Thursday, February 28, 2013

Frances: Writing a Novel One Bite at a Time



            For as long as I can remember, I wanted to be a novelist.  I wrote my first real short story in third grade:  In my mind’s eye, I can still see the kitchen table where I wrote it, page after page of laborious cursive that miraculously brought my ideas to life.  I wrote a novel as my college thesis, and after college, I got an MFA in fiction writing.  For many years, I wrote nearly every day. 
            And then in my mid-thirties, I got lost.  I had two small children, and I was determined to be the best mother possible.  I was working part-time as an editor; I had a sick family member to take care of; I had a marriage that was slowly starting to fall apart.  Writing got further and further away from me.  And as my friends published award-winning books, won prestigious fellowships, and got impressive teaching jobs, I felt more and more like a failure, which made it increasingly hard to sit down to write.
            Here’s the story of how that changed.  It’s all because I bought yoga lessons at my son’s preschool’s annual auction.
            I bought the yoga lessons because (a) nobody had bid on them; (b) I wanted to support our school financially; and (c) I thought that doing yoga would be a good way to start taking care of myself after years of taking care of other people.  This hypothetically sounded like a good idea—except that when the school auction rolled around again a year later, I still hadn’t used the yoga lessons.  Taking care of myself?  Are you kidding?  I had no idea how to do that.
            So I called the yoga teacher to see if I could give the lessons back to the preschool to be auctioned off again.  She said that she would be happy to donate new lessons to the school, but that she’d love to have me use what I’d bought the year before.  Only she suggested that instead of yoga, I try a new service she was offering:  wellness coaching.  She was very nice on the phone, and I agreed mostly because I didn’t want to be rude and say no.  We scheduled a time to talk about my goals for my life and come up with a plan for me to reach those goals.
            Here’s a short version of the beginning of that conversation:
            Her:  “So Frances, what do you want for yourself long term?  Say, over the next five years?”  (Note:  I’m pretty sure she expected me to say I wanted to exercise more, improve my diet, something like this—I realized later that these were the sorts of issues her clients usually brought to the table.)
            Me:  “Well, I want to publish a book.”
            Her:  “Oh.  Okay.  It’s usually helpful to try to visualize what you want.  Can you tell me what it might look like if you publish a book?”
            Me (trying desperately to think of what it might look like):  “Uhh…”
            Her:  “What does the book look like in your head?”
            Me:  “It’s, umm, green.”  (Yes. This is literally what I said.  This was the ONLY detail I could imagine at that particular moment.)
            It was an inauspicious beginning.  But it turned out that although the wellness coach didn’t know much about writing, she knew everything about how to set goals that you can actually reach.  This was the point she hammered home to me over and over in that initial conversation.  For years, I had been setting goals for myself:  Write every day.  Get an agent.  Publish a book.  Quit my day job.  Heck, why not win some big awards at the same time?  But I didn’t realize how crippling it can be to set big goals that you don’t yet know how to achieve—goals that overwhelm you and inherently reinforce your sense of your own failure.         
            Instead, the wellness coach asked me to set a goal for six months in the future.  “I want to have written a hundred pages of my book,” I said.
            Her:  “Okay, now set a goal for three months from now.”
            Me:  “I want to know what my novel will be about.  I want to have forty pages written.”
            Her:  “Now set a goal for one month from now.”
            Me:  “I want to have fifteen pages written.  I want to be writing on regular basis every week.”
            Her:  “Okay, now, what sort of realistic goals can you set for this week in order to meet that one-month goal?”
            Me:  “Well, I could try to have five pages written.”
            Her:  “So what would it take for you to do that?” 
            Me:  “I’d have to write maybe three times this week.  For at least an hour each time.”
            Her:  “What sort of obstacles might keep you from doing that?”
            I listed the obstacles.  There were a lot.  I remember that one was that my desk chair hurt my back—so she suggested that getting a new chair might be one of my goals for the week.  I also said that I was spending way too much time reading the news.  So we decided that for some very specific parts of the week—one day and two evenings, I think—I wouldn’t allow myself to go online.  By the end of the session, I had a list of my goals, a list of the potential obstacles, and a list of my strategies for overcoming those obstacles.  I also had an appointment to talk to her again the following week.
            And within a year, I had completed a draft of the The Misadventures of the Magician’s Dog, which will be coming out this fall from Holiday House.
            I wanted to share this story because I think too often we make the mistake of setting goals for ourselves that we can’t realistically achieve.  We read about a writer who produces 5000 words a day, and think:  I should be able to do that!  A friend tells us she’s publishing her fifth book in five years, and we think:  I could have done that if I’d just worked harder! 
            It may be helpful to dream big, but to reach those big dreams, we often have to think small, setting goals for today and tomorrow, and recognizing the often prosaic or mundane barriers that may stop us from getting what we want.  For instance, when I was working with my wellness coach, I realized that one of the things stopping me from finishing my novel was the self-critical voice in my head that belittled my efforts when I sat down to write.  I was comparing my first draft to all the wonderful children’s books I’d ever read and thinking mine was never going to be that good.  I needed a strategy to deal with that self-criticism, and I came up with one.  I decided that it was my job to love my book, imperfections and all, just like I loved my children even when their diapers were dirty or they were crying in the middle of the night.  And just saying this to myself every time I sat down to write helped turn off that self-critical voice long enough that I could move forward.
            So the following is my advice to writers who are struggling to reach their visions:
1.      Know what you want.  Figure out your “dream” as clearly as you can. The more you can see where you’re headed, the more likely you are to get there.
2.      Set goals based on reasonable time increments.  Figure out what you want to have accomplished in six months, three months, and one month.  Then figure out what you want to accomplish this week in order to move toward those goals.
3.      Be specific and realistic.  Maybe your goal is to write for ten minutes a day for three days this week.  Maybe your goal is to write for an hour on Sunday.  If you know you’re struggling to make yourself write at all, don’t start off planning to write for three hours a day every day.
4.      Figure out the obstacles that may stop you.  Come up with strategies to overcome these obstacles.  And if you don’t meet your goals at the end the week, don’t beat yourself up.  Figure out what stopped you and come up with new strategies.
5.      Be proud of reaching your own goals.  Don’t compare yourself to everybody else.  Maybe you have three pages and somebody else has a six-figure advance.  It doesn’t matter.  You’re on your own path:  you’ve figured out what you want to achieve, and when you do it, congratulate yourself.  Few of us are lucky enough to have others who will cheerlead our daily efforts and spur us on.  So learn to be your own cheerleader, noting when you’ve created small changes in your life, because large changes are always born of the small ones.  That six-figure advance?  Well, that writer started with three pages too.
And here’s one more thing: ask for help without shame.  Set up a writing group if you can, structuring it in the way that will best enable you reach your goals.  Maybe you need to turn in pages to others to read on a regular basis.  Maybe you need weekly writing dates at a cafĂ© or library.  Or maybe you just need to report back to someone on your progress, so that you feel accountable for actually doing what you’ve said you want to do.  For instance, when I decided I was ready to start writing every day, I found two other writers who had the same goal.  We set it up that each evening we would email each other how much we’d written that day.  Now I write every day without this sort of support, but I needed it when I was changing habits.  If you can’t find a writing group, or if having a writing group isn’t helping you enough, consider hiring someone like a wellness coach. 
Seizing control of your writing—and your life—is never easy, but breaking your goals into small steps can make change more manageable.  When I think about writing, I often think about the old saying:
Question:  How do you eat an elephant? 
Answer:  One bite at a time.
No one knows who first said that quote, but I’m convinced it must have been a novelist.

Thursday, February 21, 2013

Sara: WriteOnCon's Perfect Your Pitch workshop: The Short Synopsis


The most important part of a query is the book pitch.  I tend to skip over any biographical information until I have read the short synopsis.  When I read a query I want to know quickly if I want to read the book.  That is it.  I will look at your credits/ MFA/ hobbies, if I like your pitch. Here are my thoughts on what you need to do to with your pitch to get a request:

WHAT YOUR SYNOPSIS SHOULD DO:

1. SET UP THE STORY/ GIVE US THE HOOK
Setting up the story will mean revealing much of the plot—but not every single thing that happens on every page. (And, please do not reveal the entire plot in the email subject heading which is alarming.)

The hook gets to the heart of the book.  It is what makes me want to pick up a book and what keep me reading. What will connect me to this story.

People often think of hooks as gimmicks—but a gimmick won’t keep a story together, won’t make someone keep reading.

2. INTRODUCE THE CHARACTER/S/ CONFLICT
Who is this story about? What is his or her conflict? What is the main conflict of the book?

If a pitch is all about the character or all about the set up/ world, but not about what happens to the character in that world, it is not telling us enough to keep reading.

3. ESTABLISH GENRE/ SETTING/ TONE/ VOICE
Often queries get very specific about the genre and audience, and this is fine, as long as you do not veer into marketing or get too specific, such as all 13 year old swimmers will want to read this or picking an age range that does not make sense for a market such as 2nd grade- 12th grade.

If there is a Sci-fi twist or it is dystopian or a fantasy, I think it can work well to set that up for the reader upfront.

I do want to know the age of the character, as in both MG and YA this is hugely important for the markets, and I want to know that you know your audience.

TONE and VOICE are extras, but are usually present in the best queries. If I can get a sense of the tone of the book and the voice from description, that is a plus.  That is not to say queries for humorous books should be funny, but I hope for a line or two in there that shows me that the book is funny.

WHAT YOUR SYNOPSIS MUST DO WHILE DOING THE ABOVE:

1. MAKE SENSE
Reread your query, get others to read it (especially people who have not yet read your book), read it out loud.  I am reading at least 30 queries a day, like most agents, and if I have to reread a sentence more than once, I get frustrated and I get disinterested.  Many do not make any sense at all.

It has taken me years to be able to truly write a pitch well.  Practice! I do not think writing a great query letter correlates to being a great writer.

Bad queries are for the most part the companions to bad books.  They are for books that are too long for a human to want to read, 600k words or so, are for the first book in a series of 20 volumes, are for a picture book about cocaine use, stories for all ages, etc.

The tragedy is bad queries for good books: queries that are confusing and sell a great book short because an agent tunes out. 

2. SHOW ME WHY YOUR STORY IS UNIQUE
This is not easy.  But even if your story is about a vampire or zombie or fairy and the market feels flooded with those stories, you have to fight for your book.  This does not mean telling me how much better your story is than the bestselling series about the above. This means writing a synopsis that will show me that this character and this world are different than what I have seen before.

3. MAKE ME WANT TO READ YOUR BOOK
This is about bringing all the above elements together.  The best pitches are short and sweet. They tell me the most important details about a character to make me want to know more, introduce the main conflict right off the bat, have a unique hook.

You want to tell me enough about the book that I have a sense of what it is, but you also want to leave me wanting more.  Check out book jackets, these are slightly different than pitches, but are a great learning tool.


And it is worth saying again, if query letters and synopses are not your strong point, that is OK. It is a learned skill for most of us.  If you struggle with it, keep practicing, and keep it simple. 

Thursday, February 14, 2013

Evan: Origins/DR. BIRD'S ADVICE FOR SAD POETS

I'll admit it: my book's got some odd things going on. My main character, James, quotes Walt Whitman to cheer himself up. He hugs trees, literally. And not because he's environmentally minded. He also talks to an imaginary pigeon therapist.
Named Dr. Bird.
Yes, it's not just some cool name for a DJ or a birdwatching forum username. Dr. Bird is a pigeon, in James's head. A pigeon that James knows is just part of his own mind, but one that still provides wisdom and perspective. It's the one aspect of my book that gets the most bird-like reaction from people. (You can already see it, that little "Oh really?" head tilt.)
An imaginary pigeon therapist? Oh really?

You might think the story, the crisis, would be the best allure. But no, a character that talks to a pigeon to deal with anxiety and depression becomes immediately more fascinating.
Writing a novel about a kid suffering suffering from mental health issues was not something I expected to do. But then I struck up a profound friendship with author Matthew Quick (The Silver Linings Playbook, Sorta Like a Rock Star, Boy21, and Forgive Me, Leonard Peacock). We lived in the same town and began having coffee once a week. Eventually, we started planning a novel with interwoven narratives. The goal: give readers a great, emotional story that shows how things can be better even when they are awful now. This was a big promise to make, especially since things can be awful for teenagers suffering from mental health issues or environmental issues like abuse; but Matt and I both believe that a book can put a hand out and pull a person through a bad day.
A variety of things prevented Matt and I from getting far beyond the initial first chapters, but I'd been struck by all the possibilities of a character named James who recites Whitman and talks to an imaginary pigeon to help cope.
I became absorbed. I had to write a book that made me laugh, and one that let other people laugh and feel a little bit better about the possibilities of the world. I didn't want to write about a character who was caught in muck on page one and only frees himself from the sludge late in the book. Mainly because I would not enjoy writing a book with such a grim density. I wanted to show the highs and lows of life, how one day we can be joyful and miserable. I wanted to spend time with a character that found things -- Whitman, Dr. Bird, poetry, photography -- that helped him get through a rough time of his life.
When I finished the novel after three months of intense writing, I feared showing it to anyone. I didn't think it was a project I was meant to publish. I didn't even show Matt the manuscript.
Yawp!
Worse, that autumn I fell into an extended depression that affected a my home life and my friendships. Due to poor communication and self-isolation, Matt and I didn't speak for just over a year.
I didn't hang out with my book, either. I let Dr. Bird sit for a year; then I re-read it and found James and Dr. Bird and Jorie were characters that I could share with others. They were sufferers and survivors. They were funny and real. They could reach out and pull someone through one bad day.
I worked hard to get the novel ready and when Sara found the perfect editor for it, I was elated. More importantly, a few months later, Matt and I reconnected and repaired our friendship. We acknowledged the things we'd done poorly and how our mutual acquaintance, depression, exacerbated issues. We acknowledged the importance of communication and of having friends that understand how it can be difficult to be a good friend sometimes.
During our time apart, we both wrote books that sprang from our initial joint project. Dr. Bird will be released in about two weeks. Matt's Forgive Me, Leonard Peacock releases in August. They are different books, but threads still unite them.
And my goal has become clear: tell great, funny, emotional, profound stories that hold out a hand (or wing).

Tuesday, January 22, 2013

Megan: Mentor Texts - A Wrinkle in Time

English teachers call them mentor texts. These are books that can be used to teach a specific writing lesson or skill. Writers often use mentor texts, even if they don’t know the term. While student writers use mentor texts often to start a project, professional writers are likely to find them more useful in the revision stage, so as not to become unduly influenced by the work. I know writers who won’t read books on similar themes or topics when they are drafting -- some won’t even read other fiction as they work on their novels. But, when revising, a mentor text can help you to see your own work in a new way and provide possible solutions in tricky spots.

I found myself turning to a number of mentor texts as I wrote my Middle Grade novel The Water Castle. In the novel, three kids are searching for the Fountain of Youth, each for his or her own reason. I leave it purposefully ambiguous as to whether they find it, or if there is an actual scientific reason for the strange things to happen in the town. In order for this approach to be successful, the magical and scientific explanations both needed to be believable, and thus I needed to have a plausible scientific explanation. How, I wondered, can you introduce complex scientific content without breaking your narrative to sound like a textbook has been inserted?

Re-reading A Wrinkle in Time by Madeleine L’Engle became a touchstone in my writing process. I first read L’Engle’s classic novel as a child, probably third or fourth grade. I was thrilled to find a book with a character who shared my name, especially a smart girl, especially a girl who got to meet a boy like Calvin (oh, Calvin!) The ins and outs of how Meg, her brother Charles Wallace, and Calvin travelled was less interesting to me than the world’s they visited. My lasting memory of the book is of the street in Camazotz with all the children bouncing the ball in the same rhythm.

While my memories of the book were fond, I might never have revisited it as a writer if it weren’t for a group of middle school readers. As a middle school librarian, I run a book club, and the students chose to read A Wrinkle in Time last year -- just as I was working on revisions with my editor, Mary Kate Catellani at Walker Books. She was pushing me for more clarity around the scientific aspect of the book, and I was really struggling. A Wrinkle In Time helped to solve my problem.

In the book, Meg, Charles Wallace, and Calvin “tesser” -- essentially jumping through time and space. We’re talking quantum physics here. The concept is explained to Meg by Charles Wallace and Mrs. Whatsit -- two bonafide geniuses. Meg serves as our proxy, and her understanding is the key to ours. So, first L’Engle has Mrs. Whatsit explain the tesseract in a very basic way: imagine an ant travelling along Mrs. Who’s skirt, if she folds the fabric, the ant gets to the new location in a much shorter amount of time than if the skirt were flat. Now imagine the skirt is time, and there’s a wrinkle in it. Okay, that makes a bit of sense. But Meg, and through her the reader, knows that there’s more to it. More explanations ensue, accompanied by sketches. Eventually, Meg exclaims, “I got it! For just a moment I got it! I can’t possibly explain it now, but there for a second, I saw it!”  In my case, the kids need to figure out the mystery themselves, but, L’Engle’s example let me realize my characters could be uncertain in their understanding, too.

A Wrinkle in Time worked as a mentor text for me in a more philosophical sense as well. L’Engle famously stated “You have to write the book that wants to be written. And if the book will be too difficult for grown-ups then you write it for children.” A Wrinkle In Time is indeed a difficult book. In addition to the science, it tackles difficult themes such as individuality, totalitarianism, and the fallibility of parents. Her example provided me reassurance as I worked through my own take on challenging themes including the lure of immortality and the line between science and magic. As writers’ for children, we can take L’Engle’s work as a reminder not to shy away from these types of big themes. They can handle it, as 50 years’ worth of children can attest.
 For your enjoyment: A Wrinkle In Time in 90 Seconds!

Tuesday, January 15, 2013

Michael: 5 Tips for School Visits

I’ve been doing school visits fairly regularly since my first middle grade novel, Plunked, came out last March. I’ve flown down to Texas, AmTrekked to Virginia, taken the G to Carroll Gardens, rolled into Newark in a tricked out SUV, you name it. In addition to gaining quite a few frequent-flyer miles and a new appreciation for the Palisades Parkway, I’ve actually managed to learn a few things along the way. Here’s are five lessons that have helped me become a better (and saner) presenter.

1) Interactivity works. There are times when you stand up in front of a classroom or auditorium and think: Uh oh. The students might be staring at you glassy eyed and zoned out. They might be looking at everything except you and fidgeting with enough chaotic energy to power a small city. They might, occasionally, be glaring at you with expressions shifting between distrust and outright hostility. I've found one thing that works in all of those cases: Asking them questions.

I try to involve the students early and often in my presentations. I am dyslexic and spent a second year in second grade, rereading the same few Dick & Jane books over and over again. Instead of explaining what a Dick & Jane book is, I ask if anyone knows. Interestingly, many of them do. The same goes for Dungeons & Dragons (the first books I read independently). As a bonus, the kids' definitions of both are often pretty funny.

In general, instead of giving examples, I like to ask for them. Instead of telling a story, I like to ask for volunteers to help me create one. The transformation can be remarkable, from a few half-raised hands at the start to a roomful of kids pumping their hands upwards as if they’re trying to touch the ceiling.

2) Embarrass yourself!

Another great icebreaker is humor. Specifically, humor at my expense. I like to show one of my old school photos near the start of the presentation. It lets them know that I don’t take myself too seriously and never have been able to dress myself. In addition to getting them laughing, it levels the power dynamic a little and makes them more comfortable talking to me.

3) PowerPoint is your friend. I shied away from using any sort of AV component in my early school visits. I had visions of technical difficulties dancing in my head and was concerned that technology would create a barrier between me and the audience. I was wrong about that. So very wrong.

Using PowerPoint, or a similar program, to illustrate your talk allows you to do more than just project mortifying middle school pictures of yourself in comically large proportions. It adds another element to your presentation and, just as important, gives it structure. Clicking onto the next image, watching the little video, whatever it is, it allows you to reset things, to proceed neatly and sequentially to the next point. It provides a framework that the students grasp immediately.

It's also unobtrusive. I used to pass around old Super Bowl press passes from my sportswriting days. I thought it would be fun: Show and Tell! Instead, it was a distraction. Kids were handing them the wrong way, looking over each other’s shoulders, grabbing. Now I show a picture of me standing next to an NFL player, and then a Sports Illustrated Kids cover story I wrote. They look at it, get the point, and we move on. The sports fans think it’s cool; the others aren’t unduly bored.

From a technical perspective, I bring my own laptop and adapters, and every school I’ve been to so far—from inner cities to small towns—has been able to provide the rest.

4) Memorize it! It really, really helps if you memorize your presentation. (The PowerPoint pictures are great helpers/placeholders.) In fact, you should have it memorized well enough that you can make adjustments on the fly without losing your place.

I learned this lesson back when I did standup comedy, and it is the same with school visits (though, thankfully, without a two-drink minimum). If students see you reading, they will tune out. It’s amazing how quickly it happens. I carry a printout with me (or leave it on the podium, if I’m using one), in case I lose my place. As soon as I look down at it—within seconds!—I hear kids start to fidget and sometimes whisper. I can hear myself losing them! As important as it is to engage them early, it is just as important to keep them engaged.

The picture above is from a visit to Arlington, VA. Note: There's a dinosaur on the screen and no paper in my hand. Also, note that there are several hands up and I haven't asked a question. They were just waiting for the next one.

5) They are awesome! School visits used to make me nervous beforehand and leave me exhausted afterward. That is because I was doing them wrong. My visits were loosely structured, semi-memorized, and a bit chaotic. They consisted too much of me talking, too little of me listening, and didn’t have nearly enough funny pictures. Now they are more entertaining and informative for the students (and for me), and I can do three in a day without anyone yelling “Clear!” and slapping electrified paddles to my chest.

Obviously, every author is going to have his or her own style and approach. But these are the things that have worked for me. Involving the students, keeping their attention, knowing what the heck I’m going to say next and having some interesting way to illustrate the point . . . That’s what I learned in middle school last year.

Tuesday, January 8, 2013

Lisa: What writers can learn from Homeland

Homeland first caught my eye at last year's Emmy awards, where it won a bunch of awards. It was a sweep, no doubt about it. Claire Danes took home best actress, and I've been a fan of hers since My So-Called Life. (By the way, if you write for teens and you haven't ever watched My So-Called Life, get on that. Now!)



Anyway, seeing Claire up on that stage, talking about her role in Homeland, got the voices going. You really need to watch it, Lisa. 

Then I started hearing about it on twitter. And the voices got louder. It sounds so good. Watch it, Lisa! Get the DVDs!

My husband doesn't really understand why I love to curl up on the couch after a hard day of writing and watch TV. The thing is, it's not mindless TV I want. What I want is the same thing I want when I'm looking for a book to read. I want to fall in love with characters. I want a good story. And as much as I love reading, there are times when I'm working really hard and my brain simply can't take any more words on a page.

And so, there is television to give me characters to love and writing to admire.

When a certain on-line retailer put the first season of Homeland on sale for a ridiculously low price, I couldn't resist. I bought it, wrapped it up, and put it under the Christmas tree. I told myself it would be my reward for finishing a really intense editorial revision.

Once I started watching, I could. not. stop.

I think there are probably a whole bunch of reasons why this was the case, but the primary reason was because the writers introduced a mysterious element early on and until I knew the answer, I was haunted by the question. I had to keep watching to find out if Brody, a US marine who had been a POW for 8 years, had become a terrorist or not. Yes, his behavior was odd after he returned home, but was it simply because of how badly he'd been treated, or was there more at work here?

When we're writing, we must not forget the power of the mysterious element. When I first started using the mysterious element in my writing, I didn't even do it consciously. It just happened. I started writing I Heart You, You Haunt Me, and I knew Ava felt guilty for what had happened to her boyfriend, Jackson, but I didn't know why. How had he died? I kept writing, not knowing, hoping the reason would eventually reveal itself to me. In that first novel of mine, the big question, or mysterious element, or whatever you call it, was kind of an accident. And it worked to create great tension. Now, I think about what I can hold back, giving the readers that intense desire to keep turning the pages.

In my latest novel, Falling For You, the reader finds out on the first page that something has happened to Rae, the main character. She's in the hospital, but you don't know why. The story then goes to six months before, when things in Rae's life begin to change. And so it goes, alternating between present day and the months leading up to the accident. The book has only been out a short time, but I've already been told by some readers that the book pulled them in and they had to keep reading to find out what happened.

Watching Homeland solidified in my mind how important it is to have at least one question in your book that looms there, haunting the reader. Keep the reader guessing. Keep the reader's desire to continue to read as high as possible. Yes, you have to have interesting characters and a strong plot and all that other stuff too.

But consider this: I watched five episodes of Homeland in one day. I did not want to do *anything* else. Isn't that what we want people to say when they are reading one of our books?

Tuesday, January 1, 2013

Sara: Happy New Year!

Goodbye 2012! It was a great year for the nest, with 9 debuts sold among 26 deals, and some happy news for Nester's books:

Nina LaCour's THE DISENCHANTMENTS received 5 starred reviews, and is a Boston Globe Best Young Adult Book 2012, A Chicago Public Library Best of the Best 2013 and on BookPage’s Top Children’s list for 2012. It was also an NPR Summer Book pick and a PW Staff Pick for Best Summer Reads
 

Veera Hiranandani's debut THE WHOLE STORY OF HALF A GIRL received 2 starred reviews

VARIANT by Robison Wells and THE DISENCHANTMENTS are on the 2013 TAYSHAS list

DUST & DECAY by Jonathan Maberry won the Bram Stoker Award for Best YA

DEAD OF NIGHT by Jonathan Maberry won The Dead Letter Award for Best Novel
 

Jonathan's ROT & RUIN was added to more state lists this year to add to the many it is already on.  It won the Keystone to Reading Secondary High School Book Award for 2011.

TRAPPED by Michael Northrop is on the Virginia Reader's Choice List and was nominated for the 2012-2013 Pennsylvania Young Reader's Choice Awards.

IT'S RAINING CUPCAKES by Lisa Schroeder was nominated for the Colorado Children’s Book Award (CCBA) 2013

THE ELEVENTH PLAGUE was selected for the 2012 IRA Young Adults’ Choices reading list and was a USA Today Bestseller

Michael Northrop's debut MG PLUNKED and Kim Baker's debut PICKLE are on the NYPL best Chapter Books List

and PLUNKED and PICKLE are also on the Fuse 8's 100 Magnificent Books of 2012 List

MONSTROUS BEAUTY by Elizabeth Fama is a Nerdy Book Club Award Nominee


 

2013 promises to be exciting with 9 debuts to come: 

DR. BIRD'S ADVICE TO SAD POETS by Evan Roskos

TAKEN by Erin Bowman

A GIRL CALLED PROBLEM by Katie Quirk

TIDES by Betsy Cornwell

45 POUNDS (MORE OR LESS) By Kelly Barson

NANTUCKET BLUE by Leila Howland

SKY JUMPERS:  THROUGH THE BOMB'S BREATH by Peggy Eddleman

ENTANGLED by Amy Rose Capetta


PETER LUBINSKY AND THE MAGICIAN'S DOG by Frances Sackett


and,

Megan Frazer Blakemore's THE WATER CASTLE, her MG debut

2013 also brings Lisa Schroeder's 5th YA novel, FALLING FOR YOU (TODAY!) and her 3rd Cupcakes book, FROSTING AND FRIENDSHIP in the fall, FRAGMENTS, the second PARTIALS book by Dan Wells,  the 5th Joe Ledger book from Jonathan Maberry, EXTINCTION MACHINE and the 4th book in his ROT & RUIN series, FIRE & ASH, Dianne Salerni's historical YA THE CAGED GRAVES, Michael Northrop's 3rd YA novel, ROTTEN, Kristen Tracy's 4th MG novel, TOO COOL FOR THIS SCHOOL, Coert Voorhees's YA thriller, IN TOO DEEP, a new YA by Jeff Hirsch, as yet untitled, Brian Yansky's sequel to ALIEN INVASION, HOMICIDAL ALIENS,
and a new series by Robison Wells, beginning in the fall with BLACKOUT.


Wishing everyone a fabulous 2013!  I resolve to be better about keeping up this blog among other things.  I am grateful for all the surprises from my amazing authors this year, and look forward to more happy surprises in the year ahead, and to falling in love with more manuscripts from them and from the slush pile.


Sara