Suzanne Collins

Suzanne Collins spoke about the book to David Levithan, SVP, Publisher and Editorial Director at Scholastic, also one of her editors.

 

[Please note that the interview does contain some spoilers].

 

David Levithan: After writing in Coriolanus's voice for Ballad, it must have felt like quite a change to slip into Haymitch's point of view. Can you talk about what it was like to be wearing his voice and how that shaped the book as a whole?

 

Suzanne Collins: After traveling with Coriolanus, who is endlessly manipulative and controlling, it was a relief to wear both Haymitch's voice and character. He has a much greater capacity for hope and love and joy. More than Coriolanus — or Katniss, for that matter. His voice is Seam overlaid with Lenore Dove's Covey influence. There's far more color to his expression, more humor. Sadly, at the end of the book you see his concentrated effort to strip all that away, so by the time you reach the trilogy, his language has lost the musicality of his youth. A combination of his desperation to forget combined with years of Capitol TV erase it. I like to think in his remaining years after the war, he reclaims it. You can hear it coming back in the epilogue.

 

DL: It is a particular challenge to start a novel when you and most of its future readers already know its ending. 

 

SC:  It's another way to approach a story, but it has its advantages. If you look at Shakespeare's Romeo and Juliet, we learn in the prologue  that the lovers will die. So you're really not focused on what's going to happen, but on how or why it happens. In the same way, you know Haymitch becomes a victor and Snow kills his loved ones, but you don't know the events that lead to these ends. How? Why? Where? What? Who? You have to read the book to find out.

 

DL:  In some of our initial conversations about the book, we talked about whether it would be written in the voice of the older Haymitch looking back or the younger Haymitch processing it as he experienced it. What led you to decide to take the approach you ultimately did?

 

SC: I played around with it both ways, but I found that younger Haymitch speaks directly to the YA audience the best. An older person reflecting back on their youth or shifting into a child's perspective is harder to pull off. Good work, Harper Lee!

 

DL: How do you feel spending so much time in younger Haymitch's shoes has changed your understanding of the Haymitch we see in the trilogy?

 

SC: I don't think it changed my understanding of him — Haymitch is still Haymitch — but it gave me room to explore his earlier journey. Like his relationship to Katniss via Burdock. What it meant to take on his best friend's child and see her through the war and become her surrogate father. It was nice to have some time with that angle.

 

DL: Like the other Hunger Games books, there is a clear three-part structure in place here, with each part getting the same number of chapters. How does this structure help you shape the story?

 

SC:  I began as a playwright over forty years ago, and that dramatic structure became the template for the novels. Since I've worked with it for decades, it's almost second nature, and that allows me to spend my energy elsewhere. This is the tenth book I've used this structure for, so I know certain things I want to achieve by certain points in the story. If I haven't achieved them, something isn't working the way I hoped, and I probably need to pause and figure out why. 

 

 

More to come!