These are Elizabeth Bergs' responses to your questions:
 
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1. How do you manage to portray the voice of a 13-year-old girl so convincingly in True to Form? Did you draw on any of your own memories or base the character on anyone you know?

The character is not based on anyone I know, but certainly is influenced by my memories. One of the great luxuries of a novelist is being able to dream and not feel guilty about wasting time! So I space out a bit and put myself back in time, remember things about meals, perfumes, schools, friendships, clothes, longings,insecurities, etc. From this the character takes form. Also,there's great evidence to support the fact that I never grew up, so it's not too much of a stretch for me to write as a 13-year old.

Sheila Holmes, Wolverhampton

I was heartened by the book's success. One of my favorite things to read is coming-of-age novels; I think a lot of others must feel the same way. What I believe about books is that if it's really good, it's for all ages. I will delight in a good picture book, for example, as well as a lofty literary novel.

Brenda Eagles, Peterborough

3. Why do you think readers warm so much to Katie's character?

You know, she's my favorite character, too. And I think people like her because she wears her heart on her sleeve. She wants so much to love and be loved, and many of us have that longing but can't be as honest as Katie is about it. Also, she's funny--often inadvertently, and I think we all like that in a character. Best of all, she's good. She cares about people and things in a very deep way.

My father was a pretty tough guy, and I grew up afraid of him. But I understand so much more about him now. His heart is tender and true. I'm very close to him now. The character is based on the fear I had of him, but not directly on him--he was not as bad as the father in the book!

I think book clubs like books that inspire dialogue. Sometimes it's because the issues presented are controversial and the discussions become quite spirited and lively--in the case of WHAT WE KEEP, for example, some people were sympathetic with the mother's actions and others were horrified by them. Other times a book works with clubs because it touches on things that a lot of people feel, but don't often get to talk about. It feels good to bring things out into the light of day, to discover that we are not so alone as we might feel. Finally, sometimes a book works because people can say, "Oh, I KNOW!" I think my books are chosen because of their intimate tone, and their mix of humor and pathos. Also, they're short!!

6. Many people have praised your writing, what for you as an author is the biggest compliment anyone has ever paid your work?

What means the most to me is when people come up to me at book signings and start to tell me what my books mean to them and then start crying. I love that. It makes me feel very tender toward them; it makes me feel my work really does touch people. I like when people say, "I've given this book to EVERY SINGLE ONE of my friends!" I liked one woman who said, "Seriously, I laughed so hard I peed my pants." And another who said, "You should put a warning not to read this on an airplane. (Talk Before Sleep). I was bawling so hard the flight attendant asked if I was all right." I've been sent beautiful fan letters, and I keep them all.

7. I am an American now living in Britain and would be interested to know if your work is received differently in this country, and if so why you think that is?

I'm not sure if it is being received differently. I do think there are more serious readers abroad.

8. How do you motivate yourself to write? Do you stick to a structured routine of working or is it more random and dependent on inspiration etc.?

I love writing, so it's not a question of being motivated. It's a joy. It's my favorite thing to do. When I don't write, I feel bad in my head. Writing is my drug of choice.

Other Interviews

Chloe Hooper for A Child's Book of True Crime

Bo Caldwell for The Distant Land of My Father

Carol Goodman for The Lake of Dead Languages

Mary Lawson for Crow Lake

Mark Haddon for The Curious Incident of the Dog in the Night-Time

Karin Slaughter for Kisscut and Blindsighted

Sebastian Faulks for Birdsong

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