Category Archives: Editing and Revising

Answering the Question: “Why Did You Write This Story?”

Recently, I sat with my marketing team at HarperCollins and discussed different ideas for promoting my novel, The Poet X. People often ask me what my novel is about (which is a question I hate! I don’t have my elevator pitch down and I often hem and haw my way through every plot point only to wrap up with, “anditisaboutslampoetryandloveandfaithanddaughterhood.”) but at this particular  meeting my publicist asked a question I wasn’t expecting, “Why did you write this particular story?”

I’ve been sitting with that question. I think I wrote The Poet X because as a teen Afro-Dominicana, spoken word was a place that I found I could express myself and question all of the roles that had been impressed upon me by my culture, and neighborhood, and school; roles that sometimes felt like too tight clothing I couldn’t breathe in.

I’ve taught everything from 8th grade English to creative writing in adjudicated youth centers to the award-winning cohort of youth poets, the DC Youth Slam Team, and time and again I was moved by the realization that many of the young people in my classes and workshops found poetry as an outlet to be their full selves. So many of these young people were also trying to stretch into the person they wanted to be. At some point in their life they’d been told they were too big, or loud, or black, or brown, or accented, or poor, or incarcerated, or dumb; and so The Poet X is for them. A place where young people who are “too much” can see themselves reflected back; a reminder they exist and are worthy of every piece of literature.

Between when I began The Poet X and when it sold, I wrote two other manuscripts. One was an urban fantasy novel set in the Dominican Republic and the second one was magical realism centering a teen mom who aspired to be a chef. I loved both those stories and each one of them taught me how to become a better fiction writer. In my heart I knew that I wanted my debut book to be a story that set a strong foundation for my career and if it was the only thing I ever wrote, I wanted it to be something that reflected the values and experiences I hold dear. So for writers working on their first project, here’s what I’ve learned while trying to answer the “why” that I think led to my telling the story closest to my heart.

  • Write with blinders on. That doesn’t mean to be tone deaf to current events, but it’s easy to want to write in response to a trend. I think about all the writers who wanted to write vampires or BDSM after those subjects became trendy, and it was clear what stories had been mulled over for years and explored and writtend irrespective to what was “hot” and the stories that were quickly slapped together to fit the times. If the story doesn’t nag at you, or tug on your heart, or make your palms sweaty that lack of rootedness will show. Write the story that feels urgent to you. Don’t chase a trend because what the market wants will change in a second, but what moves you will move others. If you return to an idea, it’s because you truly love it.
  • Give yourself permission to meander. I had to write a lot of different things before I could finish to The Poet X. Like a first time dater, I had a lot to learn before I could fully commit. I needed to play with other storylines, and try different styles and genres, so that by the time I returned to X, I was smarter, a better writer, and had a clear sense of why this was the story I wanted to be working on and putting out into the world.
  • Allow your book to be a mirror and a window. In The Poet X, I was intentional about how I deployed slang, and non-standard English, and Spanish, and Latinidad, and slam poetry, and urban imagery; I was mindful that not all of my readers would be familiar with ways to navigate those different experiences, but I trust readers will still be intrigued enough to peek in and stay awhile. For other readers, I imagine this world will feel really familiar and I’m so happy they will find a comfortable place to rest their head. Negotiating what needed context clues and what might require the reader to do additional work, was a tough balance to find, but I stayed true to telling my most authentic story.

My “why” will probably change as the release date gets closer and I keep mining the myriad of answers that spring up every time I think about my book. The heart of my answer will probably always be: Growing up, I wanted to find a blueprint for myself in stories but struggled to find a girl like me in books. So, I decided to write her. And so my last piece of advice: write into existence the story you most needed growing up; your younger self will thank you.

20131031-dsc_7508-copyELIZABETH ACEVEDO is the youngest child and only daughter of Dominican immigrants. She holds a BA in Performing Arts from the George Washington University and an MFA in Creative Writing from the University of Maryland. With over fourteen years of performance experience, Acevedo has toured her poetry nationally and internationally. She is a National Poetry Slam Champion, and has two collections of poetry, Beastgirl & Other Origin Myths (YesYes Books, 2016) and winner of the 2016 Berkshire Prize, Medusa Reads La Negra’s Palm (Tupelo Press, forthcoming). The Poet X (HarperCollins, 2018) is her debut novel. She lives with her partner in Washington, DC.

 

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Filed under Characters, Creativity, Diversity, Editing and Revising, Inspiration, process, Uncategorized, Voice

Looking Back, Looking Forward

Last week, Facebook reminded me of a memory. On September 29, six whole years ago, I posted that I had just finished a first draft of a chapter book.

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Less than a year from now, on July 11, that chapter book, Jasmine Toguchi, Mochi Queen, will be published by FSG. Not only that, but a second book in the series, Jasmine Toguchi, Super Sleuth, will also be released at the same time. AND, there are two more books in the series.

When I finished that first draft, I had no clue how long it would take me to revise and then sell that book. I accumulated many many rejections over the years. I share details of that journey here: The Long Bumpy Road. It’s more than a dream come true to have a series!

Since signing the contract with FSG, I’ve been working with my editor, the fabulous Grace Kendall. Let me tell you, it was well worth the wait to partner with Grace because not only does she love and understand Jasmine, Grace makes me a better writer.

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This journey has been heady, exciting, and thrilling with so many pinch-me moments. Since spring of 2015:

  • Received editorial letter and completed revisions with Grace
  • Found out that the talented Elizabet Vukovic is the series illustrator
  • Viewed rough sketches of Jasmine and her family
  • Completed copyedits of Mochi Queen
  • Viewed spot illustrations of Mochi Queen
  • Received draft of the cover art of Mochi Queen (kudos to designer Kristie Radwilowicz who did an amazing job)

I’m still in awe. I sometimes can’t believe that any of these things are happening. In fact, I’ve welled up with tears of joy at each and every step. I can’t wait to share illustrations and the cover art. I love Elizabet’s drawings of Jasmine and her family. As a not-very-visual writer, I had a vague idea of what Jasmine looked like. It wasn’t until I saw Elizabet’s illustrations that I knew what Jasmine looked like. Does that make sense? Now I can see Jasmine and her family and friends in my head.

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As soon as I’m able, I will share illustrations/cover art here!

I’m currently waiting to see the spot illustrations and cover art for book 2. I’m giddy! And soon I’ll be revising books 3 and 4 with Grace’s fabulous and wise feedback. I am seriously loving each and every step of this journey. I might sound a bit “Pollyanna” about this process, but believe me, prior to making this sale, I had plenty of doubts, plenty of bad days, plenty of down days. I’m truly grateful to be where I am now. I am looking forward to the next steps on this path!


web_edit6xx8t3624Debbi Michiko Florence writes full time in her cozy studio, The Word Nest. Her favorite writing companions are her rabbit, Aki, and her two ducks, Darcy and Lizzy.

The first two books of her debut chapter book series Jasmine Toguchi will be coming out from Farrar Straus Giroux on July 11, 2017, with two more books to follow. She is also the author of two nonfiction children’s books.

Before she started writing as her career, Debbi worked at a pet store, volunteered as a raptor rehabilitator, interned as a zookeeper’s aide, taught fifth grade, and was the Associate Curator of Education for a zoo.

You can visit her online on her web site and her reading blog. She’s also on Twitter.

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Filed under Dreams Come True, Editing and Revising, Faith, joy, Thankfulness

Sidetracked by Track Changes

Like Katie, I also turned in my final manuscript to my editor recently. But unlike Katie’s novel, my picture book manuscript has far fewer words. Like, almost a couple of orders of magnitude fewer. Including the back matter, my book will have about one thousand words. (And that’s considered L-O-N-G for a picture book these days.) So editing it should be a piece of cake, right? There are only a limited number of times you can read a thousand fairly simple words, right?

Nope. No cake. No limit.

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Even though my editor had relatively few comments (yay!), revising the manuscript took a lot longer than I anticipated. It was also much more interesting than I expected. From the first round of edits to the (hopefully) last, we were having a dialogue through Track Changes. Our comment-bubble conversation led me down side roads, some I had already traveled, most I had not.

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Side roads? Oh, yeah!

 

 

 

 

 

 

 

THE NIAN MONSTER is a Chinese New Year story, a folktale retelling, a trickster tale, and a foodie story. It’s also set in Shanghai. One editorial comment, asking about whether the word “chef” would be used in China, took me down a historical path. I ended up writing a long-winded, horribly didactic, reply-comment-bubble about Shanghai’s history as an international port, the French Concession, and whatever other justification I could come up with. When my editor commented back, “Fascinating,” my inner geek did a little jig of joy. Or maybe just arched an eyebrow. (Note: I got to keep the word “chef.”)

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Addressing another comment sent me back to grammar school — Chinese vs. English grammar, that is. The comment was about using the word “the” in front of names of landmarks. We don’t say “the Times Square,” but is it appropriate to say “the People’s Square?” How do English-speakers in China refer to these places? I didn’t know how to respond to this. The little Chinese I know, I absorbed from listening to my parents and suffering through Sunday Chinese School. I knew when something sounded right in Chinese, but I could never explain why. It turns out that there is no equivalent of “the” in Chinese — it’s a language without a definite article. That answer allowed me to choose where to keep and where to delete the “the’s.”

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Keep this one?

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Or this one?

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Or this one?

 

I did more research and thought harder about my story during the editing process than I had when writing it. None of the history or the grammar I learned will make it into the book. But I don’t regret any of it. More knowledge is never a waste, right? And I love that when I read the text, I see the fingerprints of my mentors, my critique partners, and now my editor. I hope that kids will come up with their own questions after reading the book. Or maybe even the same questions. I know they’re just dying to learn about the French Concession.

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I’ll have a cafe au lait, please!


Andrea Wang

Andrea Wang’s debut picture book, The Nian Monster, is a Chinese New Year folktale retelling set in modern-day Shanghai. The Nian Monster will be published by Albert Whitman & Co. in December 2016. She has also written seven nonfiction books for the educational market.

Andrea spent most of her first grade year reading under the teacher’s desk, barricaded by tall stacks of books. At home, she dragged books, chocolate chips, and the cat into her closet to read. Not much has changed since then, except now she reads and writes sitting in a comfy chair in a sunny room. With a lock on the door. Before embarking on the writer’s journey, Andrea was an environmental consultant, helping to clean up hazardous waste sites. She lives in a wooded suburb of Boston with her very understanding husband, two inspiring sons, and a plump dumpling of a rescue dog.

You can find Andrea online at http://www.andreaywang.com and on Twitter under @AndreaYWang.

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Filed under Editing and Revising, Editor, Picture books, Research, Uncategorized

Loving Your Literary Litter

Here’s the truth of it: The manuscript you first write may not be the exact same manuscript that convinces an agent to represent you. The “I-got-an-agent” manuscript may not be precisely the same manuscript that the two of you sell to a publisher. The “I-got-a-book-deal” manuscript will likely not be the manuscript that eventually ends up as a book on a proper shelf in a proper bookstore.

These manuscripts will be similar. Oh, yes. They will be similar.  Many of the words will be the same. The narrative structure might even be the same. Of course, the living, beating heart of the story that gave it a chance in the first place will be the same. But as the manuscript evolves, what initially seemed like one beautiful and stalwart dog…

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becomes more like a litter of puppies. Where-to-get-a-golden-retriever-puppy

I hereby give you permission to love them all. You may love the brand-new one, all sweetly damp with its eyes sealed shut. You may love the one that snores while it sleeps with its tummy full of milk. It might not be the liveliest, but it sure is cute! You may love the one that’s starting to show some personality, that scampers around and nips just a little too hard with its razor-sharp puppy teeth. You may and you should love them all.

But unless you’re going to be some kind of puppy hoarder—which doesn’t serve you or your plentiful puppies—

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You get to keep only one. That’s right. One.

You’re not going to make this choice by yourself. Others will be involved. The potential puppy’s vet. The potential puppy’s trainer. They will look at all the puppies in the litter, tumbling about and tearing the place up, and they will help you decide on one.

Wait. We’re not talking about a *real* puppy. We’re talking about YOUR BOOK. The others involved will be your trusty agent and editor.

Secret Agent

But back to puppies.

Bit by bit, the right puppy will emerge. It will distinguish itself from its littermates. It will mature, develop manners, learn not to jump on guests. Its essential sense of self will be cultivated, its strengths enhanced. It will be groomed until it shines like a shiny, shiny show dog.

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(Dog geek alert: I’m pretty sure this is an English Toy Spaniel. The muzzle looks too pushed-in for a Cavalier King Charles Spaniel. Feel free to weigh in.)

It will be ready to strut its stuff in front of the whole world and make you proud. Griffon

And your puppy-love will deepen into true love.Jenna Marbles

Remember, none of this happens by accident. Without long walks, lots of attention, some sleepless nights, and consistent discipline, your book-puppy will never become all it’s meant to be.

And it’s meant to be nothing less than a champion.

Best In Show

I look back fondly at my many versions of BABYMOON. They still have all their puppyish charm for me. The earliest is spare yet lyrical. Later ones are more developed, with complete sentences and a more varied rhythm. The final, more nuanced version is quite different from its siblings, and yet it bears a strong resemblance to all of them. I guess you could say it’s the pick of the litter.

Enjoy the day.

Hayley

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I write for young people and live to make kids laugh. My debut picture book, BABYMOON, is coming from Candlewick Press. Come hang out with me on Twitter @hayleybwrites, Facebook, or in the meadow: http://hayleybarrettwrites.wordpress.com

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Filed under Advice, Agents, Colleagues, craft~writing, Creativity, Discipline, Editing and Revising, Editor, Publishers and Editors, rhythms, Uncategorized, Writing, Writing and Life

In the Nick of Time

Years ago, I used to pride myself on working ahead of time. I used to see some kind of deadline off in the distance and plan out how I would try to get it done a little early–a paper, maybe, or grading some essays, or a reading assignment for a class.

Okay, it was a short phase.

Maybe a year at most.

But I loved it. I loved the feeling of walking to my teaching post, or driving in to a night class, feeling somewhat rested and thinking, yup, that was done a little early. Finished. Finalitisimo. Nada more to do!

And this small bit of excitement gave me a real hunger for more of it (as well as for flour-based bakery items such as: blueberry muffins, banana bread, banana muffins, and blueberry bread).

Even though the phase was short lived, that feeling was pretty amazing.

Fast forward many years, and the reality is very much the opposite. (However, the flour-based bakery items still come along for the ride.) Now, I find myself rushing to complete any task: grading the essays, working on that revision, starting the first draft, getting to the copy edits, putting the kids to bed, putting myself to bed, putting an idea to bed, laying off the flour-based bakery items, and doing the paper for the night class.

All of it happens, pretty much, in the last minute.

Or the last second of the last minute.

For a while, I mourned the loss of the getting-things-done-early kind of life (eating copious amounts of flour-based bakery items was crucially helpful in this stage.)

Then, for another while, I worked vigilantly to get that done-early mentality back (in which case flour-based bakery items were fuel for the drive, pricing energy and courage and chutzpah!).

Finally, I came to a deep acceptance, sat for long periods of time realizing that such a life was not to be had (at least for long time) and proceeded to eat copious amounts of flour-based bakery items to console my heart and stomach regarding this fact.

(Didn’t someone incredibly wise–like Mozart or Oprah or Einstein–remind us of this fact with the immortal words: IF YOU CONVINCE YOUR HEART AND STOMACH OF SOMETHING, THE MIND IS SURE TO FOLLOW THEREAFTER; IF IT DOES NOT, YOU ARE EATING THE WRONG KINDS OF FLOUR-BASED BAKEY ITEMS. BUT THAT IS OKAY BECAUSE ALL OF LIFE IS ABOUT SECOND CHANCES. RETURN TO THOSE FLOUR-BASED BAKERY ITEMS IN THEIR SPLENDOROUS GLASS-SHIELDED DISPLAY CASES AND CHOOSE YE AGAIN!)

So, I am happy (resigned?) to now report that I am coming to a place of peace (giving up?) on getting things done ahead of time and then proceeding with calm confidence towards the due date.

I am coming to an acceptance that, in certain stages of life (maybe thirty or forty years?), getting things done in the nick of time is okay. It is fine. It is fun! The adventure of rushing! The joy of jovial justice that such things still actually DO get done is cool enough! Right on! Right…on? Right?

Or maybe something bigger is at play. Maybe the reality is that all of the goals we make, and all of the hopes and dreams that we seek to accomplish as writers, cannot be completed in a single burst. So we work diligently, we consume our flour-based bakery items, and we pray that we’ll make it on time.

And when we do–instead of feeling guilty for the nick in which we finished, maybe we should eat another banana blueberry muffin bread item and whisper a pray of thanks that we even had the chance to pursue it in the first place. Or, to use much better, more refined words that do not mention anything at all about flour-based bakery items, hear it from Meister Eckhart: “If the only prayer you ever say in your entire life is thank you, it will be enough.”

Yes, that sounds much better and saves an awful lot of space.

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Filed under Anxiety, Editing and Revising, Happiness, Writing, Writing and Life

Our First-Draft Selves…Our Tenth-Draft Selves

When I first heard the news that a second Harper Lee novel was going to be released, I did an actual jig. Even though I am not much of a jig-dancer, I did. (I created my own jig, which probably would have made the Riverdance professionals hang their heads low in embarrassment on my behalf.) Yet, as journalistic reports and media coverage of Lee’s hotly-anticipated second novel, Go Set a Watchman, came out, I began to view the release with a certain sense of ethical dread.

Was this what Ms. Lee wanted?

Was it about money for those involved on her behalf?

Why was the novel only being released after the death of Lee’s close confidant and handler in all legal issues, her sister Alice Lee?

But as the release approached, I knew that I would have to read the book. My first thought: I’ll put my name on the library waiting list so I don’t have to necessarily support the whole money-possibility-scheme, etc…

So I put my name on the list, and BAM! There I was: 298th in line for our town of Acton, Massachusetts.

But I was resolved to wait it out.

Until I wasn’t. I was on my way home from the library one day and my car kind of drove itself to our local indie store, Willow Books. There, I purchased a copy of Go Set a Watchman, went home, and promptly read the thing as fast as possible.

Like many readers who once idolized the heroic and calmly brave Atticus Finch, I cringed as I read about him in this semi-sequel. I finished the book, and I almost as though it was my own father who had been pretending–and many years later I had found out who he really was, what he really believed.

And I mourned–for a little while–the fact that I had even named my own character in The Looney Experiment after him: Atticus Hobart! An eighth-grader who learns what real courage is all about. I saw the “new” Atticus through the eyes of my own Atticus, and I could hear my character asking, WHAT DOES THIS SAY ABOUT ME!!??

I tried to calm him down, let him know that everything was going to be okay. That his courage is still courage. But when I read an article about an actual couple changing the name of their seven month old baby after Watchman was realeased because they no longer wanted him to be named Atticus, I admit I lost some sleep.

After all: I couldn’t change the name of my eighth-grader! And he certainly felt like a real son to me.

And then I proceeded to devour every news story released about the saga. And my heart kind of flooded over with a certain gratitude when I read about Tay Hohoff, Lee’s editor for To Kill a Mockingbird. From all evidence gathered, The New York Times did an incredible job of painting the scene: Mockingbird had been the EVENTUAL draft–the final draft–of Lee’s masterpiece. But Watchman had been the first foray. It was only through Hohoff’s extensive revision requests and effusive encouragement that Lee was able to get to many drafts later and the masterpiece we have come to know.

In essence: First-draft Atticus Finch was not the man that later-draft Atticus became. And it was only through the insight, counsel, and support of an astute editor that we came to meet the real Atticus Finch.

I began to think about this in terms of my own character, Atticus Hobart. And I realized that, at the start of The Looney Experiment, he is definitely his first-draft self. He is terrified of life: of speaking up in class, of talking to AUDREY HIGGINS, or being real with his Dad, of using his voice in any way to speak his truth.

But Atticus Hobart doesn’t stay there. His first-draft self is not his real self.

And then I began to think about myself, too. And about the people I love. And I realized that we all long to grow from our first-draft selves. We try things, we get it wrong. We try again, we get it wrong again. We make mistakes, mess up, miss opportunities, remain silent when we should speak, speak when we should remain silent, attack when we should repent, repent when we should attack–and so on.

We all mess up, and were life a courtroom drama, I suspect we’d all be found guilty of a jury for all of the above. For our missed moments and our unkind actions. But the thing is, life is more a novel than a courtroom drama. We get to see our first-draft selves and then we’re not stuck with them. We get new chapters, new revisions, new drafts–and we get the chance to create second-draft, third-draft, fourth-draft…tenth-draft selves.

And the truth is, this process of getting to out next draft-selves is a lot easier if we’ve got someone supporting us. We can’t do it alone. Just as Lee had her editor, Hohoff, to help Atticus Finch become his best-draft self, we too need others to love us, challenge us, hold us, push us, see us, and–especially–see what we can yet become.

Sometimes, I remind my character, Atticus Hobart, of this fact. Atticusyou don’t have to be like anyone but yourself. You are free to become the best-draft of yourself that you can be. 

And I sometimes remind myself of this, too.

We are all masterpieces–classics of a sort–waiting to become a new draft that is just a little bit stronger, a little bit bolder, a little bit braver. And we all need someone to help us along that road.

In this way, I see Atticus Finch in a new way. No longer do I view him as a perfect model of sensitive strength. Instead, I view him as a draft–because now I know where he began in Watchman, and how far he came along to get to Mockingbird.

I too have a long way to go and a long way to grow. Atticus Hobart does. We all do. And the good news is, that’s a journey worth taking. That’s a journey worth talking about, writing about, and believing in–no matter how long it takes.

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Filed under Editing and Revising, Thankfulness, Writing, Writing and Life

Straight from the Editor: Penny & Jelly!

For the grand finale of our week-long celebration of Maria Gianferrari’s sublime Penny & Jelly, we’ve got a special treat: an interview with Maria’s editor at Houghton Mifflin Harcourt, Cynthia Platt. While we are all woof-ing it up for this delightful picture book, Cynthia was the editor who first saw and fell it love with it way back when, and here she shares her wisdom regarding the process of acquiring Maria’s AMAZING book and of guiding it through through preparation until it arrived, this week, to the world. Without further ado, say hello to Cynthia Platt!

What about PENNY & JELLY hooked you–and how did you know you wanted to publish this book?

I’m always saying that I want young, funny, character-driven picture books–and there in my inbox was just that. Also, from the start, I loved the DIY and crafting aspects of the story. And Penny and Jelly’s relationship is so wonderful. I could keep going….

What process did you and Maria follow after the offer had been made and accepted? Anything particularly interesting happen along the way?

After the initial email introductions, we got to work editing with lot of back and forth, sifting through the small details–of which there are always so many of when it comes to picture books. We were also lucky in that Maria lived in Massachusetts at the time so we got to sit down and spend an afternoon together talking about the book and getting acquainted.

What inspires you most about a picture book?

I’ve always been a die-hard reader, and I can easily trace the books that have both meant the most to me and inspired me to love reading even more. Those special books, for me, go back to the picture books I loved as a girl. So, as an editor, it’s a real gift to be able to assist in the creation of a picture book. Part of me always hopes that each picture book that makes its way into the world might be that special one for a young reader.

If you had to use three adjectives to describe PENNY & JELLY, they would be:

Warm, funny, and smart–then again, I’d describe Maria that way, too!

What qualities do you admire most in a writer?

Not to sound like a politician, but that’s a really interesting question to answer–because I think I’d answer differently as an editor and as a reader. As a reader, you just are looking for someone who writes a good book–someone whose worlds and characters you find engaging. As an editor, though, the writer isn’t some distant figure. It’s someone with whom you not only work closely, but with whom you work with on something near and dear to their hearts. So, you hope to work with writers who not only inspire you creatively, but also with whom you can relate on some level.

As a book is launched, what do you most hope will happen for it?

That someone picks it up and reads it. That lots and lots of someones do. And not only that they read it, but that they love it and find something in it that speaks to them.

Do you have a favorite book or a favorite quote or both? 🙂

Without a moment’s hesitation: Middlemarch. I love many books, but this one has become my bedrock.

What surprised you about publishing when you first got into this work?

As a sometimes overly-passionate reader who grew up pre-internet, it wasn’t always been easy to find people who shared that level of enthusiasm. Then I went into publishing and found this rich world of book people. It was a “these are my people” kind of experience.

What part of PENNY & JELLY do you love most (if you HAD to pick just one moment in the beautiful book)?

Well, if I HAVE to pick one, I love the moment when Penny begins to despair that she really doesn’t have anything she’s truly good at, and that she and Jelly solve the problem together–and that what she’s best at is being Jelly’s friend. Every time I get to the end of the book when they’ve been declared “Best Friends,” I smile. And believe me, I’ve read the book a lot of times at this point!

Thanks for sharing your ideas, wisdom, and all your love for Penny & Jelly with us! And readers, remember that by leaving a comment below, you’ll be entered into a drawing to win a signed copy of the book and also some serious swag from Maria. To order your copy of the book today, visit http://www.pennyandjelly.com. Happy Reading!!!

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Filed under Celebrations, Editing and Revising, Writing and Life

Heading Back, Trying Again

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Tejas

Last week, my husband and I took our young son down to visit his relatives in Texas. We flew into Dallas first, then boarded another plane to fly way down south to McAllen. Air travel is tedious in the first place. Add a small child to the mix and it becomes a high-energy challenge to make sure said child is kept busy enough not to annoy everybody else on the plane. When we began our final descent into McAllen, we were relieved, to say the least. Our uncomfortable slog was almost done. Soon we would collect our bags, check into the hotel, and start the vacation.

We were flying over the landing strip – we could barely see the runway beneath us, through a thick mist of low clouds – when the plane pulled sharply up and began to climb. The captain’s voice crackled over the PA. “They’re telling us not to land, due to weather conditions. We’re going to try to divert to Corpus Christi. Don’t worry, folks, we have plenty of gas.”

Ugh.

We got to Corpus. Same thing again. Bad weather. Couldn’t land. “We’re going to have to head back to Dallas and try again later.”

Malcolm

My son, four years ago, immediately after his very first long plane ride. “That was really stupid, Mommy,” his adorable face seems to say.

NOOOOOOOOOOO.

The plane turned around. My son, who had believed he was about to escape from confinement and get sneaked lots of pieces of early Easter candy by his loving relatives, now had to sit through not one but two more plane rides. He threw himself to the floor in front of his seat and cried “I DON’T WANT TO GO TO DALLAS!” (Since this was exactly how every adult on the plane wanted to react but could not, nobody minded the display.)

The reason I share this story is that, right now, I have to revise a long novel in short order. I’ve already revised this sucker a couple of times, but it still requires some pretty extensive rebooting, and frankly? I don’t want to go to Dallas. I didn’t anticipate that I would have to go all the way back to Dallas. Corpus Christi, sure, a quick diversion – but back from whence I came? NOOOOOOOOOOO. *throws fit on cabin floor* See, to me, the story seemed to be landing beautifully. I could see the runway fine. I didn’t know there was a problem. But as it turns out, there’s some bad weather, so if I really want to reach the destination, then there’s just nothing for it but to circle back and try again.

The worst part is, now that the bad weather has been pointed out to me, I can see it. There it is. Yep. I do have to go back to &*$#ing Dallas. And while I’m sure that, deep down, I do have enough gas to get me there, it doesn’t feel like it right now. My debut is coming out in two weeks (insert ONE MILLION HOORAYS!), which is a huge and exciting big deal that has me completely off kilter. I’ve found it impossible to keep up my usual levels of productivity.

1419016087843 (1)

A Christmas gift from one of my students, since I am always after them to revise. Lately, every day, this thing mocks me from the cupboard.

Luckily, there are other people with me on this flight. Just seeing them there and knowing that they understand exactly how I feel is enough to keep me sane. The lovely and talented Tara Dairman, whose debut novel launched last year, was in Seattle a few weeks ago, so a few of us EMLA folks in the area met up for dinner. Being out with Tara, Laurie Thompson, Jeanne Ryan, and Trish Toney Lawrence was delightful and bracing. At one point in the conversation, I admitted that I’m just not writing the way I usually do, and it’s really scaring me. Tara (who is now working on the third book in her series) replied, “That’s normal. On the Fourteeners board, there was a whole thread about how none of us could write anymore, now that our first books were launching. It’ll pass, you’ll be fine.”

It was exactly what I needed to hear, and I know that she’s right. Just yesterday, I found myself mentally problem solving some of the manuscript’s biggest issues, and I was excited about the possible solutions. So while it might be uncomfortable and tedious, I’ll get there. Sure, I might have to go back and sit in the airport. Eat a soggy, twelve-dollar sandwich. Stay a night at the Ramada and then climb back into the same clothes again tomorrow.

But I’ll get there.

HiRes_Morrison_6814_crop Megan Morrison is a mom, a middle-school teacher, and the author of GROUNDED: THE ADVENTURES OF RAPUNZEL, due out April 28 from Arthur A. Levine Books/Scholastic. GROUNDED is the first book in the Tyme series, co-created with Ruth Virkus. Visit her at meganmorrison.net.

 

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Filed under Editing and Revising, Writing

Preparing to Leap

small__3965231381I’ve been working on my final edits for Book Scavenger. I began this novel over ten years ago, and I’ve always had the comfort of knowing whatever I put down on paper could be changed. Now I have about two weeks left of revising and fiddling, and then the version I send back to my editor will pretty much be the one that appears in stores. This is exciting and totally terrifying.

It’s terrifying because there’s no turning back now. There are nerves about sharing my writing with a wider audience. I hope people will like my book. I don’t want to disappoint friends and family who have supported me over the years. I want my editor and agent and critique partners to be proud of my book.

It’s exciting because I love my book. Over ten years ago, I set out to write a story I would have loved as a kid. I drew on some of my favorite things from childhood: Goonies; It’s a Mad, Mad, Mad, Mad World; The Westing Game; The Egypt Game; From the Mixed-Up Files of Mrs. Basil E. Frankweiler; Willy Wonka and the Chocolate Factory. It took me drafts and drafts and drafts to get all the pieces of my story to work together in a way that finally represented the characters and world I held in my imagination. It’s not a perfect book–I doubt I will ever write something that I would consider perfect–but I love it nonetheless.

As I’m writing this, I’m realizing what I feel in this moment is similar to something I worry about as a mother: How will the world treat this piece of my heart that I love and have nurtured? Will people buy it, praise it, recommend it? Will they hate it, trash it, make fun of it? Will they ignore it?

The fate of my book will soon be out of my hands and literally in the hands of others. These last moments I have with Book Scavenger are me doing my best to prepare my baby for the big, wide world out there.

It helps that I recently saw the rough sketches for interior illustrations. Not only was this an incredibly happy, surreal moment, but it helped me detach from the book as “mine”. The incredible Sarah Watt‘s rendering of the characters is going to go hand-in-hand with a reader’s consumption of my words. When I think of Willy Wonka and the Chocolate Factory, I think of Quentin Blake’s illustrations. When I imagine Tara Dairman’s Gladys Gatsby, I picture Kelly Murphy’s drawings. When I picture Wilbur from Charlotte’s Web, I picture Garth Williams illustrations.

So this is all part of my process right now. Final edits, fact-checking, fussing with words, and preparing myself to let go, step back, and let Book Scavenger leap out of the nest.

 

____________________________________

jenn.bertman-2002139Jennifer Chambliss Bertman is the author of the forthcoming middle-grade mystery, Book Scavenger (Christy Ottaviano Books/Henry Holt/Macmillan, 2015). Book Scavenger launches a contemporary mystery series that involves cipher-cracking, book-hunting, and a search for treasure through the streets of San Francisco. Jennifer earned her MFA in Creative Writing from Saint Mary’s College, Moraga, CA, and is represented by Ammi-Joan Paquette.

You can find Jennifer online at http://writerjenn.blogspot.com where she runs an interview series with children’s book authors and illustrators called “Creative Spaces.”

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Filed under Anxiety, Editing and Revising, Helpful or Otherwise, Uncategorized, Writing and Life

EVIDENCE OF THINGS NOT SEEN: Agent and Editor Interviews!

Evidence of Things Not Seen by Lindsey LaneThis week, we Emus are absolutely thrilled to be celebrating the launch of Lindsey Lane‘s debut young adult novel, EVIDENCE OF THINGS NOT SEEN! A twisty, turny, super-smart story about a teenager who goes missing and the people in his small Texas town who are affected, EVIDENCE is an unputdownable read that will be out in the world on September 16.

Here’s a more detailed summary:

When high school junior Tommy Smythe goes missing, everyone has a theory about what happened to him. Tommy was adopted, so maybe he ran away to find his birth parents. He was an odd kid, often deeply involved in his own thoughts about particle physics, so maybe he just got distracted and wandered off. He was last seen at a pull-out off the highway, so maybe someone drove up and snatched him. Or maybe he slipped into a parallel universe. Tommy believes that everything is possible, and that until something can be proven false, it is possibly true. So as long as Tommy’s whereabouts are undetermined, he could literally be anywhere.

Told in a series of first-person narratives from people who knew Tommy and third-person chapters about people who find the things Tommy left behind—his red motorbike, his driving goggles, pages from his notebook—Evidence of Things Not Seen explores themes of loneliness, connectedness, and the role we play in creating our own realities

Want a signed ARC of EVIDENCE OF THINGS NOT SEEN, and a T-shirt? Just leave a comment on any post this week for a chance to win!

We’ll have a new post every day this week, delving into the fascinating world of this book, and today we’re kicking things off with interviews of two very important people: Lindsey’s agent, Erin Murphy, and her editor at Farrar, Straus and Giroux, Joy Peskin.

Interview with Agent Erin Murphy

Erin pictureTara Dairman: EVIDENCE is not your typical YA novel. What about it grabbed your attention when Lindsey queried you with it?

Erin Murphy: Well, first of all, Lindsey herself grabbed me. We’d met a few years earlier, when she was just going into the program at VCFA, and I really liked her then–her energy, her focus–but I felt she should wait to sign with an agent after she was through the program, because it can change a writer so much. When she approached me after she graduated, I appreciated how READY she felt. She sounded sure and steady.

And the manuscript itself–the concept was intriguing, in a could-fall-flat-or-could-blow-the-doors-off kind of way, and it blew my doors off. The different voices carried me away. It had incredible potential, and it was one of those situations where I had complete and utter confidence that the writer could take it to the next level. It certainly helped that while she was waiting for me to read it, Lindsey had time to step away from it herself and come back to it anew–and then she did something completely unorthodox: She read it through and wrote herself an editorial letter, and sent it to me to see if I concurred with her thoughts on what needed work. I did, although I had some thoughts to add to the mix, too. I loved that she did that. It showed me how hard she’s willing to work, how self-motivated she is, and how clearly she can see her own work.

TD: Did the unique structure and premise of EVIDENCE make it easy for you to decide which editors to submit it to, or more difficult?

EM: It made it easy. It went to editors I knew would fight for it despite the unusual form if they fell in love with the writing. (And how could they not fall in love with the writing?) I focused on editors who were known for taking chances to good effect, and who were well established. I think if new-ish editors had gotten a manuscript like this, it would have been harder for their team to trust them to have a vision for it–although if we hadn’t seen success on the first round, I would have definitely broadened my thinking about that. Joy Peskin at FSG read it quickly and fell in love with and had a strong vision for it, and worked fast to put together a preempt so we’d take it off the table elsewhere. She and Lindsey spoke and hit it off so well that it felt like we’d found the best possible home for the project, so we accepted the offer. I had thought that because of the unusual structure, we might find just one editor who was interested–the right editor, the one person who really got it. But it turned out that if we hadn’t taken the preempt, we would have had quite a lot of interest from others, too. Editors really are looking for something they’ve never seen before, something completely fresh and new.

 

joy peskin photo may 2013Interview with Editor Joy Peskin

TD: Most novels have one or two protagonists, but in EVIDENCE, there’s a new protagonist in every chapter. How did this affect the editorial process?

Joy Peskin: That’s a good question. Lindsey’s skill with the range of protagonists is one key thing that drew me to this book. Oftentimes, authors struggle to give multiple narrators (even just two!) distinct voices. But Lindsey was able to create this wide cast of characters and each voice was immediately different. I never got one character confused with another. One thing we did work on in the editorial process was lengthening the book, because when it came in it was a little short. And the way we did that was to weave in a few all-new characters and also to elaborate on some of the stories of the existing characters.

For example, in the original draft of the manuscript, the chapter called “Ritual” didn’t exist. The main character in that chapter, Tara, showed up in the chapter called “Lost,” but she played a minor role. Lindsey decided to give Tara her own chapter, and to tell more of her story, and we ended up with one of the most powerful chapters in the book. So the wide range of characters gave us a unique way to extend a manuscript. Instead of telling more of the story overall, we looked for supporting characters who demanded more of a starring role.

TD: One of the most striking aspects of EVIDENCE, to me, is that some chapters are in first person, while others are in third. Was that something that changed during the editorial process? How did you and Lindsey decide which POV was the right one for each chapter?

JP: Lindsey decided to put each chapter that comes from someone who actually knew Tommy in first person—his classmates, friends, parents, etc.—and to put each chapter that comes from someone who finds something Tommy left behind in third person. I think that worked out really well. I imagine the first person chapters almost like monologues, which makes sense because Lindsey is a playwright. I also imagine that the characters in these chapters are talking to an investigator who is off the page. And the third person chapters are almost like short stories. You may begin reading one and think, “Wait, what does this person’s story have to do with Tommy?” But then you keep reading and see the character find something that belonged to Tommy, and it makes you think about the seemingly random ways our lives overlap. As Tommy wrote, “We leave pieces of ourselves everywhere,” and part of the thrill of reading this book is seeing who found all the pieces Tommy left behind.

TD: What do you think really happened to Tommy?

JP: I hate to say it, but I think something bad happened to Tommy. Maybe he was abducted? It actually really bothers me to say that, because I like Tommy so much, and I wish I could say that he slipped through a wormhole into another dimension. But in my heart of hearts, I don’t think it’s possible.

 ***

Thank you so much, Erin and Joy, for taking the time to give us all some behind-the-scenes insight into this incredible book. And congratulations, Lindsey, on your debut!

You can get your own copy of EVIDENCE OF THINGS NOT SEEN from your local independent bookstore (find one here), or order it from your favorite national or online retailer such as FSG, BookPeoplePowell’sB&N, or Amazon.

Please comment here–or on any post this week–to be entered to win a T-shirt and a signed ARC of EVIDENCE OF THINGS NOT SEEN by Lindsey Lane!

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Filed under Agents, Book Promotion, Editing and Revising, Interviews, Launch, Publishers and Editors