Monday, March 28, 2011
Winners!
Thursday, March 24, 2011
Create Your Own Adventure Contest
My post: I love dogs.
Entrant: This is what I thought as I walked down the path.
Your post: And then a magical LEOPLURIDON jumped out!
Next Entrant: He showed me the way to Magic Mountain.
Obviously, I'm going for fun here, so have FUN with your post. I will randomly select THREE winners from those who post before Friday, March 25th at Midnight PST.
Each winner will have a choice of:
Monday, March 21, 2011
Create Your Own Adventure - Contest!

My post: I love dogs.
Entrant: This is what I thought as I walked down the path.
Your post: And then a magical LEOPLURIDON jumped out!
Next Entrant: He showed me the way to Magic Mountain.
Obviously, I'm going for fun here, so have FUN with your post. I will randomly select THREE winners from those who post before Friday, March 25th at Midnight PST.
Each winner will have a choice of:
THANK YOU everyone for making my blog ramblings not quite so silly by reading along - and enjoy!
Tuesday, March 15, 2011
What's Up with Dystopian?

It offers a safe place, in sum, to explore the horrors of what might be.
Monday, March 14, 2011
What an author can do with SWAG


At the time I picked it up I wasn't engaged, but a few months later when I was, you bet this went back on the door - and has stayed there - quite proudly and permanently. It's fun either way though, engaged, single, or otherwise, and that's what makes it good swag: it will be picked up....and USED. And USED=REMINDER of you and your book!
Make sure and clear whatever you want to do with your publisher; there are certain things they may not want you to do, depending on how they plan on promoting the book (i.e., if they are branding you as a fun, sexy author, and you want to make a dark, goth keychain, probably not going to be so thrilled about it, and you may have to change/lighten up your image).
Monday, March 7, 2011
YA vs. Adult: what's so different, anyway?
Currently, the biggest offender: adult writers who call their novels YA.

To start, let me quote Flux, the YA imprint of Lywellyn’s tagline: “Where young adult is a point of view, not a reading level.”
Obviously, I can’t speak on the actual definition from Flux, but for the purposes of the blog post: Just what does this mean?
Well, first, it means that AGE is not the determining factor of a YA.
Case in point:
Below are two passages. Both characters speaking are 17 years old:
I’m sitting in Grandma Meagram’s room, doing the New York Times crossword puzzle with her. It’s a bright cool April morning and I can see red tulips whipping in the wind in the garden. Mama is down there planting something small and white over by the forsythia. Her hat is almost blowing off and she keeps clapping her hand to her head and finally takes the hat off and set her work basket on it.
I haven’t seen Henry in almost two months; the next date on the List is three weeks away. We are approaching the time when I don’t see him for more than two years. I used to be so casual about Henry, when I was little; seeing Henry…
VS.
It was easy enough to sneak out of school. I knew that from experience. This time, all I had to do was wait until Mrs. Higgins had led everyone onto the outdoor track and then slip behind the bleachers and walk down to the other opening in the chain-link fence.
Sneaking back in, though…that would be a bitch. But I’d just have to deal with that when I got back. Like always.
I shivered in the cool morning breeze. It was 7:00 a.m., or a little past, on the first day in May, and it wasn’t nearly warm enough to be out walking around in the stupid thin T-shirt and short shorts they made us wear for gym.
In case you didn’t guess, the first passage is adult, from The Time Traveler’s Wife, and the second is YA, from The Ghost and the Goth. Clearly, the age of these characters did NOT determine if these were adult or YA books (though as a general rule, no, there aren’t any adult POVs in YA). Neither did the tense, or the point of view.
And that means: you CAN’T just find and replace all mentions of “twenty-three” with “seventeen” and slap YA on the cover page of your manuscript.
What determines YA is VOICE.
There a sophistication and maturity in adult books, no matter the age of the character, that shines through in the voice. To try and break down some elements of what this sophistication and maturity consists of:
1. The language (or word choice) is different.
2. The descriptive nature of the narrative is told in a different way.
Take how Clare tells us about the springtime: “It’s a bright cool April morning and I can see red tulips whipping in the wind in the garden.” Lovely. Gives us a wonderful sense of the world and a clear picture of this day. WE can feel it without her having to tell us how it feels to her; the I is barely present.
Now look at how Alona describes it: “I shivered in the cool morning breeze. It was 7:00 a.m., or a little past, on the first day in May, and it wasn’t nearly warm enough to be out walking around in the stupid thin T-shirt and short shorts they made us wear for gym.” This also gives us a very clear image of what this morning is like, but we experience it THROUGH HER eyes. We are COMPLETELY focused on HER world, HER experiences, how SHE is letting us see this.
In other words:
3. YA voices are very ego-centric.
Ok, ok, I’ll admit; these are definitely fine lines to walk on. More commercial genres of adult have voices that can sound very close to YA. Take Janet Evanovich; her writing is as sarcastic and “I” centered as any teen novel. What sets these apart are the mature situations -- not to say that YA books don’t, or can’t, deal with mature situations, but HOW the characters confront them is very different.
For example:
Mom starts on beer number six. It’s the one I call the Talking Beer….That’s why we’re here at the cemetery, after all. To mourn another lost boyfriend. To add another name to the Men Who Ditched Leona Fitch list.
“I thought he was going to be the one,” she continues. “He was so thoughtful.”
She’s right. Kyle was thoughtful. He gave me a brown bobble-head dog the first time Mom brought him home to meet me. And he earned bonus points for the fact that—in the six weeks he dated Mom—I never once caught him staring at my rolls of fat or my massive chest.
–Blue Plate Special (YA)
This is sarcastic, but it’s also painful. A tough situation sparks sarcasm, but also injury to the teen soul. Stephanie Plum wouldn’t be so bitter about her mom’s drinking; it doesn’t have to affect her anymore. The character here, on the other hand, completely internalizes this situation, and when prompted to think of a moment of thoughtfulness in relation to her mother’s boyfriends, relates it back to herself to understand, for us to understand.
We are only capable of feeling her pain and her view of the world, no matter what the situation, or how sarcastic her voice.
Because I know someone will mention it: "crossover potential" is not a selling point...it's an ignorance point. Yes, YA novels appeal to adults, but they are still YA novels, not in some sort of limbo shelf area of Barnes & Noble. You don't need to say this to me; I'm not going to say it in a pitch to an editor.
I know my examples probably aren’t the most brilliant, but hopefully it at least clears up a few things on YA vs. adult – and why ADULT authors can’t just “become” YA.
And for reference: here is some further reading, on MG vs. YA
Is it MG or YA? on Kidlit.com
The Difference between MG and YA by Laura Backes, Children's Book Insider
Tuesday, March 1, 2011
Killing the Messenger
I've already spoken on the blog about making sure an agent is the right fit for you before jumping into a relationship. But even all the caution in the world can't predict if you'll ever *gasp!* have to think about leaving your agent.
I wish I could say I've never been dumped.
But I can't.
It happened almost a year ago, with one of the very first clients I signed. We had a FANTASTIC relationship (I thought). I loved his work, he loved my notes, we went on sale...and...the book didn't sell. We went through rounds and rounds of revisions, but always the same thing. It had flaws, which I HAD understood going in, but I loved the book enough to give it a shot because I loved his style enough to want to do more. So, the plan of attack turned into "let's take what we've learned from all of these editors and use the feedback to make the NEXT book AMAZING."
And so the next book began. And...I didn't like it. There were many of the same problems as the first, and I was starting to recognize that the author really may not be capable of bringing it to the next level. Still, I gave him my notes on what I thought needed to be done to make it something I could take to market, because I STILL loved his voice, STILL was willing to try and dig until that gem I'd sensed in there actually shone. But he was beyond insulted by that point; we'd worked so much on the first book that he hadn't even felt it was HIS work anymore, and so my coming back and telling him I didn't like something that WAS entirely his was devestating.
Why am I sharing this story with you? Because it is at THIS point: unsold project(s), dead-end manucript(s), a rejected manuscript - that many authors feel they need to make THE DECISION: stay -- or move on?
Here are some things to consider if you're considering leaving your agent:
-Do NOT do it just because things aren't going your way
-Do NOT do it just because things aren't happening FAST enough, or how you WANT it
-List out your reasons for leaving, and honestly ask yourself if they sound selfish and whiney, or whether or not your agent LEGITIMATELY is doing a bad job
-If you're upset with editorial feedback, think about the feedback given: is it sound and backed by reason? (As an agent, I consider it my job to be honest. I won't take the chicken way out and pitch a manuscript I know is sub-par just so editors will say it for me. It's my career on the line every time I make a submission; and I'm not going to risk it just to try and make you happy.)
-Have you or the agent lost enthusiasm for the work/relationship - which you feel can't be overcome with a heart-to-heart discussion on direction and next steps?
-Do you not trust the agent's advice? Do you not respect the agent? (To which I say: WHY did you sign with him or her in the first place?!)
-What is your history with the agent? Have you been successful? Has the AGENT been successful? (Keeping in mind, of course, the new vs. established agent stats - a new agent with no sales isn't necessarily a bad sign. A new agent who isn't networking, has no sales within a year, particularly if not backed by a big and/or established agency, or an agent who is sort of...eh, might be worth thinking twice about, however).
-Think of the reasons YOU signed with this agent in the first place. Have things really changed, or are you just frustrated?
-Have you tried discussing your concerns with your agent first? (My former client did end up emailing me a few months later to apoloize and see if we could start anew; we both agreed everything could have been sorted out with COMMUNICATION. However, that doesn't mean we're working together again; the trust was broken. You don't want to leave a good thing that's just shadowed with frustration and miscommunication.)
-Are you basing your judgement on rumor, or fact? I.E.: did you suddenly read a raging post on a writer forum and get freaked out, or did you find out from Preditors and Editors your agent is on the no-no list?
-Have you read through your Agency Agreement to understand what leaving will REALLY mean? (I'm not saying this should deter you; just be prepared. Are you able to sever ties now (some agencies require an initial agreement term)? Is there a "re-capture" clause, during which time, if your work sells, the agency will still commission? Are there any stipulations about what the agency will continue to represent post-termination?)
Regardless of what your decision becomes, I will say that the best way to do this is over the phone. This particular former client, on advice from a writer friend of his, decided to email and cc every person in my office to part ways with me, bad-mouthing me but hoping that one of my colleagues would want to take him on instead.
Bad. Idea.
If you MUST email to break the news (and even after you do so, official termination will require a letter) then do so in a professional, rational, calm mannor. Never in a rage. Never insulting. You do NOT want to put yourself on ANY agent's black list; no matter if your agent truly is the worst person in the world, take the high road out. Even if you're dumping them now, they'll still potentially be your colleague later once you sell a book. And once you do leave, keep in mind, again, that anything you say WILL reflect back on you - as always, sometimes it really is better to say nothing if you can't say anything nice at all.
A further word of caution: if you're considering leaving because you think you can cut corners with the whole finding-an-agent process the next time around, think again. Just because so-and-so liked your work doesn't mean anything to me (especially if it's for the book you're trying to find new representation for; if it's already been shopped around, I really don't want to touch that).
If you have published works, yes, it will be easier to find a new agent than if you don't - I just caution you to read my post on things to consider before jumping into another relationship.
However, agents get emails all the time from clients who were previously represented. And guess what? Doesn't change a darn thing about your submission - in fact, it makes me wonder...are YOU difficult to work with?
It's not a black mark on your record to part with an agent. It is, however, if you decide to bad-mouth them. Agents know and respect each other. We understand that relationships don't work out; styles just don't mesh sometimes. That doesn't mean we're going to jump in with a "whee!" if you're coming into things as an agent-hater. I definitely don't have time for anyone high-maintenance on my list.
And for the love of God, do NOT decide to go behind your agent's back and try and find a replacement before you've severed ties.
Most of all, though: remember that this is going to hurt us too. It’s crushing to lose a client, even if we know it really is for the best.
