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Sailing to Freedom (Henry Holt, 2012), author Martha Bennett Stiles's latest historical novel for middle grade readers, "was conceived as a short, funny picture book about a pie-stealing sailor’s monkey, inspired by one with which my naval officer father was acquainted in the twenties," she tells. "Alas, as I considered what to do with my father’s monkey narrative, I had to face the fact that an anecdote is not a story. So Allie," the scene-stealing monkey, "was demoted from lead to supporting actress."
And twelve-year-old Ray Ingle of Newburyport, Massachusetts, took center stage. To Ray's surprise, his Uncle Thad has allowed him (and his pet Allie) to join the crew of the Newburyport Beauty, Uncle Thad's schooner. There, Ray meets Cook, a former slave with a big secret. Well, not so big—it's hidden in a basket in the kitchen pantry, and it's alive! Does Uncle Thad know what precious cargo he's smuggling, even though it's against the Fugitive Slave Law and he could lose everything?
Sharing the spotlight is eleven-year-old runaway slave Ogun, who's stealthily traversing the backwaters of the east coast with his mother, slave catchers close behind. The two boys' secret-filled journeys parallel, until they finally come face to face at the story's suspenseful and satisfying climax.
"Writing Sailing to Freedom took years, because of the research required." —STILES
AUTHORLINK: Sailing to Freedom's rich period details and language are fabulous. What kind of research did you do? How long did it take to write?
STILES: Writing Sailing to Freedom took years, because of the research required. Every little thing had to be verified; the simplest detail was suspect. For example, long after I thought the book was done, Henry Holt’s wonderful fact checker, Ana Deboo, pointed out that my Newburyport hero wouldn’t have had a rucksack in 1851. I blushed and demoted Ray’s belongings to a title-less bag.
When I placed Ray’s Massachusetts home in the same city I’d used for my second book (The Strange House at Newburyport [Dial, 1963; Parker River Researchers, 1989; Kentucky Talking Books, 1990]), I thought the research I’d already done on Newburyport would be a big help. But Ray puts to sea in chapter 4 and doesn’t come home till my last page. Meanwhile his schooner puts in at a succession of ports.
Harder even than researching a succession of locations for Ray and Ogun was moving Ray around his uncle’s schooner, because though the available material on whaling schooners could fill a Delta Airlines waiting room, literature on ordinary vessels making their way up and down the east coast delivering just whatever didn’t seem to have inspired much literature. I searched so many books for details that would help me realize Ray’s schooner. My bibliography grew so long, my perspicacious editor allowed as how maybe a bibliography wasn’t absolutely necessary. And I ’lowed as how I saw her point.
But you’d like an answer with a number. Well, I find on my computer a picture of safety netting which my fine writer friend (both fine writer and fine friend) Harry LeVine sent me in 2008 showing safety netting, which I needed to describe. (I’d had to have Ray’s uncle improvise safety netting for his schooner, since safety netting wasn’t yet used by our vessels in 1851).
And, of course, for my younger hero, Ogun, I was worked just as hard because in every episode he is in a different place—a little nearer to Canada and freedom each time. Each place took one or more new books, often borrowed via interlibrary loan.
AUTHORLINK: Allie the monkey is such an unexpected (and pivotal!) character. Was it common to find monkeys on sailing ships in the 1850s?
STILES: The occasional sailor did have a monkey years ago. Voyages were long, television and cell phones were unheard of, sailors are not necessarily enthusiastic readers; a way to make music, or a pet, was a big help.
AUTHORLINK: The twining of the two boys' tales, was that something you'd envisioned from the start? How challenging was it to write from two different viewpoints, in two different tenses? How did you determine at what moments to switch from Ray's to Ogun's perspective and back? It's very effective, it really underscores Ogun's secret journey.
STILES: I wrote the entire book about Ray and it was not exciting enough for middle grade readers. That’s when I made the acquaintance of Ogun. Ogun’s problems are sharper than Ray’s by a long shot. I proceeded to write something about him at each point in my Ray-centered manuscript that seemed to me insufficiently gripping. My editor read the manuscript and expressed an interest (a firm interest) in more Ogun. Truth to tell, Ogun is more real to me than Ray. I’ve tried to think why. Maybe because I could put myself in every situation he faced, whereas when it came to schooners, I felt my way.
AUTHORLINK: I especially liked how when the boys' paths finally cross, they both wonder the same things about the other. The obvious and expected outcome would be they talk to each other and realize their similarities. You have them continuing their personal journeys without speaking. Why did you make that choice?
“My initial manuscript had been of the length I thought optimum, and then Ogun got added.” —STILES
STILES: My initial manuscript had been of the length I thought optimum, and then Ogun got added. A conversation between the boys would have been fun to write, but making my MG book any longer than it was already was not a good idea.
AUTHORLINK: I was struck by the vividness and variety of your metaphors and similes—beauties like "my heart hit my ribs like a cat in a sack," buns from the oven "brown as mushrooms and just as light." They really bring the text to life. Any tips on how to craft great sensory imagery like that?
“Sometimes I collect metaphors and similes, and sometimes I just think, well, what is this like?”
—STILES
STILES: Sometimes I collect metaphors and similes, and sometimes I just think, well, what is this like? Frustratingly, my long list of collected gems is rarely able to help me. But it’s a pleasure to read for its own sake from time to time.
AUTHORLINK: How did you sell Sailing to Freedom to Henry Holt? Did you have to do much revising, before or after the deal?
STILES: My remarkable agent sent the manuscript to Henry Holt and they accepted it and years passed before it was my turn for focused editorial attention. My editor is as smart as they come, and that was reassuring, since when faced with a choice—her way or mine—I wanted to be able to mostly settle for her way so that when something mattered to me, she would be, I hoped, disposed to listen. That was how it worked out. What I’m talking about are small, stylistic changes.
There was only one big plot problem. I had settled for something because it was easy, but it was a bad idea. By the grace of God, my editor said it really wouldn’t do, and, suddenly, though I’d seen no way around it for years, I discovered myself figuring out a way around it. Isn’t that funny? All it took to get a better idea was having no choice.
I will be forever grateful to her, and, no, I’m not going to tell you what the bad idea was. What sense would it make to be grateful to your editor for sparing you from offering the public a rotten idea if you then tell the public what it was?
AUTHORLINK: Now that the writing and deal-making are done, it's on to marketing, which, more and more, seems to be up to the author. What do you and Holt have planned?
STILES: Marketing is not my bag. I enjoy talking to people about my work and don’t aim to turn any place down that I can get myself back and forth to, but I am not beating the bushes. I would rather return to the manuscript I’ve had to lay aside for Sailing to Freedom’s sake. I will be signing copies at Lexington, Kentucky’s Morris’s Book Shop from 11 a.m. July 7 and at Lexington’s Joseph-Beth Booksellers from 2 p.m. July 21, and dates are being worked out for some other engagements.
“The loveliest marketing development is that Sailing to Freedom is Kentucky’s choice for their 2012 National Book Festival exhibit . . .”
—STILES
The loveliest marketing development is that Sailing to Freedom is Kentucky’s choice for their 2012 National Book Festival exhibit this September. When informed of that, I had to blow my nose.
AUTHORLINK: What advice would you give to aspiring historical fiction authors?
STILES: Reading a great deal about a period, as close to original material as possible, is helpful both for getting facts straight and for being given story ideas.
AUTHORLINK: What are you working on next?
STILES: Answering that is bad luck, I think. Like letting the groom see you the morning of your afternoon wedding.
Susan VanHecke is an author and editor of books for adults and children. Her titles for young people include Raggin' Jazzin' Rockin': A History of American Musical Instrument Makers (Boyds Mills, 2011), Rock 'N' Roll Soldier (HarperCollins, 2009), and An Apple Pie For Dinner (Cavendish, 2009). To find out more about Susan and her books, visit www.susanvanhecke.com and www.susanvanheckeeditorial.com.
