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Table of contents
- See a Problem?
- Portraits — Celina Meza Photography
- Privacy and Cookie policy.
- MORE BY SUE WHITING
- PORTRAITS OF CELINA
Life is complex and messy, and I always try to write honestly and be true to the situations I am exploring.
SF: I was on the edge of my seat throughout Missing. Your action sequences in particular were engrossing — how do you approach writing these? PL: Thank you! Then I go back over the scene and try to ensure that it is character-driven, rather than plot-driven, thinking in terms of cause and effect, action and reaction, and making sure my readers have plenty to worrying about for that character.
The mysterious postcard and an opportune suggestion led her to wild conclusions. Was this plot tangent inspired by anything real-life?
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SW: Not intentionally. But I am prone to jumping to wild conclusions at times, and there have been many occasions when I have joined the dots to come to a particular conclusion that turned out to be far from the truth. Mackenzie had a lot to cope with and was kept in the dark by the adults around her, so I wanted to create a situation where she constructed her own narrative about what might have happened to her mother, as a way for her to cope with and make sense of the devastating loss.
I wanted to create a situation where she constructed her own narrative about what might have happened to her mother, as a way for her to cope with and make sense of the devastating loss. How did you research this setting? And what came first — the bat-collecting professor mother, or the setting? SW: The bat biologist mother came first. I then searched the world via the Internet to find an intriguing location that was a long way from Australia but was also plausible for Mackenzie and her dad to travel there.
When I discovered Honduran White Bats amazing little creatures were found in the jungle near Boquete, Panama, my location was decided. Having never visited Central America, let alone Panama, I needed to do some extensive research to be able to bring the setting to life. I had two very lucky breaks though.
One was being put in contact with an Australian woman, Dianne Heidke, who has lived in Boquete for about twelve years. She answered all the questions that only someone with local knowledge can answer and acted as my sensitivity reader for the final manuscript. The second lucky break was discovering that there were four CCTV cameras in the main square of Boquete that streamed live feed on the internet twenty-four hours a day. This meant I was able to watch the comings and goings of the townsfolk, understand the rhythms of the day and get a real feel for the town, from the comfort of my desk chair in Australia!
How did Ethiopian adoptee Abeba come to you as a character? SW: I loved writing the character of Abeba.
She came into the story quite unexpectedly. I had no idea she was Ethiopian until the back door opened and out she stepped. It was a gorgeous surprise to me, and one that opened up so many wonderful possibilities to support the central story idea.
Portraits — Celina Meza Photography
So I went with it, and quickly became an expert in overseas adoption and Ethiopia. Who am I to argue with my subconscious mind? SF: Portraits of Celina is a story of love, ghosts and a life cut short. SW: Wow.
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But you are right. One I never knew and the other I only saw a couple of times before she passed away when I was ten. To be honest, I have always felt a little envious of those who have had close relationships with grandparent and, as such, do believe they are very important and something that has been missing in my life. God willing, maybe I will be able to have that relationship with my own grandchildren one day.
How do you choose the perspective to approach your books? SW: Trial and error. I actually wrote the first draft of Portraits of Celina in third person and then changed to first person in the second draft! First person allows you to tell the story as a teen would tell it — so you are telling the story not only through the eyes of the protagonist, but also with his or her voice.
SF: You also write picture books.
MORE BY SUE WHITING
Are you always writing in different formats, or do you go through phases of inspiration for each format? Celina Kenyon is a very experienced and professional photographer specializing in lifestyle, portraits, weddings, and product photography. Graduated from Brooks Institute of photography where I learned to shoot on all mediums and formats. Have a list of clients from Vans, Richer Poorer, Ugg and more!
PORTRAITS OF CELINA
I love all the special moments and emotions you can create with an image. It truly makes me happy when you can feel everything about one photo. When meeting with a new client, I think making an experience out of it is key. I love getting to know each other and creating that comfortability so when it comes time to shoot I am getting your best self and side. Best of Weddings on the Knot for and and have hosted two workshops representing Vans.