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Jennifer Brown is a two-time winner of the Erma Bombeck Global Humor competition and a humor columnist. And yet the premise of her debut young adult novel Hate List (Fall 2009, Little, Brown BFYR), the aftermath of a school shooting as told by the shooter’s girlfriend, sounds very serious.
Jennifer, how did writing humor prepare you for a YA novel? Or are the two styles just separate parts of your personality? (Hmm…are you a Gemini?)
No, not Gemini, but I can still blame the stars: the stubborn Taurus in me won’t let an idea go once it’s popped into my head. We May babies are just bold that way. Or if that Taurus theory isn’t working for you, I can blame the real stars. Paris…? Britney…? Tom Cruise…?
If I’m going to go all serious writer on you, I’ll talk about the “fine line between comedy and tragedy” and point out that most of my humor-writing friends (including myself) are actually really serious people. That when we rant or crack a joke, we’re really digging at and pointing out the things in life that bother us (in real life this would translate to nervous, uncomfortable, misplaced laughter that would make us look a little on the creepy side and make it so we’re not invited to parties very often… not even family parties… uh… not that I’m speaking from experience or anything…) and we tend to do a lot of sitting around and brooding about All That’s Horrible in the World.
But the truth is… I just wrote the story that wanted to be written, regardless of the genre. Writing Hate List was no different experience than writing humor — come up with an idea and run with it. Keep running, even past the Doubt Days and the Days When I Just Give Up — and do it barefacedly and fearlessly.
When you write humor for a living, you get used to criticism. A joke, by definition, has to have a target, which means every time you sit down to write, you stand a pretty good chance of ticking someone off and getting a letter that begins, “Dear Hack Loser, You ruined my life…”. I think this “toughening up” was helpful for me, in that I wasn’t afraid to go out of genre with Hate List and write something that felt so different.
All of that aside… for me there is a real element of hope in Hate List as well. And we humor writers are nothing if not masters of silver linings.
All writers have those Doubt Days. How do you personally work through them to reach your silver lining? What was your toughest moment of doubt? And what was your most recent silver lining?
Probably what makes me push through more than anything is the support I receive from people who’re really important in my life. My agent, Cori Deyoe, is really great at making me feel like I can do anything. I always know I can try new things and have fun and Cori will support it or will tell me when something I’ve tried doesn’t really work (and will do it in a way that keeps me from chucking the laptop through a window and breaking all my pencils in half). My editor at LB, T.S. Ferguson, is also super-supportive of my work. Also, my husband, Scott, never stops supporting and believing in me. My kids, my friends… I want to keep pushing through those days because I want to prove them all right, that I can do this.
I would probably say my toughest moment of doubt was my very first in-person agent pitch ever. She listened to me, was very quiet for a moment, then blew her nose and said, “I can’t imagine anyone who would buy this book.” She proceeded to tell me that I’d never sell a book with my “Midwest voice.” I came home from the conference, cried my eyes out, and shelved the book. It took me a while to get back up and start working on the next one.
There’ve been other tough moments. When a reader responds to a column, not only telling me I stink as a writer, but also questioning my mothering skills or saying I’m a basically bad person, it’s tough. Hard to pick yourself up after that. But deadlines and editors you don’t want to let down help in that process a lot.
Honestly, though, I can’t imagine ever truly giving up. I can’t imagine a day without writing. It’s just that ingrained in me. The idea of giving it all up is scarier to me than facing those tough days. Believe it or not, this is where my kids are important to my sticking to it — writing is a release and keeps me from noticing when there’s a Crayola mural on the wall or a loose hamster or ketchup on the ceiling (seriously, how do they get food on the ceiling?!).
My most recent silver lining happened this morning when I opened my email. A humor writer whose blog I just adore (The Suburban Jungle) wrote to tell me she enjoyed my column this week. Made me feel great. When people reach out and tell me that I’ve written something that made them smile or touched them in some way… that’s really all the silver lining I need.
As a mother-writer myself, I find it difficult to find time to write. How do you schedule your days? How do you make time for your writing? How long has the ketchup been on the ceiling?
I’m always careful to define myself as a mom first and a writer second. That way, there’s never any confusion in my mind about prioritizing. And that’s all it really is, juggling being both mom and writer, a matter of prioritizing. Somehow I was blessed by being born with both amazing organizational skills and an ability to be really flexible. Some people call it an annoying combination of anal-retentiveness and air-headedness, but I think “organized” and “flexible” sounds a lot more resume-friendly.
So I let the kids’ schedules really dictate mine. I work around theirs. And I always understand that my working hours may not look the same from day to day, or might not even look the same at 4:00PM as I thought they would when I woke up at 6:00AM. As long as I understand those two things — that my schedule is not mine to make and it may change on me at any moment — I’m not often frustrated by lack of writing time.
Of course, it means I have to be prepared to work always. I might have to stay up till midnight, or later, to work on a chapter, and I might have to get up at 5:00AM. Because of this, there really isn’t a “typical” writing day for me. There also, typically, isn’t such thing as a “day off” for me (even on vacation I’m checking emails on my cell phone during the boring parts of Splash Mountain).
It also helps that I don’t tend to care about things like ketchup on the ceiling so much. In fact, now that I look at it, I think it may have started out as yogurt.
So how long have you been writing for children? What was the spark that started you on this particular path?
This is really my first attempt at writing for young adults. I’ve always believed that writers should follow their story rather than their genre. In other words, write the story that wants to be written (passion being far more interesting on the page than specialization). If it turns out you fail because it’s not a genre you can do well… you fail. So what? You’ve learned, at least, right?
Because of that, I never had a thought, “I think I’ll try writing a young adult book. Maybe… about a school shooting…” Instead, I followed the story, which popped into my head in the shower one day, like most of my writing ideas do (Oh, how I wish they’d invent a waterproof laptop!). I kind of “knew” in the back of my mind that what I was writing was a young adult story, but I wasn’t thinking about that while writing it. It wasn’t until Hate List was finished that I fully understood what genre I’d been writing in.
I always get my best ideas in the shower, too. Someone once recommended a tile pencil/china marker to me. And I’ve read good things about the Crayola Floating Art Desk, too. (If you like to write in rainbow.)
Can you tell us about the submission process for Hate List? How did you land your agent?
I love to talk about this, because my agent actually found me in the dreaded Slush Pile! You know, the pile of submissions they tell you it’s IMPOSSIBLE to be noticed in? It’s not impossible and I’m proof. I submitted to 3 Seas blindly and it was almost a year later that I got an email from Cori, asking to see a full manuscript for my book. She called me the day after Thanksgiving to tell me she wanted to sign me.
It seems like the submission process for Hate List was lightning-fast. I sent Cori the manuscript and within a few days she was getting really good bites on it from some big publishers. It went to auction and within just a few weeks was sold to Little, Brown. It was very whirlwind, and I wish I’d written some of it down because I don’t remember the details too well now. I only remember her calling me and saying, “So how does it feel to be a published author?” I was in my car and it felt a lot like I was going to wreck into the side of a Mr. Goodcents. When she called to tell me about the “final deal,” I was on my hands and knees, scouring the shower floor. So much for glamor.
Wow, your story comes full circle. It began with an idea in the shower and ended with cleaning the shower. I’m sure all my blog readers are going to be squeaky clean from now on!
I’m curious, what happened to that first book pitch you shelved?
That first book, a women’s fiction book, is still shelved. I check in every so often and my main character is still despondently devouring tubs of Chunky Monkey and watching Dr. Phil episodes in a pair of ripped sweats and a dirty T-shirt. She’s not ready to come back out yet, poor thing. I really should explain to her that harsh criticism and rejection is part of the business.
Now that we know your character’s weakness for chocolate chunks in banana ice cream, what about you? How do you like your chocolate?
In a Cherry Mash!
Jennifer, this has been a fun interview. Thanks for talking with me. Love to have you back when Hate List is released! Good luck!
For laughs, follow Jennifer Brown on Twitter or visit her hilarious blog.
Corey Rosen Schwartz is a picture book author and mother of two preschoolers. Her debut title Hop! Plop! was named an Eric Carle Museum “Picture Book of Distinction” in 2006. She joins me today to talk about collaborative writing.
Corey, some say writing is a solitary profession, but you co-authored Hop! Plop! with Tali Klein and now your writing partner is Rebecca J. Gomez. What do you prefer about the collaborative writing process?
Well, there is a great quote by E.M. Forster: “How will I know what I think until I see what I say?” That pretty much sums it up. I am an ENFP on the Myers-Briggs scale (despite what the Typealyzer claims!). As an extrovert I need to think out loud. In fact, I kind of have Joe Biden syndrome. I just blurt stuff out. If I had no partner to blurt to, I might not have any thoughts.
So how does the process usually begin? Blurting ideas to one another? Then do you write separately and compare notes, are or you writing and chatting the whole way through?
It depends. With Tali, we would brainstorm together in person. Then I’d go home and write the entire story, and she’d tell me it was good :). With Becky, it’s totally different. We’ve never met or spoken by phone. We do all of our writing through IM. We discuss and debate line by line and drive each other crazy. We can argue for two hours over one detail… but we keep exploring options until we’re both satisfied.
What is the best part of having a writing partner?
Even though collaborating can be very frustrating at times, I always feel that our final product is better than anything either of us could have produced alone. Becky and I really push each other. I insist we revise and revise until every syllable is perfect. She gets me to leave my comfort zone and try new styles and genres. Plus, my commitment to her helps me keep to a schedule and stay motivated.
What would your words of caution be to others interested in taking on a collaborator?
I don’t really have any. I have words of caution for parents thinking of having their kids fifteen months apart! But I don’t think authors have anything to lose by giving collaboration a try. Every writer brings something different to the table. I am very good with rhythm and rhyme and language, but I find plot development more challenging. I’ve written manuscripts with lots of people including my husband, and I’m always willing to try a story with a new partner. (Just holler if you want to take me up on this.)
How did you and Becky find each other?
Becky and I met in an online critique group about four years ago. She is from Omaha, Nebraska. I was a native New Yorker living in Manhattan. I liked both her writing and her critique comments and thought we might make a good team. We’ve finished a half a dozen PBs together and even sort of “shared” an agent. (Don’t ask! Our agent saga is whole other story.)
Uh, sorry, but I have to ask. How do you go about submitting to agents and editors as a team?
Submitting to editors is easy. We each sub to the editors that we have established relationships with. For example, Becky has gotten personal notes from FSG. So she would be the one to write the cover for that house. With an agent, it is a bit trickier. My former agent had submitted PB manuscripts that Becky and I co-wrote. (But she would not sub anything that Becky wrote alone.)
Are you both actively looking for agents now? Do you sell yourselves separately or as a pair?
I’m not actively looking at the moment, but if I got a good lead, I would follow it! This industry is all about contacts. You don’t pass up an opportunity if it lands in your lap! With agents, we kind of have to sell ourselves separately because we both have manuscripts that we have not done together. I would actually love it if she got representation this time. That would be the best of both worlds. Becky’s agent could sub “our” manuscripts, and I’d still be free to shop my other ones around myself!
What was it like to collaborate on a manuscript with your husband? Did you get into arguments? Did anyone spend the night on the couch?
Well, it was a lot better than having him as a Bridge partner! We actually had a blast. We left the kids with my mom one day and just sat at the pool with a notebook. We completed a draft of Never Ask a Dog to Watch Your Lunch, which we thought was hilarious (unfortunately not everyone gets our humor in that one, so we need to work on it some more).
David’s philosophy is to just get a draft down. Doesn’t matter if every line is great. You can fix it later. It was liberating for a perfectionist like me to work with someone with such a practical attitude.
And finally, what’s your favorite kind of chocolate candy?
Reese’s Peanut Butter Cups!
Thanks, Corey! It was interesting to learn about writing with a partner (without killing them). Ha!
Corey is generously giving away an autographed copy of Hop! Plop!
Just leave a comment to be entered into the drawing.
Blog or Twitter about the interview and you’ll receive another two entries.
I’ll draw a winner one week from today.
Good luck!
Toni De Palma’s debut YA novel Under the Banyan Tree is a New Voices Pick by the Association of Booksellers for Children. She joins me today to talk about her journey to publication.
First, a little about Banyan:
Irena’s not sure where she’s headed when she runs away—she just wants to leave the trailer she used to share with her mama and daddy far behind. But when she stumbles upon the Banyan Tree motel, something tells her it’s exactly where she’s meant to be. The elderly owner generously welcomes Irena, and the Banyan soon begins to feel like home. But trouble follows Irena wherever she goes, and the Banyan is no different: a mysterious guest, money problems, and secrets from her past soon threaten the stability of her new life. This moving story distills life’s joys and pains, and uncovers just what it really means to be a family.
Toni, your website bio says that you have always dreamed of being a writer, and you’ve accomplished so much with your first book. Can you tell us where Irena’s amazing story began?
The book was a very organic process. I don’t usually work with an outline and even when I jot down notes, I always tend to stray. The idea for Under the Banyan Tree came to me in my first semester of my M.F.A. program at Vermont College. Though I didn’t know it consciously at the time, Irena’s story reflected where I was emotionally in my life. As a young mother, who had given up her job to stay home and be a full time mom, I was feeling a little lost. No job to me meant no identity, no place in the world. I had begun writing, taking classes and submitting, but I didn’t honestly believe I was good enough to be a writer. When my son was five, I read about the Vermont College M.F.A. program in Writing for Children and Young Adults and I knew it was something I just had to do even though it would mean a lot of sacrifice. It might sound weird, but looking back I feel as if the Universe was compelling me to take on the challenge. So like my character, Irena, I sort of ran away (not to Key West, but to Vermont) and I embarked on a personal journey that taught me so much about myself.
After the M.F.A. program, how did you continue on your path to becoming an author? How did you balance motherhood and writing?
Balance? (Laugh, laugh.) What’s that? I’ll be honest. Every day is a struggle. Or come to think of it, maybe it’s not. I’m starting to think that, at least for me, there is a certain amount of normalcy to this ebb and flow, of those periods when I write a lot and those periods when I don’t, times when I rather be cooking or doing laundry and times when all I want to do is sit and write.
First drafts are always killers for me. I circle my computer like a vulture waiting, waiting. I much rather be revising, especially when I’ve had a great meeting with my writer’s group and they’ve given me feedback that’s stirred up my juices. I also seem to have cycles (maybe it has to do with the amount of serotonin in my system). I seem to write more in the Spring and Summer and drift off when it gets cold and all I want to do is snuggle under a blanket (I read a lot more during those times). I recently heard John Grisham say that he writes from April to Thanksgiving — a book a year. When I heard him say that, I felt validated.
I think the really cool thing for writers is that they learn what works best for them and to not judge themselves too harshly.
How long did you work on Under the Banyan Tree? How did you go about submitting it?
I worked on Banyan for two years and revised it about eight times (including the revisions I did with my editor). I was really fortunate with how Banyan played out. I submitted it to a few publishers who declined it and then met Margery Cuyler at the Rutgers One-On-One conference. Margery is the editor at Marshall Cavendish Children’s and she read Banyan, liked it, but didn’t feel it was quite right for her list. Margery suggested I send it to Regina Griffin at Holiday House. Margery knew Holiday House because she had been editor-in-chief there. Regina ended up liking it and offered me a contract.
What was it like to get “the call” from Regina Griffin?
I actually got “the call” from an assistant in her office, a nice girl who seemed genuinely delighted for me. I was happy too, but nervous about what would be expected of me next.
And what was expected of you next?
Well, a lot more waiting for one thing. From the time I received that first phone call to the time my book was published, close to three years had passed. The revision process was worth the wait though. Regina sent me an extensive editorial letter commenting on broader issues and she marked up the manuscript identifying smaller things I might want to consider. Regina did not make specific suggestions, but rather posed wonderful questions that made me see even more possibilities for my characters’ development as well as some plot points that I had never considered. Working with her made the manuscript better, deeper and I hope more satisfying for the reader.
After such a long (and rewarding) revision process, I’m sure you were thrilled once the book hit the shelves. How satisfying was it to hold the finished copy in your hands? What has surprised you most about being a published author? Is it everything you imagined it to be?
While it was wonderful to hold my book in my hand, it didn’t measure up to the very intimate, very personal moment that occurred when I wrote the last line and knew in my heart that I had brought my character to the finish line of her journey. I’m pretty emotional, so I cried, a great cathartic, super satisfying kind of YES! cry.
As for the post-publishing experience, that has been quite interesting and unexpected. I am fortunate that one of the local seventh grade teachers is using my book as part of her curriculum. After the kids read my book, I go in and do a presentation, then give the kids a chance to ask me questions. I’m always amazed at how the kids interpret the book and make it their own. Some kids get pretty incensed and emotional about the story, sometimes taking a character’s side. To elicit that kind of emotion, even though quite unintended is really cool for me because it makes me feel I’ve done my job. That same teacher has also used my book as a springboard to discuss a whole host of other topics such as the ecology of the Everglades (part of the story takes place there), the dangers of hitchhiking, Ernest Hemingway, and of course, banyan trees.
Toni, I sense that you feel it’s important to savor and enjoy each part of the creative process—it’s more about the journey than the destination. Would you agree? What other words of wisdom do you have for aspiring writers? And what can we expect next from you?
When I first started writing I must admit it was all about my ego and wanting to be a “famous” writer (this makes sense because J.K. Rowling had just hit the scene and her rags to riches story really captivated me). But the more I write and the more I see how my writing has helped me to have certain experiences, I view it as a both an intellectual challenge and a tool that is here to grow me both personally and spiritually.
Advice? Of course writing a book involves a great deal of skill that a person becomes better and better at each day with practice. Being part of a writer’s group has also been wonderful and reading, reading, reading. But the practice of writing is not limited to sitting down and hammering away at a keyboard. It involves trying to understand your world, staying curious and asking lots of questions not only with your head, but with your heart. My best writing comes when I’m feeling charged up over something and I just want to understand it.
Since writing Under the Banyan Tree, I’ve written a variety of other things that are now seeking a home: another contemporary YA novel, a historical fiction Middle Grade, as well as a Fantasy Middle Grade. Obviously, I like experimenting and playing with different genres. I’m also looking for an agent.
Toni, this has been a wonderful interview. You’ve helped me realize that I need to have peace and patience with the creative process.
Tara, thanks so much for this opportunity and the great conversation. Writing is sort of like that, a great conversation you have with your reader.
One final question. I promised to slip chocolate into my interviews, so what’s your favorite kind of chocolate candy?
Funny you’re asking about candy. From the age of five to eleven, I lived over a candy store in Brooklyn and I loved each and every sweet piece. Still do!
WOW! You lived above a candy store? That’s every kid’s dream come true! Have you ever written a story based on that experience?
Not yet, but who knows where my mind will wander…
Toni is generously giving away an autographed hardcover copy of Under the Banyan Tree. Leave a comment and you’ll be entered into the drawing.
Blog or Twitter about Toni’s interview, link back here and you’ll get TWO additional entries. Just let me know about the mentions in the comments field.
Good luck! I’ll draw a winner one week from today.
Thank you, Toni!
You might already know that Charlie and the Chocolate Factory is my favorite children’s book. So I went in search of The Golden Ticket today.
But does anyone see something wrong with this Golden Ticket?
While you ponder that question, let me kick off Love a Kidlit Author Month with a few golden words from Dutton Executive Managing Editor Steve Meltzer.
Mr. Meltzer penned an article in the latest edition of Sprouts, the magazine of the NJ-SCBWI. The title says it all: “Market Your Book Without the Book.”
Common sense tells us not to market a book until you actually have a book to publish. I say that is no longer true. When you are selling a book these days you have to sell yourself as well. It is up to you to do the job. Publishers like people who know how to market…
…Web video technology and social networking are the author’s friend. There is so much you can do these days for so very little. So get out and market yourself.
If you don’t subscribe to Sprouts, I highly suggest it! Each issue contains useful industry tips from editors and agents.
Figured out the mistake on the Golden Ticket yet?
Remember, every comment you make this month counts towards an entry for the gift certificate (but only one comment per blog post). If you blog or Twitter about Love a KidLit Author month and link here, it counts as an extra entry, just let me know about it!
Yeah, I changed the name of my February blogfest. Mostly because “Children’s” didn’t fit on the candy heart generator. Oh, the sacrifices we make for our art.
Here’s a sneak peek at the upcoming author interviews…
Jessica Burkart, author of the brand new tween series Canterwood Crest, billed as “The Clique” meets “The Saddle Club.”
Toni De Palma, author of Under the Banyan Tree, an Association of Booksellers for Children Best New Voices pick.
Lisa Mullarkey, author of the new Katharine the Almost Great chapter book series from Magic Wagon.
Steve Ouch, author/illustrator of SteamPotVille, a little independent title making big Tweets.
Aaron Zenz, author/illustrator of HICCUPotamus and the groovy dad behind Bookie Woogie book reviews.
Plus authors Jennifer Brown, Brenda Reeves Sturgis, Mary Ann Scott, Corey Rosen Schwartz…and I’m working on a few more.
And now the prize announcements!
Each comment you leave in February counts as an entry to win a $25 gift certificate to the bookstore of your choice. (Be sure I can reach you via your comment link. Comment as many times as you wish, but only one comment will count per blog post.) If your choice is your local independent bookseller like The Bookworm in Bernardsville, NJ, you’ll win a $35 gift certificate. 
The winner will be chosen out of a hat, which may or may not be an actual hat. Probably a melamine mixing bowl like one of these:
Plus, some of our featured authors will be giving away autographed copies of their books! Woo-hoo!
I’m having a blast putting this together, learning a lot from these new authors and getting inspired. I hope you will be, too!
You’ve probably heard this advice: never write a children’s story with the intent of teaching a lesson. They typically come out preachy. Kids are clever; you can’t fool them into reading a lecture.
But what about writing a story with the intent of easing a child’s pain? Letting them know they’re not alone in their troubles? Carol Ekster does this beautifully in Where Am I Sleeping Tonight?, a humorous and realistic look at life as a child of divorce.
I was a child of divorce. The only books available to me in the early 1980’s were ones written by shrinks, telling kids that we weren’t responsible for the split. Well, DUH! I knew it wasn’t my fault! Whenever I got upset, people told me I wasn’t to blame, something I knew from day one. Nobody understood how I felt, knowing that the two people I loved the most no longer loved each other.
My life changed immediately and dramatically. My stay-at-home mother got a job and I became a latch-key kid, responsible for taking care of my younger brother every day after school. My father moved in with my Nana and we spent every weekend at her house, sleeping in the same room in which our Great Uncle had died. (Creepy!)
Life got frustrating. My belongings were strewn between two houses more than 30 minutes from one another. My dad didn’t know how to cook. My mom didn’t have time for us, between work, the house, and dating. (Creepier!)
Debut author Carol Ekster has filled a need in children’s books: a story for kids adjusting to divorced life, showing real situations and emotions. I wish Where Am I Sleeping Tonight? was around back then to let me know I wasn’t alone in my back-and-forth shuffle.
A niche title like this can be a great way to break into the publishing business. I talked to Carol about her journey to publication…
How long have you been writing?
About 6 years. It just came over me like an outer body experience on a July day at the beach. I went to get a pen and post-its (the only writing material I had) from my car, and started to write my first picture book.
[Lesson learned: always carry a notebook with you!]
Is this the first book you wrote?
This was actually the 20th book I wrote, but the first to sell.
[Lesson learned: you get better with every story. Don’t expect the first thing you write to sell.]
Where did you get the idea for the story?
It is loosely based on a former student who had the same schedule as the boys in the story. He touched my heart. I’ve been teaching 35 years and always had compassion for the children whose parents were divorced. I could feel their pain.
[Lesson learned: look for stories in everyday life. They’re all around.]
How many revisions did it go through?
Too many to count!
[Lesson learned: revision is your friend.]
How did you research where to submit it?
I use the “Children’s Writer’s & Illustrator’s Market,” but for this story, there was a call for submissions in the SCBWI Bulletin. Boulden Publishing was looking for books on divorce and a few other topics. I sent it out and heard back six weeks later that they were interested in it.
[Lesson learned: wow, that was quick! But Carol had exactly what they wanted! It’s all about finding a perfect match.]
How has your life changed since becoming published?
I’ve had to do book signings and promotion…none of which I ever thought about when I began writing. I was surprised how nervous I was for my first book signing. It takes a lot of time and effort, so I’m not getting as much writing done.
[Lesson learned: marketing and promotion is just as important as writing. Yes, it takes time, but it pays rewards in book sales and a solid platform from which to launch your next title. Check out agent Nadia Cornier’s recent post about her floundering novel and how she’s reinvesting herself in book promotion.]
Thanks to Carol for answering my questions and best wishes with the book. If you have questions for debut author Carol Ekster, please leave a comment!
I first heard the phrase “TwitLit” from writing friend Christopher Cocca. I’ll give him coining credit. We both write flash fiction, so he had suggested using the 140-character Twitter format to tell uber-short stories. His first submission: “His probation stopped on a dime-bag.” Mine? “The gourmand often ate too much, but she was living life to the fullest.”
So how else can writers use Twitter? You might want to refuse answering the assumed question, “What are you doing?” Come on, that’s boring. We’ve got Facebook status for that. Twitter is nimble, Twitter is quick, Twitter has the power to change the world. (OK, a bit of hyperbole there.)
Agent Nadia Cornier used Twitter to update authors on Firebrand Agency’s “query holiday.” From December 15 to January 15, Firebrand invited submissions without a query letter. At final count, she had over 3500 submissions with 387 read and 30 requested. Useful, clever Tweeting. Thanks, Nadia.
Of course, agent Nathan Bransford already covered authorly Tweeting with a guest post by Tracy Marchini two months ago. Marchini suggests 21 ways an author can use Twitter. Yep, she’s got TwitLit covered.
But I’m going further with this.
You may be aware of the cell phone novel phenomenom in Japan. Authors deliver stories a few lines at a time directly to mobile devices and welcome reader feedback regarding the tale’s direction. Once the novel is completed, readers rush to buy the paper copy because they feel invested in the story. After all, they had a hand (or a thumb) in its creation.
Some critics consider mobile novels an omen of a literary doomsday. Others think the platform can’t be ignored, especially with five of the top 10 novels in Japan having originated on cell phones.
So why not tell an entire tale in Twitter a few lines at a time? OK, perhaps there’s a certain level of literary integrity you want to maintain and this ain’t the way. But it’s a fun and interesting new venue for fiction, and one that could elicit reader feedback. Applications like TweetDeck help you to organize Tweets by subject and keep track of responses to others (using the “@” symbol). But be careful not to use Twitter for conversations that will lose other readers.
What about a Twitter account for your fictional characters? Don’t they have something to say beyond the confines of your book? A Tweet or two and they’re brought to life in real-time. Or maybe you can create a new character who only exists in Tweets.
The format is experimental. Who knows if it will catch on for story telling. But with Amazon’s Kindle gaining popularity and cell phones evolving into integrated entertainment devices for music, web browsing, pictures and videos, surely books and zines can’t be far behind. Can you imagine your phone’s screen folding out like a newspaper and delivering any story you want anytime you want it? Will Twitter help push things in that direction? Perhaps with a million authors using it, it just might.
So how are you using Twitter to enhance your writing career? Are you marketing yourself or using it creatively? Please share your ideas!
Writers are entertainers. We immerse readers in a magical world, letting them escape with our words as a guide. If a reader enjoys your ride, chances are they’ll seek you out again. And again.
This week I read a lot about branding yourself as a writer, thanks to writing friend Jill Corcoran. The subject isn’t foreign to me, having worked in marketing for a decade. But just what is branding for writers? Developing a consistent style in your stories, offering readers a place that’s as comfortable to return to as their favorite chair. It’s not about writing books so similar that no one finds value in buying more than one. It’s about finding your niche in the publishing world and working within it.
Let’s compare this idea to chain restaurants in the US. Why are they popular? Diners know the menu, they know exactly what to expect. Olive Garden promises that the chicken parmigiana in Spokane will taste the same as the one in Cleveland. They don’t just sell unlimited salad and breadsticks, they serve predictability and comfort. Repeat diners know they’ll enjoy their meal.
People often buy the same laundry detergent, the same rice and the same cheese year after year. How many of you use the same brands your mother bought? Consumers will buy an item simply because they know it and they don’t know the competitors.
Brands also have unique qualities that make them more attractive than similar products. I prefer Barilla Plus pasta because it has added protein without a significant change in flavor. While it’s just pasta, it’s very different from the other noodles on the grocery shelves.
As a new writer in an increasingly difficult book market, developing a brand may give you an edge over the competition. When I think of Grace Lin, I think of whimsical illustrations with colorful patterns like origami paper. John Scieszka? Fairytale spoofs. Roald Dahl writes humorous, fantastical tales. Think about some of your favorite authors and what kind of feelings their name brings to mind. You want to elicit that same kind of recognition when readers think of you.
On the flip side, author K.L. Going admitted that her interest in multiple genres makes it difficult for readers to get a handle on her. At the Rutgers One-on-One Mentoring conference last October she said, “You never know what you’re going to get with a K.L. Going book.” She suggested not doing this as a new author, although she also encouraged us to write what we love.
But what if we love crossing genres? What if writing a supernatural YA mystery comes as naturally as a quiet non-fiction picture book? Perhaps you can be predictable in your unpredictability? Isn’t that a brand as well? Sure it is. But is it one you want as someone who’s trying to break into a tough, competitive business? Agents and editors tout “high concept” in novels, so why not come up with a “high concept” for yourself?
I realize that branding yourself as a writer is a complex task, especially for someone new who is still experimenting with style, genre, voice and subject matter. Stories are more complex than shampoo. You can’t guarantee thicker, fuller hair and a fresh lavender scent with each turn of the page. So what do you guarantee your readers?
Ask your critique partners what your brand might be. What perceptions do they have about your stories? What qualities in your writing are consistent? What do they look forward to when you hand them a new tale? Where does your work really shine?
You might have a very good idea about what your brand is. But remember that branding is all about someone else’s perception, not yours. You can have an image or a message you wish to relate to your readers, but are you sending it? Start asking around. Get to know your own brand so readers can get to know you.
What are you thoughts on branding for writers?
Tonight I attended a chat with Sean McCarthy, assistant agent with the Sheldon Fogelman Agency. Sean talked to aspiring authors about the children’s book market and how to find the right agent for your work.
It’s late and I’m tired, but you all know my obsession with taking notes! Here are just a few of the major points Mr. McCarthy touched upon during this informative session:
What’s the ideal picture book length?
Sean suggested that 500-word manuscripts tend to be a bit slim. They’re seeing the most success with stories above 500 but under 800. The 900 to 1000-word length is a difficult sell right now and he doesn’t see that changing anytime soon.
How many PB manuscripts should a new author have before querying?
His agency prefers to see at least two completed PB manuscripts. The ideal number would be five viable manuscripts. Sean said the market is difficult and there are so many variables for new authors–editor preferences vary and timing is another crucial element that’s out of an author’s hands. The one thing you can control is how many projects you have ready to go—so the more, the better. (Jack be nimble!) In other words, if you only have one completed PB manuscript, keep writing. Don’t submit yet. Sean urged “prolific-ness” as an ideal author quality.
What’s a hot niche in children’s publishing?
Sean thinks that middle grade is wide-open, with fewer and fewer boundaries, making this area particularly exciting. Sci-fi and dystopian books are a blossoming market, and he’d personally like to see more boy-friendly middle grade novels and hybrid prose/graphic projects. There’s room for mixing genres in middle grade. The biggest development in picture books is the character-driven movement. He wants to see clever and funny stories that have a clear beginning, middle and end, wherein the central conflict is resolved by the main character.
What’s cooling off?
YA has been hot for the past several years, so with the exception of Stephenie Meyer, he sees this area slowing down, since the industry tends to be cyclical.
Is it better for YA novelists to query with a series or just one book?
Mr. McCarthy said that series are tricky for a first-time author. Nine times out of ten, the 1st book in a trilogy will be the most successful. A series is not necessarily more attractive than a stand-alone novel.
Should new authors secure magazine credits before querying an agent?
Only if they are applicable to the genre you’re writing for. Publishing a literary adult short story won’t be helpful if you’re writing a juvenile novel. But he does like to see that you have been actively writing and publishing recently, even if it’s in small places.
Should new authors wait until they have an offer in hand before querying an agent?
While an offer is great and it can grab an agent’s attention, it can unfortunately lead to a “knocked up” scenario, where the author-agent relationship is borne out of convenience and necessity, not because it’s a great match. So he tends to be wary of these situations.
How is the economy affecting the children’s book market?
In the short term, it will be more difficult to place projects, since there are fewer editors. But the good news is that for the most part, children’s books have been one of the few bright spots for many publishers. He definitely thinks things will improve, although the time frame for that is uncertain–6 weeks, 6 months or 6 years…?
One last thought: Mr. McCarthy mentioned that the #1 method of obtaining new clients is by referral–either by meeting someone at a conference or by receiving a recommendation from a current client.
Writing may seem like a solitary occupation, spending hours on your own with a pen or keyboard, but like any other business, making contacts is vital to your success.
So get out there! Attend conferences. Meet editors, agents and other writers. It’s a small world…and, to borrow a phrase from the NY Lottery…”you’ve got to be in it to win it!”
Writing for Kids (While Raising Them) 