In a world of destruction, the danger of explosive secrets will bring one man to the edge.

Sounds great. Really juicy. Until you think about it and realize you have no idea what the movie’s about. Well, this is the kind of thing you want to avoid in your prose and in your pitches. I see this a lot with novel openings. Writers think that they can juice up the tension by making their first few paragraphs sound like action-trailer nonsense. They often do this in queries, also, where they give me even less of an inkling as to what their book is really about.

We get a lot of talk about danger and secrets and tension and action, but nothing is actually communicated and, since it has all been telling, the reader never feels the emotions that those volatile things are supposed to be stirring.

The antidote to this is specificity. I don’t want to hear about “danger,” I want to see it, and I want to know exactly what it is and what it means for the character. I don’t want to hear about “secrets,” I want to be blown out of the water by them and see their high-stakes ramifications play out on character and relationship. And if you find yourself writing one of those filler paragraphs to open your novel, delete it and start in scene, with specific action, with specific characters.

That pretty much does it for my daily “show, don’t tell” plug. Now, I’m off on my day of intrigue, excitement, and thrills!

(Translation: My day of reading a manuscript, taking a lunch meeting, and checking out my new gym. Sure, this line-up doesn’t exactly sound as flashy as “intrigue, excitement, and thrills,” but it is specific, and now you have a much clearer sense of my day.)

But!

Yes, there’s a “but.” It’s all about balance, actually. Because too much action and not enough information can be alienating to an audience that expects some grounding facts right at the beginning of the book. If we’re thrown into a story with no context or frames of reference, we are likely going to end up confused. And as I like to say, “If you confuse us, you lose us.” Especially at the beginning of the book. Nobody wants to pick up an object that they just paid $16.99 for and be frustrated or feel out of the loop. We want to be tickled, intrigued, our interest piqued. Think about a meaty mystery from a detective’s point of view: they have some clues, but not all most of them. And it’s that tantalizing yet puzzling amount of information that keeps them digging. That’s what you want to give readers right off the bat.

So, to repeat, some of these writers who do plunge the reader right in are taking a risk. They know that unanswered questions and tension and mystery are like catnip for readers (if readers were cats…though they often act like cats, curling up in various nooks, etc.). This is very true. If you start with action, you’ll most likely have tension or mystery working to your advantage, because the reader will want to follow and know more about what’s happening. It’s a natural instinct. But if you give us no grounding information at the beginning–if it’s all action and no context–you run the risk of confusing your reader with not enough information.

The best way to gauge where you fall on this spectrum is to run your opening by people who know nothing about your book (but who are writers or teachers and otherwise qualified to provide valid writing feedback). If they end up feeling like they get what’s going on at the beginning, or get it a little too much, you’ve got just enough or even a surplus of information to get the reader going. Maybe pare down some of the telling and work on increasing tension, action, and conflict to make it even more exciting. If your reader comes at you with lots of questions, on the other hand, or if they seem confused, maybe you should take a few well-placed pauses and slip in some context (without doing too much telling, of course).

Basic formula: Confusion, bad. Mystery, good. The two are not the same.

The other day, someone asked me how I became a literary agent. I started out as a reader at Kimberly Cameron and Associates during the first year of my MFA program. I also interned at Chronicle Books. Then I started reading at the Andrea Brown Literary Agency and the rest…as they say…is history. Now, I can’t offer you an agency slot or guarantee you a job, but interning for an agency or publisher is the #1 thing you can do if you’re curious about publishing, agenting, writing, or the children’s book world. It gives you insight into story and editing, as well as context for what other writers are doing. You’ll also learn about the inner working of publishing by talking to your mentor about what’s involved in giving notes to clients, pitching books, and negotiating deals.

In that vein, I’m looking for some interns now that I’m ramping up at Movable Type. This is an open call for all those interested in agenting, publishing, and writing.

You: College student, college grad, MA/MFA/PhD candidate who loves reading, giving notes, deconstructing story, and who wants to learn more about publishing and the marketplace. Ideally you have some knowledge of what’s on shelves today, but are yearning to learn more. You are a writer or interested in publishing as a career.
Your location: Anywhere! This is a remote position and you’ll work primarily over email. If you happen to be in the NYC area, we can have several in-person meetings.
Internship length: Six months minimum, more if it is a good fit, depending on your schedule.
Time commitment: I’m looking for candidates who can devote 5-10 hours per week to reading, putting together data, and otherwise corresponding with me. Only apply if this seems realistic–if you’re about to get busy and know you’ll have to flake out sooner rather than later, thanks but no thanks. We will set schedules and expectations as we begin to work together.
Responsibilities: Reading and responding to manuscripts, first and foremost. You should be very interested in editorial work and like the idea of putting your thoughts into reader reports (examples will be provided). The bulk of your work will be full manuscripts, but I’ll also expose you to the slush pile. Then, depending on your other areas of interest, you will be helping me with editor correspondence, market analysis, marketing, idea development, etc. Every day is different for me–I am always reading, taking meetings, negotiating a deal, reviewing a contract, etc. You should be flexible and be willing to roll with whatever comes up. I want you to get the maximum benefit from this, so I’ll give you tasks that correspond to your interests.
Pay: The good ol’ publishing starting salary of free. Unfortunately, this is an unpaid position, but I hope to reward you for your hard work with access to behind-the-scenes information that will give you new insights into children’s publishing.
Incentives: I’ll offer you some editor contacts at publishing houses, a letter or phone call of reference whenever you’re applying for a job, several phone calls over the course of our work together to discuss your questions or any pertinent issues that arise (if you are working remotely), and lunch on me if we ever happen to be in the same city.

If I can resist a book, I resist it.

This is the note on which I end almost all of my talks, and the challenge I issue to writers. Sure, the idea of someone resisting your book isn’t a pleasant one, but the trick, especially in this market, is to make resistance impossible. You should never aim any lower than that with your creative work. Am I right? And you do that by learning the marketplace and honing your storytelling craft to razor-sharp edge. How? I’m glad you asked!

It’s in this spirit that I bring you WRITING IRRESISTIBLE KIDLIT: The Ultimate Guide to Crafting Fiction for Young Adult and Middle Grade Readers. It’s my writing book. It is inspired by this blog, by my readers, by my clients, by my colleagues at the Andrea Brown Literary Agency and Movable Type Management, by the agents, editors, designers, and publishers shaping the industry, by the amazing writers who are working in the children’s book space today, by the SCBWI and the other conferences that have given me a platform, and by my own thinking about story over the years. It would not have been possible without the support of the fantastic team of people at F+W Media and Writer’s Digest, who have been my partners in literary crime for a few years now. (Trust me, some of the jokes I get away with during the webinars could easily be considered literary crime…)

For the book, I culled excerpts from thirty-four of my favorite published middle grade and young adult titles, and analyzed them to give my readers the most relevant examples for craft topics like theme, character, plot, imagery, dialogue, and more. There are tons of my original thoughts on all of these issues, as well as input from published authors and fabulous children’s editors. I also include insights into the children’s publishing marketplace from an agent’s point of view–where the market has come from and where it’s going.

Writing this book has been the thrill of a lifetime. I can’t wait for you all to read it and have a comprehensive picture of just what the heck I’ve been trying to say on the blog and at conferences these past few years. On a special note, I did not repeat any blog content for this book. Since I’ve written so much for this blog on the topics that I’m covering in WRITING IRRESISTIBLE KIDLIT, it could’ve been very easy to copy and paste some chapters entirely. But I wanted to challenge myself to create completely new content (and maybe I’m a bit of a masochist…probably a mix of both). Plus, I hate “blog books” that end up being repeats and disappointments, and wanted to absolutely avoid letting my faithful readers down. The only familiar sections you’ll notice are from some talks and webinars that I typically give, but not everyone has heard me speak. To balance that out, I’ll be phasing some of the old speeches out of my repertoire after this book is published.

Other than that, all you need to know is that it comes out in late October, 2012 from Writer’s Digest Books! Don’t worry, I’ll be talking more about it as the pub date approaches and doing some giveaways. Thank you so much for your support and early excitement about this project. I can’t wait to share it with all of you!

This was something that Bethanie Murguia simply had to see for herself, so we got together to take some pictures yesterday. She also signed stock at Books of Wonder on W 18th Street, and at the Scholastic Store itself, so if you are in the area and want a signed copy of ZOE, head on down before they’re gone. We were joined for a delightful series of meetings and for dinner by Cheryl Klein, ZOE’s editor. Scholastic even made stickers that let kids dress and redress Zoe in various outfits! Those have been sent to booksellers, so I hope you see some in the wild.

The first picture is Bethanie and me in front of the window, the second is all three of us proudly showing off a copy of ZOE. What an amazing opportunity! I’m very grateful for the support of the Scholastic team, and so happy that Bethanie was able to see her work displayed with such style. A fun bit of trivia: Zoe’s closet in the window features real clothes from Stella McCartney Kids!

Being in such an enviable position, however, raises its own set of questions: Where can I go from here? What’s the future of publishing and agenting? Where do I fit into the brave new world of books and content and digital? As many of you know, I spent the first six years of my professional life working at a start-up that went on to sell to Google. I grew up in the Silicon Valley. There’s a rebellious and entrepreneurial streak in my blood.

Even though I’d found a wonderful place to work, I caught myself yearning to learn more about some other elements of publishing–namely digital books and packaging–because I believe they will become more and more important in the future. I wanted to amass new skills and explore what another agency is doing–both for my future as an agent and to provide new opportunities for my clients. I wanted my years of experience as a dot.com-er to dovetail with my passion for children’s books. I wanted more of that start-up feeling in my life.

It has been an absolute joy to learn from the very best, but I know that there is no reward without risk. Now it’s time for me to evolve and join a new and like-minded team at Movable Type, a small, nimble, and entrepreneurial agency. So here’s to my new colleagues: Jason Allen Ashlock, Adam Chromy, Jamie Brenner, and Michele Matrichiani. There are so many possibilities out there in today’s publishing world, and I want to learn about them and make them happen for my clients. Plus, I want to grow! I can’t describe to you the thrill of starting a department, enriching my relationships with the children’s publishing business, finding new clients, and truly being responsible for my own enterprise within an agency. This is the kind of leadership role that I’ve been dreaming about and I couldn’t be more excited to get started.

This transition may come as a surprise to some of you. It certainly did to me when I found myself seriously considering walking away from the Andrea Brown Literary Agency. But this is the right choice, and I’m thrilled to also have the full support of my client list! That vote of confidence means the world. These last few weeks have been extremely fraught and bittersweet. There were lots of tears, but they’ve all been tears of gratitude. I am completely indebted to my colleagues, past and present, my friends, my family, my clients, my blog readers, and everyone else who has stood by me and decided to go along for the ride. As I wrote in the acknowledgments for my book: “Y’all know me–and you love me anyway!”

Now. Nitty gritty. The blog and my work for Writer’s Digest will not change. Neither will my availability for conferences and events. I’ll still write posts here every Monday and Wednesday. I’ll still teach webinars (including a children’s market overview this Thursday at 1 p.m. Eastern, click here for more information). I’ll still hang out on Twitter and Facebook. If I still owe you a Writer’s Digest critique or a response to a manuscript or query, you will still get it as soon as possible. I still have all of your submissions and correspondence.

Now, though, you can query me at Movable Type! At Andrea Brown, you had to choose from one of nine wonderful agents. In my new role, I’ll be the only one seeing the children’s queries, focusing on picture books, middle grade, and young adult. We are still tweaking the MTM website, but my new email is up and running. It’s MKole@MovableTM.com! My submission guidelines remain the same as they were at ABLA: I want to see your query letter and the first 10 pages of your novel submission or full picture book text copied and pasted into the body of your email. The word “Query” should appear somewhere in your subject line. No attachments please (illustrators send a link to an online portfolio) and no snail mail.

Thank you all for your support and I can’t wait to see what I can do over at Movable Type. I hope to see your submissions pouring in soon so that I can start my new job off with a bang!

You can also watch the YouTube trailer for the book here:

I’m going to bring you another super cool picture of the team behind ZOE this week, but for now, get on over to your local independent bookstore and pick up your copy! If you are an online shopper, find it on Amazon or Indiebound. You can check out Bethanie’s website here. And don’t worry about falling in love with this spunky heroine and being left hanging…Scholastic will publish a follow-up ZOE book next year!

The books I remember most are the ones that capture my emotions and make me feel intensely. One of my favorites is HOW TO SAY GOODBYE IN ROBOT by Natalie Standiford. It captured teenage loneliness and longing so well that it bring tears to my eyes with each rereading. That and being able to create images for readers that stay with them. I’ll never be able to forget the Rue/flowers scene in THE HUNGER GAMES (the book version, not the movie version, sorry!) or Hazel and Augustus “drinking stars” in THE FAULT IN OUR STARS. If you can create moments that feel as real as our own memories, you’ve got a reader for life.