Pics, Posts, and Lists– Last Week’s Link Roundup

Screen Shot 2014-09-25 at 10.14.21 AMThis spring Sharon Biggs Waller‘s debut y.a. A MAD WICKED FOLLY was selected as one of Booklist‘s Top Ten Historicals. This week FOLLY is back on their list of Top Ten Romance Fiction for Youth. Go Sharon!

Courtney Alameda‘s mind-numbingly terrifying SHUTTER will pub from Feiwel & Friends in January, but in the meantime, here’s Courtney on Scream Queens with a fabulous article about creating better scares with compelling protagonists.

ByWz10UIUAAIaVo-1It’s an author’s (and an agent’s) dream to spot one of your books in the wild– but it really doesn’t get much better than these two young readers with Ryan Gebhart’s THERE WILL BE BEARS (Candlewick Press, 2013) and Hannah Moskowitz’s ZOMBIE TAG (Roaring Brook Press, 2011).

 

 

A MAD WICKED FOLLY on Amazon, Barnes & Noble, Indiebound, Goodreads
SHUTTER on Amazon, Barnes & Noble, Indiebound, Goodreads
THERE WILL BE BEARS on Amazon, Barnes & Noble, Indiebound, Goodreads
ZOMBIE TAG on Amazon, Barnes & Noble, Indiebound, Goodreads

WE ALL LOOKED UP selected for ABA’s Indies Introduce Debut Authors List

IndiesIntroduceDAExciting news from American Booksellers Association last week: Tommy Wallach‘s WE ALL LOOKED UP (Simon & Schuster, March 2015) has been included on their Indies Introduce Debut Authors list!

From ABA’s announcement:

“For the fifth consecutive season, two panels of booksellers from every region of the country have chosen 10 debut adult titles and 10 children’s titles for the Indies Introduce Debut Authors and New Voices promotion. Featured Winter/Spring titles include fiction and nonfiction, middle grade and YA, publishing between January and June 2015.

Tommy WallachThese standout debuts will take readers from the familiar to the exotic, from New York to Paris, from Montana to Pakistan, and to Swedish Lapland in the 1700s. There’s a mystery, an unforgettable boy and dog, unusual chickens, and a first book by an independent bookseller from Mississippi.”
I’m so excited to see WALU (as we call it ’round here) included on this list, especially on the heels of our big film announcement last week. You can add WE ALL LOOKED UP on Goodreads or pre-order it on Barnes & NobleAmazon, or Indiebound. Which you should do.

Welcome Julie Olson!

JulieOlsonHeadshotI’m delighted to welcome veteran artist and author/illustrator Julie Olson to Greenhouse! Julie and I met in 2012 at the Writing and Illustrating for Young Readers conference in Utah (which I highly recommend), where Julie was teaching a class on illustrating picture books. Though I’d worked with picture book authors before, this was my first experience addressing a room full of illustrators. Throughout my talk Julie stood off to the side, and whenever I was a bit uncertain she’d shoot me an encouraging thumbs up. For the rest of the conference Julie was my sometime driver, showing me the sights of beautiful Provo and also ensuring I visited Starbucks at least twice a day. Julie kept me sane, punctual, and caffeinated all week.

So it was a delight to see her this year when I returned to WIFYR. Julie was hosting an author shindig at Salt Lake’s legendary independent bookstore, King’s English. We caught up over stuffed peppers and pigs-in-blankets, and she told me about her latest book, Discover America. We discussed the picture book world, the commercial art world, and I mentioned I thought artists ought to have a dedicated illustration agent, as separate from their commercial artwork representation, as the markets are so different.

Julie considered this, and sipped her sparkling apple cider.

Now, lo, it’s a few months later, and Julie and I are going to be working together, which makes me deliriously happy. Whenever a new client joins the agency, we ask them a few questions about their work, their process, etc. Julie’s answers are fabulous. Check it out:

When and how did you start writing and/or illustrating?

Well apparently my artistic history goes all the way back to my toddler days. Apparently, my mom would often turn around from her task at hand to find me quietly drawing tiny circles in ballpoint pen all along the baseboards of her white walls. Being the patient woman she was, she simply shook her head in amazement at my finger dexterity and provided plenty of paper and art supplies from then on. As I grew older, I checked out “how-to-draw” books from the local library and even set the old VCR to record Bob Ross and other PBS painting shows. I asked Santa for my first set of real artist paints at the age of 11 and from then on I’d get home from school and try copying the PBS masters’ paintings. In the meantime, my love of the written word developed as well. My favorite times were when my busy dad would spend time reading Mark Twain stories in all the voices or when my sister and would stay up late telling each other stories of “Marshmallow Pie Bar Mysteries.”

IMG_7816Can you remember the first book that made an impact on you? Who were your childhood storytelling heroes?

We loved books in my house so it’s hard to pin down only one book. My siblings and I even set up a neighborhood library for the kids on our street. Complete with card pockets on the inside of every book cover. Mostly we just liked to stamp the card and check out the books to ourselves, but we had a grand time with it. Some of my early favorite books included Lillian Holban’s Frances series, “The Country Bunny and the Little Golden Shoes,” and Nora Smaridge’s “The Big Tidy Up.” I also always loved to read Mrs. Piggle Wiggle, Pippy Longstocking and Judy Blume books, along with “The Best Christmas Pageant Ever.”  And of course, a soft spot for Mark Twain (in my dad’s voice).

Can you talk us through the writing of your first book? What were the key moments?

I had been illustrating books for about 9 years as well as attending conferences, meeting with writers, and studying the art of writing all along. Finally, I decided to really give it a go. I had just spent the weekend hosting author/illustrator Janet Stevens at a book conference and she and I had had some great discussions. After dropping her off at the airport, I was stuck in traffic and a little idea started. I grabbed the back of my name tag and a ballpoint pen from the dash and scribbled a few words down on the back (don’t worry…traffic was completely at a stand still). The words I wrote were, “Groundhog. Scratch my back. Tickle. Tingle. Twitch. Itch. Porcupine. Alligator. Thistle.” From those few words came my first book, “Tickle, Tickle! Itch, Twitch!” Of course I say that like it was simple, when it wasn’t. But it all began there.

groundhog idea

Was it hard to get an agent ? Can you talk us through the process?

I actually went out on my own without an agent for the first 9 years of my career. Since I was an illustrator and a mom to young kids, I took the route of finding my own work and managing the flow of it without the worry of disappointing an agent when I needed to turn a job down to spend time with my little ones. However, I finally came to the realization that an agent could actually HELP me spend more time with my family by taking all of the busy work off my plate. Then I could focus on my art. I began with an art rep who illustrator friends of mine used instead of a literary agent because at the time I wasn’t as focused on the writing aspect of picture books. I submitted my work to them and they took me in as one of their own. I was able to work on books but a lot of other interesting projects for various industries as well. However, after 5 more years in the industry and one book authored under my belt, I finally realized that creating an entire book is what I NEEDED to keep doing. My art rep was having a bit of a hard time helping me in that goal since their focus was primarily on the art and not the writing. I was explaining this to a literary agent, who I’d met a year previously at a conference, while we chatted at another event. After our talk that night, I realized that it was time to make a change in my focus and in my career. It was very scary for me to give up my art rep who I got along well with and move to a literary rep, but I knew it was the right thing to do. That literary agent I chatted with and subsequently signed on with was John Cusick, of Greenhouse Literary Agency. I am so excited to work with him and the Greenhouse team and take the leap of faith into my dreams.

p12-1Describe your writing/illustrating day. Where do you work? How do you organize your time? Where do you look for inspiration?

As a mom, and an artist, it’s hard for me to keep set hours. I work when the kids sleep. I work when the kids are at school. I work when I’m at the dentist. I work while I’m at the park. I even work while I’m in the car. Whenever I find a free and quiet moment, I think books. I think art. I think stories. However, when I’m on a deadline, I work out some childcare help to get some good solid painting time in. I’m lucky that both of my kids’ grandmothers live close enough to help out when I’m in a pinch. But truthfully, a lot of my work happens with kids in my office painting at their little mini desk, banging on the piano or electric guitars upstairs and downstairs, or not so quietly reminding me they need to be fed. I am lucky to have an art studio in my home so I don’t have to go far. And I think growing up in a big family (9 kids and two parents) allowed me to be able to work amongst noise and craziness when I need to. Honestly, I think these kids are my greatest inspiration…life with them provides all sorts of ideas.

Can you tell us about your next book?

I currently have two books I’m working on. One is silly and the other is completely the opposite, serious and emotional. Both are picture books. I really hope they find a home and get to provide more laughter and love in the world.

Are there any tips you could give aspiring writers/illustrators who are looking to get published?

The best advice I have is to PRACTICE, PRACTICE, PRACTICE your craft. Go to writing and illustrating workshops and conferences. Learn from professionals in the industry. Network there. READ  A LOT OF BOOKS in the genre you are interested in and then lots of books in general. Overall, take the advice, constructive criticism and tips you receive from editors and professionals and put them to use. Let them build your work into something better instead of allowing it to tear you down personally.

Which favorite authors/illustrators would you invite to a dinner party? What fictional character do you wish you’d invented?

Kay Thompson and Hilary Knight (because I would love to witness and learn from their friendship), David Small and Sarah Stewart (because they are one of the sweetest couples I know…true opposites attracting), and Aaron Becker, Dan Santat, Mac Barnett and Jon Klassen (to keep the blood young, hip and hilarious) — The whole dinner I would soak up all I could from these amazing artist in word and sight

I wish I’d invented Eloise. Because she’s got such spunk and truly speaks to my own inner sassy know-it-all child. However, I don’t know that I was ever that spoiled (actually I know I wasn’t…there were 9 kids in my family, remember?)

Check out Julie’s picture books at Barnes & Noble, Amazon, and Indiebound. You can also follow Julie, and add her work on Goodreads too!

BTW if you yourself are an author/illustrator or illustrator, I highly recommend you check out Julie’s blog for all kinds of great resources.

Help Keep an Indie Magazine Thriving

imagesArmchair/Shotgun, as you may know, is a blind-submission, print-only literary magazine. A/S publishes fiction, poetry, and beautiful artwork, thanks in large part to the efforts of the unpaid staff (all of whom have demanding day jobs). Full disclosure- I co-founded this magazine and was a managing editor for years. But I think I can say impartially that A/S publishes amazing material, and does great things for independent literature in Brooklyn and beyond, not only by creating a venue for new voices, but by reaching out and helping to build a literary community through events like the Brooklyn Book Festival and LitCrawl.

Looking forward to the next five years, A/S has big plans, including nonprofit status, subscriptions, and expanding to new cities, but the magazine needs your help to get there. That’s why A/S has launched an IndieGoGO campaign.

The world of independent publishing ain’t easy, as many of you know, and while many “independent” magazines thrive with angel donations from large corporations such as Amazon, A/S is turning to you fine folks– the lovers of amazing writing from new and established authors– to help independent publishing continue to thrive.

What Your Support Helps Pay For:

  • Printing Issue 5, featuring the stories and poetry of Woodlief Thomas, Devin Kelly, Rob Adams McKean, Patricia Murphy, Juan Ramirez and more, plus brilliant color to show off the art of Avery McCarthy and Dan-ah Kim
  • Shipping costs to help us reach new audiences
  • Fees to aid the transition to nonprofit status for long-term fiscal health

So please, if you have a few extra bucks, kick it over to the A/S IndieGoGo campaign. A small contribution really goes a long way. And if you’re in the Brooklyn area, come out to the Greenlight Bookstore Indie Party this evening and raise a glass with us, and/or stop by the Armchair/Shotgun table this Sunday at the Brooklyn Book Festival to say hello, buy one of our rad t-shirts and try out our nifty typewriters.

Thanks!

Greenhouse’s Adult Fiction Debut

It always sounds odd to me, saying so-and-so writes “adult” books, when I mean fiction for a general audience, not specifically the kids and teens market.** I much prefer the term “grown-up” books.

Actually, I don’t. Those both sound weird. In different ways.

ANYWAY, I’m excited to share some news from my colleague, fellow-agent, and president of Greenhouse (also my agent), Sarah Davies. As you may have read in Publishers Weekly, Sarah has sold Megan Miranda‘s*** debut adult novel – at auction no less – to Simon & Schuster for six figures. This is all kinds of great news on its own, but this is also the agency’s first deal for adult (there’s that word again) fiction.

As Sarah put it in her Facebook post, “We believe we can sell any great book clients bring us, whatever age group and genre.” I couldn’t agree more.

From PW:

10696403_10152854852518054_7810982730011210519_nYA author Megan Miranda (Fracture) sold her adult debut, Disappear, to Sarah Knight at Simon & Schuster for six figures. Sarah Davies, at Greenhouse Literary, represented the author, in her first adult deal at the agency; Knight took world rights to two books in the agreement. Disappear, Knight explained, is told in reverse and covers a period of two weeks. The story, Knight said, “unravels the mystery of two missing girls who vanished 10 years apart, and whose cases are linked by the same group of friends in a rural North Carolina town.” Miranda is an MIT graduate and former science teacher.

**At least I’m not alone in this. Client Rahul Kanakia agrees.

***Megan is the author of three amazing y.a. novels, FRACTURE, HYSTERIA, and VENGEANCE.

A Blog Post About Revamping a Blog

Morning, campers. You know, I think this internet thing’s going to be pretty big. I don’t care what they say. So with that in mind we’ve revamped this site. You can still check out interviews, news about my books, and where to find me (at conferences, readings, events, etc). There’s now a new page on how to query me at Greenhouse, and new pages dedicated to my awesome clients and recent deals.

Also, you’ll notice that posts are now categorized, so if you want to check out older ramblings about, say, clients, events, my teaching gigs, writing, or inspirational quotes, that’ll be much easier.

So take a stroll around. Check out the links, the pages, the new veranda. Happy to have you here.

- The Management

 

Tommy Wallach’s WE ALL LOOKED UP Optioned for Film

So in other *really really really* exciting news, Tommy Wallach‘s debut y.a. WE ALL LOOKED UP (Simon & Schuster, 2015 [so soon kids, so soon...]) has been optioned by Paramount Insurge! The announcement went up on Deadline Hollywood last week. You can see it here.

If’n you don’t know, WALU follows the lives of four teens several months before a meteor (read: Giant Kill Rock) will pass through earth’s orbit with a 66.6% chance of striking and annihilating all life on the planet.

It’s also that book with no title on the cover…

(!!!)

Adrian Garcia at Resolution was my co-agent on the deal. Adrian shopped the manuscript all over town and drummed up phenomenal interest. In the end, the book was scooped up by Davis Entertainment, the production company behind Chronicle, EragonBlacklist and a whole mess of other films and television shows.

You know what? Tommy does a much better job breaking down this process than I could. You can read all about it in his aptly titled “On My Novel Being Optioned For Film”.

You can also add WE ALL LOOKED UP on Goodreads or pre-order it on Barnes & NobleAmazon, or Indiebound. Which you should do.

“Who sets these rules anyway?” On the Merits of Innovation

Here’s an interesting piece about Chet Baker (a favorite of mine), who, according to his critics, may have been talented, but wasn’t really an innovator. Chet was a pretty boy, playing smooth, listenable, not-particularly intellectual West Coast Jazz while his East Coast counterparts where actually honest-to-god changing music forever.

Frankly, the word “innovative,” when applied to fiction, makes me flinch. It’s my wariness of writers who break the rules before they know how to follow them (or indeed what the rules are). Appearing experimental can be a short-cut to being taken seriously. It’s the emperor’s-new-clothes problem. True innovation make look like crazy crap when it first arrives on the scene, but so does crazy crap. It can be difficult to distinguish brilliance from b.s.

I often gravitate toward more formal pieces of writing– traditional story structures– when I look for new clients or pieces for Armchair/Shotgun (and let it be said there seems to be less room, market-wise, for experimental stuff in children’s literature, though this is changing, I think). It’s so very difficult to tell a compelling story that makes your reader *feel* something– to be able to do that and *also* change the medium? Forget about it.

But amazing, totally new, experimental and innovative stuff *is* out there, recognized or not, and for our medium to thrive and grow, we need it. When I first read Dolan Morgan‘s short piece Infestation (A/S No.1), I was turned off by its odd structure– but the fault was mine for being a poor reader. Morgan truly was innovating. Upon rereading, and deeper reading, I saw he’d found a new way to talk about loss, and the result was strange and beautiful.

So whaddya think, gang? How important is it to innovate, as an artist? Do you try to innovate with your own work, push the boundaries of the medium, or no? Must all artists be innovators, or at least try to be? And what is our responsibility as readers? How far do we allow an author to draw us into uncharted waters?

My Writing Process (Blog Tour)

Guys. I am the *worst* at this blog thing.

Apologies for the long radio silence. It’s been a busy few months! Over at the Greenhouse, there have been deals, new clients, release dates, and all manner of agent-y ass-kickery. Here at my writer’s desk…well, more on that below.

My pal and occasional short-fiction publisher, the fabulous Kerri Majors, “tagged” me in her Writing Process blog post a few days ago. Kerri is the founder of and editor-in-chief at YARN (Young Adult Review Network) and the author of THIS IS NOT A WRITING MANUAL (Writer’s Digest Books, 2013), a guide for young writers. I’m delighted to answer the tour’s four burning questions (and then I get to tag two bloggers much better at blogging than I.)

A’ight let’s do this.

1. What are you working on?

Right now I’m wrapping up the final section of a new young adult novel. It’s a large, sprawling “faux-historical” (which means, I wanted to write a historical but didn’t want to do any research…kidding…sort of). It takes place in a re-imagined turn-of-the-century Manhattan. It’s the story of a girl who rises from an ethnic ghetto to the glamorous rooftops of Central Park while becoming entangled with organized crime and terrorism. Think a steampunky Boardwalk Empire.

I like to explore themes of personhood, gender, and class in my novels (I didn’t know that starting out, I just look back and it seems those ideas keep cropping up), but unlike GIRL PARTS and CHERRY MONEY BABY, this new project is a bit more sprawling in scope. I wanted to write something epic and sweeping, about family and history and culture, like Jeffrey Eugenides’s MIDDLESEX. It’s more ambitious than anything I’ve ever done and I’m very excited about it.

2. How does your work differ from others in its genre?

As far as the current WIP goes, it’s a “steampunk” novel, but not a swashbuckling adventure. This is a character-driven story, though it takes place in a newly-imagined world. There are life and death stakes, but no robots or coal-powered giant spiders.

Generally, I’m a devotee of unreliable narrators, and there are certainly a great host of those in young adult. I also like to write narrators who are unreliable to themselves, who have only so much self-awareness. My protagonists grapple with how society has defined them and how they’ve self-defined. In GIRL PARTS, Rose is built to love one boy, and must forge an identity of her own when he rejects her. In CHERRY, the title character has an image of herself as a small-town girl, and must question that self-image when faced with the opportunity to enter a more glamorous tier of society. The protagonist of this new project, whom we’ll call Vette (because that’s what she’s called), is an infamous historical persona in her world, like Annie Oakley or Patty Hearst. She has a public persona of cruelty and danger that’s separate from who she is, or feels she is.

So, I suppose that’s something unique about my work- the exploration of multiple identities within single characters, personas, self-image, and one’s “true self,” if such a thing exists.

Sorry. I haven’t had my coffee yet…

Okay! Let’s keep going!

3. Why do you write what you do?

I love young adult fiction. I love writing it. It’s honest, and unpretentious, and relies on great story and true characters. You can’t hide behind pretty prose or brilliant metaphors in y.a.; you’ve got to make the reader *feel* something. Though I read a lot across age groups, writing y.a., and exploring that particular formation of identity that happens between 13 and 18, is where my heart is.

I’ve made the switch with my current WIP from a contemporary realistic backdrop to something more fantastical. I’m a sci-fi fan at heart, and I wanted to exercise that part of my brain this go-round. It’s been beyond fun.

4. How does your writing process work?

I go by drafts. I start with an idea, usually a series of images, or a very vague plot arc, and after taking some rough notes, I start with Chapter One, Word One. From the there the story will usually develop away from my initial concept or outline. I sometimes jump around– I like to begin chapters in the middle and then fill in the edges– but I more or less write in chronological order. I’m pushing the protagonist forward, watching her strive for her goals, and at the same time figuring out what the book is *about* as I go. In a sense, I write plot first, theme second. It usually takes a draft or two before I can say, “Ah ha! So *this* is what I’m trying to say!” From there it’s a matter of shaping and developing.

If you enjoyed reading my pre-caffeinated ramblings, and would like more, even *better* ramblings, there shall be new posts on the tour every Monday.

Next week, head on over to Sharon Biggs Waller’s. Sharon is my client and the author of the amazing and critically acclaimed y.a. historical A MAD WICKED FOLLY (Viking, 2014). Sharon does great giveaways on her blog, plus occasionally posts pictures of her beautiful farm (my favorite). Summer Heacock, aka Fizzygrrl, is one of my favorite book-bloggers and posts some of the most insightful and touching stuff about this maddening thing we do. Check ‘em out!