Tag Archives: young adult

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

The worst job ever …

17351021Even people who have gone on to great heights in their careers started out with some less-than-inspiring jobs.

Actor Ashton Kutcher talked about this in his acceptance speech at this year’s Teen Choice Awards, saying: “I believe that opportunity looks a lot like work. I never had a job in my life that I was better than. I was always just lucky to have a job. Every job I had was a  stepping stone to my next job, and I never quit my job before I had my next job.”

Kutcher’s career path to TV and movie stardom included helping his dad carry shingles, washing dishes at a restaurant, working in a grocery store deli and sweeping in a factory.

Carol Brendler can relate. In her new novel RADIO GIRL, set in the 1930s, teenage Cece desperately wants to be a radio star. She even gets a secret job at a radio station. But, will it be the best job ever? Or the worst? And what will happen when Cece’s secret job collides with Orson Welles’ infamous, and very public, “War of the Worlds” broadcast?

Just for fun, we asked each of our EMU’s Debuts bloggers to share their worst job ever. None involved alien invasions, but they were all memorable for other reasons.

Take it away, folks!

Tara Dairman’s incompetent embassy
“When I was 21 and living abroad in Ireland, I stumbled into a summer clerical job at another country’s embassy. I won’t say which country; all I’ll say is that Ireland was clearly not where this country sent its diplomatic A-team. The ambassador was most frequently found asleep at his desk, and his underling, who interviewed me, barely spoke English. But worst of all was my direct boss, who had a penchant for screaming and half of whose office looked like a storage center for a brand of unfiltered cigarettes from his home country, which he smoked right through our meetings. Ireland had workplace smoking laws at the time, but technically, in the embassy, we were on his home country’s soil, so I guess he was able to do whatever he wanted (much to my lungs’ displeasure). I lasted three weeks, and my payment in the end was a blank envelope full of cash euros. I’m pretty sure there is no official record of my ever having worked for this country’s government!”

Adi Rule’s substitute woes
“Now, some people enjoy substitute teaching. (Some people also enjoy hooking a car battery up to their nostrils.) And I will say that I had some wonderful experiences and met some really awesome teachers and students. But there are a lot of reasons why substitute teaching is terrible, the worst of which, for me, was the fact that almost everyone automatically thinks you’re dumb as a post. They will trust you to hit “play” on the VCR, but can’t imagine you’re capable of making six photocopies without five of them being of your butt. This was made clear to me one day when I was in for an English teacher. (It was a class I’d been in previously, where I’d told the students that when they were done with their busywork — ahem, assignment — they could read, write, or draw. One girl said, “Write? Write what?” I said, “Whatever you want.” She was totally confused. How sad is that, America?) So this particular day, they were going to learn about adjectives. There was a clear lesson plan drawn up. I was at the board, 30 seconds in, when a disheveled teacher rushes in and apologize for the HUGE MIX-UP. You see, they didn’t realize the lesson would involve TEACHING, something that would clearly cause the barely sparking neurons of a substitute teacher to short circuit and explode! So she was there to save the day and teach about adjectives! YAY! And she must have done her job well, because that day, twiddling my thumbs at the teacher’s desk, I managed to come up with quite a few substitute teaching-related adjectives.”

Mylisa Larson’s early morning cadavers
“Well, I’ve had some winners in my checkered early employment history (swatting flies for my mom at a penny a fly was my first paying job followed by hoeing endless rows of corn for ten cents a row), but the worst job would have to be that I put myself through part of college by getting up at 4 AM and cleaning the cadaver lab in the biology building.”

Joshua McCune’s telephone hell
“The worst job for me was a telemarketing gig I took my first summer of college. Non-profit stuff (American Heart Association, etc.), so I didn’t feel like a complete scuzzball. Didn’t matter. I’m the antithesis of a salesperson … if somebody says no thanks, I say thanks for your time and goodbye. WTF is a rebuttal? Yeah, I sucked. Days were only six hours long and I only did it for six weeks, but it was pure, monotonous misery. Positive note: My experience there provided some background for a critical scene in TALKER 25. Side note: The meanest people in the country (at least in terms of hanging up on you and snappishness) seemed to conglomerate in the Pacific Northwest.”

Laurie Ann Thompson’s injury-riddled deli stint

“It could be the time I worked for an insurance salesman, cold-calling clients — during dinnertime, of course — trying to convince them to buy an annuity, but I’m going to have to go with the grocery store deli I worked at in college. They specifically instructed us to disregard all safety precautions so we could get things done “more efficiently.” Every night we were supposed to wipe down the deep fryers with hot oil still in them (yup, 3rd-degree burns and a trip to the ER) and clean and disinfect the meat slicer while it was running and all the safeties were removed (yep, sliced off the very tip of one of my fingers). Fortunately, neither job lasted very long before I found something better!”

Amy Finnegan’s cheesy fundraiser
During my sophomore year of high school, my dance team was invited to a competition in Hawaii. Everyone wanted to go, but the trip was going to be crazy expensive. We worked for months doing the typical fundraisers — car washes, rummage sales, coupon books — but still came short. Then came the opportunity for the team to work a designated amount of hours at a cold storage facility … unwrapping single slices of frozen American cheese. Not so bad, right? WRONG. The cheese turned out to be moldy and disgusting! All of it! We were unwrapping it so it could be sold to a dog food factory, and I felt bad for those poor little dogs. After weeks of this nauseating fundraising effort, more than 20 years later, I still can’t look at a slice of American cheese without gagging. And now you won’t be able to either. (But it was a great trip to Hawaii!)”

And MY worst job? That would have to be a secretarial post I took right out of college. It’s true I might have thought I was a tad overqualified for the spot, and that feeling didn’t change when the company CEO gave me a hand-scrawled sheet of paper to transcribe. His writing was terrible, and I did the best I could, but I obviously missed some finer points. He was yelling at me for getting it wrong, when I said, “But, I thought …” and he responded in full Dolby surround-sound: “I don’t pay you to think! I pay you to type!” Yeah. That was my clue that we would not have a long and happy partnership.

But all those jobs are long gone. See, we’re all just like Ashton (although maybe not as famous or well-groomed or quite as handy with a camera). Our worst jobs led us to successful, fulfilling careers as new or soon-to-be authors. Could we have done it without those early struggles? Who knows? Perhaps they built character if nothing else.

Anyway, what was your worst job ever? Leave a comment and tell us. You’ll be entered into a drawing for a free copy of RADIO GIRL.

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