About Me

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Bizarre post title, right? I don’t often get personal on the blog (there are many more exciting, writing-related things to talk about!) but I could really use some cheering up this morning. Almost exactly a week ago, my cat Sushi (whose name I love to insert into popular lyrics, as you can see, above) got sick with an infection and stopped eating. She’s an older kitty — maybe 14, though I don’t know for sure because I adopted her — and some health problems are par for the course, but she got sick so suddenly that I’m really having a hard time coming to grips with it. I’m just not ready to lose her, less than a year after I lost my other kitty, Smokey.

She’s been to the vet and has quite a collection of medicines that I’m hoping will make her comfortable and heal her right up, but I don’t know if it’s looking good. She still hasn’t eaten on her own and the longer that lasts, the less chance of recovery. In lieu of a blog post today — I doubt I’d have anything intelligent to say, as my thoughts are elsewhere — I want to ask for some good energy and some well-wishes for my beloved Sushi, seen here.

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At the last few conferences I attended, people have been very interested in swear words in YA fiction. Now, a brilliant writer I know said to me, when I asked him for guidance on this issue: “A swear word is just another word. It has to be a choice, just like every other word in your manuscript.”

I completely agree. If you absolutely have to use a swear word in your manuscript, if there’s no other word it could be, then use it. You won’t get a squeamish look from me. (You may get an odd glance from a few people in my DFW Writers Conference audience, who apparently gasped when I dropped an f-bomb or two in response to this same question. What? The guy who dropped it first looked self-conscious, so I had to take some of the heat off of him!) You might also alienate yourself from certain libraries, school administrators, booksellers and editors who work for more clean-cut imprints and don’t publish content. There will be parents who are too scared of their kids growing up, who are in denial of the words and ideas that fly around every middle and high school in every town in every country, too.

The thing is, kids are really good at figuring out what’s a good fit for them and what isn’t. If they are reading a book that has swearing or action or other content that makes them uncomfortable, that they can’t handle, or that they don’t want to handle, most readers will skip that part or put the book down. Parents, librarians, administrators and booksellers shouldn’t always presume to know exactly what kind of book is scandalous to what kind of teen reader.

On a recent trip, I was getting really into a story, and dropped an f-bomb. Not loudly or rudely but, you know, sometimes I get carried away. The man in front of us, who was sitting with, no joke, a 17 or 18 year-old daughter, in a college sweatshirt, for Pete’s sake, turned around and hissed, “Can you please not say that? I’m traveling with a child!” He indicated his daughter with an angry nod of the head.

I can guarantee that his scowling teen was 500% more scandalized by being referred to as a “child” in public than she was by a word I said. Words only have power if you give it to them. (Of course, I shut my yap right after that. I may not have agreed with the guy but I’m not a jerk.)

Speaking of which, there are certain times when I don’t think swearing is necessary. If it’s every other word, that might be too much. If it’s peppered in to be hip or cool or edgy, then it will come across as forced. Some people circumvent the issue by creating their own colorful vocabulary that’s supposed to stand in for swearing. If the language is natural enough, this could work, but it mostly feels contrived to me. The important thing to remember is that nobody’s forcing you to do anything, it’s your manuscript. You can swear if you want to but, by the same token, if you don’t want to swear, you can write a clean manuscript and that’s just fine, too.

If, though, as mentioned above, the swear word is a conscious choice, a careful choice, then there’s no problem with it. An editor or agent can always let you know if something is too much or not right. And if you do publish a book with any kind of content — swearing, violence, drugs, drinking, sex — there will always be people who balk.

But you know what? Fuck ‘em.

:)

Come on. I had to.

ETA: WOW! Clearly, this is a very passionate issue. Lest anybody here thought that swearing in books was settled, let them come and read the comments. The use of a swear word or an opinion about swearing, one way or another, has caused certain readers to lose their respect for me. It has caused other readers to gain it. This is powerful, powerful stuff.

My favorite part of keeping this blog and of teaching writers is ALWAYS how much I learn about my own subject matter in the process. In throwing up this post — and its intentionally cheeky last few lines — I’ve had so many new thoughts on the issue of swearing in YA. I’ve delved a lot deeper into this issue in my head. Watch out for another post about swearing in YA on Friday.

Lastly, as one reader pointed out, and to repeat the obvious, this is about swearing in YA fiction. The same rules do not apply for MG at ALL. (I would highly recommend NOT swearing in MG.) Thank you all for the food for thought!

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Full Requests

All right. We are back in the saddle with some regular thoughts I have. Here, I want to explain my philosophy on full requests. I only request full manuscripts, not partials. Part of it is the same rationale as why I say you should send 10 sample pages with every query, regardless of an agency’s submission guidelines: instant gratification.

Imagine if I followed the partial request plan of some agents:

  • Ask for the first 30 pages, evaluate
  • As for the next 50/70 pages, evaluate
  • Ask for the next 100/150 pages, evaluate
  • Ask for the full

This is a bit extreme, but I have seen all sorts of iterations of this. Why bother? Well, here’s the rationale. An agent who asks for a lot of partials ultimately ends up rejecting fewer fulls, because their decision process is long and fewer manuscripts get all the way to the full request. On the other hand, there are also agents who request a full after reading only the query. They probably reject the vast majority (~99%) of their fulls, since the first time they see a writing sample is when they get a full manuscript. I request a full after reading the query and the first 10 pages. I reject a vast majority of my full manuscripts, but not nearly as many as the person who reads only a query and asks for the full.

The one downside to asking for a full is that, to a writer, a full request is a Big Deal. It is More Serious and More Important than a partial request. I wish this wasn’t the case. I only request a full so that I can read through the first 30, 50, 70, 100, 150, etc. etc. etc. and keep reading until a) the quality of the writing takes a nosedive, b) the plot stops making sense, c) the story takes some kind of bizarre turn, d) the characters warp, e) I lose interest. All of these things, unfortunately, happen sometimes. However, sometimes they don’t!

There are a million reasons to stop reading a manuscript but there are also a million reasons to keep reading. With requesting a full and not a partial, I don’t have to stop, ask for more, stop, ask for more. I can read for as long as I’m riveted and, if that extends to the end of the manuscript, I’m a very happy agent. With a full at my disposal, I’m free to take my time, have my process, really dig in and mull things over without going back and forth with the writer.

I wouldn’t advocate sending a full when asked for a partial, like I’d suggest you send a writing sample anyway, but I just hope you understand a little bit more of what goes through my mind and exactly what a full request from me means.

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Back From New Orleans

About once a year, I like to visit New Orleans, which is one of my favorite US cities. I usually don’t post about my personal life and what I’ve been up to, since that’s boring to everyone but me, but this is somewhat writing-related, so indulge me a moment.

Basically, my goal is to keep writers everywhere and especially my clients from having to do what this guy does out on Royal Street:

Charming as this poet and his typewriter are, I want to make sure everyone has plenty of work and lots of good writing mojo as 2009 winds up.

Things with me are great. I’m working with some amazing clients whose projects I love, I’m getting lots of good queries and I’m enjoying every moment, even now that my mini-vacation is over. There’s a lot to be thankful for this holiday season and all of you wonderful blog readers are definitely on the list.

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You will see many a frustrated agent harping over and over again that a writer should always follow submission guidelines. I will be the first to add my voice to the chorus: you should always follow submission guidelines!

But…you should always follow our submission guidelines. At ABLit, we request the first 10 pages sent along with the query. I’m here to say something a little controversial that might raise some hackles. I say, send the first 10 pages to all the agents you’re querying, even if they don’t ask for them. (Sorry, guys!)

Before we proceed, I will write one note of warning here — this advice is for Advanced Users Only. Your first 10 pages have to be solid gold, or you shouldn’t bother with this strategy. Try to take an objective look. Try to determine whether or not you’ve got Conference Polish Syndrome. If your first 10 are a marvel and the rest of the manuscript is even better, send them regardless of the guidelines.

Here’s why. When I read a query that catches my eye, I have absolutely no way of knowing if the writing is any good. And that’s all that matters at the end of the day. If I was judging a submission on query only, I’d have a very high chance of requesting something that ended up being totally off-base. Query writing does not equal manuscript writing, the two are completely different by nature. Or I’d request something and wait to receive it and forget what I liked about the query in the first place and so the sample would make no sense and I would’ve lost interest in the meantime or gotten busy with something else, etc. etc. etc.

If I do have some sample pages to examine along with the query, I can look at the writing  right away. There’s much less room for error in terms of requesting something that ends up a hot mess, and I have instant gratification. A query intrigues me and I can keep reading immediately. No wait, no chance to lose any enthusiasm. Sometimes, it’s a total let-down. Other times, I like the sample and get even more excited and request the full on the spot.

Before I joined the agency, I was an agented writer myself. My third manuscript and, hence, my third round of querying, landed me an agent (full disclosure: I am not longer with that agent, as that would present a conflict of interest). When I sent out only queries for my first two manuscripts, I got a lukewarm response and it took forever. With my third try, I decided to send 10 pages to everyone, whether requested or not. I think Sarah Palin might’ve called that a “mavericky” move. Almost everyone responded right away, the whole process took two weeks and I got offers from six agents. I’m not saying that’ll happen for everyone, but this strategy made it easy for an agent to a) read me right away, b) like me right away, c) get really excited. (Note to writers: I did mention above that this was my third try at getting an agent…that means I’d tried and failed several times. It takes a lot of practice to write a novel that agents consider publishable enough to offer on.)

That’s why I’m so happy the first 10 pages are part of our submission guidelines at ABLit. And I think there’s a good case for making it your submission strategy, regardless of guidelines elsewhere. Just make sure you paste the text in the body of an email if you e-query. Also, the “No attachments” part of many submission guidelines is one you really shouldn’t ignore.

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The title of the Green Day song is chillingly fitting right now as I seem to have startled awake and realized that September is thisclose to over. Where has this month gone? Seriously. Where has it gone? Is it coming back? No? Well, that’s rude… it didn’t even leave a note! I wish this was one of those times when I think it’s missing but I’ve really got it on the top of my head, like a pair of sunglasses. But I don’t think this is like that.

Anyway. One of the perks of living in the Bay Area — this, by the way, is me desperately trying to console myself after an amazing trip to New York which just made me want to move there all the more — is that we’ve got local punk rock and Berkeley Rep, an awesome theatre company. What happens when the two come together? American Idiot, a rock musical from the director of Spring Awakening that features music by my favorite East Bay boys, Green Day.

First, for those new to the phenomenon that is me: I’m a big Green Day fan, big pop-punk lover and a huge theatre nerd. So seeing American Idiot tonight was one part intellectual thrill, one part teenage squee-y dream come true for me. The show was awesome. It was a little thin on, er, plot — cue Beautiful Yet Pregnant Teenager, Suburban Kids/Big City and Ruined Love — but huge on thrashing-sweaty-moshy-rock-n’-roll. Best of all, there was almost no book, so it was 90 minutes of straight-up Green Day sung by incredibly talented performers.

This brings me to my point — I swear, I saw it around here somewhere, the bugger — and that’s this: Green Day is an incredible force of nature. Wait, wait, bear with me. I discovered them in middle school, when Dookie came out, and fell instantly in love. The funny thing is, that seems to be the consistent story. I can walk up to any 12 year-old, 17 year-old, 21 year-old or 25 year-old and tell them that I’ve loved Green Day since, like, middle school. And they’ll agree. Passionately. This band releases a monster CD every few years and captures an entirely new generation. How? They’re consistent.

Green Day has found a resonance, a groove, and they do it well. Sure, they’ve gotten more political with recent albums, but their themes are the same: boredom, anger, disillusionment, feeling powerless, being alone, going crazy. They’re great to listen to if you’re writing YA or upper MG, especially boy books. And they just go to show that once you find your voice and hit a stride with the themes you do well, you’ll capture readers over and over. Whether on stage at 924 Gilman Street or at Berkeley Rep, these songs all have Green Day’s unmistakable voice.

This phenomenon is something that writers can work toward, too. Once something connects to its audience, it will continue to roll and pick up generation after generation of readers, year in, year out. Don’t think I’m saying “Get boring, get complacent.” Do good work, come up with unique ideas, but put a certain stamp on it. This may not be interesting to everyone, but it works for the likes of John Green and Sarah Dessen, for example. Oh yeah, and Green Day.

All right. That’s enough fangirl rambling for one night. I promise some real writing-and-publishing posts are coming up as soon as I get everything in order post-NYC.

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Dear Queriers

Hey all. I am in New York through the end of next week (the 25th), so if anyone has queried me in the last few days or is planning on querying me through the end of the month, my response time will be a little longer than usual.

Thanks, as always, for sharing your work with me!

As for what I’m doing in the city, I’m thrilled to say that I’ll be meeting with editors. Sure, I’ll talk about some of the projects I have coming up but I’ll mostly be listening to each editor, getting to know them, learning their taste and getting the flavor of their imprint so that I can pitch them goodies in the future. Can’t wait!

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As a new agent, I’m very actively building my list and gearing up to do some serious championing for the clients I have. While I don’t want to reveal too many details at this moment, here on the blog, I just want to publicly take a second, look around and say: “Life is so good!”

While their numbers might not be legion (yet), my clients make me so happy. One just turned in an amazing revision that shows just how far she’s come as a writer. Another blew me away with a strong, beautifully-written character who jumps off the page and inspires me. Another client of mine, an author/illustrator, sent me a hard copy of her portfolio. It is so stunning that flipping through it brought tears to my eyes.

And these are just the things that have happened today!

This is why I love what I’m setting out to do. I get to work with amazingly talented writers and artists to bring their work into the world, to create books! What could possibly be cooler than that? I hope I can look back on this moment — of sitting there with my first illustrator’s portfolio in my lap, of reading a home-run revision, of falling so far and deep into a manuscript that time disappears — many years and many sales and many clients from now and proudly say that I’ve never lost this joy, this sense of wonder, this love for books and the crazy, wonderful, inspiring people who bring them to life.

No career is without its ups and downs, and I know some days I’ll glower at the slush, turn off the phone and want to crawl back into bed, but I know full well that I am the luckiest person alive to have found something I love to do and to be starting on this journey.

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Great News!

Since it is officially up on the website now, I can announce it: I am an associate agent at Andrea Brown Literary Agency!

Check out my bio on the agency website!

If you are a YA, MG or picturebook writer, please think of me when you put together your query list.

As a result of my new position, I’ll be making changes to the blog, vetting some old posts and generally getting everything into brand new shape. Please pardon the dust while I revamp some of my old content and look for more content geared to aspiring writers in the future!

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One of my favorite parts of SCBWI (where I took no pictures, because I am made of #epicfail, by the way) was Krista Marino’s voice workshop, where we dissected and discussed what an authentic teen voice is. One of the keenest insights came when she invited her author Frank Portman (mastermind behind KING DORK and the forthcoming ANDROMEDA KLEIN) to talk about his songwriting for his band, The Mr. T Experience (better known as MTX).

Now, full disclosure time: Frank Portman didn’t land on my radar with his brilliant YA debut novel, far from it. I was a fan long, long ago. When I was 14-15-16-17, I’d pile into a friend’s ride or drive my junker Ford Taurus up and down the San Francisco Bay Area and go to MTX shows. (There’s a fangirl picture of me with Dr. Frank, in fact, that I tried to find for you guys, where I’m wearing a leopard print coat, a rockabilly dress, an Avril tie, knee socks… all the trappings of good teenage fashion sense, believe you me… It’s probably best that I seem to have misplaced it, on second thought…)

Dr. Frank and Krista made a very good point during the workshop. Writers, remember:

Teens aren’t stupider versions of adults. They’re just as smart, just as emotional, just as perceptive… they’re simply lacking the experience and perspective that most adults get in the process of living more years on the planet.

And, since your character will change over the course of your story, your narrative is just one way they’ll get some different perspective and evolve as people, right? Excellent. In the meantime, as you’re fleshing your characters out, MTX songs make an excellent primer in teen voice and angst.

Have you forgotten how desperate guys are to find a girl, any girl who likes them/wants to talk to them/can stand looking at them? Do you remember the sting of feeling completely alone and invisible to the opposite sex? Listen to the hilarious “Even Hitler Had a Girlfriend” off of Our Bodies Our Selves.

Have you forgotten the tremendous roller coaster of first love? The ups and downs and the dizzy compulsion to make it work despite any and all common sense? Try “Who Needs Happiness (I’d Rather Have You)” from Revenge Is Sweet, And So Are You on for size.

Do you remember the ecstasy of finding the one person who understands you? The relief of discovering an oasis amidst the torture of high school? Listen to “Thank You (For Not Being One of Them)” off of Love is Dead.

If you think your voice is lacking authenticity, if your teen emotions aren’t ringing true, do yourself a favor and pick up a couple of Mr. T Experience albums. And yes, this is extremely, extremely gratifying for my 16 year-old inner fangirl. Who knew my nerdy MTX fandom would pay off career-wise? You can check out their record label’s minisite by clicking here. You can also check out Dr. Frank’s website.

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