YA Highway

This isn't a new topic here on the Highway. Guest blogger Kristin Jr. blogged about it nearly two months ago. But it isn't a topic that will go away any time soon. What is appropriate for Young Adult books?

Last night I was speaking to a family member about Living Dead Girl, Elizabeth Scott's haunting tale about an abducted girl who can only be released from her abuse by finding someone to take her place. We discussed the wide variety of topics covered in YA literature and the way the genre has grown and expanded to cover everything from Meg Cabot's unapologetically clean and romantic books to Ellen Hopkin's gritty tales about suicide, drugs and prostitution.

It can be difficult at times to come to terms with the realities teens are facing today. Their experiences are as varied as the books available to them. Teens have secrets and dreams, they have good days and bad days. They are innocent, they are worldly. There is no one type of teenager. But the explosion of the YA genre into all these different facets of experiences means that readers of all backgrounds will be able to find what they need - whether that's stories about princesses or about poverty.

Some want to protect our young people. And I'm not just talking about parents, here. I've heard teens themselves speak with disgust about some topics covered in YA books. They don't want to read about sex and swearing - they see enough of it in their lives. Some, however, think it's wrong to "hide our little ones away." The world is a dirty place and teens are living these nightmares. Take a look around. Teens see it - they aren't stupid. Why try to sugar coat it?

But what I want to ask - gently - is why can't we embrace the idea that all kinds of books are useful?

Reading romantic YA doesn't make someone a fluffy-headed idiot. Really.

Reading accounts of theft doesn't make someone a criminal. Really.

There are lots of YA books to choose from nowadays - something for everyone, as it were. I think that's great. Choose books that eschew trauma or choose books that bring it to the forefront; the important thing is simply to read. Read to escape, read to understand, read to feel. Read. And refrain from criticizing another's reading choices. It might be just the escapist fairy tale or just the empathizing portrait of pain that they need to get through the day.

Read What You Need

I've been reading with great interest lately about the reading habits of other authors, agents, and editors. It's no secret that reading outside of your genre is almost always a good idea, and can really help get the creative juices flowing for writers. And many agents and editors read profusely in genres they don't represent/edit. But I'm curious...do any of you Highway readers write outside of YA?

I'll admit, I've never tackled an adult novel. I tried once: it was a paranormal about a twenty-something journalist. Within the first chapter, she became an college intern. Not long after, she was a high school junior with a sweet summer job at a newspaper office.

Have any of your characters experienced this Benjamin Button effect?

On the flip side, travel writing is quickly turning from a hobby to a career for me, and I find that it's doing phenomenal things for my descriptive writing. In fact, I've developed a habit of scrolling through my iPhoto and choosing a random picture, then writing a short essay describing the scene. Imagining that moment again, the sounds, the smells, the feel, then writing about it...it has without a doubt had a huge effect on my current WIP.

So what about you guys? Does anyone have any tips or suggestions on branching out from the teenage mind and improving your overall craft?

Reading, Writing, and Breathing Outside of YA

Thanks to Random.org's True Random Number Generator, I am please to announce the winner of BREAK is . . .

WINNER!

YA Highway is thrilled to be able to promote Hannah Moskowitz and her debut novel, BREAK!

From the back cover:

Seventeen-year-old Jonah is on a mission to break every bone in his body. Everybody knows that broken bones grow back stronger that they were before. And Jonah wants to be stronger - needs to be stronger - because everything around him is falling apart. Breaking, and then healing, is Jonah's only way to cope with the stresses of home, girls, and the world on his shoulders.

When Jonah's self-destructive spiral accelerates and he hits rock bottom, will he find true strength or surrender to his breaking point?

I will admit that it can be hard to read about Jonah breaking his bones. But if you can get past the cringing, you will be in for a treat. Moskowitz does a great job delving into Jonah's issues and helping the reader connect with her main character. The relationships are complex and unique, from the caretaker role Jonah plays with his brother Jesse, to the uncertainty he has with not-girlfriend Charlotte. His issues are real and, in the end, you can't help but hope he gets better. Booklist gives BREAK a starred review.

I was able to ask a few questions of BREAK'S author and get some feedback on the feeling of seeing your first novel on the shelf, life philosophies, and favorite ice cream flavors.

1) Hannah, your debut novel, BREAK officially comes out on August 25th. But you’ve already seen (pictures of) copies of it at the bookstore. How does it feel to see your baby on the shelf?

Fantastic. It'll be so much better when I see it with my own eyes, though. I took one of my comp copies to Borders and gave it a few second on the shelf--that felt awesome. Seeing the pictures really isn't the same as seeing it myself. It's so funny, though; I used to sit in math class and draw pictures of bookshelves with all my books on them. So it's pretty crazy to think that one of them, at least, is on an actual shelf.

2) You also received a starred review from Booklist. What were you thinking when that review came in?

I seriously thought it was a joke. It was the day I got back from England, and I was a jet-lagged mess, and I logged onto my computer and there was an email from my editor. She was so excited, and I was just in shock. I honestly could not believe it. I always figured big reviewers would sort of laugh at Break--I mean, it's kind of a silly little book. So getting recognition from something like Booklist was insane.

3) BREAK takes some guts to get through. Your reader has to connect with a character who is breaking his bones – on purpose. Where did you come up with the idea of a bone-breaking main character?

It just fell into my head. I'm sorry, I know that's a terrible story. I wanted to take an outrageous premise and make it believable. And then the idea of a boy who wants to break all his bones sort of smacked me across the face. So I wanted to make something unbelievable believable, and, yeah, I wanted to satire some of the self-injury books already out there.

4) Once the reader gets past the shuddering (hey, it was hard reading about breaking bones for me *grin*), they are rewarded with some great insight and honesty from Jonah, who really thinks breaking his bones will make him stronger. How do you think teen readers will relate to Jonah?

Jonah is such a sweet kid. Once you get down to the truth, he is just this really good-hearted and completely misguided guy trying to figure out how to do what's right. I'm thinking he might be easier to understand if you have a younger sibling, but I don't have a younger sibling so I might just be making shit up. BREAK is the first book I wrote where the main character was actually the main character; I have a habit of writing from the point of views of brothers or sidekicks. BREAK is really about Jonah, and even though he's so affected by his family, it's still his story. You're very close to him in the story, so hopefully readers will sort of fall into him.

5) I don’t want to give away the ending, but I have to ask you if you think Jonah’s path will be especially tough for him or it you think he has what it takes to heal completely.

Oooh, that's something to think about. Honestly I think Jonah will be okay. Assimilating back into normal life will probably be a nightmare. And it will probably take awhile to build up trust with the people he's freaked out. But he's a strong kid. I think he'll deal. I'm more worried about Jesse, but that's just me, as I adore Jesse.

6) Jonah likes to bring up Confucianism on occasion. Is that a philosophy that has played a role in your life, as well?

Blah, I hate Confucianism. I call myself a Jewddist--a Jew-Buddhist. And I'm an existentialist. Basically I'm a mess...but nope, no Confucianism for me.The Confucianism was a really small thing in the first draft, then I amped it up because I realized it worked really well for him.

7) What is your writing process like? Are you an outliner? A fly-by-the-seat-of-your-pants type?

Seat of your pants. Unless I'm switching viewpoints, when I need to structure the story really carefully, I make things up as I go along. Usually I have a really short first draft, then I flesh it out in edits. The first draft of BREAK was 25,000 words or so. Jonah had one brother. The climax was veeeery different. There were a ton less broken bones. So I suppose you could call the first drafts a kind of extended outline.

8) I think it’s awesome that you wrote this story as a teenager. There are lots of teenagers out there who dream of being published one day. What advice would you give them?

Here's my standard advice--never think you're not good enough, and never think you can't get better. This is a crazy crazy frickin' world, and you never know what's going to sell--I certainly didn't think BREAK would, and the book I thought was my money project didn't pan out. I've written stuff since BREAK that I think is better and I've written stuff that's horrendously worse. It's impossible to be objective about your own stuff, that's the bottom line. So my advice is to produce as much as you can and give it all a chance. Don't give up!

9) I look forward to your next project. What’s in store for Hannah Moskowitz?

College is the only thing certain right now--I leave for Brown in two weeks. After that? Hopefully more books, more interviews, and even more of my obnoxious blogging. Keep your fingers crossed! I know I am . . .

And finally: Five Real Fast:

1) Your favorite flavor of ice cream: Cookie dough. I'm boring.
2) One book (besides BREAK) that you would turn into a movie: Looking for Alaska.
3) If you could live anywhere in the world it would be: Albuquerque or London. Or Hong Kong.
4) I you weren’t a writer, what would you want to be? A singer! I want to be a singer more than anything. No, I do not have the voice for it.
5) What spot on your life highway was/is the best? Oh, right this minute. Everything's getting better and better all the time. Here's hoping that continues!

Thanks for the interview, Hannah! We hope it just keeps getting better, too.



Now it's time for things to get better for one of our readers! We're giving away one ARC copy of BREAK to one lucky reader. To enter, simply leave a comment on this post. Your comment gets you one entry. If you're a member/follower, you get to leave another comment, for another entry. Finally, if you promote this contest on your blog, you get to leave yet another comment for a total of three possible entries! Leave your blog address in your comment so we can see what you're all about. No cheating! We'll be checking. ;) Contest ends on Wednesday, August 26th, so start commenting now!

Interview with Hannah Moskowitz and Win a Copy of BREAK!

In anticipation of my Delacorte debut, I’ve been encouraged to search for book covers that appeal to me and my story. So of course, I consulted my best friend, graphic designer Michelle Haft (check out her website, she’s a serious rock star).

She pointed me in the direction of several sites that celebrate top book covers from a graphic design perspective -- the Book Design Review, AIGA's Top 50 of 2008, and the Book Cover Archive Blog. Many of the covers are undeniably fabulous.







But intriguingly, I believe most of the examples regarded as top covers probably wouldn’t sell, if the books were published for young adults.

And maybe because I’m so immersed in the YA scene – or maybe because I’m just attracted to bright, colorful, in-my-face prettiness – but I tend to prefer YA covers.


Not all of them, of course. I’m not a fan of the headless girl trend. I also tend to dislike straight-on faces that leave no room for the imagination. But when YA covers go well, they can be breathtaking – especially, in my opinion, in the cases of cover artists who expertly (key word) manipulate photography in vibrant ways.

As examples, I showed Michelle Ink Exchange, Wings, The Forest of Hands and Teeth, hush, hush, Skin Deep and Twilight, along with a link to the fabulous juvie lit cover blog, Jacket Whys. I wasn’t surprised she liked Skin Deep the most. Ink Exchange didn’t appeal to her at all.

The Meaning of Well-Covered

The awesome agents over at Upstart Crow Literary have got me wondering...

Some agents require a query, a full synopsis, and anywhere from two to fifty pages of your novel right up front. Others don't need more than the query before they've made the decision of whether or not to fire off that form rejection letter.

Now that so many agents are dealing with email, saving thousands and thousands of grateful trees, I've started to wonder why they don't want to see a little bit more right off the bat. After all, someone can send an email with the query, synopsis, five chapters, a political rant, a thesis on the breeding habits of moose, whatever...and the agent can still simply read the query and hit delete.

However, if they think it has potential, then they already have all the information on hand to make their decision. It seems to me like they'd cut down on partial requests that way, which would be better for us writers in the long run (not getting our hopes up, and all that!). And it may save the agents some time, too.

But I, clearly, am no agent. Their job baffles and amazes me, and I don't know how they do what they do. What do you guys think? Would you prefer fully exposing yourself (um, literarily speaking) right at the offset, or do you prefer the "query-only" approach?

Query vs. Full Exposure

Some lovely literature will be hitting the shelves in the next few weeks. Mark your calendars!

Hannah Moskowitz- Break*** August 25th

Ellen Hopkins Trick *** August 25th

Suzanne Collins- sequel to the Hunger Games, Catching Fire ***September 1

What other books are coming out in August that you're excited to see?

Coming To a Bookstore Near You

Okay, ladies and gentleman, time to dig deep for the biggest, bestest, most thigh-slapping hilarious chicken joke you got.

Janice Hardy is giving away an ARC of her new book The Shifter over on The Healing Wars blog. What do you have to do to win? Just follow the link and leave a comment any time between now and Aug. 24th. The joke with the most (as Janice puts it) "snarfability" wins! There may be a few prizes for the runners-up, too.


(And major bonus points with me for whoever comes up with a punchline to the title of this post in our comments section.)

(Double points if moose are involved in said punchline.)

Why Did the Chicken Cross the Highway?

This might seem like the most basic advice ever, but it's actually very important. Especially since sometimes we writers might get too wrapped up in our own words, and forget to read the stuff that's already out there. (I can be honest--when I'm going full throttle with a WIP, it sometimes interferes with how much I read). But there are so many reasons why reading is an important part of the process.

To start with, while it might sound appealing to have your head stuck in the sand and feign ignorance if your book comes out sounding too similar to an already published one, you can't really do that. I honestly used to think this was a wise path, I admit it. I thought that it was smart, if you were interested in writing epic fantasy, for example, not to read Lord of the Rings. But it's not smart. Because it doesn't matter whether you copied ideas from it or not. If it comes out as an almost clone, you're going to have a really hard time getting it to see the light of day, coincidence or not. (And let's be honest--even if you haven't actually read a book, that doesn't mean you haven't snuck on amazon.com and snuck a peek at a summary). Do you really want to spend months and months writing your vampire/faerie/werewolf/angel/dystopian book only to be rejected over and over again because "it's too similar to xx"? Better to know beforehand so you can be unique! You can still capture attention with a popular concept, you just have to make it exceptional.

It can help your writing improve. Going through a big stack of YA books is going to give you a pretty good idea of what sorts of things you should and should not do in your own writing. You'll know what you connected with and what you found duller than the eraser end of a pencil. You can use this! Think about your own writing. Are there eraser end parts? Awkward dialogue? Did you use a cliche that made you roll your eyes when you read it in something else? (For example, too much eye rolling!) Also, if you're used to writing in first person, and are trying out third, or used to past tense but are trying present, reading other books in that POV or tense can be incredibly valuable. Being well read is pivotal to being a good writer.

You also need to know what has sold. Not so you can copy the trends, which is a terrible, horrible, hideous idea. But so you can see, in general, what there is on the market. And hey, you may find that there's a complete lack of books like yours--won't it just fit in so nicely? But you won't know if you're hiding in your cave atop a mountain assuming you are the only writer ever to exist.

Plus, it's fun. Reading is the most spectacular hobby in all the world. So do it all you can. For the sake of research, of course!

Be well read in your genre

When I made the commitment to write my first book, I was goal-oriented and disciplined as all get out. Every day after work I applied BIC for two consistent hours - no exceptions. Anything less than 2,000 words a day was unacceptable. I was obsessed, and it was a blast.

Now that novel's edited, revised, beta-ed, re-revised, and floating in the Magical Land of Query. On to the second book.

But my old system's not working for me this time around. It's not lack of time...I have more now than I did when I wrote the first book! For some reason I just couldn't sit down and write. 2,000 words was daunting - I couldn't even break 1,000.

Then, inspired by the always-fabulous Holly Lisle, I set a simple goal: 250 words a day. And if I missed a day, oh well. 250 the next day, no making up for it, just moving onward. Easy as pie.

The logic is, of course, that even if you only write one sentence a day, eventually there will be a completed first draft. Any words are better than no words at all.

And 250 words is a pretty attainable goal for anyone - as of this sentence, I've already written over 150 words. But changing my mentality about my word count goals had a funny effect.

For several days now, I've hit 800-1000 words in one sitting without breaking a sweat. Writing is fun again. Something about going from "I only made half my goal today" to "I freaking QUADRUPLED my word count goal for today!" makes it a lot easier to sit down and write. Never mind that the numbers are the same.

So what about you? Do you have any tricks or tips for getting some kind of writing result?

Word Counts and Mind Tricks

You know the feeling. The colors. The font. The subtle symbolism that you will only understand if you covet it. Which if the publishers have done their job successfully, you will.

The cover art of a book does more than just inform a shopper of the title and author, it sells the words behind it. It sells you as a writer. So how much of this is in your hands once you've signed that dotted line?

As we've seen with the Liar cover fiasco, authors don't always have a big part in process. Here, Sonya Chung relays how both the author and publisher play a role.

Not all great pieces of literature have stellar covers and vice versa. But catching the eye of consumers can make a huge difference in how well a book will sell. And good sales=happy publishers. Happy publishers=happy writer.

As a consumer, how much do you judge a book by its cover?

Judging a Book By Its Cover

Have you ever wanted to read a novel before it gets published? Folks who read unpublished work with the intent to help the author make it better are called betas. Young Adult author Celise Downs is looking for a select few beta readers to help make the first book in her new teen FBI series the best it can be. Are you:

A YA writer or voracious YA reader?

A book reviewer?

Part of a YA critique group?

You just might be the beta Celise is looking for! Check out Celise's website for more information.

Be a Beta

UPDATE: In the wake of massive controversy surrounding the cover of Justine Larbalestier's YA novel, LIAR, Bloomsbury has unveiled a new cover.

Publishers Weekly's take

Justine's take

LIAR on Amazon, because we know you're just dying to read it by now

Good choice, Bloomsbury.

YA Highway teen contributor Kody Keplinger's debut has been picked up by Little, Brown! From Publishers Marketplace:

Seventeen-year-old debut author Kody Keplinger’s THE DUFF (Designated Ugly Fat Friend), a Juno-esque She’s Come Undone, in which cynical and witty “DUFF” Bianca decides the intrigue of casual sex with gorgeous-but-jerkoff player Wesley is more alluring than facing her own issues with self-esteem… until it all goes wrong when they realize they’re falling in love, to Kate Sullivan at Poppy, at auction, in a two-book deal, by Joanna Stampfel-Volpe at Nancy Coffey Literary & Media Representation (World).

Congratulations, Kody!

News! THE DUFF Sold to Poppy

Sister. Healer. Deadly weapon.

Nya has a secret she must never share.

A gift she must never use.

A world she must never question.

And a sister whose life depends on her doing all three.

I am such a blog stalker. My Google reader is stuffed full of agent, editor, and author blogs (along with a few others just for kicks.) And I know most of you are the same way.

But if you haven't added The Other Side of the Story to your list of daily must-reads...well, just take a look. Janice Hardy, author of the soon-to-be-released fantasy The Shifter (The Pain Merchants in the UK), has one of the most informative blogs for novelists I've ever come across. (And from that little teaser above, I can tell you her book is at the top of my fall required reading list!)

Janice very kindly agreed to share her thoughts on world building techniques on yaHighway. So without further ado...

It’s a Whole New World

When you mention world building to a bunch of writers, most are instantly going to think about fantasy worlds. Makes sense since that’s the genre that does the most world building from scratch, but every story needs a rich world, even if that world is set in the good old USA. Luckily, the same tricks genre writers use to flesh out their worlds can also be used by non-genre writers.

A Room With a View

One of the strongest tools you have for world building is your point of view character. They can ground the reader by what they see and provide context for everything. They can show what’s normal and what’s unusual by how they react to things. Just as readers have never been to Middle Earth, they might not have ever been to the Midwest. Sure, they’ll have a general idea (corn, flat, farms), but imagine how much richer you can make that world if you treat it like the reader has never seen it before. Especially if your world isn’t what the average person thinks of when they hear your location.
People know what mundane things look like, but they don’t always know what importance a mundane item has. You get your pick of details to convey subtle info to a reader, so look for details that do more than just provide window dressing. Look for things that have meaning to your point of view character, and let that meaning add a new layer of understanding to the world they live in. Make it clear that this world couldn’t be anywhere else but where you’ve set it—whether that’s Atlanta or The Kingdom of Asaguili.

Introducing…the World

Setting is a vital part of any story, and one of the hardest to deal with because it’s all description. As a fantasy author, I have to establish an unfamiliar world and the rules that govern that world right at the start. To avoid bogging down the story, I background the world building details into the actions and thoughts of my narrator. I don’t need to tell readers about the economic climate if I show my protagonist stealing food so she can eat. Making her wary of soldiers posted along the street shows an occupied city without me ever having to say a word of explanation.
Backgrounding works just as well in the real world, if not better, because readers already have an idea of what the world is like. (They do live there after all). If your protagonist lives in a crime-ridden area, you might show her locking multiple locks on the door, or have her hear gunshots or sirens. She might not carry a purse that can be easily grabbed on the street. Seize the opportunities to flesh out your world in ways that not only show setting, but add tension, deepen characterization, and even further plot advancement. Just because readers know the world is no reason to skimp on making it feel real. And those tiny “real” details can add so much to your story.

What’s That You Say?

Dialog is as distinctive as geography in defining a world. Slang terms, swear words, clichés, metaphors—every culture and region has their own set. If your story takes place in the south, let the dialog reflect the slower pace and country charm of the region. And I’m not talking about writing dialect (dropping the g off words, spelling things all funky) but using the rhythm and flow, the slang and phrasing of those who live in that area. A New Yorker is going to ask for a cup of coffee differently than a Southern Belle, or even a Midwesterner. Find the language characteristics common to a region or culture and use them to bring that region to life.

You Look Marvelous

Visit both Florida and Chicago in the winter and you’ll notice how different regions dress. You can use this to show climate and even morality with what people wear and how others react to the way people dress. What’s acceptable in Manhattan is very different from what flies in Salt Lake City, and neither might be appropriate in Louisiana. Instead of having your protagonist wear just a green blouse and jeans, see if there’s anything specific to a region that would show another side or trait of the character.

Well, See, There’s a Problem

Even the obstacles you throw at your characters offer chances at world building. A fight with the boss is something that could happen anywhere, so what might be distinctive to your world that would make that fight really memorable? Are there jobs unique to your book’s setting? Are there concerns that only people who live in a particular place have? Perhaps the environment plays a role. Cultures or politics often shape a region, so how might these beliefs hinder your protagonist? When even going about your daily routine can be a challenge, you have extra tools to use to keep your story exciting.

The World is in the Details

Just as fantasy authors choose details that flesh out and create a world readers have never seen before, non-genre authors can take advantage of the same opportunities. By looking at your world as someone seeing it for the first time, you can discover details that will help make that world a richer place. It’s really no different than choosing the right verb for the right time. Every line of your story will feel layered and deep, and even a world readers know will come alive.

World Building: Guest Post by Janice Hardy

Kaitlin posted a great blog about how to handle criticism that, without a doubt, you will eventually receive at some point in your writing career. But what does one do, when the criticism is truly ugly, made public, and after your book is published?

Why, you send it in to The Worst Review Ever Blog and allow your broken heart to mend, by sharing the horrific review with others, and allowing them to offer words of encouragement, sympathy, possibly even differing opinions, all while rating just how bad your review was.

This is why they tell newbie writers that you must grow a thick skin for this business. You'll be given editing suggestions from betas, from agents, and eventually from publishers. But even when you couldn't be happier with the turnout, there will be someone, somewhere who still doesn't fall in love with your story. So while listening to advice from trusted individuals in the field is wise, some things are worth shrugging and laughing over. You won't make every person happy. Just make sure you're completely satisfied with the end product.

Why You Must Grow Thick Skin

Yet another author is clamoring out of the shadows intent on reaping some of Stephenie Meyer's substantial profits, this time by twirling plagiarism noisemakers.

Plagiarism is -- and should be -- taken seriously in the publishing industry. Remember the Opal Mehta fiasco in 2006? Harvard student Kaavya Viswanathan was labeled a phenom when her young adult debut, How Opal Mehta Got Kissed, Got Wild, and Got a Life sold in a mid-six-figure deal to Little, Brown. Not long after the book's sale, the Harvard Crimson divulged the book's striking similarities with Megan McCafferty's novels Sloppy Firsts and Second Helpings. Readers found further resemblances to Meg Cabot's The Princess Diaries, Tanuja Desai Hidier's Born Confused, and Sophie Kinsella's Can You Keep a Secret?

The book deal was yanked, with all copies of Opal Mehta recalled. As for the young author, she claimed she must have "internalized" McCafferty's words, and called it a "completely unintentional mistake". Which is something, as authors, we're all a little terrified of doing. However, upon scanning the passages at Wikipedia, her internalization claims are pretty hard to believe.

I found the whole thing fascinating. And upsetting, of course. But fascinating.

Now, a woman named Jordan Scott has sent a cease and desist letter to Stephenie Meyer, asserting claiming the fourth Twilight book, Breaking Dawn, contains a "striking and substantial similarity" to Scott's book, The Nocturne. Apparently, The Nocturne was published in 2006, two years before Breaking Dawn. Portions had been available on the internet before then -- right in grasp of S. Meyer's searching hands!

Anyway, TMZ has posted the cease and desist letter (crammed with spoilers, just so you know) ... and it's actually pretty humorous, especially when you compare the case to the Opal Maheta fiasco. They both describe flowers at a wedding -- OMGZ PLAGIARISM! etc.

An example: the letter compares J.Scott's line, "'Until my last breath,' I said. 'Forever.'" to S.Meyer's "'Forever,' he agreed, then pulled us into deeper water."

So similar! Now that this author has pointed it out, I'm seeing plagiarism everywhere.

Not Plagiarism