Ask the Author: Eric Lindstrom

“Ask me a question.” Eric Lindstrom

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Eric Lindstrom I'm not a big fan of birthdays, or ritualized anything, really. My childhood was good the way childhoods are often measured -- I had a nice family, lived in a nice house, had a nice middle-class existence, did all right in school, had some decent friends, and a couple very good ones. But on the inside I struggled a lot with major depression, anxiety, and ADHD symptoms which didn't get diagnosed until decades later. So my growing up was hard in many ways, yet also so much easier than many other people's childhoods. In the end, I'm happy where I am now so I wouldn't have had it any other way. Thanks for asking, Kenize :)
Eric Lindstrom Thanks so much for taking the time to write to me, Cecily! For me writing a book is sharing a story I know about people I care deeply about, and it's always great when someone writes back! As for what's next, a lot of what drives me to write is that I have a story in my head and feel a kind of pressure to get it out there...but if I say anything about it, it eases that pressure, so by not saying anything till it's done, I can get it done sooner. :) Thanks again for writing!
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Eric Lindstrom
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Eric Lindstrom Hi Nina! I'm glad you've liked my books so far. :D

I'm writing as fast as I can...well, not too fast, I'm a bit of a perfectionist. When there's news, I'll post it on my website: ericlindstrombooks.com

If you go there, you'll see on the left margin, under my books, a SUBSCRIBE section -- enter your address there and you'll get emails whenever I post, so you won't have to check back so much to see if there's news... :)
Eric Lindstrom I don't think I can say definitely whether I will ever write a sequel. For now, there are many other different characters and stories in my head waiting their turn to be written, and they'd be pretty upset if Parker got a second turn before they got their first...but I do love Parker and her friends, so maybe down the road...we'll see... :)
Eric Lindstrom Elinor Dashwood and Edward Ferrars. In a world of calculated social maneuvering, chaos, and drama, they were islands of honor, civility, and calm from beginning to end. When pulled apart, seemingly forever, they endured their heartbreak quietly and took pains that it not affect anyone else. It brought out the best in them, not the worst, and they bore the burden privately. They ultimately got their happy ending without compromising themselves, by holding steady as the social landscape shifted around them until their moment came. In short, Elinor and Edward’s romance was heartrending and dramatic but none of the drama came from them – if anything, they took great pains to tamp it down – and for that I greatly admire them and wish them joy forever. ☺
Eric Lindstrom Hi Kaishary!

I haven't told anyone that yet, but a number of readers have come close to figuring it out, including on the Reader Q&A page for Not If I See You First, though the answer there has a number of errors. Everything you need to know to figure it out is in the FAQ on my website, here --> http://ericlindstrombooks.com/faq

Good luck! :)
Eric Lindstrom Hi, Tammy! I'm working on a number of different ideas, entirely new characters and settings, but I too feel a pull to maybe revisit Parker and Friends sometime in the future...we'll see! :)
Eric Lindstrom Sorry I missed your question before, Michelle! I have an answer of sorts in the FAQ on my website; check it out here --> http://ericlindstrombooks.com/faq
Eric Lindstrom When I write, I play out scenes in my head as if the characters are in an improv group of sorts. They act out various ways of reacting to situations, while staying in character, to experiment on a meta level with different possibilities. I try to imagine these run-throughs as fully as possible, like movies, and doing this reveals things I would probably miss if I thought about the story only in abstract terms. In your example, I imagined Parker running around, with Molly calling out directions, and I played out this scenario while bouncing back and forth between each character’s thoughts, to observe what they would want to say and do. From that perspective, while in Molly’s head, I found I had trouble directing Parker just as I (and Molly) would if we were really doing it. This kind of thinking is also how I conveyed Parker’s world in particular; because even though I was able see what she couldn’t – to lay out the complete situation – I could then just filter out the visuals and find that I’m left with humming refrigerators and jangling keys and other non-visual elements. Then I imagined what conclusions Parker would make of those observations. So the details come mainly from making movies in my head as I go and examining them closely.

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