YA Highway

Nick Hornby’s SLAM reminded me a bit of a Lifetime movie. If that Lifetime movie featured liberal amounts of Tony Hawk, magical realism, and skateboarding references. And if that Lifetime movie allowed its tragic teenagers to often be stupid and un-heroic.

SLAM is the story of Sam, a 16-year-old skateboarder from London whose life changes instantly when his girlfriend Alicia gets pregnant. Sam’s narrative takes the reader all the way through Alicia’s pregnancy and even a few years into adulthood, thanks to Sam’s magical Tony Hawk poster which keeps “whizzing” him into the future to see what it’s like to raise a child as a teen.

YA literature has seen a lot of recent “issue books” dealing with teen pregnancy, but this is the first I’ve read that is told from the father’s perspective. And, although I’m not a teenage boy with a baby, Sam’s narration seemed like a pitch-perfect rendition of how a teenage boy with a baby might tell his story.

While the novel, as I said, reads a little like a Lifetime movie, there is one feature about Hornby’s writing that really stands out: the characters. All of them are incredibly well-realized – flawed, but still brimming with qualities that make you want to root for them. Our Hero, Sam, originally decides that the best way to deal with his girlfriend’s pregnancy is to run away from it (he takes the bus to the coast for about twenty-hour); but he also stays up all night with Alicia listening to his son breathe. Sam and Alicia’s parents are occasionally condescending, hypocritical, controlling; but they are also loving, supportive, and determined to help their kids through this situation.

And the best part about Hornby’s novel? It’s not preachy. Sam tells his story bluntly, without sugar-coating any of the consequences of his actions; but the “morals” of the book are subtle, shared with a wry sense of humor.

The magical realism comes into play during the few chapters when Sam gets a glimpse of his life in the future. Sam blames this time-warp on his buddy Tony Hawk, who talks to him through the poster on his wall; but the reader recognizes this as a kind of closure. When Sam is “whizzed” into the future for the last time, we see him and Alicia still struggling with the consequences of their decision, but they’ve also made a life for themselves in spite of it. They are still teen parents, but they’re teen parents who have taken their difficult situation and turned it into a good life. And even though the book is Sam’s story, this last chapter is almost a gift for the reader; it’s a way of showing us that all, according to Sam, “There was a lot of work to do, and arguments to have, and kids to take care of, and money to find from somewhere, and sleep to lose. I could do it, though. I could see that.”

This review is part of the First Book Blogger Book Club; you can read other bloggers' reactions to the book here, at the First Book website.

Book Review: SLAM by Nick Hornby

This is a Braille tattoo.

Field Trip Friday: February 25, 2011

A couple months ago, there was a thread on Race in YA on the Absolute Write message boards that ended up quite heated, with a whole lot of misconceptions from a whole lot of writers. As I read it with interest, I was particularly impressed by the contributions of aspiring YA writer Nicola K. Richardson, so I asked her to guest post for YA Highway. The result is this: an awesome, honest post that should make everyone think. As usual, though, be respectful in the comments, because we have absolutely no problem deleting offensive remarks.

Hello, y'all! My name is Nicola K. Richardson and I am an aspiring writer. I'm also African-American and would like to talk about the dreaded topic of race in YA fiction. Be warned. I am very blunt. But being super sensitive and afraid to speak gets us nowhere. A frank and respectful discussion will help everyone.

1) The "Not Quite Black" Trope.

This happens quite a lot in movies and television. A Biracial character will be used as a stand-in for a Black character. This is done because some assume that white readers will be more comfortable with a character who shares half their racial identity and therefore is less Black.

Now I want to stress that there is absolutely nothing wrong with Biracial characters or people. But this tactic doesn't work with readers of color at all. It also happens to other minorities, too. A perfect example is Taylor Lautner. He is NOT Native American, but because he had some in his ancestry, he was cast in Twilight. What exactly was wrong with giving a Native American actor a chance since Jacob is Native American in the books? The trope is what's wrong. Readers of color want to see characters that look like them in books. It also does a disservice to White readers. I am quite sure that many of them won't run shrieking in horror because they see a character of color.

2) White Writers, People Will Go IN on You.

White writers who write characters of color will NEVER satisfy everybody. It is impossible. So don't even worry about that. But if you choose to write characters of color, you MUST do the research.

Black people are as varied as anybody else. There is no excuse these days to write any type of stereotypical mess. NONE. Disney put in work to get it right with The Princess and the Frog and, personally, I believe they did a damned good job. Because of the effort and respect shown, Black parents flooded Disney with money for anything related to the movie. I damned sure spent an enormous amount of money for my daughter. I will NEVER forget the happiness and pride on the little girls' faces at the movie theater. As consumers, African Americans have MUCH grip to spend. Why IGNORE us and other groups when it comes to books? A writer willing to write positively and respectfully will gain a whole new fan base. I most definitely admire a writer who takes the time to do that.

But: when you want to write a character of color, know that you will catch hell. Yes, you will be accused of cultural appropriation. Yes, you will be told that you can't tell our respective histories and cultures. You will be told that it is far easier for you to write characters of color than a writer of color. You can't please everyone. That is impossible and you shouldn't try. But if a character comes to you as Black or any other minority, then write them

But I must stress the two R's: Research and Respect. There is no excuse for a black character speaking slang. There is no excuse for an Asian character who is a lonely geek and no girl will give the time of day to him. There is no excuse for a poor Native American on the reservation or any other racial stereotype. Take the time to speak to people from the cultures you want your character to have. I've said it many times on Absolute Write that I don't mind answering questions. Respect the culture and people that you want to write about. Believe me, the effort will be obvious and appreciated.

3) Kids Of Color Don't Read.

The reason why there aren't that many YA books by writers of color is because of a persistent and utterly false belief that kids of color don't read. They most certainly do and -- to be quite blunt -- the publishing industry is ignoring a market with a HUGE income, one that sets trends. From the Aeropostale they wear (this may be out of date now. My fashion-plate son suggested this brand) to Wiz Khalifa they listen to, Black kids make moves in fashion and music.

Yes, publishing gives a voice to writers and allows the public to hear them. But let's be 100 here. They are about making money. A business that is about getting grip is making a foolish mistake by not catering to an audience BEGGING for representation. An audience that just loves to spend Mommy and Daddy's money. (I can attest to this because my son has his hand out quite frequently!)

My cousins and their friends know zilch about Twilight. They could care less about the books or movies. The issue is positive representation and seeing an image of themselves. That's what they look for and if they don't see it, they don't buy. Black kids are tired of being written as living in the hood. It might be presumptuous of me to speak about other groups. But I believe that Hispanic kids are tired of being portrayed as illegal immigrants or gang bangers. Asian kids don't want to see another Asian guy as a lonely super geek or a girl whose the smart best friend and nothing else. Native American kids don't want to see their culture used while they are completely absent from the story or written stereotypically. They want to see characters like them in paranormal romance. They want to see themselves in Contemporary YA and fantasy. Most of all, they want respect.

Kids of color do read. They LOVE to read. But talking with my cousins and their friends, they tell me that they are sick and tired of books that present a world where they are non-existent. Or presented as a stereotype or trope. It may surprise you, but MANY people continue to believe this harmful and racist idea [that kids of color don't read].I have seen it posted on many forums and it is utterly wrong.

4) White Readers Are Scared Of Colored Folk.

Untrue. Not all white readers are racists who won't touch a book with a black cover or by a black author. Especially with YA! This generation is WAAAAY more integrated than Gen X ever was. My son's friends look like a Benetton ad. Do they think Lil Wayne went platinum in one week because of black buyers alone? Or that Beyonce is the HUGE success that she is because of black fans alone? That Will Smith can do HUGE openings because of Black fans alone?

But that gets into the issue that African-Americans can sing and dance but when it comes to literature aka "smart" stuff,we are made of fail. Apparently, the Harlem Renaissance, James Baldwin, Toni Morrison and too many others to list here means nothing. I would have thought that the runaway success of Terri McMillan and E. Lynn Harris proved this tired myth wrong. But that is adult fiction and young kids of color reading YA is a different story.

Kids of color give white writers a chance all the time. But white kids won't do the same for a writer of color? The same kids that buy a CD cover with a black artist with no problems would hesitate over a book cover? The same kids that go to school with and have friends of all races would refuse to be diverse when it comes to reading? I firmly believe that this is just as wrong as the assumption that blacks only read urban fiction. Again, MANY believe this and it shows in the heinous whitewashing of book covers. It shows when bookstores won't carry books with characters of color on the cover. It shows when salespeople swear they can't sell these books. The problem with this is that it assumes an entire group will respond the way that a few do.

Yes, there are racists in the world. But there are just as many who won't care about a character or author's color. But if a book isn't given a chance to reach them,how can anyone know this? The music industry is doing quite fine with their CD's that have Black faces on them. Publishing has a lot of catching up to do.

5) I Don't See Color At All!

Yes, you do. There is no such thing as color blind. If you see me, of course you notice that I am a marvelous shade of caramel! I see you and think she is a lovely porcelain! That is completely normal and in no way makes you a racist. It's what you do and think about the difference in skin color that tells the tale.

6) Writers Of Color, I See What You Did There! (White Writers, Don't Be Scared!)

For writers of color, writing whites as EVIL must end. This is equally harmful and wrong. Yes, white characters can be bad. But not every last one you write! Not every white character has to be a racist devil from hell. This is especially true for writing Southern whites. I am a native Southerner and went to school with quite a few. We had a good old time together! I could have done without the country music but they accepted my rap, so rock on, Garth Brooks! No, you cannot write about other minorities in a foolish and disrespectful manner, either. Asians are not a monolithic culture and Latinos are not all from Mexico. Not all Blacks can dance and like rap. We are just as guilty of racial tropes and stereotyping. It is equally wrong for us to do this. We can't be down on white writers for doing it and not look to our own house.

White writers, there is such a thing as being too PC. You try to be diverse and are so scared of offending someone that you wind up writing a character who puts me to sleep. You can write a black character as EVIL! You can make the black girl bitchy if you like. We won't lynch you, okay? Not everyone who is black is hair trigger sensitive, you know.

7) YA Is Diverse! Nicki, You Are Overreacting.

Show me YA books in the paranormal genre that have a character of color as the MC. Show me YA books that have black vampires, Latino werewolves, Asian witches, and South Asian angels. As the MC, not a sidekick or Magical Negro, Stoic Indian, Smart Asian, etc. Go ahead, I'll wait.

There aren't many, are there? That's the problem. Demand is exceeding supply. There are so many kids of color dying to see a sweeping love story with MCs like them or on a magical adventure to save the world. They want to be a part of the literary world so badly. It is up to us as writers to give them that opportunity. It is up to the publishing industry to do the same. I don't sing "Hakuna Matata" when it comes to this issue. It is a very real problem and it cannot be avoided. Nor do I understand those who refuse to admit that there is a problem. If all I've said is unconvincing,then I don't know what else to say.

YA fiction has made so many strides in the past years. It is literally booming with books by many talented authors. But it remains a very white world. With so many readers out there who aren't white and want to see themselves represented, it is time for a change. It is time that writers and the industry take a long and hard look at the situation.

Tropes, myths and racism aside, what can be done to make things happen?

1. Editors have to stand their ground for these books. I would bet money that #3 and #4 above are major hurdles to overcome.

2. Agents have to want to represent and actively seek them. I am beyond pleased to see so many agents seeking multicultural fiction. If they are willing to represent these books, that tells me that they will also fight for them.

3. Once acquired, marketing has to come correct. No more whitewashing or assuming that white readers won't give the book a chance. Go balls out and give the book proper marketing. African American writers, we have to come out of the AA section. Yes, it serves a purpose and I have friends who won't even shop in any other section of the store. The problem is that the audience you are trying to reach sometimes gets a very distinctive "Keep Out" vibe from this area. But a book has to reach a broader section to entertain and reach others. Bookstores have to be willing to put a YA paranormal by a Black writer in the AA as well as YA sections so those folks that would give it a chance can see it.

4. Support books by writers of color. Buy them. Tell your friends. Review them on your blogs. Many are already doing this and it is beyond good to see it happening. I cannot thank the people who raised hell about the covers issue enough. They showed that change can be made and racism won't be tolerated. Bravo to them!

5. It is a hard fact that writers of color have to go hard for their books. For me, this means having a marketing plan and showing that the audience for my books exists. All writers have to work hard for their books. But with these prevalent myths that just won't die away concerning my community and their reading habits, I am going to have to come to the table prepared. It is not enough to have an agent willing to represent the book or have a tough editor who wants the book. We have to do all we can to give our books a chance to succeed and not just think the work is over because we are being published.

I would LOVE to see more paranormal romance with multicultural characters. I want to see one reach Twilight and Harry Potter levels of success and disprove these godawful myths. I can guarantee that the success of such a book, providing that it is marketed and supported correctly, will shock many.

As one last piece of advice for writers, remember this:

When writing characters of a different race than your own, readers can tell the real from the racist, okay? We know. Some may say that you cannot feel racism. When you've spent a lifetime dealing with it, you can most certainly detect it. Your personal beliefs and thoughts almost always bleed into your writing and if you have any misconceptions or stereotypes about any race, don't write about them, because it will seen. Instead,t hink about why you feel or think that way. Work through it. Take a hard look at yourself and ask some very tough questions. If you can't do this, leave diversity alone.

For me, writing about other races and culture is always about the two R's: Respect and Research. That applies for me as a black woman writing about a Russian character just as much as it does for a white person writing about an Asian character. No, you can't just assemble a character of color and toss them in a book. They aren't white and their cultural experiences are vastly different.

That's where my favorite word, research, becomes so important. You can realize that skin color is just a physical difference and that despite cultural differences, we all have the same disappointments and joys in life. I am quite sure that a mother reading this can identify with my struggle with potty training my youngest son and how a two-year-old can reduce you to tears! Once you apply that outlook to your writing, it isn't such a daunting task to be diverse.

Talking on AW about race in fiction has been both revealing and interesting. There are so many wonderful folk who want to make change and they have restored my faith. I hope my words penetrate and hopefully open minds.

Sincerely,

Nicola K. Richardson

Writing Race in YA: Guest Post by Nicola K. Richardson

Road Trip Wednesday #68: Whaddya Know . . .

Two weeks ago, our first Highway Cafe writer meetup was a HUGE success! More than thirty YA writers gathered in a chat room for talk, support, laughter, and a group write, which was way productive. There's just something about the knowledge friends are writing alongside you that serves as extra inspiration -- which is exactly what we hoped for the Highway Cafe.

So, it's high time for round two! We'll be gathering in a Savor Chat room tomorrow, Tuesday the 22nd, at 6pm PST/9pm EST. (Our third meeting will be earlier, so our international friends can participate more easily) We'll tweet the link and password to the chat room before the chat.

Everyone is welcome to come hang out. We hope to see you there!

TOMORROW: The Highway Cafe Meets Again!

So, during the course of this roller-coaster ride that we call Rough Drafting, I’ve learned quite a bit about the writing process, but even more about myself. Specifically? I tend to be a lazy writer. I wait until I’m “in the mood” before opening my manuscript; I must have the proper amount of coffee and chocolate circulating my system before I can write; etc. etc…

But there’s one excuse on which I fall back almost constantly: I wait for my characters to “speak to me.”

I never used to think of this as an excuse; I thought this was just the way a writer’s brain worked. “I can’t nail this character’s voice,” we sigh. “She’s just not talking to me. I suppose I’ll have to put this manuscript on hold until she decides she’s ready to tell her story…”

No. This isn’t the way a writer’s brain works. This is a subconscious writer’s block. Because, dear readers – and some of you might be somewhat shocked by this – those characters are fictional. They’re not real. That means that when you can’t nail the MC’s voice, it’s your voice that’s not coming through – and you’re the one who will have to fix it.

Don’t get me wrong; I think there’s something to be said for taking a break when you’re blocked. Sometimes words just won’t come; sometimes a character's voice is elusive and slippery. That’s okay. But to blame your blockage on a person who doesn’t exist…um. Yeah. That’s not going to work.

When you don’t understand your character’s motivations or voice or personality, it’s up to you to find one. It’s not a matter of asking the character; it’s a matter of asking yourself, “What kind of character do I want to write? How will they talk/think/dream/laugh/walk? And how will this affect the plot and themes of this story?”

I don’t think writer’s block is a myth…but sometimes, we find pretty creative ways of blocking ourselves, out of laziness or fear or the infamous I-don’t-have-enough-time syndrome.

We need to stop.

We need to quit asking our characters, “What are you doing? What do you want out of this plot?” and start asking ourselves, “What do I want out of this manuscript?”


~ Kristin Otts

Owning Your Story

• General: If you have a membership, Publishers Lunch has excellent coverage. 

• Readers: WSJ has a list of closing stores as well as a hopeful piece declaring "Reading Isn't Dead."

• Writers: Pimp My Novel presents several effects in handy bullet-o-vision, and John Scalzi explains worrying that you'll get screwed is the wrong tense.

• Number people: Bloomberg has an overview of the store's new loans. 

• Book sellers: How an Ohio independent is surviving the slow down, and how booksellers in the Northeast are converting abandoned chain stores into successful indies.

If you are a writer, or if you want to be, you need to make it important.  You need to make a ruthless and wild-eyed commitment. Say: my writing is as important as my job, as important as my classes, as important as my (gasp!) kids.

Here’s the real secret about this: you will have less guilt if you separate writing like this. It will get rid of that niggling sense that you shouldn’t be watching a sitcom because you Should Be Writing. When you’re in your writing space, write. When you’re not, don’t. Let the guilt go.

Court yourself closer to the writing in the way a church courts us to come closer to God. Ritualize your space and refuse to feel silly about it.

Their theory is that if we severely weaken copyright protections, innovation will truly flourish. It’s a seductive thought, but it ignores centuries of scientific and technological progress based on the principle that a creative person should have some assurance of being rewarded for his innovative work.

Click through for credit

The useless days will add up to something. The shitty waitressing jobs. The hours writing in your journal. The long meandering walks. The hours reading poetry and story collections and novels and dead people’s diaries and wondering about sex and God and whether you should shave under your arms or not. These things are your becoming.

Field Trip Friday: February 18, 2011

Originally these were all going to be in one big post, but I had way too much to say about Australian and New Zealand YA for it to all fit in one post. (Part one is over here!)

Raw Blue – Kirsty Eagar (Australia)

Raw Blue is contemporary YA, and it’s both beautiful and unabashedly Australian. Carly would do anything to forget a traumatic event that happened two years ago. She’s dropped out of university to spend her days doing the one thing she loves enough that it takes the pain away – surfing. Then she meets Ryan, a fellow surfer, and finds herself gradually opening up to him. But it’s been a while, and Carly isn’t sure whether she can ever let Ryan, or anyone, into her life again. I’m no surfer, but the way Eagar writes about surfing is so vivid you can practically taste the ocean. Carly’s journey is raw, believable and moving as she finds a way to finally move on from the events which hurt her so badly.







Sugar Sugar – Carole Wilkinson (Australia)

It’s 1972, and 17 year old Jackie has already left Australia behind to pursue her dreams of being a world class fashion designer in London. Not that she’s gotten very far yet. One weekend, she packs her portfolio and heads for Paris to convince her favourite designer to mentor her. At least, that’s the plan. What she doesn’t count on is ending up on an adventure which takes her all the way across Europe and into the Middle East. There’s romance! And self discovery! And fascinating foreign settings! If you want to explore Europe but can’t afford a plane ticket at the moment, this book is easily the next best thing. (Also, if Sugar, Sugar sounds like your sort of book, there happens to be this other really fantastic YA travel story you should look out for. It’s coming out in 2012.)





Feeling Sorry for Celia – Jaclyn Moriarty (Australia)

Feeling Sorry for Celia is a novel written entirely in letters*. Elizabeth’s English teacher insists on her class rekindling “the joy of the envelope” by setting up a pen pal project between Elizabeth’s class and an English class at a nearby high school. Elizabeth is not particularly impressed by this idea, but as the letters fly back and forth between Elizabeth and her pen pal Christina, she slowly changes her mind. Elizabeth and Christina’s letters aren’t the only ones in the book either. There are postcards from Elizabeth’s best friend Celia, who has run away from home (again), and notes from Elizabeth’s wacky mother, who has an addiction to capital letters. There’s also The Association of Teenagers, who keep writing to Elizabeth to point out her many failings as a teenager, and The Society of High School Runners Who Aren’t Very Good at Long Distance Running but Would Be if they Just Trained, and many, many others. Oh, and there’s a guy who leaves notes for Elizabeth as well, a guy who seems to have a bit of a crush on her, even if he won’t tell her his identity. Basically, this book is great fun. If you need something quirky and playful that will make you laugh out loud, you should absolutely try it.



The Dreamhunter Duet – Elizabeth Knox (New Zealand)

Um, yeah. I’m cheating, because this is technically two novels. The Dreamhunter Duet is set during the turn of the century in a fantastical version of New Zealand. A border marks the line between the world everyone knows and another world, known as the Place. In the Place, dreamhunters (those who are able to cross the border), can travel and collect dreams. When they return, they can make their fortunes by playing the dreams back to audiences. Cousins Rose and Laura are fifteen, and about to find out whether they qualify as dreamhunters. But when Laura’s famous dreamhunter father disappears, Rose and Laura start to discover many secrets about the Place and dreamhunting, some of which are very dark indeed. If you know New Zealand well, you’ll notice a whole bunch of references to New Zealand places, and even a few famous New Zealand figures. If you don’t know New Zealand well, Knox’s fantasy world is dreamlike and compelling, and it’ll draw you in anyway.



The Changeover – Margaret Mahy (New Zealand)

You knew there had to be at least one nostalgic book in here, right? I seriously think that The Changeover is the reason I ended up writing YA fiction. I first read The Changeover when I was 11 or 12, and I was both terrified and entranced. Laura’s beloved little brother falls victim to a strange supernatural creature who is trying to suck his life away, and the only way Laura can think of to save him is to ask the town witches for help. But saving Jacko turns out to be a far more complicated task than Laura had anticipated, a task that requires Laura’s own magical transformation. I love the way Mahy writes about magic, her beautifully crafted sentences, and her vivid, memorable characters: practical but complex Laura, the thoroughly sinister Carmody Braque, and Sorry Carlisle, who combines supernatural powers with an enigmatic creepiness that Edward Cullen could only dream of.



I had no idea how hard it would be to come up with a list of just ten. Seriously, the wonderful novels I had to leave out are haunting me! If you have a favourite Australian or New Zealand YA read which isn’t on the list, please share!



*If you want the fancy English major word for this, it’s epistolary! You should totally try and throw it into a conversation some time.

10 Awesome YA novels from Down Under! Part II

Road Trip Wednesday #67: Picking Titles

source

 When hunting for an agent, you're bound to hear that dreaded two letter word a few times. While it's true that not every book can be right for every agent, no matter how well it's written, there are things you can do to increase your chances of getting requests.



Polish that query.

Remember all that time you spent making your manuscript sparkle like a vampire in the sun (well, certain breeds of vampires)? A query gives you around 500 words--usually less--to introduce your main character and the major the obstacle they encounter. All with dazzling amounts of voice and excitement. Don't take it lightly. You put countless hours into your book. Don't rush to query with something less than stellar.

Check in at Absolute Write's Query Hell. Read the stickies at the top about query writing and read through some posts that have already been critiqued. Many mistakes critiquers point out are common ones you can fix on your own. Once you're ready to ask for a critique yourself make sure you stick around and offer your help as well!

Research Agents

But really research them. Just because an agent is open to submissions, it doesn't mean they're the right match for you. Most post the specific genres they're looking for and some even include wish lists that detail what they're really hoping to find. Look up the agent's past sales as well. If they recently sold something that's very similar to your own book, they're more likely to pass simply because it could create a conflict of interest promoting two similar stories. Of course this doesn't mean you should rule the agent out entirely. It's only something to keep in mind if they decide to pass.

Follow Submission Guidelines

Agency websites give specific instructions for querying and failing to follow them will insure an automatic delete. Some ask for the query and sample pages pasted into an email, while others accept attachments. Also be sure to see if you query the agency or the agent directly. If you're querying a specific agent, you'll want to address the query (in a businesslike manner!) to them.

Speaking of Sample Pages . . .

If your query sparks some interest, the sample pages are where you need to bowl them over. These need to be free of grammatical errors, intriguing, and well-written. Take the extra time to make sure the sample pages are the absolute best you can make them.

Stay Organized

Agents are busy people and they're human just like the rest of us. Queries will be eaten in inbox folders from time to time. The best way to make sure you don't miss an opportunity at a great agent is to keep yourself organized. Try using a spreadsheet listing agents you queried and the date you sent them off. If the agent responds to all queries and it's past the time window they give, wait a few more days then send a follow up. However, if no response means no, don't badger the agent with more emails.

Bonus tip (because five just sounded more well-rounded than six haha)

When you're sure your book is ready to be sent out, it's nearly impossible to fight the urge to hit send, send, send. But try not to query more than a few agents at a time. Send out four or five queries and see the results. Were they all automatic R's? Maybe it's time to revisit the query and see if you can polish it more. If you got some partial requests that turned into R's look over the sample pages or consider any thoughts or notes an agent might have passed on.


It's a hard truth, but the road to publication is filled with rejection at every step of the way. Remember, you only need one yes to get your shot. Don't let querying be something scary. Put in the time and give yourself the best chance you can.

5 Reasons You Might Be Hearing No

Le R in Forks, WA

Poor Jackson Pollock! Famous for all eternity as a clichéd metaphor for crime scenes and messy rooms! What a terrible fate!

Anyway. People thought I was a dude for a long time, which helped. But it honestly wasn't that difficult to stay anonymous. I think it is very easy, if you spend a lot of time reading publishing blogs, to assume that everyone in publishing is thinking about the internet all the time; but plenty of agents and editors have only a minimal interest in bloggers. I mean, it's not like I was ever at a party where everyone was peering around, whispering, "WHICH ONE IS SHE, DO YOU THINK." Although that would certainly have been very gratifying.

Utilikilts. Rejectionist approved.

It is so easy in New York to become fixated on lack; everything is so expensive, everyone around you has so much money, the split between people who have money and people who don't have money is so staggering.

I moved here in 2008, two weeks before the entire economy collapsed, and didn't find a job for two months--which might not sound that long, but we aren't talking "I lived off my considerable savings and was sad." More like, "I had a hundred dollars to my name." I was applying to twenty, thirty, forty jobs a week, and no one would call me and if they did call me they wouldn't hire me, and I was interning for four literary agents at the same time, just trying to find someone who would pay me, and those were two of the most terrifying and awful months of my life.

So when I did finally find a job, I clung to it, even though I knew going in that publishing wasn't where I wanted to end up. I kept telling myself I would quit at the end of the month. Before I knew it two years had gone by, and I was totally miserable, and furious with myself, because I always swore that I would never be that person, the person who stays in a job out of safety; and I wasn't even making enough money for it to be worth the sacrifice. I felt like I had accidentally gotten stuck in this crappy version of adulthood where I had all of the burdens and none of the benefits. I mean, if you're going to hock your dreams, at least get health insurance out of the deal.

And then over the holiday--I am going to get so West Coast on you right now--my partner's mom, who is an amazing astrologer, read my chart, and she told me that big things were about to happen for me but only if I trusted myself enough to let go of my fear of scarcity. And that was it, that was my Big Moment. So, basically, I quit my job because space rocks told me to.


Oh, since the womb, pretty much. I wrote a series of fantasy novels in elementary school, which are thankfully lost to the sands of time. A lot of opinion pieces: I was very passionate about the oppressive ills of cursive as a small child. Essays on how some of my classmates were hypocritical toadies, that sort of thing.

I read almost entirely fantasy and science fiction as a kid, and a lot of Shakespeare. Oh, and the bible, because it was the only book I was allowed to read in church; I became quite an expert on some of the more dubious passages of the Old Testament, which got me kicked out of Sunday school. There is a lot of very startling material in the Old Testament.


Good ones, hopefully!


1. Glenn Beck on a horse or Sarah Palin on a moose? (To ride with, I mean.) Suicide.

2. Favorite paranormal creature: Falkor.

3. Book you are most likely to use as a paperweight: I AM using the Three Musketeers as a paperweight at this very moment, but that's not a commentary on its quality.

4. Coffee or tea? Just kidding. Coffee orally or by IV bag? Macchiato.

5. Your three last words to Cretinous, if they could be anything....GO: Yippie ki-yay, motherfucker!*


*.....aaaaand she wins at life for that one.

Interview: The Rejectionist