her boyfriend were involved in

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the fatal hit and run that really has her small

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Connecticut town reeling, and the weight of this secret is

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really difficult for her to bear.

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Speaker 2: As that writer, you've got to live it before we

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you do. I can't imagine what you went through inside

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your creativity as well as your own ambitions in order

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to put a story like this together, because these are

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puzzle pieces. You've got to put every what if together

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and somehow make it into a full fledged story.

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Speaker 1: Yes, that is true, and it took me many, many

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years to do so, little bits at a time.

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Speaker 2: So now when you say many years, because I mean

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I got to be honest with you, I can relate

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with you on that because my book Halloween seventy eight

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took thirty two years to finally get it in book print.

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But the only reason why is because I'm the typical

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writer that would hide things underneath their bed or put

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it up in the attic and then oh, one day,

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one day, one day, one day, and obviously your one

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day came up as well, my.

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Speaker 1: One day came up. I was a journalist for most

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of my writing career, and I always knew in the

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back of my head that someday I would write a novel.

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And when I started off putting in my fiction writing aside.

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I did fiction writing way before I ever became a journalist.

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As a kid, I used to write story and I

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did some writing in college creative writing. But I started

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my career at the New York Times in a reporter

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trainee program as a journalist, and I put my fictions

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writing aside, and for many years I just did journalism.

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And when I turned forty, which seemed like a huge

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number to me at the time, I decided that if

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I was going to write a novel someday, I had

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to get back to fiction writing. So I enrolled in

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graduate school at Wesleyan University to study creative writing, and

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I was forced every week to write pages, and I

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started writing stories and I got back to it, and

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since then I've sort of been making that transition into

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creative writing.

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Speaker 2: Do you feel like you woke up the bear or

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is it something It's like, Okay, I'm forty now, I

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mean life does begin at the age of forty. I'm

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going to begin this journey as an adult child.

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Speaker 1: Well, yes, I was. As a kid. I read constantly.

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So I loved finding books that, you know, with characters

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who sought like me, or were wried about the same

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things I worried about, or maybe did things that I

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wasn't brave enough to do. And you know, I liked

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reading authors that kind of got me. And so now

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I kind of want to be that author for young

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people who are readers like I was, and aspiring writers

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like I was.

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Speaker 2: Yeah, you're doing that quite well. And the reason why

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is because you're actually putting things out there where the

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reader has got to participate. And I mean it's very

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interactive in the way that you give them two versions

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of the accident. Which one are the readers going to

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line up with first? And if they get it wrong,

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will they sit there and just say, ha, okay, I

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get it.

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Speaker 1: I tried really hard to keep readers guessing for the

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entire book. I think that was the hardest part of

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craft wise, of writing in this novel, was trying to

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keep the mystery going until the very last page, and

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according to some of my readers, I managed to do it.

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But I you know, my protagonist Hannah only hears bits

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and pieces of this conversation in which her brother and

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her his best friend who becomes her boyfriend. Over the

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course of the novel, she only hears bits and pieces

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of the conversation they have that makes it sound like

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they were involved in the accident, and so the reader

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only hears bits and pieces as well. So the narrator

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is sort of unreliable because we know right from the

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beginning that she doesn't really know what happens, So we're

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trying to figure out right alongside the narrator through the

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whole course of the book, Wowow, and her view, you know,

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and her perspective is somewhat skewed, because we can sense

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that her perspective the accident is somewhat affected by her

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attraction to Zach, the brother's friend.

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Speaker 2: Darn Zach, that darned Zach trouble maker. Keep away from

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him on Thursdays. Stay away from Zack exactly. Now, is

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this a true story? Is this something that came to

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you through your imagination?

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Speaker 1: This is totally a made up story on the only

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true parts of it, I guess are the fact that,

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you know, that accident sort of made me think about

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this topic. I was, at point a parent of teenage drivers,

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and when you're a parent of teenage drivers, you go

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to those dark places sometimes and worry about what all

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the terrible things that could happen, and how your kids

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could get hurt and they could indeverently hurt other people.

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But other than that, I you know, my book is

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also a lot about family dynamics and the relationships within

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the family and with Hannah's friends and with her first boyfriend.

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And you know, I'm a mother and a sister, and

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a daughter, and a friend and a wife. And so

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I've been in all these roles of the different characters

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in my book. So I know what it's like to

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be to be that person, and so I inject a

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little bit of that into what I write and then

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just try to put my mind into the minds of

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the characters and what they might think in that kind

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of situation.

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Speaker 3: Please do not move.

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Speaker 2: There's more with Lori Miller Case coming up next, the

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name of her book, The Accident. We're back, Lori Miller Case.

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How much of this book? And I'm going to ask

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you a very deep question, and I'll explain to you

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how much of this book has actually taken place. And

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the reason why I bring that up is because when

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I wrote Halloween seventy eight in nineteen seventy eight, it

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was written about a group of guys who got together

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to form a band. There was a car accident at

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that point in time. There was not a car accident

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since that time, there was a car accident. In your writing.

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How much have you written something down and it has

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actually happened down the path? Because you are a receiver

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of a future that most people cannot explain.

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Speaker 1: Oh interesting, I haven't really thought about that. I don't

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know that the things that I wrote in this book

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have actually happened. I mean, I'm sure similar things that

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happen have happened. I know. You know, teens are often

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dealing with divided loyalties, which is something that happens in

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this book. It deals with divided loyalties. I think teens

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also often deal with conflicting loyalties between say their family

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and their parents and their friends, or their parents and

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a love interest, or even their friends and a love interest.

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I think also teens often have to grapple with moral

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dilemmas that require making really difficult decisions. And that is,

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you know, at the heart of this book.

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Speaker 2: Yeah, and that's the part that I want to command

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you on, is the fact that you do deal with

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the upside downs to twist, suspends and stumbles, the fumbles

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and discouragements. I mean, you handle that perfectly. And I

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can just see a reader young or even my age,

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they're going to pick this up going, oh God, oh God,

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I can relate with this.

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Speaker 1: Oh well, thank you very much. That's what I was

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going for.

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Speaker 3: Well, that just means you're one of us.

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Speaker 2: That's the thing about it is that you know, yes

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you've been a journalist, yes you made that crossover into

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novel writing and things, but you write in a way

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that's very us Well, thank you.

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Speaker 1: I really appreciate that. It was interesting because I did

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a panel for a writing workshop recently and I was

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talking to the teen librarian and she said that fifty

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percent of the people who take out YA books at

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the library are actually adults. So I think there's something

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even in adults that are geared towards young readers that

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hits accord with older readers as well, because they were

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at one time that age and they and they are

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you know, parents or loved ones or siblings or whatever

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of other people in their life, just like the characters

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in this book are.

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Speaker 2: I go to imagine on here in Charlotte, which is

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for the young adults as well as even younger than that,

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and you are spot on about the older people because

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when you go into the YA section there, I am

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going talk to them, talk to them, talk to them,

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talk to them, talk to them. And they're sitting there going, oh,

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I haven't read this book yet. Oh my god, look

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at this book. Oh yeah, you're setting the older generation

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up for something that they want to read. They didn't

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have it. I didn't have it when I was the

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you know, the age of a ya reader today. What

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I had was a weekly reader.

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Speaker 1: Right, We didn't have the young adult category. I mean

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there were writers like you know, there were writers when

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I growing up, like Judy Bloom who would have been

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classified as young adults now. I mean if it was

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if she was writing now, you know, the Outsiders would

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have been probably classified as young adult. I mean, there

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were a lot of the books we read that might

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have been classified as young adult today, but it just

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wasn't really a category back then. Yeah.

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Speaker 2: Well, what we had was are you there? God, it's

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me Margaret, And that was the book that everybody was

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checking out. So you never got your hands on.

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Speaker 1: It exactly unless you're lucky enough to own it.

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Speaker 2: Or isn't that the true? So now, when you put

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a book like this together, what was the process of

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editing like? Because I always want to keep in mind

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that listener who is a writer and who does hide things,

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I call him writer hiders is what I call them.

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And the thing is is that it's going to take

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authors like yourself to get them out of hiding. The

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process though, has to involve editing, not my favorite thing

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to do, but you got to do it. What did

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you go through?

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Speaker 1: Oh? Wow, I went through a lot of editing. So

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I'd say, first of all, this book started as an

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adult short story in a workshop I was doing after

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grad school with what of my professors, And then I

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realized about a few months in that a short story

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was a too small a container to contain the story

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that I wanted to write, so it became a novel

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and I wanted to get deeper into the head of

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my teenage protagonist. I thought that would make it more interesting.

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So I decided young adult was the way to go.

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And I'd say there's a thing every November called National

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Novel Writers Month nano Rimo, and I think it was

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around twenty eighteen when I participated for the first time,

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and basically it's writers all over the country. It may

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even be international, I'm not sure, but writers all over

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the country vow to write a novel or finish a

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novel within one month, and it's the month of November.

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And there's a way that you calculate the number of

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pages you need to do every day in order to

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make that happen, and you log your pages on the

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computer every day, and there's all kinds of workshops going

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on in different towns across the country. And I finished

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the first draft of my novel during one November, and

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I think the next November I did it again and

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finished the revise of the book. But there have been

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way more revises since then. You know, I think I started,

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you know, I take classes, ongoing classes and writing books

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for kids at a place near me, and I also

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I am in several different writing groups, so I'm always

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having pages of what I'm writing critiqued by other writers

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and sometimes a teacher, so that I could I get

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feedback about what's confusing, what needs more clarity, do certain

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relationships need to be deepened. And also I was continuously

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reading why books during the time that I was writing

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this and kind of getting more of a hang up

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the ya voice, because at first it was hard for

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me to go from writing for an adult readership to

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writing for teens because I was often told that my

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language sounded to adult or I used words that teens

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would maybe not use. But so I just kept revising

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and revising. You know, I probably started sending the book

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out to agents where it was ready, because I didn't

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know any better since this was my first novel that

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I submitted, and over time I realized that I needed

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to fix something, so I kept working on it, and

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after I'd been sending it out for about a I

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don't know, about a year and a half, I was

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getting interest. Agents really liked the idea and they were

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asking for my full manuscript, but it wasn't getting picked up.

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But some agents were being really nice and giving me feedback,

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and so I decided to go through all the feedback

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i'd received, and I realized that there was some common

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There was some common feedback there. So I revamped the

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whole novel again, and I changed it from third person

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to first person, and I changed it from past tense

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to present tense because I wanted to be more immediate

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and more you know, right. I wanted to be right

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in the character's mind, and it increased the pacing. I

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started the book in a different place that one of

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the agents suggested, because I think I had too much

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backstory in the beginning. And it was after I did

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this revise and started submitting it to both agents again

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and small publishers that my publisher the first publisher that

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I sent it to after I made this revise took

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it a few months later with all press. So the

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revision's paid off. But there are a lot of different

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iterations of this story.

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Speaker 3: Wow, that's the boom boom pow effect.

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Speaker 2: That's that's going through there and making sure that you

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don't you don't stop, because I mean when you talk about,

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you know, using the language of the young adults and things,

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even as a radio talent, they sit there and work

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with us one on one saying they younger people wouldn't

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say that. Younger people wouldn't say that, And you say,

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and you've got to figure out what what is the

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younger people saying? And so you and because I mean,

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even though you might be for a twenty five to

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forty five year old female audience, you still have to

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talk to those who are going to fit into that

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category in the future. So no, you totally are on

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spot on when it comes to who is your reader

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and how.

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Speaker 3: Do they speak?

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Speaker 1: Zach? Thank you so much.

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Speaker 2: Wow, Where can people go to find out more about you?

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Speaker 3: Lorie?

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Speaker 2: Because man, my god, I love where your passion is

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and your outreach for sharing stories.

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Speaker 1: Thank you so much much. They can go to my

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website www. Lorimillercase dot com. That's l O R I

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M I L L E r K A s E

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and they could find out more about the book, places

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to order the book. There's a book trailer on there

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that my filmmaker nephew made for me, which is quite

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good actually, and it gives a little information about my

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other writing as well.

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Speaker 3: Wow.

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Speaker 2: Well, you've got to come back to this show anytime

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in the future, Laurie. The door is always going to

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be open for you.

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Speaker 1: I would love to thank you so much for having me.

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Speaker 3: Will you be brilliant today?

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Speaker 1: Okay, thank you so much.

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Speaker 2: And if you see Hannah say say hey, Aero said hello,

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I will thank you er, thank you