The Bay at Midnight (36 page)
Ethan leaned his head against my shoulder, rubbing Kira’s back as we watched Abby, Lucy and Clare splashing and laughing in the dock. Then Lucy hoisted Clare onto her shoulders for the walk up the slope. From upstairs, I could hear the sound of water running and knew that Shannon was up, and the front screen door squeaked open as my mother came inside. In a moment, everyone would be on the porch.
I covered Ethan’s hand where it rested on Kira’s back. “Is this how you thought your life would turn out?” I asked him.
“Are you kidding?” he said. “I couldn’t have dreamed up anything this good.”
I laughed, then returned my attention to the granddaughter
in my arms. I wondered what sort of challenge Kira would present to Shannon when
she
became a teenager. I could imagine Shannon struggling to hold on to her child, trying to rein her in to keep her safe.
And I would be there to help her let go.
- Julie carries the responsibility for Isabel’s death throughout her life. How does that impact her and her relationships over the years?
- Julie refers to her family’s inability to discuss Isabel as “the elephant in the room.” Do you have experience with “the elephant in the room” in your family or circle of friends? How does that impact your relationships?
- Were you more like the adventurous Julie as a child or the fearful Lucy? How did that affect you growing up? How and why did those qualities change in you—if they did?
- In part,
The Bay at Midnight
is about sisters. Discuss Julie and Lucy’s relationship. How do you think Isabel would have fitted in had she lived? - Why do you think Shannon turned to Lucy with her problems instead of to Julie? Is there anything Julie could have done differently to be her daughter’s confidante? Does this situation resonate for you as you think about your own teenage years or your relationships with your own children?
- What parallels did you see between the generations: Maria and her parents, Julie, Lucy and Isabel and their parents, Shannon and Julie?
- Julie is caught between the teachings of her religion and her own nature. How does this impact her and the choices she makes? Can you relate to her conflict?
- Why do you think Ross wanted to reconnect with Maria?
- What do you think motivated Julie to maintain a friendship with Wanda and George in spite of her parents’ objections?
- Which character garnered the most sympathy from you and why?
- How did your feelings about Julie, Lucy and Maria change throughout the story?
- The Bay at Midnight
is written in the first person from three points of view—Julie’s, Lucy’s and Maria’s. How might the story have been different if it had been written entirely from Julie’s point of view?
The Bay at Midnight
What inspired you to write this story?
This story actually began with the setting. Until I was eighteen, my family owned a small bungalow on a canal in Point Pleasant, New Jersey. I’ve always felt nostalgic about my longago summer home. Since I knew I would never own it again, I decided the only way to enjoy it would be to write about it.
As always, I wanted to explore the relationships between people, particularly Maria and her two daughters, Julie and Lucy. The murder of the third daughter, Isabel, flowed from my thoughts about the family. The setting, with its early sixties innocence, seemed perfect for a mystery. I had so many real details in my memory from living there—floating on tubes down the canal to the bay, crabbing in our dock, getting caught in the fog from the mosquito truck, and one heartrending disappearance of a child—that the book was both easy and fun to write.
You often write about secrets in your novels. What intrigues you about the dynamics of a relationship in which something is hidden?
Before writing full-time, I was a psychotherapist who frequently worked with families. I became aware of the damage a family’s secrets could do its members. Children and young adults intuitively sense when there’s something “amiss” in their family, and they often act out in response to that discomfiting intuition. In my fiction, I like to explore the ramifications of keeping secrets, both before and after they’re revealed.
The Bay at Midnight
shows a single event’s legacy on three generations of women—Maria; her daughters, Julie and Lucy; and her granddaughter, Shannon. What did you want to explore in each of these women’s lives?
I wanted to look at how Isabel’s murder coloured each of their lives as the years passed. It was only as I began writing the story that I saw the link between the three mother-daughter dyads: Maria and her mother, Maria and her daughters, and Julie and Shannon. Each mother tried to protect her daughter from the inevitability of growing up, with all the difficult choices and learning experiences that entails. And each of them failed.
You’ve written many novels. Is there one book in your history as a writer that stands out as a favourite?
Actually, this one. I felt deeply connected to the setting for reasons I’ve already mentioned, but writing in the first person also connected me to the characters in a way I hadn’t previously experienced. I missed the characters once I typed “The End,” so I think that’s a good sign!
I always wanted to be a writer and wrote many small, terrible books as a pre-teen. But I also had a strong desire to be a social worker, having read a book as a teenager about the different ways social workers could help people. By the time I was ready for college, becoming a successful writer seemed like a pipe dream, so I received both my bachelor’s and master’s degrees in social work. Then a funny thing happened. I was at a doctor’s appointment, and the receptionist told me the doctor was running very late. There were no magazines in the office, but I had a pen and a pad…and I had an idea that had been rolling around in my head for more than a decade. I began writing and couldn’t stop. At first, I thought of my writing as a hobby, but after about four years I had a completed novel. A year later, I had my first contract. I continued working as both a social worker and a writer for several more years until I decided to write full time. I love writing. It’s hard to imagine a better career, and I have plenty more stories to tell.
Once a medical social worker, Diane Chamberlain is the award-winning author of twelve novels that explore the complexities of human relationships—between men and women, brothers and sisters, parents and children. Diane lives in northern Virginia.
What do you love the most about being a writer?
It’s so rewarding to be able to touch thousands of people with my stories. I love hearing that a reader lost a night of sleep because she couldn’t put down one of my books! That’s the best compliment I can receive.
Where do you go for inspiration?
When I begin to think about writing a new book, I see story possibilities everywhere. My mind and imagination are suddenly open to all the universe has to offer. I devour newspapers and magazines, watch movies, go to art museums, talk to people and even listen in on conversations in restaurants (not intentionally—I just can’t help myself when I’m in story-gathering mode!). The story that ultimately arises from all of this is a composite of so many different ideas that I can rarely recall the initial inspiration.
What one piece of advice would you give to a writer wanting to start a career?
First, study the craft of writing. I have read many manuscripts in which the idea is brilliant, but the writing is so poor that I know it stands no chance of ever being published, which is heartbreaking. Read as much as you can so that you understand how stories are told. What draws you in? What keeps you interested? Take a class and share your writing with others to get feedback. Finally, get out and live your life so you have experiences to write about. Writers often tend to be introverts who like to closet themselves away, but we really do need the stimulation of being part of the world in order to understand people and the situations they get themselves into.
You have a master’s degree in social work, and worked as a youth counsellor and in the field of medical social work, as well as having a private psychotherapy practice. How does this background inform and influence your work?
My background helps me understand how people “tick.” It also gives me a deep appreciation of the struggle people face as they try to cope with tragedy. I loved being a social worker and love being a writer. I feel lucky to have had two careers that let me touch people in a positive way.
How did you feel when your first book was signed?
It’s impossible to explain the joy I felt that day! It had been a long time coming, and the realisation that my story would finally reach readers was simply amazing and very rewarding. I called my family and my writer friends. It was exciting…However, the book wasn’t actually published for a very long two and a half years!
Where do your characters come from and do they ever surprise you as you write?
They surprise me all the time! I love creating characters and breathing life into them. I want them to be both believable and memorable to my readers, and I spend much of my writing time getting to know them. When I was a clinical social worker, I took a seminar on hypnotherapy. During that training, I not only thought about how useful the techniques I was learning would be for my psychotherapy clients, but how they could help me understand my characters as well. In the beginning, I approached using this new tool in a very formal way. I’d sit in a comfortable chair with a pad and
pen, put myself in a light trance, and imagine I was the character. Then I’d start writing about “my” life, in the first person, from the character’s point of view. I didn’t censor myself, but simply let the words flow. As my subconscious took over, I learned things about my character I never would have come up with consciously. It’s an astonishing experience and often full of surprises. If
I’m
surprised by what happens, I’m quite sure my readers will be as well. Our subconscious minds are amazing things if we just tap into them. Now that the technique is second nature to me, I often use it when I’m feeling perplexed by, or simply out of touch with, a character. I close my eyes and ask her to tell me what’s going on with her, or perhaps how she’s feeling about another character in the story. Sometimes the answers I receive are pure gold.
Which book do you wish you had written?
E.B. White’s
Charlotte’s Web
, and not only because I would now be very wealthy! I have always loved that children’s book and it was an early inspiration in my longing to write. It’s a beautifully crafted book and a lovingly told story.
Do you have a favourite character that you’ve created and what is it you like about that character?
I have many favourites, but CeeCee from
The Lost Daughter
is definitely one of them. I like that she’s a blend of vulnerability and strength. I think many readers can relate to those qualities in her. I also like that, despite the fact that she’s done something very
wrong
, she’s still a person with high moral standards. It’s that conflict that forces her to make a devastating choice at the end of the book, and it’s that conflict that truly humanises her.
Paper and pen or straight onto the computer?
Both. I often start with paper and pen, and then hit a certain point when ideas are coming too quickly for me to keep up. That’s when I move to the computer.
PC or laptop?
Both. I am more comfortable working on my PC because I love my big monitor and ergonomic keyboard. But I also love working in coffee shops, so my laptop is a must.
Music or silence?
Music, but without lyrics. I listen to particular soundtracks when I write. I like soundtracks with high drama, such as
Braveheart, Blood Diamond
, and
Dances with Wolves.
They make me feel very emotional, and that is reflected in what I’m writing.
Morning or night?
I’m a night owl, definitely.
Coffee or tea?
Coffee. Half caffeine, half decaf, with a little milk.
Your guilty reading pleasure?
Hmm…I don’t think I have one. I really must work on that.
The first book you loved?
Charlotte’s Web
by E.B. White.
This depends on where I am in the writing process. If it’s early on, you might find me lolling around the house with a faraway look in my eyes as the story begins to take shape in my imagination. If I’m outlining, you’ll find me hunched over my dining-room table, surrounded by note cards, each one containing a scene from the book as I move them around to form a cohesive story. If I’m in the middle of the book, I’ll often start my day at a local coffee shop, going over what I wrote the day before. Then I’ll come home and get to work at the computer. If it’s the last few months before deadline, you’ll find me at the computer bright and early, then all day long, then late into the night. And I’ll have a crazed, frantic look in my eyes!
Poisonwood Bible
by Barbara Kingsolver, which was not only a great read, but an eye-opener for me into the twentieth-century history of the Congo.
Gift from the Sea
by Anne Morrow Lindbergh, because of its connection to the sea and beach and because of its exploration of a very real marriage.
White Horses
by Alice Hoffman, because it was the first book of hers that I read, and it inspired my early writing. When I reread my first novel,
Private Relations
, I can recognise the passages that were written during my “Alice Hoffman phase.”
Prince of Tides
by Pat Conroy, because it’s beautifully told and a fantastic, gripping story about a wildly dysfunctional family—my favourite kind.