As a developmental editor, I’ve worked with many authors in all phases of their career in nearly every genre. In this occasional series, I’m sitting down with an author to talk about their approach to writing, editing, and publishing.

Occasionally when I’m reviewing a manuscript, I lose track of time. I get so immersed in the story, I forget I’m supposed to be providing feedback to the author. I’m swept away by the story, and I have to remind myself to keep my editor’s hat on. That is exactly what happened as I was editing MOTHERLAND by Nicole Breland Aandahl. It’s a story that has something for everyone. The Cold War. Espionage. NASA. Romance. And at the center of it all is a young Black astrophysicist named Maryanne. I mean, say less!

In today’s Q&A, Nicole and I discuss her process in writing her debut novel MOTHERLAND (now out in the world!) including weaving historical events into a character-driven story, how to develop internal conflict to reflect societal tensions, and the process of research!

Nicole Breland Aandahl is an attorney with more than 20 years of experience in foreign policy and national security. A graduate of Howard University, she has lived and worked in the Former Soviet Union. Nicole is an advocate for diversity in international affairs and has appeared on several podcasts to discuss her career. Her work has appeared in Fjords Review, Taproot Magazine, and Scary Mommy. MOTHERLAND is her debut novel. She lives in the suburbs of Washington, D.C. with her two kids and a bunch of houseplants.

Find her on her website or on Instagram @nicolebaa. You can find MOTHERLAND at favorite DC indie Politics & Prose, Barnes & Noble, and Amazon.

Jackie Cangro: MOTHERLAND is out in the world! Congratulations! Your novel is set against the backdrop of 1968 Washington, D.C., a pivotal year in American history. How did you approach weaving real historical events into your fictional narrative while maintaining a strong character-driven story?

Nicole Breland Aandahl: Great question! I only included events that would have directly impacted my characters in real life. I am fortunate to have parents that were students in Washington, D.C. in 1968, and my mother is a D.C. native. It made sense for all of my characters to be impacted by the assassination of Martin Luther King, Jr. and the aftermath was an ideal setting to further the story. The Democratic Convention in Chicago was flush with spies, and it made sense for my characters to be there at the same time. I also enjoyed showing the contrast between how each character perceived news stories, and even the different ways and mediums they used to get their news. In essence, historical events provided the vehicle for driving my characters’ stories forward, but I did not need to rely on them.

JC: Maryanne, Michael, and Leroy each navigate complex personal and political dilemmas. How did you develop their internal conflicts to reflect the larger tensions of the Cold War, civil rights movement, and espionage?

NBA: It’s not easy to find voice for three distinct characters while maintaining authenticity. It would seem Maryanne would be the easiest for me since I am a Black woman, but it really wasn’t. In fact, she was the hardest because I had to be careful not to project my personality onto hers. However, I could imagine how frustrated she would have been with her situation. I had long conversations with an older cousin who dated and married her now husband in D.C. in 1967-1968 (she is Black, and he is White), and she shared her feelings and fears from that time.

Maryanne struggles to stay focused on her career aspirations and relationship with Michael, but she cannot avoid the impact of racism and sexism on her ability to live the way she wants. Michael, through his relationship with Maryanne, finds himself confronting his own assumptions and prejudices, even while endeavoring to prove himself a hero of the Soviet Union. I went back to some of my Soviet dissident literature to develop his voice. Leroy is also stymied by his race but is determined not to be pigeon-holed. He’s resentful of the fact he’s spying on civil rights activists and believes nailing Michael will set his career in the right direction. The bottom line is that each of these characters, whether spy or civilian, deserve to be presented as whole people, not caricatures.

JC: Dialogue plays a crucial role in MOTHERLAND. How did you ensure the language, attitudes, and interactions felt authentic to the characters?

NBA: I did take a few liberties with some characters, specifically to upend ideas about how they would or should behave. For example, there is an interaction between Maryanne and her mother that to some may seem inconsistent with stereotypes that Black mothers were opaque. However, Black households were just as impacted by the times, and according to many women I interviewed, their mothers started speaking differently and more openly during that time. For Michael, I enjoyed embodying him finding himself unsettled by his growing affection for Maryanne, but also his musings on everything from his perception of American culture to his love for his mother. I had fun showing the juxtaposition between his inner thoughts and spoken word. I have to admit, Leroy sounds like my dad, and my uncles, and so many other Black men who have to constantly code switch.

Key to my process was reading every dialogue aloud, including for audiences to ensure authenticity. Some of my audiences included family, but also colleagues and friends, including those from Russia and Ukraine.

JC: Your story intertwines science, politics, and personal ambition. What was your process for researching NASA and intelligence operations like COINTELPRO?

NBA: Luckily, all of the information I used has been declassified and is released on NASA and FBI official websites. Of course, I double-checked. I also visited the Spy Museum in Washington, D.C., which houses an incredible collection of real gadgets and tools. The specific scenarios and scenes were 100% my imagination.

JC: What do you find to be the hardest part of writing a first draft?

NBA: My first draft was all about just getting the story on paper. I’d crafted a basic timeline with key dates and events, but I had to focus on developing my characters. I had to prevent myself from going back and editing while I wrote. I made sure to remember that my first draft did not have to be perfect. I hit several blocks because I didn’t think my story made any sense, or I couldn’t figure out how to move the story forward. But I gave myself grace and time, and next thing I knew I’d written more for one project than I had ever written in my life. It is important to note that my final draft looks nothing like my first, and I made several radical changes and edits along the way.

JC: As a developmental editor, I’m always curious about the revision process. Can you talk about how you approach revising your draft? How do you know when it’s “ready” for publication?

NBA: Feedback, feedback, feedback! Beta readers gave feedback. My book coach gave feedback. My writers circle gave feedback. I didn’t take every comment or edit, but I did read and consider every single one. I got an early developmental edit to fine tune the direction of the novel, and then another comprehensive developmental edit with you closer to the finish line. I have to say, your feedback was gold! Then came the copy edit, and finally line edits for grammar, typos, etc. And with that, I said “I’m done!” I worked on MOTHERLAND for five years before publishing. It was time to set her free.

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