Sue Boggio and Mare Pearl are novelists whose collaborations weave family, friendship, and hope into award-winning literary fiction. Their newest novel, Hungry Shoes (University of New Mexico Press, September 2023), is described as “an emotional journey through the scar tissue of complicated lives” and “a celebration of compassion, hard-earned wisdom, and the joy we can create.” You’ll find Sue and Mare on their website at BoggioAndPearl.com and on their Amazon author page.
Sue and Mare, you met in 1963 as youngsters and formed an immediate friendship that’s followed you throughout your lives. At what point did you both decide you wanted to write novels together?
In the 1980s we lived across the country from each other. We wrote letters that included one of us starting a story and mailing it to the other to continue the story — back and forth until the story became too long and fat to fit into an envelope. At that point, one of us would come up with an ending. In 1988, Mare moved to Albuquerque where I lived and we decided to educate ourselves about the craft (and business) of novel writing. Along with reading books on the subject and subscribing to industry periodicals, we joined SWW and attended meetings and all the great SWW conferences in the 1990s. In 2001, we were finalists in the novel competition with Sunlight and Shadow, published in 2004 by NAL/Penguin, and we were on our way!
Your latest novel is Hungry Shoes. What was the inspiration for this story?
Hungry Shoes was inspired by our long careers working at UNM Children and Adolescent Psychiatric Center, and our dedication to milieu therapy. Milieu therapy means the environment the kids are immersed in is a 24/7 intensive therapeutic process. Hungry Shoes shows how powerful milieu therapy was when we worked in such a program in the 1980s and 1990s. We’ll never forget the young people (and colleagues!) we had the privilege to work with and wanted to honor them in a fictionalized version of that inspiring world.
Was there anything surprising that you discovered while writing this book?
One of the challenges in writing Hungry Shoes was finding the best way to include pertinent scenes from Maddie and Grace’s pasts to show how and why they ended up needing inpatient psychiatric care. This required us to stretch ourselves in determining the structure of the novel, and how to handle time. Instead of the usual straight chronological stream of events, we inserted those past scenes into the present-day arc of their hospitalizations. The past scenes show particular times of chaos, abuse and neglect each girl experienced through their seventeen years of life. Showing these past arcs was much more powerful than telling them, say in therapy sessions. This gives the reader much greater insight and empathy when the girls’ experiences are addressed in their present day scenes. The scenes from the past are purposefully placed to connect with and inform what’s happening in the present-day arc of their three-month hospitalizations. It took a lot of trial and error before we arrived at the structure that finally worked the best, and the surprising discovery was that we were able to pull off what we envisioned!
Tell us how and why you chose the title Hungry Shoes.
In the early 1980s, a boy from Zuni Pueblo in my (Sue’s) care used the term to describe worn-out shoes that separate at the toe creating a mouth. (A lot of kids needed shoe glue to hold their shoes together until new ones could be obtained.) After learning the term was used commonly in Zuni Pueblo, I tucked it away as a title for a future book about milieu therapy. There is a scene in our book showing how the expression was used and its metaphorical representation of kids who have been abused, neglected, etc.
Why will readers connect with your main characters Maddie and Grace?
We created Maddie and Grace to have different issues, and be distinct from each other, but we wanted both of our lead characters to have the capacity to respond to therapy even after tough lives, and be intelligent and strong, and be able to form a genuine bond with each other that facilitates both of their healing journeys.
Maddie is more impulsive and expresses her pain and emotions directly. She’s more prone to “act-out” while Grace holds her pain more inside of herself. When the reader discovers what each girl has experienced via the scenes from the past, along with discoveries made in therapy, they are able to understand and connect with them. We also made sure to make them more well-rounded than their past wounds. We show them caring about their peer group members and staff, we show their humor and tenderness and bravery as they strive to get better.
What message do you hope to convey to readers of Hungry Shoes?
Our message is that there is an inpatient treatment model called milieu therapy that can (and did!) help kids turn their lives around if we as a society are willing to fund the necessary ingredients, which are:
Time enough to trust the adult staff to disclose their issues and connect with them as a source of support. Time for their families to learn new ways of parenting via family therapy and parent education (length of stay needs to be weeks/months instead of the current usual 3 days that insurance will cover.)
Staffed with highly-trained and well-paid professionals in a multi-disciplinary team approach offering a varied menu of therapies and individualized programs (art, music, recreational, etc.).
Physical environment that is designed for children while maintaining safety (i.e., playgrounds, flowers, grass, trees—natural beauty—supervised playtime and structured activities) instead of a stereotypical locked hospital ward.
Hungry Shoes shows all of this better than can be briefly described.
As coauthors, how do you manage expectations with each other? What is that process like?
We’ve been creating together since we were ten years old. It is instinctual by now to play to each other’s strengths. We’re each other’s greatest fans so our collaboration is based on mutual respect and trust. Before we start a project, we discuss EVERYTHING and keep notebooks as we define our themes, design settings, create characters and their arcs. We each choose POV characters and divide up scenes to write each week. (In the case of Hungry Shoes, I wrote Grace’s POV scenes and Mare wrote Maddie’s.) We get together weekly and read our scenes aloud to each other for feedback and to decide what scenes should come next. We always know our novel’s ending but how we get there allows for discovery along the way. A first draft takes about nine months. Then we do an entire read through out loud together before tackling rewrites and editing, first individually, then merged into one manuscript that Sue edits with continual input from Mare until we’re ready to share it with our first readers and eventually our agent for more revisions.
Not every difference of opinion is contentious, but as authors we bring our own ideas to each story. How do you navigate those differences?
We are constantly discussing different ideas, testing them out on each other. If one of us likes something the other doesn’t, we talk it through some more, but we give each other a lot of freedom and autonomy to run with an idea to see how it works—especially if it concerns our own POV character. Often a third option better than either of us thought of previously will be born from our discussions—the magic of collaboration. One of our bylaws is the good of the project comes before either of our egos. Honestly, it’s easier and a more natural process than you might imagine. I (Sue) write novels on my own in between our joint projects and it’s twice the work and half the fun.
Do you allow an underlying structure to guide your writing process or is this something you discover as you work?
It can vary depending on the needs of a particular project but we use structure and pacing techniques that we’ve learned from studying screenplay writing. (Hungry Shoes began as a screenplay.) We use index cards detailing each scene and mount them on a big story board, moving scenes around to find the best progression. This visual is key to our process, especially merging two writers’ scenes into one seamless narrative.
What writing projects are you working on now?
At age ten, it was the Lennon/McCartney collaboration that incited our creative journey as partners. Countless books have been written about The Beatles, so we wanted to write a novel capturing their lifelong impact on the lives of two young fans, Sadie and Max, called And Your Bird can Sing. After family tragedy leads to not only physical distance but total estrangement, Sadie and Max try to navigate adulthood without the one person they counted on always being there. Through the best and worst of times, Beatles music is the soundtrack of their lives. When life offers them a rare second chance, they come face to face after 26 years apart. At age 40, is their connection still alive? Or has it receded into their pasts, a pleasant childhood memory forever lodged in an era that has vanished as surely as the miraculous band itself? Our agent is currently beginning submissions of And Your Bird Can Sing—fingers crossed!
Is there anything else you’d like readers to know?
Thank you so much for this opportunity to talk about our work! You can email us via our website: www.boggioandpearl.com. We enjoy attending book club discussions in person or via zoom.
Su Lierz writes dark fiction, short story fiction, and personal essays. Her short story “Twelve Days in April,” written under the pen name Laney Payne, appeared in the 2018 SouthWest Writers Sage Anthology. Su was a finalist in the 2017 and 2018 Albuquerque Museum Authors Festival Writing Contest. She lives in Corrales, New Mexico, with her husband Dennis.
KL Wagoner (writing as Cate Macabe) is the author of This New Mountain: a memoir of AJ Jackson, private investigator, repossessor, and grandmother. Kat has a speculative fiction blog at 
