My target readers are folks who are not afraid to examine the harder aspects in life and enjoy lyrical prose. While there is nothing like a good quick, satisfying beach read while on vacation, that is neither a characterization of my book, my writing style, nor my target audience. 

Elizabeth A. Tucker – 11 February 2025

The Back Flap

1953. WWII veteran Charles Hawkins sweet-talks his seven-year old daughter, Lyla, into climbing the family’s oak tree and hanging the rope for their tire swing. Eager yet terrified, Lyla crawls along the branch and successfully ties off a bowline, following her father’s careful instructions from below and becoming elated when he playfully tests the rope and declares the knot to be “strong enough to hold the weight of a grown man. Easy.”

But when her father walks out back one November night and hangs himself from the rope, Lyla becomes haunted by the belief that his death is her fault, a torment amplified by her grief-stricken mother, who sneaks up to the attic and finds comfort in the arms of her dead husband’s sweaters, and a formidable grandmother, who seemingly punishes Lyla by locking her outside, leaving her to stare down the enormous tree rooted at the epicenter of their family loss.

Set among the fault-prone landscape of Northern California, The Pale Flesh of Wood is told by three generations of the Hawkins family. Each narrative explores the rippling effects of trauma after the ground suddenly shifts beneath their feet and how they must come to terms with their own sense of guilt in order to forgive and carry on.

About the book

What is the book about?

The Pale Flesh of Wood set in twentieth-century Northern California offers a multigenerational braided narrative examining the rippling effects of trauma and perceived fault after a loved one’s suicide.

When did you start writing the book?

Oh, that hurts. I began page one over a decade ago, during NaNoWriMo (the annual National Novel Writing Month Challenge). I then took the manuscript and applied to Stanford University’s two-year online Novel Writing program where I dove into the book’s first big revision. After graduation, I worked with several developmental editors to help me bring the manuscript into its current form and to the finish line.

How long did it take you to write it?

This initial draft, I completed in 30 days, but revised and revised and revised over the course of a decade until I finally had it accepted for publication.  I am certainly not a daily or even weekly writer, but a deadline driven writer. I can go for long stretches without scribbling out pages. But when I have a deadline—whether it be self-imposed or from an outside source—then I am super diligent.

Where did you get the idea from?

In the early aughts, I went back to school to earn my second Bachelor of Arts degree—this time in Creative Writing. One of my professors had given the prompt, “I don’t remember why I remember this but…” and I wrote about a time my grandmother asked me to sit outside because she thought I was a tad too dirty to sit on her furniture. My grandmother was an utterly delightful woman, but she was a little formal and I remembered she glanced at my knees when she suggested I take my lunch out back. I do recall being slightly hurt by her suggestion, but more than that—intrigued. Dirty? What did she mean? Sure, I was a tomboy; I did rough around outside, climbing trees, playing in the dirt, so I sort of got it, but that day when I sat out on the porch with my lunch, I looked at my legs which looked clean, save for the white film on my knees. I remember sitting there and finally licked my finger and swiped the skin and Voila. The film vanished. I was so thrilled that I got up to tell her the good news, “I wasn’t dirty, I just had dry skin.” I can’t remember anything after that.

Anyhow, when I sat down to write a novel, I had no preconceived notions what to write about. I decided on day one of NaNoWriMo to riff off that memory—to have Lyla, my protagonist, being told to sit outside while the grown-ups talked in the living room. The grandmother (Caroline) handed Lyla a lunch and told her she was too dirty to sit inside. As Lyla sat on the porch, I began to draw out the Hawkins’ family backyard: the fence-line, the lawn, the patio furniture, the hills beyond. But what caught my eye as I created this fictional landscape was an enormous oak tree standing just beyond the gray, sun-beaten fence. I had Lyla sit there and stare at the tree, and as I wrote, I wondered why was she staring at the tree? What caught her eye? What happened out there? The rest is history.

Were there any parts of the book where you struggled?

The pacing.

For far too long, the book had the classic, boring middle. Of course, it took me awhile to come to grips with that fact and find the hutzpah to pull out the surgical implements to start removing the unnecessary fat. A couple years into revision, I had thought the book was in pretty great shape, so I began querying agents and publishers. In response, I received an exciting number of requests for full manuscripts, followed by many lovely, complimentary rejections. The common theme in the feedback was the pacing was too slow. Sure, it’s a quiet novel, but it was, admittingly in hindsight, a little too quiet/slow in spots. So, I went back to the surgical table, sharpened my instruments, and started removing whole chapters and trimming each remaining chapter by 10-20% until I finally got it to a point where I believed the pacing and narrative was stronger and therefore more compelling.

What came easily?

Place/setting, the cast of characters/character development, the underlying thematic components, the inciting incident, the dialogue, and the plot. These all came rather easily, even though I normally struggle with plot. Strangely, writing from the mother’s perspective (Louise) came rather easily. Louise lives a bit in the shadows in the final version of this book, but it was fascinating how much of her perspective resonates with me today as a mother of now two young adults. At the time I started the book, my kids were quite young; I certainly didn’t have a magic ball to see how the adolescent years would unfold. Now my kiddos are 18 and 20 years old—two amazing, beautiful, generous and kind humans—but I am astonished at how some of my characters’ actions and reactions feel authentic to “real” life. Not that our family has experienced or struggled in the same ways as the Hawkins’ family, but somehow the tenderness of the teenage years—the push and pull of independence/dependence—resonates in ways that I had no idea about when I first sat down to write those chapters.

Are your characters entirely fictitious or have you borrowed from real world people you know?

The one main character I borrowed from real life is Caroline Hawkins, the formidable grandmother/mother in the story. Like Caroline, my own grandmother was tall, elegant, formal, valued good manners, tailored clothing, appearances, social etiquette. and a terrifically upright posture. She and Caroline share the same bright white hair, stature, and brilliant blue eyes. And near the end of my grandmother’s life, we moved her into an assisted living home, so writing into those scenes came easily.  But that is about where their similarities end. My grandmother, Mimi, was also a loving, warm, and delightful woman, whom I adored as a kid and treasured as an adult. She was not the cookie-baking kind of granny, mind you, but Mimi was the best and she and I shared a lot of fun over the years. She passed away at 100 years old, and I still miss her a lot. While Caroline may have been the most entertaining and intriguing character in the book to write, I don’t think I would miss her very much upon her passing if she were my actual grandmother.

As for a minor character, Pops was modeled somewhat after my grandfather (Mimi’s husband). He sadly passed away when I was six, so I don’t have a terribly strong memory of him, but I adored him as well, and I cherish when my mom shares stories about him and her love for her father.

Finally, one nickname I have for my daughter is Birdpie, so I borrowed that term of endearment, but she and Lyla are polar opposites, and it would blow my hair back if my readers found commonalities between the two. Other than that, everybody else in the novel is straight-up fiction.

We all know how important it is for writers to read. Are there any particular authors that have influenced how you write and, if so, how have they influenced you?

Most definitely Pam Houston. I became a fan of Pam’s writing many decades ago, the precision of her wordsmithing, the tenacity of her female characters, her attentiveness to setting, and the exactitude in which she can mine right into the heart of relationships and what it means to be alive today, the gifts and challenges— both in her fiction and non-fiction.

Josh Mohr for his unparalled generosity of spirit, work ethic, mentorship, playfulness, and joyous encouragement of every single writer he works with.  Josh is not only insightful and honest, but he really tries to understand what you want to accomplish as a writer for what is or isn’t yet on the page. He is not afraid to call out my baloney (like what is not working in my writing or where I am trying way too hard), but he does so in such a way that is honest and often humorous, so that I never come away with any sense of being lame but, instead, inspired to work harder.  I have never met anybody so invested in each writer’s manuscript and such a glorious cheerleader of the profession as Josh. His positivity is downright infectious.

I will also add Susan Minot here. I have read her book Monkeys something on the order of 10 times over the past 30 years. It was that book that I used as a model for the structure of The Pale Flesh of Wood.

Do you have a target reader? 

Well, I suppose readers who cherish literary fiction and character-driven novels that trend toward the quieter side of story-telling. My target readers are folks who are not afraid to examine the harder aspects in life and enjoy lyrical prose. While there is nothing like a good quick, satisfying beach read while on vacation, that is neither a characterization of my book, my writing style, nor my target audience. I do feel that given subject matter (which feels increasingly relevant today) and the work’s thematic components, I would be honored to have this book make the rounds in book clubs.

About Writing:

Do you have a writing process? If so, can you please describe it?

Sort of. I am not an everyday kind of writer, or every week writer for that matter. But when I commit to a project or have a deadline (whether self-imposed, for workshop or some other sort of goal) then I try to write one page a day (5x a week). I like this one-page limit, as it is a chunk that does not feel too overwhelming; it is totally doable—it takes about the time of a shower and brushing one’s teeth. And when I am consistent, the pages add up.  Plus, when I keep my writing to one page and leave in the middle of scene, there is a different kind of energy or propulsion or heat that helps me feel far more excited to re-enter the work the next day. Additionally, I try to write/edit in the morning while my brain is a bit more alert, and the neurons are firing more easily. I then find if I leave that page and let it stew for the rest of the day while it still feels hot and has energy, I am more likely to ruminate on possibilities while I am out doing something physical and can better imagine how to jump into the scene the next day. I used to be able to write late at night, but that ship has sadly sailed; in post dinner hours I am way too exhausted to be creative at the keyboard and find myself reading or sitting down to a puzzle.

Do you outline? If so, do you do so extensively or just chapter headings and a couple of sentences?

In most cases, no. I have often likened my approach to creative writing to that of engaging with a Ouija Board. I sit down and just let the initial words fly without much/any forethought. I try to trust my fingers to work fast and furious, to rip out one sentence then another, then another. I am almost always pleasantly astonished at what that freedom leads to. It is after the initial discovery draft that I am more comfortable inviting the intellectual side, the intentional side of the craft decision-making process to weigh in and have its say. With my second novel, however, I will admit, I strayed from my normal course and it is biting me in the proverbial back side. When I started that manuscript, I had a loose outline, or a plan of what I wanted to accomplish before I even sat down to the opening sentence. Truth be told, I have been a bit stymied by this approach; it isn’t working nearly as well as the Ouija Board method. The first draft of this second book which was told in a dual narrative I ended up scrapping. It was such a shaggy dog of a story, way too hairy, very unmanageable. In workshop, I was encouraged by Josh Mohr to follow just one of the character’s points of view which I am now doing. But still, I find that I am still being pulled towards that initial plotline and as a result I am feeling less fluid in my process. It’s like that pre-designed/loose outlining approach has handcuffed me and my characters to my intentions, as opposed to the freedom of going where the book really wants to go and/or restricting what the book wants to say.  Yet, here I am, years later, still writing towards the initial outline/concept. So, I suppose, shame on me for playing the fool.

Do you edit as you go or wait until you’ve finished?

Generally, with my first drafts, I try to write without any editing/thinking and just let my fingers flow fast and loose along the keyboard (see the Ouija Board comment above).  I try and let the story go where she wants without the interruption of the critical brain. But with draft nos. 2, 3, 4, etc.…I painstakingly edit which is why it takes me years to publish a book.

Did you hire a professional editor?

Yes, I hired both a proofreader and copyeditor before querying The Pale Flesh of Wood. I know well enough that I don’t trust my eyeballs and editing prowess to hone my own work. I cherish hiring professionals to catch my fumbles and editing mistakes. Even after it was accepted for publication, the book went through another round of copy-editing and proofreading which was invaluable.

Do you listen to music while you write? If yes, what gets the fingers tapping?

I rarely feel inclined to listen to music while I sit at my computer. I fancy a quiet space in order to get words down on the page. If I do happen to be inspired to listen to music while writing, it will almost always be classical music.

About Publishing:

Did you submit your work to Agents?

I did. And while I felt I got close, I never hooked one

What made you decide to go Indie, whether self-publishing or with an indie publisher? Was it a particular event or a gradual process? 

It was definitely a gradual process. Years ago, when I first started querying, I started with agents hoping to get my book to one of the Big 5. I had been introduced to Brooke Warner of She Writes Press at a Writer’s Conference back in 2017. I was very impressed and intrigued, yet something in me pulled me towards the call of more traditional publishing. Call it naivete, delusions of grandeur, ignorance, or plain stubbornness, but I queried for a number of months and while I was getting a lot of full manuscript requests, and a lot of lovely feedback, ultimately I did not land an agent or a publishing contract. I realized the manuscript could use another developmental edit, so I stopped querying and worked with both Gayle Brandeis and Pam Houston, both talented and dedicated writers and cherished mentors who helped me revisit the book and get the story into better, cleaner, fighting shape. By that time, I was hearing a lot more about She Writes Press and its mark in the publishing world. I started chatting with authors about their experience who had their books published with She Writes, and the more I researched, I determined it was the ideal publisher for me as a first-time author. I submitted my materials and lucky enough, I got the Green Light to have the book published with the fabulous She Writes Press. It has been nothing but an amazing and positive experience. The She Writes Team is impressive, professional, and dedicated champions of our books.

Did you get your book cover professionally done or did you do it yourself?

The cover design team at She Writes Press led by Creative Director Julie Metz are true magicians. I worked initially with the team by filling out a design questionnaire that captures things like: the book’s elevator pitch, the synopsis, similar books, covers I admire, the book’s key concepts and themes, mood, setting/time period, its list of characters, as well as my author bio, prior publications and awards. The team then took these answers and came up with a handful of concepts. I loved three of the design concepts but knew immediately the one I loved most. The final cover design is simply gorgeous.

Do you have a marketing plan for the book or are you just winging it?

Given that this is my first time to the publication rodeo, I hired the PR outfit, BookSparks, to help me in this regard. I did not feel competent to just wing it on my own. The BookSparks team has been equally impressive.

Any advice that you would like to give other newbies considering becoming Indie authors?

I can’t really speak to the self-publishing side of independent publishing, but I absolutely recommend going the hybrid route with a publisher like She Writes Press. The She Writes team has been an incredible to work with—highly professional, attentive, supportive. The have taken good care of my book as it is getting ready to launch into the book publishing world. Given that this is my debut, and I am not a household name, I am certain I would not have been supported in the ways I have been at She Writes had I gone the more traditional publishing route. After spending a lot of time querying agents in pursuit of the traditional route, and receiving a lot of rejections, I am confident my book ended up in the best hands with a hybrid publisher like She Writes and certain the investment was worth it.

About You:

Where did you grow up?

Palos Verdes Estates, located in the suburbs of Los Angeles

Where do you live now?

From October to July—Truckee, California which is a small mountain town in the Sierra Nevada near Lake Tahoe,

From July to October—Brooksville, Maine, a small coastal town along the Penobscot Bay,

What would you like readers to know about you?

Honestly, I often describe myself as one of the least creative people on the planet. But what I do have is discipline and have developed a pretty healthy goal-setting muscle. So when I decided to become a “writer” and author a book, I thought, Well, Liz, you are no creative genius, no magician, but you love reading, you can type, you study people (even when they don’t know it), you have told stories all your life, so let’s see what can happen when you marry your discipline/goal setting side with these other attributes. And Voila, here I am, having my first book published which is pretty darn cool. I guess this is a long way to say, if I can write a book, anybody can. You just have to be pretty dedicated to the process and have thick enough skin to withstand the rejections.

What are you working on now?

I am working on my second novel, Traveling in Sees, a modern-day fairy tale about a boy orphaned by an earthquake and forced to travel long distances, navigating both harsh environments and predators alike in order to find his way towards the safety of a new home, using the tools of advice offered by his deceased parents and his traveling companion and best friend, a stuffed rabbit.

End of Interview:

For more from Elizabeth A. Tucker, visit her website and follow her on Instagram.

Get your copy of The Pale Flesh of Wood from Amazon US.