An Interview with Harold Eppley

by Rochelle Melander

Harold will appear at Boswell Books next Sunday, November 23 at 4:00 PM. Visit Boswell Books online to register. Tell us about your novel, Deadpan.

Deadpan is a middle grade novel-in-verse about Jackson, a 12-year-old boy from Milwaukee who cannot smile because he was born with an extremely rare form of facial paralysis which causes his mouth to droop. He loves to tell jokes, much like his father, a stand-up comedian who left the family years ago. Jackson is bullied for looking different and he longs for his classmates to see that beyond his blank face there’s a kid who is smart and funny. When the COVID-19 pandemic strikes, Jackson experiences a unique opportunity. His school closes and he transfers to a new one, where masks are required. Meanwhile, Jackson’s father reenters his life. Emboldened by his father’s encouragement and the fact that nobody can see his face, Jackson immediately revels in his new role as the popular class comedian, catching the attention of a girl he likes. But he knows he can’t hide his face forever. And when the mask comes off, Jackson fears that the girl will reject him and he’ll be bullied all over again.

You write about a boy with a rare form of facial paralysis. What steps did you take to research the syndrome and the connect with the community?

Jackson has Moebius Syndrome, which affects only 1 to 5 in a million people. There is currently no known cause or cure. Like most of the world, I had never heard of Moebius Syndrome until I discovered it while doing online research for another writing project. I quickly became intrigued by the unique social challenges facing people who live with this condition. Most everyone takes smiling for granted and as social beings we rely on facial expressions when interpreting the emotions of others. The expressionless look on the faces of people with Moebius Syndrome often results in others making false assumptions about them. Ever the writer, I thought, a protagonist with Moebius Syndrome would make a great children’s story.

Over the next months I read articles online, listened to podcasts, and watched YouTube videos in which people with Moebius Syndrome shared their personal stories, challenges, and accomplishments. I found videos to be an especially helpful resource because I could observe how people with Moebius Syndrome communicated and interacted with others. I never could have written this book before the advent of the internet!

With a bit of trepidation, worrying that some might question my intentions, I contacted the Moebius Syndrome Foundation. I asked if they might direct me to individuals with Moebius Syndrome who could answer my questions and assist me in ensuring that the story would be both accurate and inspiring. I quickly found individuals who were willing to help me. A number of them said they would love to see a book featuring a character with Moebius Syndrome since so few people know about it. It is my hope that Deadpan will help to enlighten the general public about this misunderstood condition.

What inspired you to write a novel in verse—and what supported you in learning the craft of poetry writing?  What tips do you have for writers?

I’ve never thought of myself as a poet. But I have always loved the euphony of language and have been told that my prose has a lyrical quality to it. I enjoy playing around with the sound of language: internal rhymes, alliteration, assonance, onomatopoeia. I’ve been known to spontaneously compose ditties which I sing around the house to both the delight and annoyance of my family.

I did not start out intending to write a novel in verse. Deadpan came to me in bits and spurts, in short scenes and images. As I continued writing, metaphors emerged: A person who can’t smile is like a cat who can’t purr, a dog without a tail. Having no facial expression is like wearing a mask. When you’re being bullied the well-lit halls of middle school feel like some dark alley. Many of the scenes felt deeply emotionaI, conveying feelings like fear, elation, anger, hope, sadness, and pride. In an organic way, the story started to feel like it would best be told in verse. And so, I continued writing short scenes in a lyrical style until I completed a first draft. Then the hard work began, months and months of rewrites and edits. Poetry employs an economy of words, and I had way too many. The final version of Deadpan is only half as long as the first draft.

Along the way, I read and researched dozens of middle grade novels in verse published in recent years by gifted authors like Katherine Applegate, Lisa Fipps, Chris Baron, and Jacqueline Woodson. My advice: if you want to write engaging poetry read well-written engaging poetry. Lots of it.

Can you talk about your road to publication?

Like most first-time children’s book authors my road to publication was arduous and frequently frustrating. Even with the help of a talented agent, Deadpan garnered little interest from editors at the major publishing houses. One editor really liked the concept and asked for a revision, which she held on to for over a year before ultimately passing. That’s when I decided to submit to smaller, independent publishers. Orange Hat, based in the Milwaukee area where I live, loved my book and offered me a traditional contract. Working with Orange Hat has been a marvelous experience. I’ve previously had 8 books for adults published and this was the first time a publisher consulted with me about the cover design. With local talent, they produced a beautiful book with a fantastic cover and an interior layout that rivals anything bigger publishers put out.

What are you reading now?

I am an eclectic reader of both fiction and non-fiction. I’ve currently been reading middle grade books from other Orange Hat authors and recently finished Crossing the Pressure Line by Laura Bird. I’m also reading The Most Important Thing by the nondualist philosopher Adyashanti.