Your latest book, At The Edge Of Lost (Scholastic, 2025), is a survival adventure story set in Seattle and Bainbridge Island. What was the inspiration for this story?
I really wanted to write another dog story—but one more intimate, even, than To Catch a Thief (Scholastic, 2023). I wanted to include the dog’s point of view, which is always risky. But who can resist a delicious risk? As for setting stories in Seattle, I have done this with most of my novels, and I expect I’ll keep doing so.
When I was a young reader, there weren’t a lot of stories set here. I absolutely treasured the one I found that was—to the extent that I befriended the author’s daughter on Facebook! Finally, these kids are still processing the pandemic, and I wanted to revisit some of those challenges and show kids thriving in spite of them. (The book involves an outbreak of Avian flu.)
The book is written from two points of view—the protagonist, Caleb, as well as the dog, Ronan. How did you ensure Ronan’s perspective felt realistic and not overly humanized?
With any character, the central question is: What does this being want? I have lived with dogs for 45 years and have carefully observed many of them. In addition to always wanting lunch, dogs want to be present with us. They have their biases, just as we do. But they are devoted and loving and brave—all of these things are true and wonderful about dogs and happen to make great qualities in a character. I was careful with how I constructed the voice.
An earlier picture book had a canine character who thought in one-syllable words, as dogs do—think of it: sit, walk, ball, food, who’s a good boy … all are monosyllabic. An early draft had all of Ronan’s words as monosyllables, but I ultimately concluded that was more of a creative constraint than I needed. Painters do this all the time—they use layers of color, knowing they will paint over them and knowing that the hidden layer will influences those on top. I love this about writing. We can keep refining our initial ideas to create something that feels real.
How did you envision Caleb’s complicated and poignant bond with his grandfather, Poppy, while shaping his character?
What’s more fun to write than a young-at-heart codger? After Louise Hawes lectured on ageism in fiction at Vermont College of Fine Arts, I wanted to create a grandfather who was present, lively, and wise—possibly also a bit weird. So, yes to Jenga, motorcycles, being a walking thirst trap for the ladies of his retirement community. And also, yes to a guy who feeds and names crows (my awesome codger of a husband does this, but please don’t tell him I called him a codger in public).
There’s also an autobiographical layer. When I was Caleb’s age, I felt responsible for my grandfather, who was dying of emphysema. Teens aren’t as self-absorbed as they’re often portrayed, and I wanted to show a character who was aware of mortality in middle school but not in an unhealthy way.
In several scenes, text messages between Caleb and his friends are presented in text boxes that interrupt the narrative flow. Could you discuss your approach to this structural choice and how you crafted the language to engage the reader emotionally?
Cell phones can be a real problem in fiction. Miscommunications and missed connections add a lot of conflict to stories—but in the age of cell phones, we have to find other ways of doing this. Because Caleb is isolated from his friends and family, the cell phone became a helpful tool and one that would feel natural to young readers. I wanted the kids to engage in fun banter in text; friendships are so important to kids, and I wanted readers to want to be friends with this trio.
Caleb also keeps up with his friends with video—so when he can’t be in a space, he can see what his friends are seeing, which solves a point of view problem.
What do you want readers to take away from At The Edge Of Lost?
I hope they take away a lot of things. First, I hope it’s an exciting and emotionally rewarding story to read. I hope they look at dogs and cats with wonder. I hope they are able to see a character face things he doesn’t want to face—things that are especially hard given his anxious neighbor—and find the strength and courage he needs because of love. To me, that’s the greatest motivating force in the world and one I wanted to show in many facets: friends, family, animals, even teachers and academic subjects.
How do you celebrate success?
It comes down to knowing what success looks like. Every day, I make a list of things I need to get done. When I fill in all the bubbles, I feel really great (sometimes, I need to move those list items to the next day). Success, to me, is managing my time in a way that lets me feel productive, useful, and grateful to be alive.
Every so often, all of that time management leads to wonderful milestones like a published book in my hands—or news from a student that she’d sold her first two books. I mean, there are a lot of successes to be celebrated if you know where to look. I don’t require a party or fanfare to celebrate any of it. Acknowledgement at this point is enough. (I did used to buy a pair of boots when I finished a novel—my 21-year-old has claimed those pairs, which are now vintage chic!)
Looking back, what is the biggest lesson you’ve learned from writing more than twenty-five books for children of all ages and winning multiple awards?
Oh, gosh. I’ve learned so much doing this work—this is why it’s been a good life choice. You learn focus, discipline, humility, perspective. You get to feed your curiosity and build your empathy.
The biggest lesson is that there is no external milestone that ever feels like enough. There is no advance, no award, no sales record. I spend very little time thinking about those things at this point, because none of it has anything to do with me.
Rather, I try to spend my time in a way that makes me a better writer and a better person. So maybe that’s the lesson. Know what work you want to do. Spend your time on that. Save the energy that you’d spend on self-doubt or worry by thinking up more agonizing plots for your characters.
What do you love most about your new role as Program Director for the MFA in Writing For Young Readers at the University of San Francisco (USF)?
I love everything about it. I love the institution, which is committed to changing the world—a perfect home for people who write for young readers. I love my colleagues there, who are diligent, capable, and welcoming.
I am thrilled about our new faculty and the fact they will be earning living wages for this work. This is one of the changes this program will make: It will end the exploitation of faculty and create better opportunities for writers with this degree.
I am blown away by the quality of applicants we are getting, people of all ages with all lived experiences. I am eager to push the workshop model forward so that it is more inclusive, more informed, and more effective for every participant. I am also eager to build a community and create opportunities for professional connections and insights that students don’t typically get in MFA programs. We will be offering more concrete instruction in writing pedagogy, which we believe will help students with their own learning as well as with teaching opportunities down the road.
We have some extraordinary things in store for our first residency in June 2026. It’s absolutely going to break the mold.
What advice or guidance would you offer to prospective applicants of USF’s MFA program?
I want people to feel welcome wherever they are in the learning process and to know we are building in scaffolding no matter what level you’re at. We will have online introductory and intermediate writing offerings, as well as an MFA preparatory bootcamp, if you want an extra boost before you enroll. We will also offer opportunities for post-graduates: the chance to study an additional semester with one of our stellar faculty, as well as a certificate in writing pedagogy to give aspiring teachers an extra credential.
Come to us knowing we will meet you where you are and we will support your growth as a writer and community member with our whole hearts and minds. We want you to succeed in every way possible. If you come to us open to listen and ready to work, we will get you there.
What are you working on next?
I just sold my next young adult novel, which is along the lines of The Game of Love and Death (Scholastic, 2015)—it’s another historical fantasy set in the Northwest. But I’m also working on an outline for another animal-centric middle grade and am revising a picture book that I love—so far more than any editors who’ve seen it. With friends, I’m putting together an anthology proposal.
Things are as busy on the writing front than they’ve ever been, even with the fulltime work of launching a program. It’s obviously way too much, and yet this is all I’ve ever dreamed of doing. Writing, teaching, making sure young readers have everything they want and need—and I get to do it with my cats and dogs within arms’ reach. Into the deep end I go. No fear, no regrets. But maybe send a rowboat, just in case.
Cynsational Notes
Martha Brockenbrough (rhymes with broken toe) is the author of twenty-five books, including YA fiction and nonfiction, picture books, middle grade novels, and a chapter book series.
She is the Program Director for the MFA in Writing for Young Readers at the University of San Francisco. She founded National Grammar Day, wrote game questions for Cranium and Trivial Pursuit, was the editor of MSN.com and has interviewed lots of celebrities, including the Jonas Brothers, Jason Bateman, Mike Myers, and Slash. She also wrote an educational humor column for Encarta for nine years.
She lives in Seattle with her family. Besides reading and writing, she likes dogs, cats, cooking, working out, and laughing.
Suma Subramaniam is a recruiter by day and children’s book author by night. She writes picture books, middle grade, chapter books, and poetry. Her works include Crystal Kite Award winner Namaste Is A Greeting and ILA Notable My Name Is Long As A River, and the V. Malar series. When not writing, Suma volunteers with SCBWI and We Need Diverse Books or blogs about children’s literature. Learn more at https://sumasubramaniam.com.