Author interview: Gregory Scott Katsulis

How did you come up with the idea behind your book and the concept of every word that cost real money?

We live in a work-crazy time where words are routinely preserved in a way that makes me deeply concerned. I took that logic and pressed quickly forward. I would like to say that it seems impossible, that we can ever reach the time when we may need to pay for our words, but if you can be judged for using a word now, I think there is some real danger to us, this speech can be limited based on trade. The good news is that while the cases of outrageous trademarks in words make the news every few months, if you follow these cases until the end, they are rarely successful.

Where did the inspiration for your book come from?

Although I am fortunate enough to live in a society that appreciates freedom of speech, it does not mean that speaking comes without a price. Communication is difficult. Saying the wrong thing can be expensive for people, both personally and professionally. If you have ever said the wrong thing and regret it, you know that this is firsthand. We live in a time of incomparable access to each other and at the same time we have found so many ways to exclude discourse and innovation by ending dialogue. I am afraid that we are not heading in the right direction on this issue and I really hope that readers will be horrified by the world of all reserved rights and inspired to fight against such a potential future.

How do you deal with the creation of such bright characters?

The good writing of characters begins with empathy. People have developed this incredible capacity to imagine what it is like to be someone else – to imagine our reasons and desires – and what we imagine is incredibly useful. Writing characters like SPAT, Sam and Sareta, I had to think how close they would be to each other as a result of life without real adult guidance. This makes them very close in some way, but then the system that requires them to pay to speak begins to tear them apart when the book opens. The sympathy with them is painful because things are going so wrong and you want to see them succeed and thrive, or at least, survive. Adding Kel to the mix, as a mentor and parent figure, only complicates things, because it is a role that she should not take.

How I wrote the Spet family is in a bizarre contrast with how I wrote Margo and Henri. The two appeared one morning in an early draft, fully shaped. This happens sometimes and I don’t understand it completely. I am deeply grateful for the power of the subconscious and any hard work that does behind the scenes to make such things happen. I love both of them and I sympathize with the deep powerlessness they experience, trying to reach SPAT when SPAT cannot communicate with them.

What was the biggest difference or challenge you found to write your first book YA?

I did not undertake to write all the rights reserved as a YA book. I also succeeded no Writing a YA book in my first project. But this project was not very good. I spent it and moved on. I went back to the idea when I found a new path in history. I found a way to counteract the world of history with someone who refuses to participate in it. When I started thinking about what it would mean to be silent, I felt that a teenager was the best choice for the story. Teens, and especially girls from teens, have so many to say and are often fired, downplayed or unheard in a way that I find deeply unfair.

What is your writing routine?

I don’t have a routine. I find the routines that cause guilt … and scary. I also have no discipline. I find that my best writing is done if I have 3 or more hours with me without interruption. Unfortunately, interruptions do not seem to know that.

What authors have inspired you to start writing?

Douglas Adams, Gabriel Garcia Marquez and Barbara Kingsolver were interested in what I could do with words and history, each for many different reasons.

Who is your favorite author?

I will not play favorites with authors. My favorite vegetable is the modest carrot.

And why do you write?

I don’t think I have a choice about it. I have so many ideas that I will not be able to write everything I want before I expire.

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For the book

Spath Jime is eager to give his speech from the last day and celebrate his transition to adulthood. The moment she turns fifteen, SPAT has to pay for every word that speaks (“sorry” is a flat ten dollar and legal recognition for guilt), for every nod ($ 0.99/sec), for each scream ($ 0.99) and even every gesture of affection. She was brought up to know the consequences of falling into debt and cannot start imagining the pain of her eyes shocked by saying words she is unable to afford.

But when Spath’s friend Beainer commits suicide rather than working with the crippling debt of her family, she cannot express shock and horror without breaking her contract for the last day and send she A family in a collection. Back in one corner, Spath finds a door: instead of reading her speech – earlier than saying anything at all – she closes her mouth and never talks again. Sprat’s unexpected challenge challenges media rage, inspiring others to follow in her steps and threatens to destroy her, the family and the whole city around them.