Editor Interview: Brian Farrey-Latz

Last month, I interviewed my agent for some insights on her career and publishing. In part two this month, I'm interviewing my editor, Brian Farrey-Latz, acquiring editor for Flux (the Young Adult imprint of Llewelyn Publishing):

How would you like me to introduce you?

I would like you to introduce me as El Elegante de la Supremo, but what you’ve got above will do nicely.

What types of stories do you see trending now and in the future in the young adult genre?

What I like about what I’m seeing now is there are more stories with emotional stakes that aren’t necessarily about falling in love or the perils of not having a boy/girlfriend. I often tell people that I want an issue book that’s NOT about the issue but the characters and how they deal with the fallout. Writers are taking more chances and breaking out of the same ole/same ole patterns. I would like to see that continue.

What would you love to see in your in box?

Something surprising. Something I haven’t seen before. Something that keeps me guessing. With beautiful, beautiful words that cut me and remind me why I do what I do.

When you receive a manuscript submission, is there something that draws you in instantly?

A strong, unique voice. It’s the one thing almost always guaranteed to save an idea I’ve seen a hundred times before (girl meets boy, the “chosen one,” etc.). I’m a word and language junky and I’m drawn to lyrical voices that don’t descend into purple prose.

What turns you off in a submission?

--Too much info dump early in the book. (I like backstory and plot points to unfold organically over the course of a manuscript. The first ten pages aren’t a race to get to the exciting stuff. Intrigue me, yes. Plant seeds for future revelations, definitely. But don’t cram it down my throat.)

--Mirror scenes. (Protagonists who feel compelled to gaze into a mirror and describe themselves for the reader’s benefit.) This is more of a personal pet peeve but, man, it makes my skin crawl. It tells me a lot about what a writer values in storytelling.

--Familiar tropes executed with familiar means. (Boring protagonist leads a boring life BUT THEN Hot Person moves to town and inexplicably finds protagonist fascinating… It’s overdone but can work if you break away from how everyone does it. See above about strong, unique voice.)

Who are your favorite YA authors and books?

Flux authors aside, two of my favorites working today are Andrew Smith and A. S. King. I’m also very fond of David Almond. And I’m watching the career of Stephanie Kuehn with lots of interest.

What is a typical day like for you?

There’s no such thing. There are many days where I start by composing a “to do” list and, by day’s end, I haven’t touched anything on the list. (I’ll admit there are times when it takes days to get to the list.) Things come up, plans change. When things go to plan, I spend lots of time reading (submissions and current author manuscripts). I prepare for and attend meetings. And at some point in there, I edit.

Thank you for your time, Brian, aka El Elegante de la Supremo (who by the way is an amazing author as well). 

"...it's impossible to put the book down. Conspiracy, loyalty, secrets, oaths, lies, and riddles flourish, making this the perfect book for readers who love to untangle mysteries by puzzling things out."  -BOOKLIST 

"At the end of the day, it’s Talan and his endearing combination of bravado and vulnerability, coupled with the crackling chemistry he shares with Laney, that will keep readers turning the pages. A satisfying read for secret-society fanatics and romantics alike."   -KIRKUS REVIEWS

Lynn Lindquist (Chicago, IL) lives with two overly social sons who provide fodder for her young adult novels and growing anxiety disorder. Her contemporary thriller Secret of the Sevens is set for release on June 8, 2015 from Flux Publishing.  To learn more, follow Lynn on lynnlindquist.com or on Twitter at @LynnLindquist.

ARCs Trump Plans For Blog Post (Natasha Sinel)

I'd planned to write this month's post about books that have significantly influenced my career. And I'll do that...next month. In the meantime, today I was pleasantly sidetracked when my editor sent a photo of my ARCs (advanced reading copies) that she'd just received. It's an exciting day! Even though my book won't be its final hardcover self for a few more months, seeing it in the form of a book is surreal, amazing, a dream come true. I am speechless. So, here's the photo:

Natasha Sinel writes YA fiction from her home on a dirt road in Northern Westchester, NY. She drives her kids around all afternoon, but in her head, she's still in high school, and hopes that no one near her can read minds. Her debut YA novel THE FIX will be out from Sky Pony Press on September 1, 2015.

Interview with Agent Erzsi Deàk

Literary agent Erzsi Deàk (pronounced AIR-zhee Day-ahk) of the international agency Hen & Ink Literary is kindly answering my questions today and next month in a two-part interview.

Thanks for "stopping by," Erzsi. Let's start macro: What trends are you seeing in middle-grade and YA novels?

In both realms, contemporary--or realistic, is still in high demand. That said, in MG, adventure – high-stakes, fantastic, or realistic – are also in high demand. Mostly, tightly-written stories that touch the heart and tickle the funny bone are what everyone's looking for. I've seen a number of dragon books published for this age group, so if you have a dragon book, you might want to think about a magical aardvark or some other original creature. Editors are looking for literary middle-grade with rich layers (THE FAMILY FLETCHER, THE PENDERWICKS, THREE TIMES LUCKY, A SNICKER OF MAGIC, THE MARK OF THE DRAGONFLY). And there's always room for hysterically funny middle-grade for girls and boys á la Andrew Clements, Louise Rennison, and Louis Sachar, illustrated and not--and hooky chapter books. Whatever the plot and the genre, give us characters we want to hang with and root for, and VOICE to die for!

In YA: Contemporary romance with subplots that challenge the reader to question choices made, etc. are hot (example: THE TENDERNESS OF THIEVES, MY BEST EVERYTHING). “Everyone” is looking for the next Sarah Dessen, Jay Asher,or Jenny Han. There's been a lot of near-future and sci-fi recently and some are terrific and fun (ILLUMINAE is coming) and almost interactive. I have had a request for highly-designed and/or illustrated YA projects and high-fantasy YA. For the record, genre is often less important than the story and characters.

“A terrific character (flawed is good) + emotional complexity + original and emotionally-compelling plot lines + a romantic element no matter the genre = pretty good chance you’ve got a great story!”

 And finally, evocative and novel world-building (a magical story outside of medieval Europe interests at least one editor).

I’ve also heard about requests for badass video-game-nerd-girl/boy protagonists, again, with great heart, humor, and world building. Got one of those handy? :)

Uh, no, sadly I don’t. Okay, more micro: What genres do you personally love to represent?

From picture books through New Adult, I love funny and heartfelt stories with characters and voice I can’t forget. I’m not your go-to high-fantasy agent, but I do like magic and near-future stories, as well as contemporary. While I majored in history, I’m not a huge historical fiction fan. BUT, if the voice is amazing, I’m listening…

What does VOICE mean to you?

It's the flavor of the characters, the writing. It's ownership of the work, whether the words or the pictures. It's making a connection. It's what we hunger for. 

What should, (ahem), a newly-published author be thinking regarding his/her long-range career?

I think the saying, you are only as good as your next one is something to keep in mind. The main thing is to keep writing and let the agent (and if you have a manager) and publisher figure out how to position you. This will become clearer with books 2 and 3 and probably 9 and 10. That said, today, a writer needs to be out there promoting and hitting all the relevant media. The first 8 weeks after publication are the most important, so figure on being out in the world pushing your book through traditional and non-traditional means.

What advice would you give writers searching for an agent?

Do your homework – see who they represent, what they sell, what they want to see. And what they don’t want to see.

Are you an editorial agent?

Yes. To a degree. I need to see work as finished as possible, not just with potential. I'm sorry to say that I just don't have the time anymore to completely reinvent the wheel with a creator, but I'm very hands-on. I also try to be kind, but don't mince words. You don't necessarily need the skin of an armadillo, but you do need to be able to step back from your work and see if anything I say resonates with you. If it doesn't resonate, I won't "cut you out of the will" if you can convince me otherwise about whatever I'm debating with your work. 

Do you work with editorial consultants/coaches?

I don't personally, but I do steer my clients that might benefit from working with an outside editor to consultants and coaches, and know some excellent ones. 

Thank you, Erzsi!

Next time (June 24) we’ll cover the nitty gritty: submission policy, cover letters, the ideal client, turn around time, submissions to editors, recent sales, and her fondness for illustrators. 

Six Ways to Fail as a Writer

Whether you’re just starting or have already been published, these common missteps can sabotage your writing career.

1. Don’t read. You already know everything you need about story structure, characterization, and the market. Besides, who has time to read? That’s why people invented movies.

Uh, no. I already wrote a post on the importance of reading. It’s great for everyone, but it’s especially essential for writers. Frankly, I don’t understand why anyone who doesn’t read would want to write anyway.

2. Don’t write. You have lots of great ideas, but finding time to write is hard. When you do set aside some computer time, you waste it online. No worries, though. You’ll write later. Or maybe you can find someone else to do the work for you.

No, no, no. Writers write. Aspiring writers talk about writing. Which do you want to be? If you’re serious about being a writer, you’ll make time. 

3. Ignore the market. Your 500,000-word picture book is special enough to be the exception.

Sorry. Exceptions exist, but they're rare. That's why they're called exceptions. You shouldn't assume you'll be one.

4. Refuse criticism. Your words are golden, and anyone who says otherwise is either jealous or stupid.

Possibly. Probably not. No one’s perfect, and the same can be said of manuscripts. You don’t have to make every change that’s suggested, but you should at least consider the feedback you’re getting, especially if different people keep pointing out the same issues.

5. Take rejection personally. Your writing is your baby—nay, your soul. Anyone who rejects it also rejects you.

Rejection happens, for lots of different reasons. Maybe the agent or editor already had something similar. Maybe the agent or editor liked your work but didn’t love it or didn’t know how to market it. Maybe the agent or editor hated your work. It doesn’t matter. Don’t let rejection crush you.

6. Obsess over reviews. Once you’re finally published, devote every second of your waking life to analyzing bad or mediocre reviews. This is clearly the best—and healthiest—way to spend your time.

Nope. No piece of writing has ever been universally loved. Some people won’t like your work, and that’s okay. Get back to writing.

©Trent Black
 
Laurel Gale lives in the desert with her husband and a band of furry monsters that might actually be ferrets. She enjoys reading novels, playing board games, and learning about everything from history to science to grammar. Her debut middle grade novel, Dead Boy, comes out September 29, 2015, from Random House/Crown Books for Young Readers. 

Let's Talk about Critique Partners with Critique Partners Anna-Marie McLemore and Mackenzi Lee

Once arch rivals, now friends....just kidding. Always friends. Once mutual admirers of the other's work from afar, brought together by an unlikely twist of fate, now two people who don't stop texting each other, Anna-Marie McLemore (author of The Weight of Feathers, a book about mermaids) and Mackenzi Lee (author of This Monstrous Thing, a book about cyborgs) discuss their turbulent, complicated, fraught relationship (just kidding. It's always sunshine and rainbows here) as critique partners, and the ins and outs of forming a good critique partner relationship (in their favorite colors. Sorry that they clash so badly).

Example of critique partner communication.
Aspire to this level of inspiration. 

Mackenzi: Hello, Miss Anna-Marie. It’s lovely to see you here. So first off, tell me how you found your critique partners. Including me. Who is clearly your best CP.

Anna-Marie: How I connected with my CPs is a mix of in-person and online. Mackenzi, you’re a great example of meeting a CP online, because I first got acquainted with your work through The Writer’s Voice Contest, and then we started talking over Twitter. I read your entry and immediately thought, “I want to read that!”

Do all your CPs read your work at the same time, or do you stagger?

M: I always stagger who I send my drafts to, because fresh eyes are important on every version of a book. With every new draft, I want someone to read it who has never read it before so they can give me feedback on that draft, not “it got so much better” sort of feedback based on a previous draft.

What do you look for in a CP? How do you know you want to be critique partners with a person?

AM: Mostly I first connect with CPs because I adore their work. Their stories are brave, unexpected, and intensely memorable. If I admire a writer as much as I do my CPs, I know there’s a good chance they can help me make whatever I’m working on so much better.

Connecting with CPs this way also means there’s a good chance I can be helpful to them. When I critique, I start with what I like about a story—what’s strongest, what’s working, at least for me. It’s not because I’m trying to be nice, it’s just how I work. And if what I’m saying resonates with the author, I try to help them figure out what’s getting in the way of the things that are strongest and most engaging.

M: I want to second this--as a CP it is imperative that you say nice things as well as criticism because it is just as important for a writer to know what is working as what isn’t. I had a friend who used to call this strategy of giving feedback a love sandwich--start with nice things, then do the critique, then end with a nice wrap up thing. I’ve found that as a writer, I’m more responsive to the criticism if it’s squished between good things.

AM: And different POVs are invaluable. Maybe the plot thread that stuck out to me as out of place is the thing everyone else goes wild for. Maybe the scene I loved isn’t serving the story as well as it could. But how do you reconcile contradicting views? How do you work with the feedback you get?

M: I always sit on feedback from CPs for a few days before I decide whether or not I’m going to apply it. Space always changes things, and can help you figure out what path is right for you. This is a good thing to do when you get contradicting views. I also have a rule of three, which is that if three people tell me I need to change a certain thing, even if I am totally in love with that thing, it’s a sign it needs to go or at least be adjusted.

A CP relationship is a mix of being open to hearing what other people have to say about your writing, and going with your gut. If you’re entering into a CP relationship, be sure you’re willing to take feedback, but also recognize that not every piece of feedback you’re going to get is going to be right for your story.

So how do you know if it just isn’t working out with a CP? Or how do you know if it really is working? What are red flags in a CP relationship?

AM: If it’s really working with a critique partner, then even a critique letter that says “all these things really aren’t there yet” should leave you feeling energized and hopeful. Yes, good feedback will probably initially make you feel overwhelmed—Mackenzi, I think it’s great what you said about waiting a few days to absorb—but soon after that it should inspire you, or at least lead you to questions you want to ask your CPs.

If feedback from any one CP repeatedly makes you feel drained it’s probably destructive, and it’s probably not working. If you don’t feel safe giving them your work, or if you don’t feel safe being honest about how you’re reading their work, then something’s wrong. Whether you both want to work through it or whether it’s best to part ways of course depends on the situation.

Mackenzi, have you ever had to end a CP relationship? Or had a CP relationship get off track but that you both were able to repair?

M: When I was first starting out, I took feedback from everyone. Which backfired. I ended up showing my work to a lot of people who just weren’t the right people for me to be showing it to. Something felt intangibly off to the way they reacted to my manuscript. And it was mutual—reading their stuff didn’t get me excited. I didn’t want to help them make it better. I just felt meh. And as a result, we weren’t giving each other good feedback.We were trying to rewrite each other’s novels as we would write them if they were our novels.

Some of these relationships naturally petered into nothing--we just stopped sending each other stuff. Some of them ended with mutual “I don’t think this is working.” One ended with a writer straight up telling me she thought my stuff was no good.

For me, being a critique partner has been a long process of learning who to listen to. Some people are going to understand what you’re trying to do and help you do it better. Those are the people you should be listening to and soliciting feedback from.

AM: You mentioned things tapering off when a relationship isn’t working, and in my experience that’s been a common result in less-than-great CP relationships. Often when it’s not working for one person, it’s not working for the other either.

M: I think it’s important to be honest but kind when a CP relationship isn’t working. I have a friend with whom I was once CPs, but turns out in spite of being friends, we’re not good critique partners. We were honest with each other about how it just wasn't working, returned to friendship with no hard feelings, and still support each other any way we can. Be up front about how you feel. CP relationships can be broken off without damaging actual relationships.

AM: How did you get to the point where you felt empowered to give feedback to other writers?

M: Practice. My MFA gave me a lot of practice, but another thing is reading published books and then talking about why I do and don’t like them. Not “I HATED THIS I WANT TO RAGE EAT IT!” but “I didn’t connect with this character because the third person narrative created too much distance and I felt their actions lacked motivation.” Talk about the things you read!

But really, you never feel qualified. That’s the whole game of writing. You never stop feeling like a big stupid fake while everyone else seems to know exactly what they’re doing.

So probably we should wrap this up and get back to writing the things we’re supposed to be writing. Any closing thoughts on CPs? Writing groups? How awesome I am?

AM: And modest, you mean? ;) But in all seriousness, I’m so grateful for Mackenzi and each of the wonderful writers I get to call my CPs. Finding CPs you really connect with can take time, but it’s totally worth it. However you do it. Online. In-person. Over the phone. It’s not just about exchanging feedback. It’s about having companions in the process of growing as a writer, and navigating the road ahead. Plus, though it’s not strictly necessary, you might end up with some new friends. And finding out I adore someone as much as I adore their work? One of the best moments in writing life.

M: Ditto to all that.

Have more questions about critique partners that we didn't answer? Leave them in comments or ask us on Twitter!

Anna-Marie McLemore writes from her Mexican-American heritage, and her love both for cultures she grew up in and others she’s learned about along the way. Among her favorite things are fall leaves, Irish dancing, and lesser-known fairy tales. Her YA debut is THE WEIGHT OF FEATHERS, a magical realism story of traveling shows, girls who can make anyone believe in mermaids, and tightrope-walkers who wear wings.

Mackenzi Lee is reader, writer, bookseller, unapologetic fangirl, and fast talker. She holds an MFA from Simmons College in writing for children and young adults. Her young adult historical fantasy novel, THIS MONSTROUS THING will be published on September 22 by Katherine Tegen/HarperCollins. She loves Diet Coke, sweater weather, and Star Wars. On a perfect day, she can be found enjoying all three. She currently calls Boston home. Visit her online at her website, blog, or Twitter.

IN A WORLD JUST RIGHT hardcover giveaway!

by Marci Lyn Curtis


Happy Thursday, lovelies!

Today, in conjunction with the fabulous Jess of Reading Nook Reviews, we're hosting a giveaway for a hardcover copy of Jen Brooks's In a World Just Right. 

Yes, you heard me correctly. 

This is your lucky day, people. Because I've read this book and it's seriously off. the. hook.

In case you've been living under a rock and haven't heard about In a World Just Right, here's a little bit about the story:





Imagination takes on new meaning for a uniquely talented teen in this debut novel that is a breathtaking blend of contemporary, fantasy, and romance.

Sometimes Jonathan Aubrey wishes he could just disappear. And as luck—or fate—would have it, he can. Ever since coming out of a coma as a kid, he has been able to create alternate worlds. Worlds where he is a superhero, or a ladies’ man, or simply a better version of himself. That’s the world he’s been escaping to most since sophomore year, a world where he has everything he doesn’t have in real life: friends, a place of honor on the track team, passing grades, and most importantly, Kylie Simms as his girlfriend.

But when Jonathan confuses his worlds senior year and tries to kiss the real Kylie Simms, everything unravels. The real Kylie actually notices Jonathan…and begins obsessing over him. The fantasy version of Kylie struggles to love Jonathan as she was created to do, and the consequences are disastrous. As his worlds collide, Jonathan must confront the truth of his power and figure out where he actually belongs—before he loses both Kylies forever.



How can you enter to win this glorious piece of bookflesh, you ask? 

Well. Just enter below. Giveaway ends tomorrow, so get on your horse!



a Rafflecopter giveaway



GOOD LUCK!

About the author: 

Jen has a habit of being deeply moved by profound ideas, and her writing reflects her interest in exploring human goodness, relationships, and the feeling of being a part of something greater than oneself. She loves the science fiction and fantasy genres because of their dazzling possibilities for portraying characters and ideas. She credits her undergraduate experience at Dartmouth College, her MFA at Seton Hill University, and her fourteen years of English teaching with shaping her writing.  She is grateful to her family, friends, and students for inspiring her to write.

Procrastination Kills, AKA: 5 Odds Things Most People Don't Know About Me

My day to blog for the Fall Fifteeners snuck up on me with a vengeance. I've been so distracted by work that I fumbled pretty much everything else.

I had an idea for a post today that would expand on an entry from my personal blog reflecting on the film WHIPLASH, the topic of which is near and dear to my heart. But since I last-minuted the heck of out this post, I can't write it and get to work on time today. I'm going with something much sillier (but hopefully more entertaining) instead, and saving my initial idea for next month.

Here are five very odd things about me that most people (including close friends) don't know:

1) When I walk places, I prefer my total number of steps to be a multiple of four, with an equal quantity of left and right strides. This makes me walk a little silly sometimes.

2) I can't set the volume on my stereo to an odd number. Ten and twelve are okay. Eleven is not.

3) I have a set of drumsticks in my car so I can play on the dash at red lights. Don't worry -- I don't play when the car is in motion.

4) I enjoying telling my students that there is a chocolate swimming pool in the teachers' lounge at my school.

5) I am constantly resisting the urge to talk to myself. This isn't due to any neurological condition (of which I am aware, at least) so much as that I enjoy my own company.

So that's it for today. I swear I will have something more thoughtful for next month, but in the meantime, enjoy my eccentricities!

Mike Grosso is the author of I AM DRUMS, a debut contemporary middle grade for musicians of all ages. It is currently orphaned due to the closing of Egmont USA but is on its way to finding a new home. The Fall Fifteeners have been nice enough to let him hang out in the meantime.

You can visit Mike's website here or follow him on Twitter @mgrossoauthor.

The Book Formerly Known as Prom Bitch

Oh hey there! Some of you may have read or heard that Prom Bitch has a new title. It's true! Yes, it was fun while it lasted but it's no big surprise. To be honest, I was surprised my editor had wanted to keep the original title once it sold. But sometimes things don't work out the way you or others think they will. Which is actually quite cool with me.

It was pretty awesome to see it on Amazon & Barnes & Noble's sites as the original title though. But really and truly, I'm excited for something new (one that I won't feel so awkward to say when strangers or conservative relatives ask).

So without further ado...the book formerly known as PROM BITCH is now...

LIARS AND LOSERS LIKE US. So there you go. Hope everyone is cool with it and learns to love it the way I have.

The new title should start appearing online sometime next week, but until then, it's on Goodreads with the old school title so you can add it to your to-be-read list. You can also preorder it via Barnes & Noble or your bookstore of choice which should be linked on GoodReads. 

Ami Allen-Vath is a contemporary YA author. She's into books, yoga, warm vacations in the wintertime and ice cream in any season. Ami's debut, LIARS AND LOSERS LIKE US, will be released in March of 2016.