David Henry Sterry

Author, book doctor, raker of muck

David Henry Sterry

Author: David Sterry Page 2 of 23

WRITERS BEWARE! THE BOOK DOCTORS SHOW YOU HOW NOT TO BE SCAMMED!!!

Disreputable author service companies often masquerade as legitimate publishers. Here’s how to publish a book without getting scammed. Ask us questions in the comments.

 

David Henry Sterry Predicts World Cup Final on NPR

Honored as always to be talking about World Cup on National Public Radio.

 

And here’s me in Newsweek on flopping!

David Henry Sterry on NPR: the Art of World Cup Flopping

As always it was a great honor to be on National Public Radio, this time talking about the art of flopping in the World Cup.  Apparently cheating is the international language.

https://www.npr.org/2018/07/01/625079032/the-art-of-flopping-in-soccer

Open Call for Submission to Anthology: How I Kicked Opioids

Open Call for Submission to Anthology: How I Kicked Opioids

I became addicted to opioids.  It was horrible.  I wrote a story about it for the Daily Beast.  I want to help people who were in the same miserable position as me.  So I’m putting together an anthology.

Are you now, or have you ever been, addicted to opioids? If so, we want your story.

We are putting a face to the epidemic of opioid addiction that is wrecking America.

Whether you’re an athlete or line cook, an artist or a lawyer, a CEO or homeless,  a soccer mom or an anarchist, a Goth teen or a veteran, gay straight or transgendered, religious or atheist, white black or brown, or anything in between, we want your stories of opioid addiction and recovery.  

America’s search engines are jammed with searches like: “how to kick oxy”; “how long will I feel the withdrawal symptoms”; “natural remedies to detox from opioids”.  With stories of desperate compulsion, crushing dependence, personal loss, near-death experiences, and the inspirational personal triumphs over addiction; this anthology will help show how many ways there are to get off these drugs that have ruined so many lives.

We are looking to end the shaming stigmatism applied to opioid addicts.  Addicts aren’t moral defectives, society’s dregs, losers with no self-control, to be tossed onto society’s broken pile.  They are us.

Your story will make a difference. Your sharing will save lives.

Please help us let your light shine! Send your story, brief bio, and if you have a website or blog, send that too! And pass this on if you now someone with a story to tell.  Below is a description of the book.  Thanks!  Send to :sterryhead@gmail.com

 

How I Kicked Opioids

Soldiers & Rock Stars, Octogenarians & Goth Teens, Working Stiffs & the Chronically Unemployed

Tell True Tales of Addiction & Recovery

Opioids are a plague upon the land, a pestilence of biblical proportion which is laying waste to America, from the heart lands to the hollers, the penthouse to the flophouse, the suburbs to the urban wastelands, from the redwood forests to the Gulf Stream waters.  It destroys people from the top of the food chain to the bottom, CEOs to homeless, movie stars to garbage men, bluebloods to rednecks to black sheep. 

The president of the United States and Congress, talking heads on all the major news show, and an online feeding frenzy are proof that America can’t stop talking about the death grip opioids have on our country.  How I Kicked Opioids will take a deep dive into the epidemic, with true stories ranging from 500 to 2,000 words, putting a face to some of the millions and millions of Americans who have wrestled with this insidious addiction that breaks homes, spirits and souls.  Then we’ll witness the triumph of the will, and the inspirational redemption that shows us just how resilient we humans truly are. 

How I Kicked Opioids began with 1200 words published in The Daily Beast. Doctors, recovery specialists, and civilians reached out and passed it along.  Many comments were from the readers who themselves have gone through a similar experience. 

Misery dances with comedy, and raw truth battles denial, as Shakespeare’s mirror is held up to America and we see ourselves at our best and worst, in sickness and in health, in tragedy and triumph.

David Henry Sterry, author of the Daily Beast piece, conceived and put together a similar anthology that landed on the front cover of the Sunday New York Times Book Review.  Hos, Hookers, Call Girls and Rentboys: Professionals Writing about Life, Love, Money and Sexcontains a similar mix of accomplished literary writers and people who have never published a word in their lives.

Praise for Hos, Hookers, Call Girls and Rentboys: Professionals Writing about Life, Love, Money and Sex:

“An eye-opening, occasionally astonishing, brutally honest and frequently funny collection from those who really have lived on the edge in a parallel universe…unpretentious and riveting … This collection is a wonderful reminder that good writing is not about knowing words, grammar or Faulkner, but having that rare ability to tell the truth, an ability that education and sophistication often serve to conceal. While we are all, I suppose, in the business of surviving, some really are surviving more notably than others. The collective cry for identity found in this unsentimental compilation will resonate deeply.” – New York Times

“The selections range from triumphant to harrowing, making up for a lack of style or form with passion. The book is heavy with raw emotions ranging from celebratory to shameful. It’s not all dark and heavy: Sterry’s own account of his experience is touching and sentimental, characteristically blunt, funny and honest. This volume houses some real gems.” – Publishers Weekly

                                              

“The prose in this volume is fresh and the tales are both heart-rending and hilarious, sometimes simultaneously. What’s most striking about the volume is how relevant these intimate and detailed chronicles are for any reader.” – New York Press

 

“Sterry has managed to bring together a rich tapestry… Some of the narratives are polished and savvy, some are as hard and rough as drug addiction that dogs a body and soul. Others reveal a tarnished realism about painful truths. The writing is diverse and eclectic … In its entirety, in its insistence that the gamut of personal histories, it is a reflection of the human condition, and speaks to a broad audience.” –Barnes & Noble.com

The Book Doctors: How to Get Published – Should I Got to a Writers Conference?

I Kicked My Opioid Addiction with Marijuana on Daily Beast


After I had my knee replacement I got addicted to opioids in about ten minutes. This is how I kicked my addiction. I wrote this as a cautionary tale for anyone with pain. Or anybody prone to addiction.

I Kicked My Opioid Addiction with Marijuana on Daily Beast

The Book Doctors Have New YouTube Channel

 

I Was a Birhtday Present for an 82 Year Old

When You’re Too In Love

A dad explains how to play it cool in front of your big crush

I Am Scientifically Validated as Expert on Preventing Human Trafficking

I don’t know how this happened but here it is.  Look it up.

https://www.amazon.com/Ending-Human-Trafficking-Modern-Day-Slavery/dp/1506316735/ref=sr_1_1?ie=UTF8&qid=1523377124&sr=8-1&keywords=Ending+Human+Trafficking+and+Modern-Day+Slavery%3A+Freedom%27s+Journey

 

Photo of David Gilbert holding a magnifying glass in front of his mouth to enlarge his smile

David Gilmore on Finding Love in Strange Places, Writing About It, and a Colonoscopy

We first met David Gilmore many years ago during a writing conference in Tucson, Arizona. He stood out among the other attendees in part because he was just so smart, funny. He had already done so much work as a writer, and he was a fantastic listener. When we saw that he had a new book out, How I Went to Asia for a Colonoscopy and Stayed for Love: A Memoir of Mischief and Romance, we decided we would pick his brain about writing, travel, love, and colonoscopies.

Read this interview in the HuffPost.

Photo of David Gilbert holding a magnifying glass in front of his mouth to enlarge his smile

David Gilmore

The Book Doctors: How did you learn to be a writer?

David Gilmore: Pretty much everything I’ve done in my life has been self-taught. I learned to write because I needed to clear my head so I could have a good night’s sleep when Xanax was getting a little expensive and addictive. I also learned to write when I had my radio show on Public Radio International (Outright Radio). Back before that I used to write in my daily diary as a kid. I would open up the little red vinyl book and scribble something profound like, “Normal day.” Doesn’t that just scream future author? I dunno. I guess I learned to write by being an observant person. I listen. I watch everything carefully. I ask questions. I feel too much. And this all fills my mind and at some point, I have to just start emptying it onto the written page. So, one could say writing has become a survival skill in not becoming overburdened by everything and everyone.

TBD: What are some of your favorite books, and why?

DG: Mostly I read non-fiction because with politics these days, really, who needs fiction? Basically, I’ll read anything by Michael Pollan, Bill Bryson, and Beth Lisick. It doesn’t matter to me what they write about, I’ll read it. I recently found a copy of The Life and Times of the Thunderbolt Kid in Goodwill and I bought it for a dollar. Bryson’s hyperbolic style has me squealing with delight. And he takes us back to a time in America — his childhood in Iowa — when life seemed simple and people didn’t go around with semi-automatic weapons in their suitcases. I’m currently reading White Trash by Nancy Isenberg because all that’s going on with Trump’s rise to power is dissected in that book. I also am reading God’s Hotel by Victoria Sweet about a doctor who works at an old almshouse in San Francisco caring for the un-curable. I like books that fill me with someone else’s life experience or help explain to me what in Sam Hill is going on here, and frankly, right now I am in need of a lot of ‘splaining.

TBD: Tell us about the long and winding road to writing How I Went to Asia for a Colonoscopy and Stayed for Love.

DG: The long and winding road began in the States where I had become bored with my romantic life and unable to afford health insurance. Coming from a long line of intestinal malcontents I was in need of a colonoscopy. I had read that Thailand was the place to go for overseas medical care, so on a whim, I just booked a flight and made an appointment for the procedure.

After having a colonoscope make its way through my long and winding intestines, much to my delight I found that Thailand actually suited me. I had the time of my life! And when I came back to the States, my life seemed so empty and dull that I just kept going back to Southeast Asia and expanding out from Thailand to Cambodia, Laos, Myanmar, and eventually Malaysia.

Then something really big happened. I don’t want to spoil the book, but I felt compelled, so to speak, to move to Malaysia. It wasn’t just a holiday. I gave up my life in the US and moved there. And within 6 weeks of arriving, I met the guy I’d been looking for my whole life. Thus began a storybook gay romance in a Muslim country, of all places. It was starting to seem like a plot from a book or a movie…something perhaps by Elizabeth Gilbert. I knew that if my Malaysian boyfriend and I ever got married, the book would have a full narrative arc and I really would have no choice but to write it. And that’s how it came to be.

Book Cover of " How I Went to Asia for a Colonoscopy and Stayed for Love" by David Gilmore; altered image of a black and white man climbing up the side of an orange tower

David Gilmore

TBD: We’re curious about how you approached publishing this book. Did you go after agents and publishers?

DG: I did go after agents. And there was some initial interest from several. I think, however, the raunchy beginning to the book may have put some of them off if they didn’t go beyond the first few chapters. However, I am of the belief that the publishing industry is no longer in its golden age and to be an author with an agent and a contract with a publisher isn’t really all it’s cracked up to be. I’ve heard too many stories of authors getting little or nothing from their publishers. I know friends who have book contracts who have to pay for their own book tours and do all their own marketing. Or agents who never found a publisher for their clients. I began to wonder what the point of a publishing contract was. I felt that my story was begging to be told NOW and couldn’t wait for agents and publishers. Thus, I jumped on the self-publishing bandwagon.

TBD: What are the pros and cons, the do’s and don’ts of self-publishing? How do you avoid some of the pitfalls?

DG: The biggest con for most people is that you’re on your own to produce and market it. For me that’s not a con because I am by trade a graphic designer, and so knocking out the cover and interior design is something I can do while watching Sarah Huckabee Sanders do her sour face at the White House press corps. The plus side of self-publishing is that you as the author have full creative control and no one is going to reject you because you’re unknown or frankly, your story is kinda dumb. Anyone can publish, which is a blessing and a curse. People have been known to strike a chord with readers and hit it big, but it’s a long shot and it’s a game. And if you’re up for playing the game without getting defeated by the odds that you’ll be a huge success, the world is your playground. But you know, when your book is released and you check the sales tally and on your first day you only sold 17 copies, well, you have only yourself to blame. And when you find that you misspelled something, you can’t call the editor and have a hissy fit about it.

TBD: This is kind of a personal question, but what was your budget for making the video trailers for this book?

DG: Hmm, let’s see…my budget. OK, the Marketing Budget Office has deliberated and just released the figures on the video trailer budget. It was zero. In addition to writing, I also make films so I just pulled those together myself from videos I shot over the years of traveling in Asia. The trailers seemed to catch people’s attention. Whether they translate to sales remains to be seen.

TBD: What was it like to have a colonoscopy in Thailand?

DG: Now that is a personal question! Basically, getting a colonoscopy in Thailand was just like in the US except at about 1/10th the cost. A colonoscopy, however, no matter where you are, is kind of a disgusting proposition. Being in Thailand makes it more fun because I find Asians so fascinating and amusing. Sitting in the “bowel preparation room” in Bangkok (appropriately appointed with brown furnishings), I’m more likely to have fun chatting with someone or watching inscrutably bad Thai daytime television. I did enjoy a night of frolicking in the world’s most extraordinary sex club with the cleanest colon on earth afterward. Perhaps that should have been the title of the book? Really, though, the book is not all about my colonoscopy (who would want to read about that) or even sex. The book starts out there and moves on to more meaningful adventures like the slow boat up the Mekong River, the Flying Nuns of Luang Prabang, and negotiating a gay relationship in a Muslim country.

TBD: How did writing this book about rediscovering yourself in the middle of your life change you?

DG: Well, I lost something significant in Asia: my loneliness. And I got my life back. For years I moped around America complaining about being middle-aged, nerdy, and unlovable. When I couldn’t take it any longer, I took off the tight shoe of American life and let myself go on an incredible journey of love. And I got what I always wanted — a partner — and brought him back to the US with me. His name is Chuan and he tucks me in bed each night and tells me he loves me. Meeting him turned my life around. I went from being a cranky curmudgeon to being contented, playful, and at least somewhat hopeful about my life.

TBD: Was there any part of your book that was particularly difficult for you to write?

DG: Yes. There is a chapter about a young student I had when I was teaching for the United Nations in Malaysia. He was a Burmese refugee who fled over the border from Myanmar fleeing religious persecution. I taught him and a bunch of adorable kids in a filthy, run-down, absolute hole of a school in a slum in Kuala Lumpur. Well, something awful happened to that boy and it broke my heart. It pained me so much to write that chapter, and to this day I cannot read it without bursting into tears. That boy’s life touched me and I will never forget him.

TBD: We hate to ask you this, but what advice do you have for writers?

DG: I don’t know that I’m in the position to be giving advice to other writers, honestly. But if I had to say anything to anyone about writing (or any creative pursuit) I would say this: be critical. Be REALLY critical of your own work. Ignore that nonsense about defeating the inner critic. The inner critic is very important to your process of refinement. I’m not of the school of belief that anything we create is beautiful and worthy. I believe the PROCESS is valuable to simply write whatever is on your mind. But I don’t believe that it is necessarily going to be worth reading by others. Reading and staying aware of current events and thought trends and history and keeping your eyes open to all aspects of society is very important, not just to being relevant but for one’s output to be taken seriously.

David Gilmore is a freelance writer, photographer, and film­maker living in Tucson, Arizona. He was the host and producer of the Edward R. Murrow Award winning radio show Outright Radio, featured nationally on Public Radio International from 1998-2004. He is a NEA and CPB grantee and has contributed essays to theGay & Lesbian Review Worldwide, The Advocate, and was a contributing author in Johns, Marks, Tricks, and Chickenhawks. He is the author of the bookHomoSteading at the 19th Parallel ­— one man’s adventure building his night­mare dream house on the Big Island of Hawaii.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED.

Grant Faulkner wearing a horned helmet writing

Grant Faulkner on National Novel Writing Month, Pep Talks for Writers, and Dostoyevsky

We first met Grant Faulkner at one of the greatest gigs the Book Doctors ever had, presenting our writing workshops in rural Alaska. There were eagles, there were bears, there were drunken sailors, and there were lots of amazing Alaskan writers. Going through the writing process bonds you with someone, and we feel like Grant has become part of our literary family. His new bookPep Talks for Writers: 52 Insights and Actions to Boost Your Creative Mojo, is out now, so we picked his brain about what it’s like running the amazing National Novel Writing Month organization and writing—and publishing—his own book.

Read this interview on the Medium.

Photo of Grant Faulkner smiling

Grant Faulkner

The Book Doctors: Why in the name of all that’s good and holy did you decide to become a writer?

Grant Faulkner: I’m not sure that I had a choice. I’ve always felt like I was a writer. I took a fetishist’s delight over paper and pens when I was a kid. My mom bought me a little antique roll top desk when I was 6, and I wrote my first story on that desk. I asked for a leather bound diary for my 7th birthday, and I’ve kept a journal ever since then.

When I was 20, I was deciding whether to be an economics or an English major, and I fortunately spent a semester abroad in France before declaring. I whiled away most of my time in cafes reading novels and writing. When I returned home, I spent the summer writing stories in a little shack on my grandmother’s farm. It goes without saying that I didn’t major in economics, and the field of economics is the better for it.

TBD: What were some of your favorite books as a kid? What are you reading now, and why?

GF: The book that most changed my sense of the world as a kid was Crime and Punishment. I was too young to truly understand it, but I stumbled on it in the library when I was 13, and I picked it up because I was writing a paper on crime. Dostoyevsky showed me the many layers and paradoxes of the human soul in a way I hadn’t imagined. I truly stared into the abyss. Raskolnikov still haunts me.

I just finished Leonard Cohen’s biography, and I’m now reading his book of poems, The Book of Longing. I can never get enough of Leonard Cohen’s voice in my head. I like the way the textures of his poetry influence the textures of my prose. I’m also reading Stranger, Father, Beloved by Taylor Larsen. I just met her, and I thought she was a fantastic person, and it turns out she wrote a really wonderful, probing book.

TBD: What was your inspiration for writing Pep Talks for Writers?

GF: I’ve talked to so many writers who want to write year-round, who want to finish their novels after National Novel Writing Month, but it can be challenging to keep writing. I think it can be a little like a New Year’s resolution. People buy gym memberships in January and show up to exercise for a month or two, but then it’s tough to keep going regularly the rest of the year.

I want people to prioritize creativity and develop a creative mindset so that they’re not just creative in November, but every day of their lives. Creative on the page—and beyond the page. The book offers 52 different angles on creativity, so I hope people will read an essay a week and work to develop a creative habit.

TBD: What were some of the joys, and some of the pains, of putting this book together, finding a publisher, and getting it out into the world?

GF: I’d never written a nonfiction book proposal, so that was a learning experience. I didn’t realize how involved the proposal would be. It was practically like writing the book itself—which was a blessing once I actually started writing the book. Fortunately, my agent, Lindsay Edgecombe, was a fantastic and generous guide.

Other than that, it was a great experience. I was fortunate to find a home for the book at Chronicle Books, which is the perfect publisher for it, and then I also had the perfect editor for it in Wynn Rankin. I hope the experience hasn’t spoiled me for upcoming book projects.

Photo of the cover of Pep Talks for Writers by Grant Faulkner; title is in white letters in front of a blue and green background

Chronicle Books

TBD: We give pep talks to writers all the time. What are some dos and don’ts of this very precarious activity?

GF: The interesting thing about being a writer is how intrinsically challenging it is, no matter if you’re a beginner or a seasoned pro. The anguish of self-doubt is always looming. The difficulty of making your ideas come alive through your words never ends. There are so many how-to-write books that deal with the nuts and bolts of craft, but the thing that matters in the end is sitting down to write, believing in yourself, taking creative risks, and writing your story.

That’s easier said than done, of course. Every writer, especially when finishing a long work like a novel, goes through cycles of despair. We all need to be reminded of why we’re doing this crazy activity of making art, putting our voice into the world. It’s easy to forget what a gift it is. It’s easy to forget that we need to constantly nourish our creative spirits.

TBD: What are you doing to promote and market the book?

GF: So many things. It’s been great to write articles on different creativity topics related to the book for publications such as Poets & WritersWriter’s Digest, and The Writer. I’ve been on a lot of podcasts and radio shows, which have been really fun. And then I’m doing bookstore events, tweet chats, presentations at colleges and companies, and then speeches at writing and publishing conferences.

My favorite part of my job is talking to people about their writing, and promoting this book has deepened those conversations, so I love it.

TBD: How did you learn to be a writer?

GF: I learned how to be a writer mainly by writing. I unfortunately didn’t have a superhero teacher who mentored me along the way. I’ve read many writing guides and how-to books. I’ve taken writing workshops and even have a masters in creative writing. But I’ve learned most about writing just by showing up to write regularly, being in conversation with my favorite writers’ books, and experimenting in different forms.

TBD: You’ve been running National Novel Writing Month (NaNoWriMo) for a few years now. What have you learned from rubbing elbows, and various other body parts, with all those writers?

GF: I’ve learned so much from the NaNoWriMo writing community. We writers tend to be solitary creatures, or that is how we often think of ourselves. And it’s true, a lot of writing tends to happen in solitude. But if you trace the history of literature, you realize how it takes a veritable village to write a book. Think of Bloomsbury, Paris in the ‘20s, the Inklings, the Beatniks. The writers in those communities created each other as they were creating themselves.

Frissons of creativity tend to happen with others. When you engage with other writers, you’re naturally combining an assortment of different concepts, elaborating and modifying each other’s thoughts. Meeting regularly with others to write or get feedback is important, and not just for your creativity— it also keeps you accountable.

The NaNoWriMo writing community is such a wondrous playground of ideas. It’s so spirited, so encouraging, so generous. It’s not only made me a better writer, it’s made me a better person.

Grant Faulkner wearing a horned helmet writing

TBD: We hate to ask you this, but since your book is about writing, we kind of have to ask. What advice do you have for writers?

GF: Sit down. Try to remember the first story you wrote, the glee you took in exploring your imagination on the page. Hold onto the feeling of that gift and write. Write your story, your way—as if no one is going to read it but you. Write some more. And then keep writing, never doubting that the world needs your story.

The Book Doctors will host the eighth annual NaNoWriMo Pitchapalooza beginning in 2018. One winner will receive an introduction to an agent or publisher appropriate for their manuscript. Be the first to know about 2018 NaNoWriMo Pitchapalooza.

Grant Faulkner is the Executive Director of National Novel Writing Month and the co-founder of 100 Word Story. His stories have appeared in dozens of literary magazines, including Tin House, The Southwest Review, and The Los Angeles Review. His essays on writing have been published in The New York Times, Poets & Writers, Writer’s Digest, and The Writer. He recently published Pep Talks for Writers: 52 Insights and Prompts to Boost Your Creative Mojo with Chronicle Books. He’s also published a collection of one hundred 100-word stories, Fissures, two of which are included in Best Small Fictions 2016. Learn more at www.grantfaulkner.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED.

I Was A Sex Manic, or Problematic Hypersexualist, Storytelling at Risk

Portrait photo of Peter Ginna smiling

Peter Ginna on Getting Published, Saying No, and What Editors Do

We were absolutely delighted when we got a request from editor extraordinaire Peter Ginna to write something for a new book he was putting together called What Editors Do: The Art, Craft, and Business of Book Editing. Because Arielle is an agent and writer, and David is a writer and book doctor, we have a very different perspective than most people who make money editing books. We thoroughly enjoyed writing our piece, but it was much more fun reading some of the amazing pieces in this book. So now that What Editors Do is out, we picked Peter’s brain on what it was like to go from being the guy with the red pencil to the guy waiting to see how many red marks would come back on his pages.

Read this interview on the HuffPost.

Portrait photo of Peter Ginna smiling

Peter Ginna

The Book Doctors: As your subtitle suggests, and as your introduction states, being an editor today includes so much more than editing. What should you expect from your editor? Or if you’re looking to become an editor, what skills do you need to do the job well?

Peter Ginna: Let me answer those questions in reverse order. As I said in the piece that you mention, editing encompasses many different roles. The core of the job is still working with an author to make his or her text as good as it can be. Some editors inside publishing houses, and most freelance editors, focus almost entirely on that task. But most editors, especially in trade publishing, have to shepherd a book all the way from the author’s keyboard into the marketplace, so they have to be very involved in marketing, design, production, publicity—everything that goes into bringing that work to readers.

If you’re looking to become an editor, nobody expects you to be an expert at that stuff right away. But you need to have an interest in learning about it, because it’s crucial.

If you’re an author, you should expect your editor to be passionate about your book, and to treat you as a valued partner in the publishing process. For a lot of authors, the publishing house is a black box. The editor owes them frequent and honest communication.

TBD: Why is it that in relationships, as in books, it’s so easy to see what’s wrong with someone else’s stuff, but so hard to see what’s wrong with our own stuff? Is there any way to bring the editor’s outlook to your own work?

PG: It’s incredibly hard to judge your own work! That’s why there are editors. At the risk of seeming to suck up, your chapter in this book on self-editing for authors has great advice on this. At a minimum, put your manuscript away for a week (or longer) and reread it with fresher eyes. Read it aloud so you can really hear how it flows, or doesn’t. Even better, enlist some “beta readers” whom you can trust to give you an honest response.

TBD: We have found that editing other people’s books makes us better writers, and being writers helps us as editors. What did you learn from writing and putting together this book that you will bring back to your job as editor?

PG: Hah! —I learned how hard it is to meet your editor’s deadlines! And continuing from your last question, learned, from the author’s side, how valuable it is to be forced to think about why you said something a certain way, and whether there might be a clearer or cleaner way to say it.

TBD: While we’re on the subject, what was it like exchanging your editor hat for your writer hat? And did you end up cursing your editor silently or out loud? And what advice do you have for writers when they receive an edit back on their most precious book?

PG: I never cursed my editor, who was wonderful. My experience in thirty-plus years of editing has been that authors rarely cursed me out. I believe that what authors want, more than praise or even success, is to be read. For a reader to connect with their writing. If the author knows you’ve read their work really closely, even if you are criticizing something or asking them to change it, they are usually grateful. I have definitely found that it’s the best writers who are most gracious and receptive to editorial suggestions. (With very rare egomaniacal exceptions…)

TBD: We always tell people that editors and agents are trained to say “no.” Can you speak to the experience of rejecting books? Is it rote at this point or do you actually feel anything when you are rejecting? And if you dealt with rejection with this book, can you tell us how it felt to be on the other side?

PG: I understand why you say editors are trained to say no—we do it 95 percent of the time, or more. And especially as traditional publishers compete with self-publishing, we’ve heard a lot about the editor as “gatekeeper,” an image that makes you think of a bouncer turning away people from a hot party. But that’s not how editors think about it—nobody comes to work hoping to turn down a lot of books that day. Editors live to find books to publish, and new titles are the lifeblood of a publishing house. Every day you open your email hoping to find something you love. It’s easy to reject a manuscript that leaves you cold, but editors really agonize when they come across a book that shows talent but that they can’t make an offer for—either because colleagues won’t support it, or because it’s too flawed in some way. Fortunately for me, my editor and I worked together on creating What Editors Do from the beginning so I didn’t have to go through the process of pitching it.

TBD: Can you tell us the process a book goes through at a publishing house once a deal is made? And are there any differences in the actual editing process between a Big 5 publisher, an independent house, or an academic press?

PG: Whew, the process is quite complicated and anyone who wants a thorough description of it should read the chapter by Nancy Miller called “The Book’s Journey.” The first part of it is the actual editing, where editor and author revise the manuscript (sometimes several times). But there’s also a multi-pronged marketing process that begins at acquisition and really ramps up when the final manuscript is delivered. At that point there’s also the complex work of turning the author’s text into a printed or digital book, which itself usually takes several months.

The principles of editing don’t vary between presses, but it is often the case that academic presses do a kind of triage on their lists. They don’t have the resources to edit every book intensively, so many books don’t get too much more than a copy edit. However, for books where they feel the effort is appropriate, scholarly publishers often do just as good a job, or better, than trade houses. My editor, and the whole press at Chicago, did a superbly thorough job on What Editors Do. I should add that there are chapters in my book by editors from independent and academic presses who discuss their work in more depth.

Cover for What Editors Do by Peter Ginna; title in blue, black and orange letters next to descriptive bubbles of the same colors on a white background

University of Chicago Press

TBD: Speaking of academic presses, What Editors Do is published by The University of Chicago Press. Why did you choose to go with a university press? Does the fact that they publish The Chicago Manual of Style influence your decision at all, since this is a book every editor needs to have on her desk? What was the experience like and how did it differ from the publishing experience of say, Bloomsbury, where you were Editorial Director?

PG: Chicago, in fact, proposed this project to me, which was some form of kismet because I had been thinking for some time about the need for a book like this. This subject made sense for them, because good publishers are always looking for books in areas where they’re already strong—they know the market and have a head start on getting recognition for new titles in that field. And for me, because Chicago is a leading publisher in this area, I was thrilled to be on their list. For an editing book, to be marketed alongside the Manual of Style is a big advantage. It’s hard for me to compare Chicago vs. Bloomsbury from the author’s point of view because I have only been an author with one of them. I’d say the main difference is that Chicago is placing more emphasis on marketing to courses and libraries than most trade presses would, and is less focused on the trade market.

TBD: Is it possible for writers to approach editors at larger houses directly? What is the best way of doing this?

PG: Realistically speaking, I would recommend authors try to find an agent before approaching publishers directly. It’s simply much harder to get an editor’s attention when you submit “over the transom.” That said, as an editor I was always open to an intelligent, well-targeted query. If an author wrote me and said, “I saw that you were the editor of Colin Dexter’s Inspector Morse mysteries. I’ve written a new crime novel with a brilliant, enigmatic detective and classic whodunit elements that I think will appeal to the same readers who love Morse,” I would always give that person’s work a read. I knew that the author had at least done some homework and thought about why they were sending it to me.

TBD: Our essay in What Editors Do is about self-publishing. Many people ask us, “If I self-publish my book, will it ruin my chances of getting published by a bigger publisher?” How would you answer this question?

PG: You probably know more about this question than I do, but especially nowadays I don’t think there’s any stigma attached to having self-published your work. What’s important is to self-publish your work well. If your self-published book is full of mistakes, badly typeset, or amateurish-looking, it will reflect badly on you. (Covers are hugely important!) But if you do a good job with it—and especially if you sell enough copies to show there is an audience for your writing—I think that gives you a leg up on finding a publisher for future work.

TBD: You rarely hear a kid say “I want to be an editor when I grow up.” This is particularly true if you don’t grow up in a typically white, well-educated, upper middle class environment. Chris Jackson has a brilliant essay in the book about the fact that there is little to no diversity in publishing despite all the talk about the issue. If someone is reading this interview and wants to become an editor but doesn’t fit into these boxes, what tips do you have for breaking into the business? How can you encourage someone to make the effort to break down doors?

PG: I would urge anyone, of any background, to read Chris’s essay because it shows how a person who is passionate about books found his way in publishing despite both his own handicaps—Chris says he didn’t know how to type a letter when he started out as an assistant—and the structural obstacles in the system. It’s unfortunately true that, like many other old-school businesses, publishers are oversupplied with applicants from privileged backgrounds with fancy college degrees, and they still hire lots of those people because it’s easy to do. The good news is that most every publisher understands the importance of diversity and many houses have explicit efforts under way to increase it, so it’s a great time to apply for a job in publishing.

Also, I truly believe publishing is democratic in the sense that, if you really love reading, and really know your way around books, and you’re smart and willing to work hard, that will get recognized really fast. And it’s actually way more important than whether you went to an Ivy League school. This may sound silly, but what we all have in common in the book business is that we love books! And being among people who self-selected on that principle makes for a pretty congenial working life. Whatever “box” you fit into, if you are one of those people who spent your teenage years reading with a flashlight under the covers, you should think about a career in publishing.

Peter Ginna is an independent book editor and the author/editor of WHAT EDITORS DO: THE ART, CRAFT, AND BUSINESS OF BOOK EDITING. He has worked in publishing houses for over 30 years, most recently as publisher and editorial director at Bloomsbury Press, an imprint he founded at Bloomsbury USA. Before that he held editorial positions at Oxford University Press, Crown Publishers, St. Martin’s Press, and Persea Books. Authors he has worked with include James M. McPherson, David Hackett Fischer, and David Oshinsky (all winners of the Pulitzer Prize), Daniel Ellsberg, Michael B. Oren, Alice Kessler-Harris, Suze Orman, and Colin Dexter. He comments about books, writing, and publishing at the blog Doctor Syntax, and has written for Creative Nonfiction magazine, Nieman Storyboard, and the Huffington Post. You can follow him on Twitter at @DoctorSyntax.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Book cover for ThriftStyle by Allison Engel, Reise Moore, and Margaret Engel; Woman in red coat holding multi colored purse under title in front of a blue wall

The ThriftStylers on Writing, Upcycling and Fabulous Couture for Cheap

We met the ThriftStylers at one of the great comedy writers conferences in America: the Erma Bombeck Writers’ Workshop. We knew as soon as we saw them that they were special, in the best sense of that word. So when we found out they were coming out with a book, ThriftStyle: The Ultimate Bargain Shoppers Guide to Smart Fashion, we decided it was in everyone’s best interest to pick their brains about writing, style, and being awesomely thrifty.

Read this interview on the HuffPost.

Book cover for ThriftStyle by Allison Engel, Reise Moore, and Margaret Engel; Woman in red coat holding multi colored purse under title in front of a blue wall

Imagine

The Book Doctors: What in the world made you want to write a book?

Reise Moore: I had been quietly thrifting for years and had started a thrifting blog that had gone defunct. Allison and I had a lunch date (the Roscoe’s Chicken and Waffles Summit) where she mentioned she and her twin Margaret (Peggy) had been kicking around a TV show on thrifting. I revealed that I was an avid thrifter and almost everything I wore, except underwear, was thrifted head to toe. Next thing I knew, Allison said, “So let’s work on this show.” I’m a mom of three and I was finishing up grad school at the Annenberg School for Communication and Journalism at USC, so all I was thinking about was sleep. But Allison is convincing. Next thing I knew, I was nodding and saying, “Yeah, when we produce the show.” The idea morphed into us writing a book first and using it as a calling card for a show.

TBD: Did you have any books that you used as models for ThriftStyle: The Ultimate Bargain Shoppers Guide to Smart Fashion?

Allison Engel: There aren’t that many books on thrifting, but the few I saw tended not to have the ring of truth. They showed fabulous couture quality items that the author admitted buying three decades ago in Paris and were not relatable to readers looking in their local Goodwill today. We made a conscious decision to buy items that were in thrift stores right now, and for each item shown we included the price we paid and where we bought it. We also wanted lots of photographs of people wearing thrifted outfits. We used our diverse friends and family as models (both male and female), further making the point that these are clothes and accessories that can be found and worn by real people right now.

Reise Moore: I wanted ThriftStyle to be a love letter to thrifting. I wanted readers to realize the creative possibilities by upcycling and making simple fixes. And I wanted people to understand that textile waste is real and thrifting is a way to recycle and reuse. I wanted ThriftStyle to be the ultimate book on thrifting. In the quest to achieve that, we touched on so much more, such as developing your personal style and using thrifting to support charitable causes. The book is way more than I imagined it would be at the onset.

Portrait photo of Margaret Engel smiling

Margaret Engel

TBD: How did you go about getting the book published?

Margaret Engel: Our original idea was to make ThriftStyle a television show, and we are now working with a Hollywood production company to do just that. When I was managing editor at the Newseum, the museum of news, I had worked with a publisher on several books about journalists. That publisher reconnected with me when his firm was merging with a larger publisher, Charlesbridge, and asked me if I had any ideas for a mass-market book. I mentioned that the three of us were starting work on a possible television series about thrifted clothing. He suggested doing the book first, and we dove in.

TBD: What were some of the joys, and some of the pains, of writing this book?

Reise Moore: One frustration in writing the book is in thrifting; most everything you find is one of a kind. Everything in our book — clothes, jewelry, shoes, handbags, belts — is thrifted. So there is no size up or size down if the clothes don’t fit your model. We were thrifting clothes and doing fittings before shoots. If it did not work on the model, the outfit you loved on the hanger was out the window and you had to go back shopping. Allison’s apartment was overrun with all things ThriftStyle. It looked like a Salvation Army outlet!

We have more than 350 photos in ThriftStyle. Shoot days brought me huge joy. They were tough and long. We were a skeleton crew jamming in a bunch of set-ups, but we were pushing the dream forward. It reminded me of my film school days. Our photographer, the amazing Roger Snider, was patient and flexible and the hardest worker of all.

TBD: We are married, and we’ve written several books together. What was it like to navigate writing this book with your twin?

Margaret Engel: Allison and I began writing books together in the typewriter and carbon paper days of the early 1980s, mailing finished pages to each other cross country in envelopes with stamps, so the advent of cheap long-distance phone calls and emails has made the process much, much easier. When we are writing, we can still have the world’s shortest phone conversations, because we don’t need to give a long preamble or carefully couch criticism. We can be quick and direct. We tend to write different sections and then send it to each other for edits. Working together in a room, with one person typing and the other looking over her shoulder, is not a recipe for success for us. It takes twice as long. When Reise joined the team, we used the same strategy. We divided up chapters – or parts of chapters – and each of us wrote separately, then emailed the results to the others.

Reise Moore: It was daunting to step into the dynamic of twin sisters who have written successfully together and you are the literal third wheel. Allison and I were friends first so I knew she was cool. But I was super concerned about Peggy and I wanted to make sure she was OK with it. I was super concerned about me because here I am suddenly writing alongside two very accomplished and successful writers who have had a whole lifetime of being each other’s sounding board. There were a lot of “what ifs” on my end. But I had to get over it quickly because I noticed early on that everything was about the work. Once I got over myself, we were cooking. I found the room to be as big and expressive and creative as I wanted to be, and it easily became a creative space we shared and collaborated in. We complemented each other well.

Portrait photo of Reise Moore smiling outdoors

Reise Moore

TBD: How did you get into the whole world of ThriftStyling?

Reise Moore: My big sister Barbara Biggs-Lester is a jewelry connoisseur with a stunning fully-thrifted collection, and she was my muse. It started with some cheaply made purses I was so proud to have scored on sale at a retail store. She saw them, was not impressed, and said, “Let’s go thrifting.” I discovered the quality and bargains I could find in a thrift store and took off. Soon after, I became aware that thrifting is green and philanthropic, and I never looked back. What keeps me thrifting now is I love the idea of looking good while doing good for the planet, for important causes and for my own creativity.

TBD: Can you give us the top-three list of dos and don’ts when it comes to finding awesome bargains for pennies?

Reise Moore:

  1. Don’t judge a thrift store by its cover. Some of the most amazing clothing I have found has been in a place I was afraid to walk into. The neighborhood was dicey, but once I was inside, the designer pieces were jumping off the racks. The folks were warm and friendly and most everything was priced between two and five bucks.
  2. Do seek out a top-notch dry cleaner. If you turn your nose up at thrifting because someone else has worn the clothes, please know that several studies have shown that even new clothes hanging in a store can be pretty darn dirty. We immediately take everything we thrift to the dry cleaner or wash it ourselves. If you focus on quality, natural fiber items at thrift stores (and you should), they deserve the extra cost of dry cleaning.
  3. Do develop a clear idea of your own personal style. Thrifting newbies often are seduced by the low prices and end up with armloads of items in a grab bag of styles. Being able to focus on the silhouettes, colors and styles that flatter you and make you happy can help you sift through the sometimes overwhelming thrift store inventory and find what speaks to you. Tastemakers and trendsetters know this, and that’s why some of the best-dressed people I have ever seen have been in thrift stores.
Portrait photo of Allison Engel

Allison Engel

TBD: What are some of the things that you learned talking to all the people in the book?

Allison Engel: We realized the absolute explosion in thrift and consignment shopping in this country, with new online outlets and new brick and mortar chains, as well as the longtime charitable thrifts. The Association of Resale Professionals has determined that thrift stores generate $12 billion in annual revenue. One in six American adults now shop second hand, and they are increasingly drawn to thrift stores because they are eco-friendly. Textile waste is a huge problem, and thrift stores are luring millennials who are concerned about the issue.

We interviewed thrift shop owners, dedicated thrifters, personal shoppers at thrift stores (they exist!), professionals who help people downsize and organize their belongings, costume designers, tailors, dry cleaners, cobblers, re-weavers and many others, and filled the book with their tips and observations. We loved the hints we received from Chelsea Confalone, who scouts the bins at thrift stores where items are sold by the pound. She buys clothing in beautiful fabrics that might have a rip or tear and remakes them into items for her young children. She’s now taking sewing lessons. Pinterest can supply clothing redo ideas (look under “Remake Clothes” under the “Explore” tab), and YouTube has instruction videos. I love the idea that thrift stores can spark creativity and an interest in handmade, refashioned items.

TBD: Why should people thrift?

Reise Moore: People have a misconception that thrifting is just for folks without money or down on their luck. Don’t get it twisted, I can afford to shop retail and I definitely can afford to shop discount clothing stores. I thrift because I want to be a better kind of consumer. I don’t want my purchases to add to the huge issue of textile waste that is fueled by fast fashion. I want my purchases to count toward the missions of the charity-based thrift stores I frequent.

Also, I have never felt so creatively unchained when it comes to clothes. Your unique take on how you choose to clothe yourself is a form of self-expression. It can be unleashed in thrift stores because there is so much to choose from. When it comes to trends, nothing is better than thrift stores because trends often repeat or harken back to some specific decade. So if I see that ‘90s grunge or ‘70s chic is back, I can find original representations of the look in thrift stores. Nothing beats originals, as they are a much higher quality than what can be found in fast-fashion outlets. It is the reason why celebrities and fashionistas wear vintage and frequent thrift stores.

TBD: We hate to ask you this, but what advice do you have for writers?

Allison Engel: Be persistent. Most of the ideas we’ve had for books and plays have existed in our notebooks, computers and brains for years and years. We don’t give up on ideas we think are worthwhile, even if it takes others a while to agree. We had our Food Finds idea for several years before our first book was published – and we still were very early in identifying and chronicling the rise of American foods made by small, family-run producers.

If we hit a roadblock, we might abandon a project for a bit, but we simply hold the thought until we, perhaps, meet someone who will help it along, or wait for the topic to catch fire in the national consciousness. If we listened to naysayers and gatekeepers, we wouldn’t have published or produced much in our lives.

Allison Engel is a journalist who has written articles and produced photographs for Apartment Life, Metropolitan Home, Traditional Home, Country Home, Renovation Style, American Patchwork & Quilting, Quilt Sampler, Midwest Living, Palm Springs Life and others. She was a longtime columnist for Saveur, and her freelance articles have appeared in Esquire, The New York Times, Wall Street Journal, Washington Post and The Los Angeles Times. She and her twin sister wrote three editions of a book on family-run food producers (Food Finds: America’s Best Local Foods and the People Who Produce Them) for HarperCollins, which they turned into the show Food Finds for Food Network that ran for seven years.

She holds a dual bachelor’s degree in textiles/clothing and journalism from Iowa State University, a master’s degree in screenwriting from the University of Southern California and was a Knight Journalism Fellow at Stanford University. A play she wrote with twin sister Margaret Engel, Red Hot Patriot: The Kick-Ass Wit of Molly Ivins, attracted Kathleen Turner for its premiere production, and has received several other record-breaking Equity productions around the nation in the last three years. A second play, Erma Bombeck: At Wit’s End, had its premiere at Arena Stage in Washington, D.C., last year, an Equity production in Cincinnati this past spring, and several upcoming productions scheduled.

For five years, Allison was senior editor of the University of Southern California alumni magazine and web editor for USC News, and she currently is the associate director of the Los Angeles Institute for the Humanities at USC.

Maricia “Reise” Moore has more than 16 years of experience producing and managing productions, including shows for Animal Planet and A&E’s Biography. She is a graduate of the University of Southern California’s School of Cinematic Arts with an emphasis in production, and holds a master’s degree in communication management from the Annenberg School for Communication and Journalism at USC. She is currently an executive in charge of production for the Campus Filming Office at USC, overseeing major production companies on feature films, network and cable television and national commercial shoots.

Reise is a thrift store fanatic. What started out six years ago as a grudging trip to a thrift store swiftly became a passion for quality and beautiful, unique clothes at a rock bottom prices. She prides herself on dressing head to toe every day —including accessories—in fabulous thrifted finds. When she is not combing the aisles of thrift stores, she is happily being mom to three kids and wife to her writer husband in Los Angeles.

Her first book, ThriftStyle: The Ultimate Bargain Shopper’s Guide to Smart Fashion, written with Allison Engel and Margaret Engel, was published in September 2017. Reise and the Engels currently are working with a production company to turn the book into a television show starring Hollywood costume designers who shop at thrift stores to help everyday consumers solve fashion problems.

Margaret Engel directs the Alicia Patterson Journalism Foundation and was the managing editor of the Newseum. She was a reporter for the Washington Post, Des Moines Register and Lorain Journal and was a Nieman fellow at Harvard. She co-wrote Food Finds: America’s Best Local Foods and the People Who Produce Them with her twin Allison, and helped turn the book into a show for Food Network, where it ran for seven years.

She and Allison wrote the play Red Hot Patriot: The Kick-Ass Wit of Molly Ivins, which is still being produced regularly, and has had about 35 productions to date around the country. She also co-authored the play Erma Bombeck: At Wit’s End, which has had several Equity productions, with upcoming productions in Arizona, New York, New Jersey, Florida, Virginia and Ohio.

She has served on the board of Theatre Washington/Helen Hayes Awards, the Fund for Investigative Journalism and chairs the Robert F. Kennedy Journalism awards board. She is a judge for the Boston Globe’s Spotlight awards and is a member of the Nieman Foundation board.

She and her husband, Bruce Adams, wrote three editions of a Fodor’s travel guide to America’s baseball parks, with the help of their children, Emily and Hugh.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Kate Forest on Dyslexia, Tourette’s and Romance, Plus: How to Write Better

The Book Doctors are always drawn to books that break new ground. We love it when someone takes an established genre and tweaks it, twists it, then turns it on its ear. Kate Forest is making a career doing just that. She writes about romance, but she likes to make her characters have some kind of differently-able challenge. So when we saw that her new book, In Tune Out of Sync, is out, we wanted to get the skinny on what brave new world she’ll be taking us to this time.

Read this interview on the HuffPost. 

Photo of Kate Forest smiling in front of a brick wall

Kate Forest

The Book Doctors: What have you learned from writing your previous books that you could apply to writing In Tune Out of Sync?

Kate Forest: Everything and nothing. I feel as though I will never stop learning how to write a better book. I am constantly reading, going to workshops, and asking people for feedback. I strive to remain open in improving my craft. That said, I seem destined to write first drafts with unlikeable heroines and secondary characters that steal the scene. At least I know those mistakes are coming.

TBD: What is In Tune Out of Sync about?

KF: At the core, it’s about “inspiration porn.” This is the idea that typical bodied people watch videos or read stories about people with challenges doing everyday things and feel “inspired to do better.” As if they were to ask, “What’s my excuse?” People with disabilities are not there to inspire the rest of us. The two main characters in this book struggle with how to overcome, or use, their differences. Yes, they compete for the same jobs, but their real conflict stems from how they view themselves and how the world views them.

Cover of In Tune Out of Sync by Kate Forest; unseen man holding a violin embraces a woman

Ruby Basset Publishing

TBD: Why did you choose violin and dyslexia as such main elements of your book?

KF: I had a learning disorder when I was a kid. I couldn’t read until I was about 10. I didn’t have dyslexia, but I knew the pain that simply being in school could elicit. As a school social worker, I have worked with kids with dyslexia and wanted to bring those stories to a romance novel.

Violin? I chose something that seems counterintuitive to dyslexia and Tourette’s Syndrome. The violin, to me, seems delicate, requiring speed reading of music and total control of one’s body. Now put someone who doesn’t always control his body, and someone who can’t read quickly, in an orchestra. It was perfect for building tension.

An important thing to note about this book is that it will be available as an audio book. It’s important to make it accessible to anyone interested in dyslexia stories.

TBD: How did you get into the mindset of someone with Tourette’s Syndrome?

KF: I watched many documentaries. I interviewed people. I read. Tourette’s Syndrome is the one issue I have written about that I hadn’t had much experience with. I needed to be accurate and sensitive. I wanted my language to reflect how people in the TS community talk. Two resources I recommend are Jess Thom’s Touretteshero site and An Unlikely Strength by Larry Barber.

TBD: How did you manage to capture the world of the New York Philharmonic and high-end classical music? Did you do lots of research?

KF: Oh, I had to do tons of research. My music education ended in 5th grade with “Hot Cross Buns” on the recorder. I love music, and admire people who make it. Luckily, I know professional classical musicians, and they were kind enough to read drafts of the story and answer my insane questions.

TBD: How do you devise plots for your romances?

KF: I don’t start with plots. Romance stories hinge on the characters. For me, the characters’ inner conflicts are what drive the story. I begin by developing the characters. What do they want? Why do they want it? And what is standing in their way? Layer on that, the two main characters need to have goals that are in direct conflict with each other. There has to be no possible way these two people can end up together. And then, they grow and change, and presto, they are together—happily ever after.

TBD: How do you not fall into cliché as you write books that are filled with so many rules?

KF: The only real rule to genre fiction is that there is an emotionally satisfying ending. I prefer genre fiction to literary fiction for this reason. The genre fiction author makes a promise to the reader on the first page: You will be entertained, we will go on a journey, and everything will be answered in the end. Whether you’re fighting an alien invasion, rooting out a murderer, or watching two people find love, there will be a solution. So clichés? There’s no reason to rely on them when there are no limits.

TBD: Do people who are differently abled ever contact you?

KF: These are my best reviews and letters. I get emails from parents of kids on the spectrum and people with different challenges who say my book portrayed the characters in a sensitive and accurate way. But I’m also happy when someone reads the story and says, “I learned something about this issue.” The more we see fictional characters with disabilities in typical situations, the more we will accept real life people with disabilities in all areas.

TBD: Does your writing fall into any single category? Do you try to fit into the romance genre?

KF: Some people have told me that my books aren’t strictly romance, since they tackle other issues. But the truth is that my books fit squarely in the romance genre. The Romance Writers of America defines romance as stories that “contain a central love story and the resolution of the romance must be emotionally satisfying and optimistic.” All of my books easily meet these criteria. There should be no reason that a story that portrays characters with disabilities should be outside of this genre.

TBD: What new advice do you have for writers?

KF: I’d ask what your goal is as a writer. If you’re writing for pleasure, or you have a single story you want to share, then have fun. Work at your own pace. Take some writing classes. Find a group of like-minded writers. If you have a goal of being a commercial writer, you must join a professional organization of writers. There’s one for each type of book. Writers can’t write alone. I have a team of critique partners who send back angry red comments, slashing entire scenes. I have a different team of beta readers (some writers, some for research questions, some who just like to read). Then I have a technical team of cover designer, formatter, and copy editor. I run a small business, and spend just as much time networking and marketing as I do writing. My grandmother was in a nursing home in her last days, after a lifetime of hard work. Her husband of over 70 years had just died. She said, “Life is not for sissies.” And all I can say is, “Writing is not for sissies either.”

Author Kate Forest has worked in a psychiatric hospital, as a dating coach, and spent a disastrous summer selling above-ground swimming pools. But it was her over twenty-year career as a social worker that compelled her to write love stories with characters you don’t typically get to read about. She lives in Philadelphia with her husband, two kids, and a fierce corgi. Visit her at www.kateforestbooks.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review

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I was Raped. My Girlfriend Was Raped. So I Wrote a Book.

I was 17 when I was raped.  By a stranger.  

I was 16 when my girlfriend confessed to me that she was raped.  By a family member.    

I’ve been grappling with these two events for the last decade as I wrote a novel about a 16-year-old orphan boy.  I didn’t even realize that I was writing about these two events until nine years in.  But I did know pretty early on that I wanted to show it’s possible for teenagers to experiment with their sexuality in a way that’s powerful, safe and enjoyable for all parties concerned.

I just finished the book, and I’m sharing part of it because I keep seeing parents asking if there’s anything they can show their teenagers about how to deal with this stuff.  I’m hoping this will be an example for boys and girls (and maybe men and women) of what true consensual sex is.  And maybe a guide on how to treat people who’ve suffered in ways that you don’t understand and can’t possibly imagine.

My heart goes out to everybody who has been devoured by predators.

Ask for help.  Tell your story.

From The Valley of Love & Delight: A Ghost Story

1

A Blade of Shame

“Did somebody hurt you?”  Finn asked softly in the Love Shack.

Elizabeth Winter-Rivers chewed her lip and nodded.

“When you were a freshman?”

Yes.

“Was it somebody you knew?”

Yes.

“Was it somebody in your family?”

She shook her head.  No.

“Was it somebody at school?”

Elizabeth jerked stiff.

“Did he make you do stuff?”

Yes.

“Oh my God!”  He shook his head hard.  “I’m so sorry.”

“He was so smart and handsome, and I see now how he groomed me and seduced me, told me how I didn’t have be who my parents were forcing me to be, how much more mature I was than all the other kids, how I was the brightest mind of my generation.  And of course I believed it because I wanted to believe it, and once he had me, he made me do things … he said if I told anybody …” Elizabeth choked up.  Pulled it back together.  “He said he’d hurt me, and nobody would believe me.  So I didn’t tell anybody.”

“That is so sick!”  Finn’s jaw screwed tight. 

“It was horrible, it hurt.  I … I felt like it was my fault …”

“Who was it?”  Finn asked soft.

“It was a teacher, my English teacher.  My parents found out, they saw something on my phone, a text he sent.  They went crazy.  In their own Winter-Rivers way.”

“What did they do?”

“Well, since they’re on the board, they put the fear of God into him, then they fired him.  But they wanted to keep the whole thing hushed up, so they had Headmaster Doggert get rid of him.  Nobody ever said anything.  They told me I couldn’t tell anybody.  I shouldn’t be telling you.  But I had to.  I felt like I was going to explode or something.”

“So what happened to him?  I hope he’s sharing a cell with somebody named Stiletto.”

“No, they just swept it under the rug.  Doggert wrote him a recommendation and he’s at St. Paul’s now.”

“No way!”  Finn was furious.  “What?  No!  Why would your folks do that?  Don’t you wanna see him punished?  Plus, I’m sure he’s probably doing the same thing to some girl at St. Paul’s!”

“I see pictures in my head of him doing stuff to me and … I can’t help it …  everybody keeps trying to fix me up with boys, but it’s no good, even if I like them …” Elizabeth started shivering and couldn’t stop.

He gently picked up one of her fingers.  It felt like glass that would crack if you squeezed it too hard.  Her shoulders shook.  Eyes crunched shut.  He slowly pulled her towards him.  She did not resist.  Body shuddering, breath catching, Elizabeth quaked. 

Finn thought his heart might crack.  He whispered like a lullaby:

“It’s alright … it’s okay … it’s alright … it’s okay… it’s alright … it’s okay…”

Finn’s shirt got wet.  From her tears.  The beat of her heart was so loud in the cage of her ribs.  He would’ve been happy to hold Elizabeth pretty much indefinitely.  Doing all the good he could.  Being useful.  Shaker-style.  He’d been talking his mom down off the ledge since before he could remember, but seeing it through Elizabeth’s eyes; it dawned on him that maybe comforting sad battered females might be a special skill.  And it filled him so full.  To suck up all that poison festering inside her.  From being broken into.  Broken in two.  Broken.

Elizabeth melted into Finn, and she was part of him and he was part of her, and they were part of the Love Shack, the Shakers and the Berkshires; part of the stars, the moon, the universe. 

He wondered if maybe that was God. 

Finn had no idea how long she’d been in his arms when she finally stopped crying, caught her breath and pulled away. 

He saw a blade of shame slice into her.  He heard alarms shriek in her ears.  “I’m sorry, I can’t do this,” she said.  “I have to go–”

Elizabeth charged towards the door like she was running for her life.

2

Life Sucks if You Can’t Breathe

“The same thing happened to my mom.”  Finn said it loud enough to stop Elizabeth.

She stood in the doorway, battling her desire to bolt.

“Only it was her dad, not her teacher.”

Elizabeth turned around and looked at Finn.

“He was a sick, evil monster.  When my mom told her mother, the old hag slapped her and called her a whore and a slut.  So Granny was a sick evil monster, too.  My mom had nightmares, flashbacks, paranoid delusions, like I said, she had a million disorders.”

“I can’t feel anything, everything just … shuts down.”  She stared off with far-away eyes, like a black-and-white photograph of herself.

“I’m sorry … no one deserves that.”

“Thanks.”

“I wanna kill him,” Finn growled.  “Don’t you wanna kill him?” 

“No.  Yes.  I don’t know … I can’t …”

“I think murdering somebody’s better than messing with them when they’re a kid.  It screws you up for the rest of your life.  I saw it every day with my mom.”

Elizabeth took in a giant breath, then blew it out like exhaust.  “Wow.  You’re right.  I thought I’d feel worse, but it’s like I can finally breathe.”

“Hey, life sucks if you can’t breathe,” Finn said softly.

“Yup.”  Elizabeth’s lips slid into a lopsided grin. 

“What happens to you,” Finn said, “is totally normal for somebody with PTSD.  They used to call it shellshock.  There’s actually a test you can take for it.”

“Really?”  Elizabeth looked like she was scared to hope.

“Yup.  My mom went over it with me a like billion times when I was kid.”

“That’s just … bizarre.”  

“Is it?”  Finn asked.  Thought.  “Yeah, I guess it is.”

“What kind of test is it … exactly?”

“Well, it’s a bunch of questions about how you react to different things.”

“What kind of questions?  Do you remember any of them?  What were they?”

“Well, like …” Finn fished back through his files.  “Do you ever have recurring memories?”

“Yes.  What else?”

“Ever have flashbacks?”

“Yes.”

“Ever dream about it?”

“All the time.”

“Do you ever feel like you’re outside your body, watching yourself?”

“Ohhhhhhhhh yes.”

“Do you get triggered by things that remind you of the event?”

“God, yes.”

“Is that what happened the other day when we were …?”

“Yeah,” Elizabeth whispered.

“Do you ever run away from people because you’re afraid they might  like you, and you might like you back?”

Heavy dark nod: Yes.

“Ever get the feeling that it’s literally impossible for you to have a normal happy life?”

“Doesn’t everyone?”

“Well, I do, but I’m Finn, Son of Junky.”

“Riiiiiiiiiight.”

“Do you have a hard time concentrating?”

“What?”  Elizabeth asked.

“Ever have a hard time concentrating?”

“What?”

“Do you have a hard time–”

“Gotcha!”  She cracked a little grin.

“Nice!”  Finn wiggled his finger at her.  Then he took a deep breath.  “Yeah, you have full-blown PTSD.  Good news is, just learning about it is like part of the cure.  Especially for sexual trauma.  Isn’t that cool?”

“Yeah.”  She swallowed hard.  “Sexual trauma …  wow.”

“Just admitting you’re a freak helps.  Lucky for you, there’s lots of us.”

“Lots of whom?”

“Freaks.”  Finn shrugged like it was obvious.

Elizabeth laughed loud, harsh and barking, like it hurt coming out. 

She thought for a long time.  Or maybe it was a minute.  Finn couldn’t tell. 

Finally, a smile ran crooked across Elizabeth’s lips.

Finn cocked his head: “Whaaaaaaaaaaat?”

“I have an idea,” she said.

“I like it already,” he said.

3

Finn’s Telltale Heart

“Like this?”  Finn was flat on his back staring at the moon and thanking his lucky stars shining through the Love Shack roof.  “And I’m gonna just lay here and … not move?”

“Perfect.”  Elizabeth sat on him with a liquid grin, skirt billowing out around them.  “You don’t think it’s too weird?”

“I think it’s just weird enough.”  Finn said.  “So.  I have an idea, too.”

“I like it already.”

“What if we talk about what we’re doing while we’re doing it?”

“What do you mean?” she asked.

“Well, with PTSD, the part of your brain that’s in charge of emotions lights up like the Vegas strip and you freak out.  But when you talk, the part of your brain where the commander of your ship hangs out can do like a manual override.”

“That’s totally contrary to the fundamental principles of the Winter-Rivers Dynasty.  But it does make sense.”  Elizabeth looked optimistic.  Or like she wanted to be optimistic.  “Continue.”

“So, theoretically, let’s say I was interested in making out with you.  I might say, ‘Elizabeth, I think I’d like to make out with you.’”

“Okay.”  She rolled it over in her head.  “Finn, I think I’d like to make out with you.”

Finn was sure Elizabeth could hear his telltale heart banging away in his chest. 

Elizabeth leaned her lips down in the Love Shack and kissed Finn so soft he shivered.

“What was that?”  She sounded like an alarm going off.

“That was me … shivering,”

“Is that good, or bad?”

“Good,” he said.  “Really good.  Like epically good.”

Elizabeth’s face looked relieved and happy.  Then it got serious.  “Was that a … decent kiss?”

“Well, to be honest I never really made out with anybody except you, the other day, so I have zero data for comparison, but personally, I think you’ve got mad kissing skills.”

“Thank you.”  She looked very pleased.  Which made him happy.  “Finn, I think I’d like to make out some more.”

That made Finn even happier.  “I think I’d to make out with you some more too, Elizabeth.” 

She leaned into him again.  Where she touched his cheek, it got hot.  Lying there not moving, completely still, waiting for her to come to him, was weirdly exciting.

Her lips touched light on his.  A sigh came sliding out of Elizabeth.  Which made Finn sigh. 

She kissed him harder and her body was on his body and her hands were in his hair. 

He had to force his body to stay still.  He wanted to give her exactly what she wanted. 

Elizabeth pulled back.  He thought maybe she was having a flashback.  But no.  Her eyes were blazing blue and gold in the candlelight. 

“That was a very good kiss,” he said.

“Yes, it was very good very good kiss.”  Her voice was all breath.  “I never thought I could feel … you know, because of my …”

“Disorder.”

“My disorder.”  Elizabeth thought for a while.  “Finn, I think I’d like to make out with you some more.”

“I think I’d like to make out with you some more too, Elizabeth.”

 

Portrait photo of Patricia Perry Donovan

Patricia Perry Donovan on Hurricane Sandy, NaNoWriMo, and the Dreaded Sophomore Jinx

We first met Patricia Perry Donovan several years ago when she won our Pitchapalooza event (think American Idol for books, only much gentler and much kinder) down at the Jersey Shore. She had a great success with her first book, and At Wave’s End, her second novel, dropped this week. So we thought we’d pick her brain about books, writing, and how—when it comes to novels—it’s different the second time around.

Read this article on the HuffPost.

Portrait photo of Patricia Perry Donovan

Patricia Perry Donovan

The Book Doctors: Many congratulations on the publication of your second book. Tell us about At Wave’s End.

Patricia Perry Donovan: I’m delighted to. Inspired by Hurricane Sandy, At Wave’s End is the story of Connie Sterling, an impulsive woman who wins a ramshackle bed and breakfast at the Jersey Shore. When a deadly hurricane hits, Connie finds herself in over her head, requiring her adult daughter Faith, a Manhattan chef, to bail her out. Once Faith comes to Connie’s rescue, the storm’s aftermath dredges up deceptions and emotional debris that threaten to destroy the inn’s future and their fragile mother-daughter bond.

TBD: Do you do research for your books? Were there any other books that influenced your writing of this book? Do you outline before you start writing?

PPD: I’m also a journalist, so research is second nature. However, in this case, having lived through a coastal superstorm, I could mostly write from experience. I did research Hurricane Sandy’s actual timeline to lend authenticity to the book’s fictional Hurricane Nadine.

Influence-wise, At Wave’s End began as a series of short stories I penned in the storm’s aftermath. I had hoped to entwine these stories in a novel, a la Elizabeth Strout’s faultless Olive Kitteridge. That didn’t exactly happen, but I still wrangled a fairly large cast of characters in this book. I’d still like to one day write a novel comprised of linked stories.

And on the question of ‘pants-ing’ versus ‘planning,’ I’m a card-carrying ‘seat of the pants’ writer. However, I surrendered that luxury in order to meet my publisher’s deadline.

Cover of At Wave's End by Patricia Perry Donovan; cropped woman of a woman's back in fron t of a beach holding a shell

Lake Union Publishing

TBD: Were you worried about the dreaded sophomore jinx? Did this affect you in any way?

PPD: Gee, I didn’t really think about a ‘jinx’ until you mentioned it! But yes, it’s terribly daunting to write a second book during the launch and review of your first. On the one hand, my writing felt stronger the second time out. On the other hand, I needed to make a concerted effort to close myself off from all Deliver Her feedback (both glowing and gut-wrenching) in order to complete book two.

TBD: What did you learn from writing your first book that you could apply to your second?

PPD: SO much. First, in terms of process, I tapped into the trove of guidance from my gifted team of Deliver Her editors. I could hear these ‘book whisperers’ in my head as I wrote At Wave’s End.

Second, I discovered a delightful community of readers, who love to interact and share snippets of their lives, and immersed myself in the world of book reviews. My skin is thicker as a result! Here, I must acknowledge my amazing tribe of fellow Lake Union authors, who welcomed a newcomer with open arms. As a group, we shake off (and laugh off) the more distasteful aspects of publishing and savor the favorable ones.

The entire experience reinforced my desire to write the kind of stories I enjoy reading: family dramas with a dollop of dysfunction, but also a glimmer of optimism.

TBD: What did you learn from your first book that you could apply to your second in terms of promotion and marketing?

PPD: I’ve improved my advance game this time around, investing many more pre-release hours attempting to put At Wave’s End in influencers’ hands. As a debut novelist, I didn’t grasp the importance of this.

Also, I’m trying to rein in my time on social media, which, if I’m not careful, quickly consumes my writing window. I can’t avoid it right now during At Wave’s End’s launch. The other day, my first waking thought was the edit of a tweet I’d sent the night before. If that’s not a warning I need to cut back, I don’t know what is!

My goal is to create a balance. While I’m thrilled with my success as a novelist, I miss those early days of writing in the dark only for myself.

TBD: Do you have an agent representing you on these books? What was your experience working with your publisher like?

PPD: I am represented by the fabulous Elisabeth Weed of The Book Group. And working with my Lake Union Publishing team is heavenly. They are responsive, supportive and attuned to writers’ needs.

TBD: Congratulations on the Writers Digest award. How did that come about?

PPD: Thank you! My short story “Still Life” won an Honorable Mention in the 84th Annual Writer’s Digest Writing Competition in 2015. That story resurrected Mia, a darling from Deliver Her, and also won an Honorable Mention that year in the Lorian Hemingway Short Story Competition. Who knows? We may see Mia in longer form one day.

TBD: Journalism tends to be short-form writing. How did you learn to tell a story that keeps going for 300 or so pages?

PPD: My fiction generally starts out in short form as a short story. Then, the best stories beg to keep going; in fact, they pretty much tell themselves. My job is just to keep up and capture them on the page.

I suppose I ‘learned’ to tell longer stories by participating in NaNoWrMo’s online novel writing competition. I would encourage anyone who thinks they can’t write a book to try it. There are no prizes, other than attaining a personal goal of writing 50,000 words in a single month. NaNoWriMo is a lot of fun, and taught me that with daily discipline, I could complete a book—a very rough one, but a book nonetheless.

TBD: Why would you write a book inspired by a natural disaster that impacted your own community, as well as thousands of others?

PPD: I read once that every novel is a love letter to someone. In this case, perhaps At Wave’s End is a love letter to my community. While Sandy spared my home, hundreds of thousands of storm survivors, including many friends and neighbors, weren’t as fortunate.

I actually organized this book into six parts, each named for a stage in a community Disaster Recovery model. I learned about the model in post-Sandy volunteer training. It’s similar to the stages of grief experienced after a death. The Reconstruction phase continues today, which is why I included this Afterword in my book:

This story is a work of fiction. However, in 2012, a storm of similar magnitude devastated the East Coast, killing thirty-seven people and destroying close to 350,000 homes. Although Hurricane Sandy forever altered the topography of countless neighborhoods, the destruction also triggered an extraordinary surge of community and compassion. With reconstruction ongoing at the superstorm’s five-year mark, this story is intended to honor Sandy’s survivors for their resilience and determination to rise above disaster.

TBD: We hate to ask you this, but now that you have two books under your belt, what advice do you have for writers?

PPD: Going back to my earlier comment about zealously guarding my writing time, I would advise aspiring writers to avoid becoming so consumed by the business of writing that you forget to get down to the business of writing.

Patricia Perry Donovan is an American journalist who writes about healthcare. Her fiction has appeared at Gravel Literary, Flash Fiction Magazine, Bethlehem Writers Roundtable and in other literary journals. The mother of two grown daughters, she lives at the Jersey shore with her husband, with whom she has fond memories of raising their young family abroad in France. Connect with her on Facebook @PatriciaPerryDonovanBooks and on Twitter @PatPDonovan. Learn more at www.patriciaperrydonovan.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Photo of Val Emmich sitting in front of a door playing a guitar

Val Emmich on Sucking and the Short, Torturous Ten-Year Process of Getting Published

We met Val Emmich when he won our Jersey City Pitchapalooza at Word Bookstore. He was so comfortable presenting, he paused in all the right places, and he put the right emphasis on all the right words. And he had a fantastic story. We found out he’s also a very accomplished actor and musician, which explained his ability to present himself. One of the greatest things about being a book doctor is when one of your patients gets a fab book deal with a fantastic publisher. Val did exactly that. So we thought we’d pick his brain about exactly how he managed to add Author to his impressive resume.

Read this article on the HuffPost.

Photo of Val Emmich sitting in front of a door playing a guitar

Val Emmich

The Book Doctors: What were some of your favorite books as a kid, and why? What are you reading currently?

Val Emmich: I have pretty poor recall of my childhood years, which may be surprising coming from someone who just wrote a whole novel about a child with a near-perfect memory. That said, I do remember ripping through as many Hardy Boys books as I could. I also have a vivid recollection of listening to one of my teachers read aloud to our class Charlotte’s Web. I was riveted by it, probably because it’s about animals and I love animals, more than I love people. Right now, I’m reading Hillbilly Elegy by J.D. Vance, a recommendation from my father, and The Nix by Nathan Hill.

TBD: David was also an actor who became a writer of books. How do you think this helped you as you craft a first novel?

VE: Acting is about putting yourself in someone else’s shoes. Embodying a character that isn’t you. It requires empathy and observational skills. You keep searching for how to get to the heart of the person you’re trying to portray. You’re looking for a detail that speaks to you. How someone walks. How he got that scar on his chin. How he styles his hair. This is all very similar to the character work necessary for writing a novel. Additionally, the process of reading and breaking down scripts was really instructive, both in terms of understanding the motivation and objective of a given scene and also how stories are structured and paced.

TBD: Tell us about The Reminders.

VE: Joan is ten and she’s got this rare condition where she can recall nearly every day of her life in exact detail. Then there’s Gavin, an actor in his thirties, who’s just lost his partner and soulmate, Sydney. Gavin attempts to rid his life of all reminders of Sydney, hoping it’ll soothe some of his overwhelming pain. But then he learns that Joan possesses detailed memories of Sydney, stories about him that Gavin has never heard, and Gavin has no choice but to dive back into the past. Meanwhile, Joan wants something back from Gavin. She’s the girl who can’t forget, but she’d rather be the girl who can’t be forgotten and she believes that Gavin, a semi-celebrity, might be able to help her achieve that dream.

The idea for the novel first came to me when my daughter fell out of a shopping cart in Home Depot and landed on her head on the concrete floor. Around the same time I saw a piece on 60 Minutes that featured people with this real-life memory condition known as highly superior autobiographical memory (HSAM) and I had this absurd thought: What if my daughter’s bonk on the head resulted in her somehow acquiring this specialized memory? That ridiculous hypothesis, the playfulness of it, set the tone for the whole novel.

Cover of The Reminders by Val Emmich; a string is tied around the pointing index finger of a white hand

Little, Brown, and Company

TBD: Please describe your path to publication.

VE: The quick version. I wrote one novel. It sucked. I wrote a second novel. It sucked less. I wrote a third novel. It was decent enough to get me an agent. We tore the novel apart, and I built it back up again essentially from scratch. Then my agent sold the book and my editors tore it up and I put it back together yet again. By the time the novel was published, in May of this year, it had been ten years of dedicated writing, along with tons of reading (other novels, how-to books), attending writers conferences and picking the brains of the few writers I had access to who had written books.

TBD: Was it difficult writing in two voices?

VE: Very. The most difficult parts were making sure the voices were both distinct and compelling. The consensus among my earliest readers seemed to be that Joan was the star of the book. I knew I’d never be able to have Gavin outshine her. That’s not his role. Still, I wanted to make sure his sections didn’t feel like a letdown after hers.

I’d listen to different music when writing in each voice. I found songs that seemed to tap into the energy of each character. After listening to the songs over and over, the music began to trigger an almost Pavlovian response in me where I’d immediately enter the head of that specific character. Also, I focused in a boringly technical way on the language used by my two protagonists. I created a detailed spreadsheet that counted the frequency of each word in each section. It showed me a lot about what I was organically doing with each character, and at that point, it was a matter of removing what made the two voices similar and emphasizing what made them different. Eventually, this overt hypersensitivity to vocabulary became second nature and I was able to write fluidly, making Joan and Gavin their own distinct people on the page.

TBD: We notice that you are doing house concerts to promote your book. What exactly are they, and how did you come up with the idea?

VE: It just made sense. The book is partially about music. I’m a musician, songwriter, and performer. I record and release albums. I have music fans. I hoped my music fans would also be interested in reading my book. On top of all that, I’ve been to enough poorly attended author events at bookstores, and even when they’re well attended, they can be boring when it’s just straight-up reading. I wanted to do a hybrid event, some reading, a bit of discussion, plenty of music. I didn’t feel like a bookstore or traditional music venue was going to offer the intimate, casual vibe I had in mind as well as the guarantee of a crowd. I wanted a place where people could relax and stay a while and where I could really forge a personal connection. I reached out to some of my fans and asked if they’d be interested in hosting shows in their homes and inviting all their friends. They said yes.

TBD: How does being a musician and songwriter affect your prose writing?

VE: Prose writing requires an ear, just like songwriting. You need to have a sense of rhythm. Also, with a song (at least with my songs) there’s usually a refrain or leitmotif that emphasizes an important theme or emotion. I try to do the same thing in my writing, sprinkle in timely repetitions to drive home something that I deem significant. But I think the biggest thing I’ve learned from my life in music has to with my understanding of the audience. Over two decades of performing in front of a crowd and engaging online with listener feedback, I’ve learned a lot about how to make people feel something. The goal is the same when writing prose: to trigger a reaction in the reader.

TBD: What are you working on next?

VE: I’ve started writing a new novel. Before I get too deep into it, I plan to record and release new music. Songwriting is more tactile and physical than prose writing. It also takes far less time. I need a more immediate artistic fix right now.

TBD: We hate to ask you this, but what advice do you have for writers?

VE: Treat it like a real job and remember that even a so-called real job involves plenty of goofing off. Carve out time to write, whatever works for you, thirty minutes, four hours, however long and sit there, even if you’re not actually typing words or producing pages, just sit there. Even when you’re staring at a white page, mind wandering elsewhere, that’s okay. That’s work. Sitting there with that dumb look on your face is part of the job. Do it again the next day. And the next. If you miss a day, no worries. Miss two days? Doesn’t matter. Put yourself in that chair as many times as you can over as long a stretch as you can. If you keep showing up in that chair, over time, enough time, you might have something. Might not, but there’s no other way to do it. If you want it, that’s what’s required: hours. There’s less magic involved than the would-be writer might imagine. At the end of the day, it’s simple math. It’s a whole bunch of hours added up. Start spending them.

Dubbed a “Renaissance Man” by the New York Post, Val Emmich is a writer, singer-songwriter, and actor. He has had recurring roles on Vinyl and Ugly Betty as well as a memorable guest role as Liz Lemon’s coffee-boy fling, Jamie, on 30 Rock. Emmich lives in Jersey City, New Jersey, with his wife and their two children. The Reminders is his first novel.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED.

Photo of Jacqueline Mroz smiling

Jacqueline Mroz on Making an Article into a Book and How to Father 150 Children

We met Jacqueline Mroz when she put together the Montclair Literary Festival. From our first meeting and all the way through the end of the festival, she was smart, she was funny, she showed up on time, and she smelled good. So we were not surprised to learn that she had gotten a book deal. Now that Scattered Seeds: In Search of Family and Identity in the Sperm Donor Generation is out, we thought we’d pick her brain about what it’s like to navigate the rocky seas of the publishing world.

Read this interview of the HuffPost.

Photo of Jacqueline Mroz smiling

Jacqueline Mroz

The Book Doctors: What was the inspiration for Scattered Seeds?

Jacqueline Mroz: The inspiration for the book came from a New York Times article that I wrote in 2011 about a sperm donor who had 150 kids. Once I started looking into the fertility industry, I found it was full of fascinating stories and people.

TBD: How is it possible that one man biologically fathered 150 children?

JM: The sperm bank continued to sell this man’s sperm for years–and it was very popular. Most donors are asked to donate around 3 times per week. Also, each donation is divided up into somewhere between 8 and 25 vials, which are then sold to women around the world. Those numbers can really start to add up!

TBD: How did you get that great article in the New York Times? What was the fallout from it?

JM: I came across the original news story through my sister, who was trying to have a baby on her own, using donor sperm. She noticed on a message board for Single Mothers by Choice that one mom wrote about her unease when she found out that her daughter had 75 half siblings. I was intrigued and decided to dig deeper—that’s when I found out that there was a sperm donor with 150 children. The article was very popular and was picked up all over the world. As a result of the story, a state legislator in NYC introduced a bill to limit the number of kids that a sperm donor could have—but she wasn’t able to get enough support to push the bill through.

TBD: How do you think that the process of sperm donation, and the industry it has spawned, ultimately affects kids and parents?

JM: Sperm donation can be great for families or women who aren’t able to have kids otherwise, but for some children who are born through anonymous sperm donors, it can be difficult. Some of these kids become confused about their identity, and end up endlessly searching for their biological fathers, trying to figure out who they are and what they inherited from their donors. There’s also the risk of rare, genetic diseases being passed on from donors to their biological children, and then spreading through the population. (I wrote about this in another Times article.)

TBD: What are some tips for people who want to artificially inseminate?

JM: For someone who is looking to use a sperm donor, I would recommend using the Sperm Bank of California in Berkeley. They’re extremely ethical, they limit the number of kids that a sperm donor can have, they’re a nonprofit, and they try to connect kids with their donors when they’re of age. I would also make sure that the sperm bank tests its donors for a significant number of genetic diseases — and I would ask how many kids the donors has already!

TBD: Why isn’t there more oversight into what is one of the most personal areas of human existence?

JM: It’s hard to get the government to institute more oversight over the industry since there are actually few people that really want it — the parents want to have a baby, and the doctors and sperm banks want to help people — and make money. But that’s starting to change, as donor-conceived children are starting to come of age and demanding their rights. The other problem with oversight is it’s a slippery slope, and many are afraid it could lead to (even) more regulation of abortion.

TBD: What was your takeaway from talking to same-sex couples who have used artificial insemination to have a child?

JM: They are grateful for this chance to have children. Also, some of the single mothers by choice that I spoke to have been particularly good at finding and reaching out to their kids’ half-siblings — it gives them an extended family that their children might not otherwise have. Many visit each other and take vacations together.

Cover of Scattered Seeds by Jacqueline Mroz: seeds fall from fruit on the cover

Seal Press

TBD: How did you go about getting this book deal?

JM: The newspaper article was extremely popular, so I used that and my proposal to find an agent. My agent, Jane Dystel, is amazing!

TBD: We hate to ask you this, but what advice do you have for writers?

JM: Writers’ groups can be very helpful, especially if you’re having trouble finishing something that you’re working on. You can ask the other writers to give you a deadline to help you get things done.

Jacqueline Mroz is a veteran journalist specializing in reproductive and family issues. She lives in Montclair, New Jersey, with her husband and three children.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Annie Sprinkle on How to Have Cooler and Hotter Orgasms

Dr. Annie Sprinkle is a national treasure, with a brain and a heart as large and bountiful as other famous bosoms. In these troubled times, we need her more than ever. And as Rome burns, we turn to the goddess to help us discover, or rediscover, one of the most important elements to leading a happy life: Orgasm. Since her new book, The Explorer’s Guide to Planet Orgasm, is all about expanding, redefining, and celebrating that most primal of human forces, I thought I’d pick her brain, and other body parts, about the power and beauty of the orgasm.

Read this interview on the HuffPost.

Annie Sprinkle and Beth Stephens standing in front of a van

Annie Sprinkle and Beth Stephens

David Henry Sterry: What was the inspiration for Planet Orgasm?

Annie Sprinkle: Ever since I was in the womb, I have always had a fascination with orgasm. I was born to do this book. Orgasm has been an important part of my adult life, in all kinds of ways. It’s good medicine for me. My orgasms lubricate me through life. Over the years I had written several articles about orgasm, and about twelve years ago, I made a film called Annie Sprinkle’s Amazing World of Orgasm, which was my homage to the Big O. I interviewed twenty-four orgasm experts of all kinds, and I learned a lot from that.

So, when Janet Hardy, the author of the wonderful best selling book, The Ethical Slut, called me and asked me if I wanted to do a new book for her publishing company, Greenery Press, I thought about it for a few days, and thought about what I’d want to do. I kept coming back to the idea of doing a book about orgasm. It’s such a rich, juicy topic.

All my work for the past fifteen years has been with my partner and collaborator Beth Stephens, so I wanted to do the book with her. Janet said “OK, great.” Beth is an artist and professor and my orgasm muse. So we worked on the book together, which was fun. Beth added some good stuff. She’s so creative and very sexual. A double Scorpio. Enough said.

Then I came across a young artist’s paintings on the internet and thought they were really interesting and well done. So I wrote to tell her. YuDori turned out to be a 22-year-old Korean art student that was going to School of Visual Arts in Manhattan, my alma matter. When I asked her if she was interested in collaborating on a book together she got excited. It’s her first book. Everyone loves her illustrations. We didn’t want to make a usual, stereotypical sex education book, but a special book that was also a work of art. Her work is very special. She will go far.

DHS: It feels like in these dangerous times, orgasm is more important than ever. How can we use orgasm to relieve fear and anxiety, and also to inspire us to take action?

AS: Orgasm releases unwanted stress and tension. It brings us back into our bodies when we’ve been watching TV or on the computer. Orgasm helps us feel our feelings. It helps us sleep better after watching the world news. Oy vey. Orgasm puts a bounce in our step. Orgasm connects us to something bigger than ourselves, on a good day. Orgasm is a natural anti-depressant; it’s uplifting. It gets you going when you are down.

However, not all orgasms are healing, inspiring and amazing. Our book also discusses some of the scary aspects of orgasm: orgasms during rape, which is more common than you’d think; orgasm when used as a way of hurting someone else; orgasm that can fuck up your life. That’s what is so fascinating. Orgasm can be dangerous and can cause some physical problems. We include it all, and more.

DHS: Why do you think it’s so difficult for many people in America to have orgasms, or even talk about orgasms for that matter? When did the orgasm get such a bad rap?

AS: Good question. Not all cultures historically felt that way. But in our recent history there is this common belief that if we talk about our orgasms it will take away some of the mystery. I’ve been talking about my orgasms for decades, and the mystery is still there, more than ever. So that’s a fallacy.

However, you can compare orgasm to watching a sunset with your lover. You can enjoy a sunset in silence. Or you can talk about it. If the talking takes away from the experience, then you’re not really throwing yourself into the mystery of the sunset, but distracting each other from the sunset. But if you talk in a way that takes you deeper into the experience, marvel at it together, create some poetic words, talk about the mystery or what you love about the experience… then you enhance the experience.

In general people think orgasm is something we should know automatically how to do, and do well. But we can be taught a lot more about our orgasms. Just like we can be taught how to be more mindful watching a sunset, for example. Learn to focus on circular breathing, imagine opening your heart and becoming the sunset.

As we all know, many people believe sex is bad and dirty. A lot of people have a lot of guilt and shame about sex and their orgasms. Sexual energy is something they want to get rid of, expel, not utilize, build and wallow in. In Planet Orgasm we talk about orgasmic states, extended orgasm… all kinds of orgasms…. nocturnal orgasms, crygasms, breath and energy orgasms, Barbara Carrellas’s gender-free orgasms, Deb Herbenick’s coregasms, and many other kinds.

I had some amazing teachers, who taught me about orgasm, and I’m so grateful to them. I had to seek them out. You won’t see classes on how to have better orgasm at the university, although I have taught some college workshops, come to think of it.

DHS: As a man, I was taught that the whole purpose of sex was for me to have an orgasm, which meant I wanted to get to that ejaculation and shoot the seed, baby…. But you have reclaimed and redefined what the word orgasm means. How do you see this in a larger historical cultural context?

AS: We are all for quickies. Or just shooting the seed, baby. That feels really good! Sometimes that’s what’s desired. But it’s not always the be-all and end-all. There are choices. Often taking more time will generate more powerful orgasms. But there are no absolutes.

Learning orgasm is like learning tennis. To get good at it you need some good instructors, information, techniques, and encouragement to practice. We are orgasm trainers.

Yes, the usual “models of orgasm” define orgasm in terms of blood flow, heart rate, contractions… That thinking is so incredibly limited. So we go out of that box, big time. That’s like saying life is about blood flow, heart rate, and sneezes.

Cover to The Explorer's Guide to Planet Orgasm by Annie Sprinkle; sexy astronauts in front of a planet under title

Greenery Press

DHS: What do you want people to take away from your book?

AS: That orgasm is a much more interesting, complex, versatile and useful experience than they ever knew. We also offer seven golden keys to having bigger, better, more badass orgasms. Each key comes with a one-minute experiment so you can experience the effects of each key in a really clear and simple way. For example, you can build a lot of excitement with the mind and use your mind to move that sexual excitement to different parts of your body and have orgasms in different parts of your body.

For the advanced orgasmanaut, we suggest that sex is something much more than bodies coming together. Sex is a frame of mind. Sex is happening all around us all the time, when we look for it.

DHS: What are some simple things we can do to be more in touch with our orgasm?

AS: I’m a big believer in sex education. Read, take classes, look at YouTube videos, and talk with people who are more knowledgeable than you. Orgasm is actually a really big topic. There is a lot of new research being done, which is fascinating. We include some of that in our book.

Modern humans have multiple orgasmic tools and vehicles, ranging from Internet porn to a wide variety of really great sex toys; yet many have little to no experience achieving orgasm. Or big orgasm. More than 10% of women report never having an orgasm, and 8% of men and 33% of women are occasionally unable to reach orgasm. To date, there are no studies about orgasm for trans people.

DHS: How were you educated on sex and sexuality when you were a kid?

AS: Like most people, I first heard about sex on the elementary school playground. I was completely horrified that a penis went in a vagina. Ick. Gross.

At about 11, my parents had some sex ed books on the bookshelf that they expected us to find when we were the age where we’d be interested. They had the Kinsey Reports, The Joy of Sex, The Sensuous Woman, The Sensuous Man, and a few others. So of course I found those books. They were my favorite books, next to E.E. Cummings experimental poetry and the World Book Encyclopedias.

Also, I was raised Unitarian Universalist, so we got some sex education at church, amazingly. We watched a film of a baby being born in church, which left quite an impression.

Also, my parents’ best friends were Vern and Bonnie Bullough, two famous sexologists who wrote sixty-five or so books about sex. We would hang out at their house sometimes, and they had hundreds of books about sex.

My family didn’t really talk about sex. It was hidden. But it wasn’t a big secret either, or a bad thing.

DHS: How did Planet Orgasm become a book?

AS: Beth and I did the text. Then we sent sample illustrations to YuDori to try and explain what we had in mind. Then she sent back the drawings. Then we sent it all to Janet Hardy who did the layout. She sent it to the printer. So I guess we did it the old-fashioned way.

DHS: Who should read Planet Orgasm?

AS: We tried to make Planet Orgasm a book for every body. That was a fun challenge. I think we succeeded pretty well.

DHS: What advice do you have for writers, sex educators, and anyone who’d like to have an orgasm after they read this?

AS: Do it your way. Forget what you know, open your mind, open your legs, breathe a lot more, move more, follow your own muse. Secondly, get yourself a copy of Planet Orgasm. There’s probably a lot more to orgasm than you think.

Annie Sprinkle has passionately researched and explored sexuality for over forty years, sharing her experiences through films, books, articles, and photography. She was the first porn star to earn a Ph.D. and has taught hundreds of sex workshops. Sprinkle has collaborated with Beth Stephens for fifteen years. They are internationally acclaimed artists who create sexually oriented visual art, theater, and performance. They are movers and shakers in the new ecosex movement. She can be found at anniesprinkle.org.

David Henry Sterry is the author of 16 books, a performer, muckraker, educator, activist, and book doctor. His new book Chicken Self:-Portrait of a Man for Rent, 10 Year Anniversary Edition, has been translated into 10 languages. He’s also written Hos, Hookers, Call Girls and Rent Boys: Professionals Writing on Life, Love, Money and Sex, which appeared on the front cover of the Sunday New York Times Book Review. He is a finalist for the Henry Miller Award. He co-authored The Essential Guide to Getting Your Book Published with his wife, and co-founded of The Book Doctors, who have toured the country from Cape Cod to Rural Alaska, Hollywood to Brooklyn, Wichita to Washington helping countless writers get published. He has appeared on, acted with, written for, been employed as, worked and/or presented at: Will Smith, a marriage counselor, Disney screenwriter, Stanford University, National Public Radio, Milton Berle, Huffington Post, a sodajerk, Michael Caine, the Taco Bell chihuahua, Penthouse, the London Times, Edinburgh Fringe Festival, a human guinea pig and Zippy the Chimp. He can be found at davidhenrysterry.com.

Photo of Susan Wolfe smiling

Susan Wolfe on How to Get a Great Blurb, the Importance of Maternity Leave, and Reading to be a Writer

We first met Susan Wolfe when we taught a workshop at Stanford, where we were the least educated people in the room. We were struck by what a seasoned professional she seemed, even though she was a novice author. She asked all the right questions, she worked her ass off, and it didn’t hurt that she had actual bona fide talent. Her first book was a big success, and now that Escape Velocity, her second novel, is out, we picked her brain about transitioning from the world of law to the world of books.

Read this interview on the HuffPost.

Photo of Susan Wolfe smiling

Susan Wolfe

The Book Doctors: What were your favorite books as a kid and why?

Susan Wolfe: The first real book I ever read was The Black Stallion by Walter Farley. I was in Mr. Adams’ second grade classroom in San Bernardino, and he gave me permission to read on my own while the rest of the class finished up something else. So I found The Black Stallion, settled into my chair, and the next thing I knew the class was laughing. Apparently, I had whinnied. I was so shocked to look up and see that I was back in that classroom that I still remember the way the light was filtering in through the windows.

I had just discovered that reading created a little room out behind my head where I could go to have adventures and be other people. That little room has been my solace and a major source of learning and pleasure ever since.

I also loved The Wind in the Willows (I wanted a yellow motor car!) and Stowaway to the Mushroom Planet by Eleanor Cameron (Maybe a little low-tech now). And my sister Linda, who was three years older, read me entire Zane Grey westerns (Riders of the Purple Sage, Thirty Thousand 0n the Hoof) before I could read them myself.

TBD: What are you reading now, and who are some your favorite authors and books?

SW: I just finished Lincoln in the Bardo by George Saunders, which I found moving, funny and original. Now I am halfway through The Master and Margarita by Mikhail Bulgakov.

Some of my favorite books and authors so far:

  • Moby Dick
  • Madame Bovary
  • Wolf Hall and Bring Up the Bodies by Hilary Mantel
  • The Goldfinch by Donna Tartt
  • The Sisters Brothers by Patrick deWitt. (I still love a good western!)

TBD: How did you learn to be a writer?

SW: First and foremost by reading a really wide range of fiction for years and years. For example, my two favorite authors of dialogue are Elmore Leonard and Henry James, for very different reasons. Thinking about these two helped me understand what I wanted my dialogue to accomplish.

Second, by writing. That’s what everybody says, so here are some specifics:

  1. When I decided to write my first book, I needed to get a feel for how much should happen in a given chapter. So I made a chart showing what happened in each chapter of The Spy Who Came in From the Cold. Then I made sure to have about that same amount happen in each of my chapters. That was hugely helpful to me in setting the pace of the book.
  2. I was lucky enough to have a good editor for my first book, and I tried out almost every suggestion he made. Some of them didn’t work out, so I ultimately rejected them, but I gave all the suggestions a real try.
  3. When I was writing my second book, I found a workshop at Stanford where all we did was listen to 20 pages of somebody’s manuscript and then comment. This was great for two reasons: first, some of the comments were helpful. Second, I learned that reading my own work out loud is a terrific way to figure out what works and what doesn’t. For some reason, I can hear things that aren’t right. I also tried two other workshops where the instructor gives little writing projects, and those felt to me like a waste of time. Could have just been the instructors, but I didn’t get much out of them.
  4. 4Finally, I am lucky enough to know two other writers whose writing and critiques of my work I respect. We have our own workshop and get to know each other’s work thoroughly. I can’t say enough about how helpful this three-person writing group has been to me.

TBD: How did you first get published?

SW: This will not be instructive to anybody else, but it is sort of interesting.

I was a lawyer on maternity leave when I started my first book, The Last Billable Hour (a murder mystery set in a Silicon Valley law firm). When it was time to return to work I told the partner at my law firm that I couldn’t come back because I was writing a novel. He said (among other things), “When you finish, you should show it to my old college roommate Jared Kieling, who is now an editor at St. Martin’s Press.” I thought “yeah, yeah” and kept writing.

One day while I was working away in my writing room, my phone rang and it was Jared Kieling of St. Martin’s Press. He said, “Mike said he’s never seen your fiction, but if it’s anything like the quality of your legal writing I should probably take a look.” A few months later when I finished it, I tied the printed manuscript with string and sent if off to him. He bought it, and the book went on to sell more than 100,000 copies and win the Edgar Award.

The only downside to this amazing and wonderful story is that it gave me very unreasonable expectations of how easy it is to get published. With my second book I woke up and joined the rest of humanity.

Cover of Escape Velocity by Susan Wolfe; sketch of Newton's cradle with a ball flying off

Steelkilt Press

TBD: What was the inspiration for Escape Velocity?

SW: Two-sentence synopsis: Escape Velocity is a wickedly hilarious* thriller about a reformed con artist in a Silicon Valley software company who decides to revive her con artist skills to straighten out her very screwed up company. She needs to get enough money to move out of her car and make a home for her little sister before it’s too late.

My inspiration for the book comes from my own work as a lawyer. I have spent most of my adult life practicing law here in Silicon Valley, partly in-house at several high-tech companies. I liked working in-house, but I sometimes got frustrated that a few people who worked for the company—from accounts payable clerks to highly paid executives—seemed unable or uninterested in doing their jobs. Due to incompetence or egotism or out-and-out self-dealing, some people just seem to burrow into a company like ticks on a tormented dog, and no amount of damage they cause ever seems to dislodge them. If you’ve every worked in a company, you’ve met these people!

So I thought the malfeasance and nonfeasance (as we say in the law) were interesting, and even entertaining in a nice black kind of way. I thought other people might like to know about the chaos, or if they already knew about it, they might like to know that somebody else had experienced it, too. After all, as C.S. Lewis said, “We read to know we are not alone.” I also thought people might enjoy seeing some incredibly annoying people get their comeuppance.

But then I needed a main character, and along came Georgia Griffin. She is young, inexperienced and from a completely alien environment, so she experiences the wonder that is Silicon Valley high tech right along with the reader. She is also highly intuitive and a little bit tougher than people around her might expect. She is blessed with a job that makes people underestimate her. She badly needs the company to succeed in order to realize her personal goal of finding a better life than the one she was born to, and she reluctantly decides to use her con artist training—sparingly—to help the company succeed.

The surprise to me was that Georgia’s moral and psychological complexities gradually became central to my story. Georgia wants to be a good person, but she does a few sketchy things. At one point I wrote out the fifteen points of Georgia’s moral code. She adheres strictly to her moral code, but it’s a little bit different from other people’s. (For example, “Point #13: Cause the least harm necessary to be effective.” ) So I ended up focusing on the question of whether Georgia succeeds in the effort to turn away from her con artist background.

*According to Hank Phillippi Ryan, award-winning author of Say No More

TBD: How has being a lawyer affected you as a writer?

SW: In some ways that’s hard to know since I’ve always been both. Here’s what I can say:

My books are shot through with my actual experiences as a lawyer. The most obvious impact is on my plots, but my experience also makes my dialogue authentic and helps me create a powerful sense of place.

I worried that my legal writing would make my fiction writing ponderous, but it turns out the two kinds of writing issue from different parts of my brain. So no recognizable impact of one on the other.

I do think being a lawyer has made me more precise, which creates a risk I will over-explain things “for the avoidance of doubt” as we sometimes say in contracts. I hope I fight this effectively.

Finally, I would say I’m a serious writer without being a literary one. I suspect lawyering makes me opt for clarity over poetry when a choice must be made.

TBD: How did you manage to juggle a legal career and a writing career, when both seem like ridiculously time-consuming jobs?

SW: Not. Very. Easily.

And you left out my third ridiculously time-consuming job, which was raising two daughters. For years I would lie in bed and look up at the ceiling thinking, “Baby, Book, Law. Baby, Book, Law.” I was determined to make them all fit.

There were times I did make them fit. I wrote my first book, The Last Billable Hour, when I had only my older daughter. I would write 15 hours a week with babysitting until we ran out of money, and then I’d go to work as a contract lawyer (by project or by the hour) until I had enough money to pay the bills. I got the whole book done that way, and it was a happy, productive time in my life.

The second book was more challenging. By then we had two daughters, and I had a much bigger job as the head lawyer of a company. I decided to go to Starbucks from 6am to 7:30am twice a week to work on the book, and my daughter Catherine, who was eight or nine at the time, decided to go with me. She would sit very quietly and focus on her homework so that I could concentrate. I loved those mornings, but then it turned out I didn’t have one single unstructured moment in my life and was going slowly berserk. So I gave up writing until I was ready to leave law entirely, which is when Escape Velocity finally got written.

TBD: How did you manage to get such great blurbs for your book?

SW: It’s interesting that you ask me that, because my editor Jared Kieling asked me the exact same thing regarding my first book. Answer: I asked people.

I asked them very humbly to consider this great favor for a fellow author.

I spoke to each author about why I admired his or her writing and why I hoped they would like mine.

I asked for three or four times as many blurbs as I actually got, and tried to remind myself not to take it personally if they refused or just blew me off. Writers (and professors and deans and chief lawyers of companies) are very busy people. Fortunately, many of them are also generous.

TBD: How does your title Escape Velocity relate to your story?

SW: In physics, escape velocity is the minimum speed a rocket ship needs to escape the earth’s gravitational pull. Here in Silicon Valley the term is used as a metaphor to describe the amount of money a start-up company needs in order to stop taking money from venture capitalists. The company’s founders try to achieve escape velocity from outside interference by becoming self-sustaining.

In my book, Georgia’s upbringing with her con artist father exerts tremendous pull over her, first because it’s the life she knows and feels competent to navigate, and second because she loves her father. As the story unfolds, the reader realizes she also rather enjoys the excitement. But she doesn’t want a con artist life. So a central question of the novel is whether she has the strength of character to achieve escape velocity from the only life she knows. I don’t think many people accomplish that, and I have been fascinated by readers’ varying opinions about whether she succeeds.

TBD: We hate to ask you this, but what advice do you have for writers?

SW: Elmore Leonard gave me the best writing advice I ever received, and I am happy to pass it along.

I had gone to his reading at a bookstore, and when it was time for him to autograph my copy of his book I asked him to wish me good luck with mine. He asked a question or two about what I was writing and then signed his book. After I turned to go he called after me, “Susan!”

I turned.

“Don’t let anybody else write your book. You write your own book.”

So there you are. Share your writing, read it out loud, listen to intelligent people’s advice, and then decide for yourself.

Susan Wolfe is a lawyer with a B.A. in literature from the University of Chicago and a law degree from Stanford University. After four years of practicing law, she bailed out and wrote her Edgar Award-winning first novel The Last Billable Hour. She returned to law for another sixteen years, first as a criminal defense attorney and then as an in-house lawyer for Silicon Valley high-tech companies. Her second novel Escape Velocity was published in October and just won the 2017 IPPY Gold Medal in suspense/thriller from the Independent Publishers Book Awards. She lives in Palo Alto, California with her husband Ralph DeVoe. authorsusanwolfe.com

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Phillip Lopate on Worshiping at the Altar of Literature, Mother’s Rage, and the Power of University Presses

Phillip Lopate is one of the smartest guys we know–about books, about words, about literature, and, frankly, about life. So when we found out he had a new memoir coming out called A Mother’s Tale, we thought we’d pick his brain about why words and mothers matter.

Photo of Pillip Lopate similng

Phillip Lopate

The Book Doctors: What were some of your favorite books and authors as a kid, and why?

Phillip Lopate: As a kid, I was drawn to Robert Louis Stevenson’s Kidnapped, books about Greek mythology, and just about any nonfiction young adult book about baseball. I was not a very selective reader; I read just about everything in my local library. Taste came later.

TBD: How did you become a writer? Can someone actually learn to write, or are some people just born writers?

PL: I initially thought I was not smart enough to become a writer, but experimented with story-writing for my own amusement. I was the editor of my high school and my college literary magazine, which required a certain amount of posing and bluffing. Mostly what I was was a reader. I worshiped at the altar of literature. I do think it helps to have talent, but persistence matters more. Writers are made, not born.

TBD: Why did you choose to work with a university press for this book, which doesn’t seem inherently academic? We’re interested in the change in academic presses over the years and wondered if you could share your observations.

PL: I chose a university press because, frankly, a bunch of commercial presses passed on the manuscript, saying they weren’t sure how to sell it. Then I found out that Ohio State University Press was starting a new nonfiction/essay imprint, and I submitted it to them and they were happy to snap it up. You have to find a publisher who will love your book, whether it’s a trade or academic press. In these days when publishers are under so much pressure to make money, the line between commercial, academic and small independent presses is very thin. Any port in a storm, as they say.

Cover of A Mother's Tale by Phillip Lopate; a faded torn picture of a woman sits to the left of the title

The Ohio State University Press

TBD: You wrote, “I was put on earth to understand my mother’s pain I have not gotten very far in the process.” I feel much the same. What did you learn about her pain writing A Mother’s Tale?

PL: I learned a lot about my mother’s range, and her alternation between being very shrewd and self-deluded. As for her pain, some people find tremendous animation in self-pity and rage: there’s not a lot you can do about it.

TBD: Does writing help you understand things you don’t know about yourself, other people, and the world?

PL: Writing certainly helps to understand myself better, as well as other people. I have only to start to explain something I’ve thought or done and I begin to get a whiff of defensiveness and alibi-ing. I just have to talk to myself on the page. Essays are perfect for that kind of back-and-forth, with a drive toward greater honesty.

TBD: I tried to talk with my mother about sex with very little success. What was it like hearing your mom talk about her sexuality?

PL: I cannot say it was much fun as her son hearing my mother talk about her sexuality. But in retrospect, I’m glad for her expressiveness and lack of self-censoring. I think it helped me to become a writer, and to appreciate that things are what they are.

TBD: Family secrets and lies seem to be a universal fact of life. What did you find out about yours?

PL: There is no getting around family secrets: every family has them. I learned a little more about my mother’s affairs and how my father responded to them. I also learned how my mother fit into her historical period, how she reacted to the big public events of the day.

TBD: Your mother seems to be such a larger-than-life character. How did her melodrama affect your personality development?

PL: My mother’s melodramatic temperament pushed me in the opposite direction: I became skeptical of Drama, and a bit clinical and detached. A spectator, in effect, with an aversion to tantrums.

TBD: How would you characterize the book’s genre?

PL: I would say it’s like a play, a dialogue between my mother and my younger self, with my present, older self commenting and kibbitzing.

TBD: We hate to ask you this, but what advice do you have for writers?

PL: Read a ton, and put in a thousand hours at your desk. Don’t get discouraged by what nay-sayers tell you. You’ll know when you’ve hit pay dirt.

Phillip Lopate is a central figure in the resurgence of the American essay, both through his best-selling anthology The Art of the Personal Essay and his collections Bachelorhood, Against Joie de Vivre, Portrait of My Body, Portrait Inside My Head and To Show and to Tell: The Craft of Literary Nonfiction. He directs the nonfiction MFA program at Columbia University, where he is Professor of Writing.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Photo of Holly Kowitt smiling

Holly Kowitt on Cutting Good Jokes, P.G. Wodehouse, & the Principal’s Underwear (Which Is Missing!)

We’ve been fans of Holly Kowitt for longer than any of us care to remember. And now, our nine-year-old is a fan. And so it goes. When we heard the title of Holly’s new book, we howled, we roared, we had to have it! The Principle’s Underwear Is Missing! What more do you need in a kids’ book? Since she’s one of the funniest, most creative, and most successful writers we know, we thought we’d pick her brain on books, writing, principals, and yes, underwear.

Photo of Holly Kowitt smiling

Holly Kowitt

The Book Doctors: Why in heaven’s name did you decide to become a writer? And having made that decision, why did you decide to write books for kids?

Holly Kowitt: I first became a writer to get illustration work! My cartoon-like drawing style made me a tough match for most children’s books (this was pre-Wimpy Kid) so I had to create my own projects. Which turned out to be a good thing.

Part of ending up in children’s books was random– my first entry-level job just happened to be at Scholastic. Being there naturally made me focus on kids.

TBD: What were some of your favorite books when you were growing up, and why?

HK: Harriet the Spy was my all-time favorite. The characters were so alive to me—so real and quirky—and, like Harriet, I wanted to be a writer. I also loved Beverly Cleary’s Fifteen, a low-concept, timeless coming-of-age story with the best first line ever: “Today I’m going to meet a boy…”

TBD: What books are you reading currently, and what books have you really enjoyed lately?

HK: Should be reading: Evicted by Matthew Desmond

Secretly reading: I Represent Sean Rosen, a middle grade novel by Jeff Baron.

Recently enjoyed: The Uncommon Reader by Alan Bennett and The Daily Show: An Oral History.

TBD: As an illustrator as well as a writer, how do you get these two parts of your brain to cooperate with each other? What are some of the advantages and disadvantages to wearing both hats simultaneously?

HK: The cartoons give me an extra way to hook reluctant readers, and add a loose, fun energy. Plus, they’re a blast to draw. The disadvantage is sometimes the text gets robbed to let the illustrations shine. It’s hard to cut a good joke, even when you realize it works better as a picture.

TBD: I just did a Google search of your name and the wordunderwear, and I got tons of hits. Did you ever think your life as a kids’ book author would lead you down this dark path?

HK: Ha ha! Children’s Book Rule #8: Use the word “underwear” whenever possible.

Cover of The Principal's Underwear is Missing by Holly Kowitt; two students run under the title

MacMillan

TBD: The Principal’s Underwear Is Missing: That may be the greatest title I’ve ever heard. How did you come up with it? And what was the inspiration for the story? Have you ever had underwear go missing? Have you ever been involved with principal’s underwear?

HK: I tried to invent the most catastrophic scenario possible for my heroines—and I think I found it. My approach to a story is always: what’s the biggest problem I could give this character? No, it’s not torn from my own life!

TBD: How do you capture the voice of the kids so well?

HK: Obvi it’s, like, crazy-hard. Some combination of subway eavesdropping, The Urban Dictionary website, profiles of twelve-year old YouTube stars, Seventeen Magazine, and Shop Jeen on Instagram gets me in the ballpark.

TBD: What was your inspiration for the story?

HK: I got the idea from Jeeves, the P.G. Wodehouse series about a rich, dimwitted young man and his very smart butler. I thought it would be fun to set the story in middle school, where a ditzy, super-popular 8th grader teams up with a 6th grade nobody. The Queen Bee has a habit of getting herself into trouble, and it’s up to her brilliant younger friend to get her out.

TBD: What’s this story about?

HK: Becca, a bookish 6th grader, accidentally zonks the school’s most glamorous 8th grader with a volleyball. To make it up to her, Becca tries to do Selfie a favor. But she accidentally grabs the wrong shopping bag—one containing a very personal item. Even that wouldn’t be so bad, if Selfie didn’t immediately lose it.

It’s the story of a friendship that holds constant surprises. It’s about exploring an off-limits older world, and finding out how it’s better (and worse) than your own. It’s about challenging the unspoken rules of middle school, and doing what’s right. It’s about losing the principal’s underwear.

TBD: We hate to ask you this, but what advice do you have for writers and illustrators?

HK: Billy Crystal’s ex-manager once told him to “leave a tip” with his stand-up act—to go deeper and more personal. After I finish a chapter, I go back and try to squeeze in an extra ten percent to make it funnier, weirder, realer. So my advice is to always give your work that extra push. You won’t be sorry.

Holly Kowitt has written more than fifty books for younger readers, including the Loser List series. She lives in New York City, where she enjoys cycling, flea markets, and West Coast swing dancing. Find her online at kowittbooks.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Inspector Croissant: croissant with eyes, mouth, arms, legs, wearing a hat and walking with suitcase

Josh Funk on the Wonders of SCBWI, iPhone Book Trailers, [REDACTED] & Stinky Stench

We’ve said it before, and will say it again: if you are writing for kids, or reading for kids, or ever were a kid yourself, it behooves you to be a member of the Society for Children’s Book Writers and Illustrators (SCBWI). That’s where we met Josh Funk. Until recently, he was in charge of the annual conference, so we got to know him in an intimate yet thoroughly professional way. Josh is a bundle of creativity, imagination and good fun. And since his new book The Case of the Stinky Stench is out, we picked his brain about kids and books, and the strange and wonderful intersection of those two things.

Photo of Josh Funk holding a stuffed monkey toy

Josh Funk

The Book Doctors: Welcome back!

Josh Funk: Thank you so much for inviting me back, Arielle and David!

TBD: What books are you currently reading, and why?

JF: If it’s okay with you, I’m gonna answer the ‘why’ first. I recently returned home from a two-week tour celebrating The Case of the Stinky Stench, during which I went to 19 schools, a couple of public libraries, and over a dozen bookstores. Because of that, most of what I’m reading is based on bookseller recommendations – and I couldn’t have made a better decision to go that route. Booksellers know their stuff! So here’s what I’ve got:

Out of Wonder by Kwame Alexander with Chris Colderly and Marjory Wentworth, illustrated by Ekua Holmes – this one is so good, I often read a few of the poems contained within this book during my events (usually “How to Write a Poem,” “For Our Children’s Children,” and “Spin a Song”).

7 Ate 9 by Tara Lazar, illustrated by Ross MacDonald – to me, this is a perfect picture book. It’s overflowing with cleverness, exactly my kind of humor, gorgeous illustrations, a well-crafted story, and frankly, a solution I didn’t see coming (but I’ll bet some clever kids could figure it out). With six stellar picture books under her belt, Lazar is one of my favorite picture book authors today.

Stack the Cats by Susie Ghahremani – this book makes me chuckle on every page. I bought it for my 8-month old niece, and almost kept it for myself. Absurdist humor at its best. And a counting book (as a software engineer, I do love numbers!).

Timmy Failure #6: The Cat Stole My Pants by Stephan Pastis – this series is fantastic! I’ve read each book aloud with my kids and there are at least 2 or 3 times during each book when I have to stop cause I’m laughing so hard (it was Speedo Steve this time). I can’t wait for the movie!

The Gardener by Sarah Stewart, illustrated by David Small – so this has been one of my favorite books for a long time (one of four books that I credit with making me want to be a writer). But while at Bookbug in Kalamazoo, Michigan, about 5 minutes prior to my event, the proprietor of the store came over to me and whispered, “That’s Sarah Stewart and David Small.” Long-story-short…ish – they’re regulars and it was just a coincidence they showed up. Nevertheless, I shared my love of The Gardener with them, at which point Sarah asked me why I felt so strongly about the book. I gave her my reasons and she responded with a hug. Then they signed a copy for me and posed for a picture. Needless to say I was giddy with excitement during the event.

Some other books I bought based on bookseller recommendation (but haven’t gotten to read yet) are:

  • Real Friends by Shannon Hale and LeUyen Pham
  • The Lost Island of Tamarind by Nadia Agular
  • Bull by David Elliott
  • Goodbye, Columbus by Philip Roth
  • Red Rising by Pierce Brown
  • The Highest Mountain of Books in the World by Rocio Bonilla
  • King of the Bench: No Fear by Steve Moore

TBD: If we’re not mistaken, this is your last year running the fabulous New England SCBWI Conference. What have you learned from all this, and are you ready to pass out?

JF: I was co-director of the New England Society of Children’s Book Writers and Illustrators (SCBWI) Regional Spring Conference in 2016 and 2017 – and yes, my duties are now complete. It’s been an incredible experience working with my co-directors Heather Kelly, Sera Rivers, and Marilyn Salerno.

The NESCBWI Conference is a three-day conference (Fri-Sun) that takes place annually in Springfield, MA in late April / early May. This year we had over 700 attendees for the first time ever (to be fair, last year was 699, this year was 703). Planning duties have included:

  • Selecting and scheduling 100+ hours of breakout workshops led by about 75-100 faculty members (each year we get well over 300 workshop proposals)
  • Arranging 3-4 keynote speakers and another 3-4 keynote panels
  • Organizing bonus activities like our Portfolio Showcase, Illustration Challenge, and evening activities
  • Arranging professional critique opportunities with over two dozen literary agents, editors, and art directors
  • Countless (but necessary) logistical arrangements with online registration databases, convention/hotel/AV staff, travel-related activities, and delegation of duties to over 100 volunteers
  • And probably a lot more that I’ve already forgotten

Everything went swimmingly.

Did a New York City subway power outage cause the charter bus carrying most of the agents and editors to arrive with only minutes to spare before critiques began? Of course it did!

Did it matter that the hotel overbooked conference attendees by 14 rooms? Absolutely not!

What have I learned? Two things:

  1. Relax, it will always work out.
  2. I never want to become an event planner.

I probably would have passed out for a month … but due to the unpredictable schedules of publishing, my aforementioned book tour for The Case of the Stinky Stench started just six days later!

TBD: Tell us about The Case of the Stinky Stench. Everyone wants to know, why is the stench so stinky?

JF: Have you ever opened the fridge and smelled something funny? Have you followed that up by taking out every item until you’ve found the stinky culprit, only to find that it wasn’t the obvious ‘spoiled cheese’ or ‘rancid meat’ – but it was the last thing you’d have suspected? Who knew an innocent zucchini would turn that color? Or so that’s what happens when you put mushrooms next to mustard! (That’ll teach me to organize my fridge alphabetically.)

Lady Pancake & Sir French Toast was a race for the last drop of syrup. In this sequel, I wanted to keep the setting and characters, but change up the genre. Maybe if there’s a third one it’ll be an action-spy-thriller (wink-wink).

Cover of the Case of the Stinky Stench by Josh Funk; Characters are food with eyes arms and legs

Sterling Children’s Books

In The Case of the Stinky Stench, Inspector Croissant (Sir French Toast’s nephew) joins the team and they travel through the fridge chasing suspect after suspect. Is it Baron von Waffle in his evil lair (Onion Ring Cave)? Could it be a fetid fish in Corn Chowder Lake – or is the fish a literal red herring? I won’t ‘spoil’ the ending for you (but I’ll give you a hint – it is spoiled food).

TBD: How did you manage to make Lady Pancake & Sir French Toast such a great success?

JF: Thanks for the kind words about Lady Pancake & Sir French Toast, but I really can’t take credit for most of the success that it’s had.

First off, it has incredible illustrations (thanks, Brendan Kearney) and the Sterling Art Department put together a fantastic cover design. When the art started making its way around the Sterling offices, it got the Marketing and Publicity teams excited enough to create a big promotional push – they even made tote bags to give out at BookExpo! All that helped the Sterling Sales Reps get the book into stores big and small across the country.

And let’s face it, I had absolutely no control over everything in the previous paragraph.

But I did what I could. I created a book trailer:

                                            

Yes, that’s me singing (I created the whole trailer on my iPhone using the GarageBand app and iMovie).

I spend a lot of time on Twitter @joshfunkbooks sharing writing tips, educators’ blogs, other people’s good news, and generally putting out positive vibes in the kidlit world.

I attended many other author events in the years leading up to Lady Pancake & Sir French Toast’s publication. Not only did I learn a lot about what makes great events, but I met lots of authors, educators, and booksellers in the process.

I’ve tried to give back to the writing community. I co-directed the NESCBWI 2016 and 2017 Regional Conferences. I’m on the board of The Writers’ Loft in Sherborn, MA (if you’re in New England and you haven’t been – you MUST visit). I even created a 12-Step Guide to Writing Picture Books on my website – it’s basically a high level brain dump of everything I’ve learned about writing since I started.

But I think more than anything, what’s made Lady Pancake & Sir French Toast a success is the readers. Enthusiastic booksellers across the country who handsell it daily, like those at The Novel Neighbor in St. Louis and Octavia Books in New Orleans. Teachers and librarians who exuberantly share it with their students. And folks like you, The Book Doctors, who invite me to chat about it here.

TBD: How did studying computer science help (or hinder) you as a writer?

JF: I’d like you to imagine (because it’s true) that I’ve been sitting at my computer thinking about this for a very, very long time. I typed a few paragraphs, and then deleted them (because they don’t really answer the question OR have a point). I thought some more, typed some more, and deleted some more. Lather, rinse, repeat. Ultimately, the answer to your question is as follows:

I don’t think it’s helped or hindered me as a writer. I’ve been a software engineer for almost two decades. And I enjoy the day job. It’s possible that I’d had a lot of creativity bottled up over that time which is finally spilling out at a rate faster than one might expect.

So maybe the answer is that at first studying computer science hindered me as a writer, but now it’s helping? I guess it’s a wash. (Ha! Lather, rinse, repeat!)

TBD: How did you come up with all the cool extra stuff for kids: activity kits, character cards, etc.?

JF: Once again, the activity kits were all thanks to my publishers and illustrators. For Lady Pancake & Sir French Toast and The Case of the Stinky Stench, Sterling’s Marketing and Publicity (and probably Art and Design) teams put them together. They’re incredible! Coloring pages, word searches, mazes, crosswords, and a whole bunch of other stuff – all free to download and print from my website on my ‘Stuff for Kids’ page!

The Case of the Stinky Stench Activity Kit; similar to book cover, but with activity kit written on the bottom

The Case of the Stinky Stench Activity Kit

Regarding the Dear Dragon and Pirasaurs! coloring pages, they were created by illustrators Rodolfo Montalvo and Michael Slack, respectively. I certainly hope that keeps going with my future books!

As far as the character cards, I was just about to order some bookmarks back in the summer of 2015 when I saw the option of ordering Collector’s Cards. At this point I realized two things:

  1. I write picture books, which rarely require bookmarks.
  2. Collector’s cards can easily be used as bookmarks.

So I began designing collector’s cards. And I had a lot of fun with that! For Lady Pancake & Sir French Toast, I made one for each of the main characters. I made six different ones for Pirasaurs! (thanks to Michael Slack for his help designing those), and I made three more for The Case of the Stinky Stench.

Inspector Croissant: croissant with eyes, mouth, arms, legs, wearing a hat and walking with suitcase

Inspector Croissant collector’s card

Back of Inspector Croissant card; has information written about the character

Inspector Croissant collector’s card reverse

I even made an online quiz to determine Which Pirasaur Are You?! – I’m Bronto Beard, in case you were wondering.

Bearded Brontosaurus wearing pirate clothes

Bronto Beard collector card

TBD: What are you working on next?

JF: It’s interesting that you ask! I just spent a few hours revising [REDACTED] based on my editor’s comments. As you know, I’m very interested in the topic of [REDACTED]. And I’m excited to dive into [REDACTED], that’s gonna be fun to work on. I’ve seen some of [REDACTED]’s illustrations and they’re perfect.

In the near term, I’ve got a book called It’s Not Jack and the Beanstalk coming out this fall (9.19.17), illustrated by Edwardian Taylor. It’s not just a fractured-fairy-tale – it’s a META-fractured-fairy-tale – one where Jack doesn’t want to do what the reader tells him to do. Trade his cow for five beans? That’s a terrible idea! Climb the beanstalk? But there’s probably a giant up there! This one will make for a hilarious reader’s theater – and it’s my first picture book that isn’t in rhyme. If you don’t follow Edwardian Taylor on Instagram, you’re missing out. He is an incredible character designer.

Cover of It's Not Jack and the Beanstalk by Josh Funk; boy with climbing gear swinging off of a beanstalk

Two Lions

Then, in 2018 I’ve got at least two more books coming out. In the spring, it’s Albie Newton (about a genius’s attempt to make friends on his first day of school – and his classmate’s ability to accept his ‘quirks’). This one is illustrated by Ester Garay – and everything I’ve seen so far is beyond adorable!

Then, Lost in the Library: A Story of Patience and Fortitude is the first picture book in Macmillan’s partnership with the New York Public Library – and I got to write the story of the two lion statues (Patience and Fortitude) that guard the steps on 5th Avenue. When Patience goes missing, Fortitude must search the entire library to find him! I’d already been a fan of Stevie Lewis’ art, and when they told me she had signed on to illustrate, I couldn’t have been more thrilled.

And yes, both Albie Newton and Lost in the Library are in rhyme.

TBD: How did you come up with your very entertaining live show? What have you observed that writers who present well do in common?

JF: Attending all of those author events before I released a book certainly paid off! I ‘spied’ on so many different author presentations! I learned what worked well with different ages and audience attention spans. And I definitely learned a thing or twelve from amazing performances by the likes of Ame Dyckman, Kate Messner, Tara Lazar, Bob Shea, Anna Staniszewski, Lynda Mullaly Hunt, Jarrett J. Krosoczka, and many others kidlit stars.

But it really comes down to one thing: know your audience. I’m reading to kids ages 0-10(ish) and their caregivers. I’ve got to be entertaining and enthusiastic for those two groups.

Not all crowds are the same. Some jokes work better in one situation vs another. But I always try to have fun – and I hope that’s what lasts in the minds of the readers.

TBD: Why is Twitter your social media platform of choice?

JF: Twitter is a great way to interact with readers. I’ve become e-friends with many educators, booksellers, writers, illustrators, and booklovers of all sorts on Twitter. And in many cases I’ve ended up getting to hang out with these folks in real life because of Twitter. I schedule most of my classroom Skype visits with teachers and librarians in Twitter chats. Sometimes teachers tweet me questions on their students’ behalf.

I’ve even attended several conferences that stemmed from Twitter relationships. This summer, I’ll be attending my third nErDcampMI, a national literacy conference for educators started by the founders of the Nerdy Book Club. The Nerdy Book Club is blog with daily guest posts (mostly by educators and authors), but it is also an unofficial ‘club’ that is open to anyone who loves books (especially those written for children). These nErDcamps are popping up everywhere (New England, Long Island, Kansas, New Jersey, Pacific Northwest, soon in North Carolina) – and they’re an amazing place to for educators to connect with each other and with book creators.

Just like most of the kidlit world, the kidlit Twitter environment is incredibly welcoming and supportive.

TBD: We hate to ask this, but what advice do you have for writers?

JF: Most of my advice is in the Resources for Writers section of my website, comprised of my Guide to Writing Picture Books.

Outside of that, my best piece of advice is to keep writing new things – especially when writing picture books. This is for a couple reasons:

  1. The first story you write is unlikely to be the one that sells. Get it critiqued. Revise it. It’ll be a great learning experience. But don’t revise it to death. Take what you learn from writing that first story and write another.
  2. A literary agent will want at least 3-4 picture book manuscripts they think they can sell right now before they’ll sign you – which means you probably need 6-8 that YOU think are complete.

The more you write, the better writer you’ll become. Just like I tell students during school visits – it’s like playing sports and instruments – the more you practice, the better you get. The stories I’m writing today are better than the ones I wrote two years ago, which are better than the ones I wrote two years before that (at least I think so).

So keep writing!

Thanks again for having me! I wish you a wonderful summer of reading!

Josh Funk writes silly stories and somehow tricks people into publishing them as picture books – such as Lady Pancake & Sir French Toast and its sequel The Case of the Stinky Stench along with Pirasaurs!, Dear Dragon, It’s Not Jack and the Beanstalk, Albie Newton, Lost in the Library, and more coming soon!

Josh is a board member of The Writers’ Loft in Sherborn, MA and was the co-coordinator of the 2016 and 2017 New England Regional SCBWI Conferences.

Josh grew up in New England and studied Computer Science in school. Today, he still lives in New England and when not writing Java code or Python scripts, he drinks Java coffee and writes picture book manuscripts.

Josh is terrible at writing bios, so please help fill in the blanks. Josh enjoys _______ during ________ and has always loved __________. He has played ____________ since age __ and his biggest fear in life is being eaten by a __________.

Find more information about Josh at www.joshfunkbooks.com and on twitter @joshfunkbooks.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

Why I Love Turning 60

60. Today I am 60. Six months ago I was freaking the frick out about turning 60.  My grandfather  had been dead of black lung disease for decades before he could turn 60.  Tupac was dead 35 years before he could reach the big Six Oh.  It seemed like most of my life was behind me, that I should be planning my funeral and writing my obituary instead of my next book, shopping for adult diapers and boner medicine instead of buying a new pair of skinny jeans.

I’m a softball addict.  The first step is admitting you have a problem.  In January a bunch of my softball nutjob friends rent out the soccer dome and start practicing for the upcoming season.  We play Friday morning 9 AM.  Of course at that hour it’s mostly old retired softball codgers, coots and coffin-dodgers.  I took my turn hitting, and as is my wont, I whacked the ball around pretty good.  When I finished, a bunch of ancient softball zombies stampeded toward me.  Well, more tottered than stampeded – you could hear the metallic hips and knees clicking, clanking and clunking as they got closer.  They all wanted to know if there was any chance I was turning 60 this year.  I confessed that I was.  One after the other the softball geezers tried to make a compelling case for why I should play on their team.  They warned me that all the other captains of all the other teams were a bunch of one-foot-in-the-grave asswipe dirtbags.  Suddenly I realized.  I was the hot spring chicken studmuffin being feverishly recruited for Over-60 softball.  Instantly my world changed.  Instead of thinking about my funeral I was contemplating how I was going to dominate these old bastards, put my foot on their turkey wattle necks, smash their pacemakers and crush the life out of them.  When you’re a softball addict, it gets no better than that.

It dawned on me that apart from wonky knee, my body is in great working order.  I weigh the same as I did when I entered college a hundred years ago.  I achieve wood without taking a pill.  I’m no longer a slave to my penis.  It’s now who’s a slave to me.  Or rather, we work together with mutual respect and affection.  I have a brilliant, lovely, talented, sexy wife, who for reasons unbeknownst to anyone, loves and adores me.  I have a brilliant, lovely, talented, hysterically funny, slime-loving, fidget-spinning nine-year-old daughter for reasons unbeknownst to anyone, loves and adores me.  But more than that, I feel a calmness, a peace, an enjoyment of life that I’ve never had.  I don’t feel like I have to rush around everywhere.  I can say No to people who invite me to stupid stuff I don’t want to go to.  I have work that feeds my mind and soul.  There’s always great food to eat.  I have a house with a mancave hooked up to a giant TV where I can watch every movie or TV show ever made. 

For reasons still unknown to me, when I was a teenager, I decided I’d like to live to be 120.  Suddenly that seemed possible.  In which case, I’m only halfway through.  Imagine what I could do with my newfound peace and alleged wisdom in the next 60 years.  One of my life goals is to be the fastest 100-year-old on the planet.  Suddenly that too seemed possible.  Yes, in our youth-obsessed culture, sometimes I do feel invisible.  But I don’t care anymore.  For most of my life I constantly compared myself to others.  Naturally, being a rabid PTSD survivor, I always ended up with the fuzzy end of the lollipop.  There was always someone smarter, more handsome, more sexy, more accomplished, more successful, just plain better.  At 60 I find myself comparing myself to me.  Am I the best person I can be?  Am I making the world a better place?  Am I helping out people less fortunate than myself?  Am I being a great dad?  A great husband?  A great American?  A great citizen of the world?  But perhaps most importantly, a great softball player.

And that’s why I love turning 60. 

David Henry Sterry

David Henry Sterry

 

 

 

 

 

 

 

 

 

 

 

Photo of Dana Meachen Rau smiling

Dana Meachen Rau on How to Write 340 Books

We recently attended the annual New England Society of Children’s Book Writers and Illustrators Regional Conference in Springfield, Massachusetts, and one of the things we love about that conference specifically, and great writers conferences in general, is getting to sit in on lectures and talks by people we don’t know, but should know. One of those people is Dana Meachen Rau. David happened to stumble into her class and ended up learning so much about how to create memorable and complex characters, how inanimate objects can be used to help communicate the emotional state of our characters, and so much more. Now that the dust has settled on that conference, we thought we would pick her brain about books, writing, and all that jazz.

Read this interview on the HuffPost.

Photo of Dana Meachen Rau smiling

Dana Meachen Rau

The Book Doctors: How did you become interested in writing and drawing as a kid? What were your early inspirations and why?

Dana Meachen Rau: Truly, I don’t remember how it all started. My parents always encouraged my early attempts at writing and drawing. Creative expression is empowering, especially to a little kid. I do remember a lot of play. I had a brother who was always a willing participant—he’s blind, and together we invented whole worlds that neither of us could see, but that felt completely real. Instead of a sandbox in the backyard, we had a dirt hole, where we planned to dig a tunnel to a multiple-room clubhouse. (Imagine a time before apps when kids played in dirt holes!) The clubhouse never happened, of course, but that didn’t seem to matter.

As a reader, I didn’t devour every shelf of the library. Instead, I had a few well-worn books that I read countless times—Charlotte’s Web, Encyclopedia Brown, and my absolute favorite and forever inspiration, Charlie and the Chocolate Factory. When I reread it recently, I tried to pinpoint what drew me in so passionately as a kid. It must have been the visuals, the silly language, and the underlying creepiness. It was subversively magical.

TBD: How did you get a job editing children’s books, and what did you learn from this that you could apply to your own writing?

DMR: After college, I wanted a job with a tangible end product, and that led me to publishing. Luckily, instead of having to move to big and scary NYC, I landed a job at a small children’s publisher in Connecticut—and I mean small. I was the only member of their editorial department, so I communicated with a bunch of freelancers—authors, illustrators, editors, consultants, designers. It was a crash course in children’s publishing. I moved on to Children’s Press, where I edited early readers and school-and-library nonfiction until my son was born and I began freelancing.

My editorial work laid the groundwork for my writing career in ways I didn’t anticipate. It taught me the value of feedback and revision. I can self-edit while the manuscript is in my hands, but I can also let it go to all the fresh eyes that have a stake in the process. Everyone wants it to be the best it can be.

TBD: Do you think it’s important to write every day?

DMR: I suffer from journal envy. Many writer friends pour out their thoughts onto pages daily, and I’ve tried to be like them. But all I have to show for my efforts is a pile of journals with “Finally, I’m going to start writing a journal!” scrawled on the first pages followed by a bunch of empty ones. I just can’t make it happen.

But it is important to write every day, and I do in some form. Often, it’s related to my current project. But sometimes it’s a lesson plan, a random idea for the future, a quick poem, or even an email. The purpose of all writing is to effectively communicate an idea or image. That’s an important skill to practice. That’s what writing every day is…practice.

Even if I don’t have hours or even minutes to work on my latest project, at least I’ve been maintaining my writing skills. Then muscle memory kicks in when I have more extended time to write.

TBD: How did you become a writing teacher, and what effect has that had on you as a writer?

DMR: I developed a 10-week creative writing class for the Warner Theatre Center for Arts Education (Torrington, CT), to hone in on the basics of creative writing. I tested out writing exercises (some sane, some wacky). It was a chance to experiment. I realized I craved an extended relationship with students, so I sent out my resume to local colleges. When the University of Hartford needed an adjunct to fill out their Fall 2016 schedule, I jumped at the chance.

I teach rhetoric, the art of persuasive writing and speaking, and while it might not seem to apply to creative writing, it has most definitely fed my work. I keep persuasion in mind every time I draft a scene between two characters who are manipulating each other. I think of rhetoric when trying how to sway a reader toward a certain understanding. The intentionality of each word choice applies to both rhetoric and creative writing.

I’m still trying to find that perfect balance, though, between teaching and writing. My current work-in-progress novel has been pushed to the back burner while I navigate my way as a professor. But the benefit of the back burner is that the story is still stewing. Because time is more precious, my chances to write have become a treat to look forward to. When I do have time to write, I’m amped up, eager, and ready to dive in.\

Cover of Who are the Rolling Stones by Dana Meachen Rau; the Rolling Stones have their heads enlarged

Penguin Young Readers Group

TBD: What’s it like writing books for the wildly popular Who Is (Was) … series? And why are their heads so big?

DMR: Out of the blue in 2013, I got a call from the Who Was editor. She had been reading a biography I had written more than a decade before, and thought my voice would be a good fit. Since then, I’ve written six books for the series, with another one waiting on my desk.

Who Was has been one of the most fun series I’ve ever worked on. The process starts with full immersion. I surrounded myself with research, absorb it, map out a plan, and get writing. I don’t work linearly—each manuscript is like a sculpture. First I build the armature, then I slop on lumps of clay. I mold here, shape there, take bits away, add elsewhere. Each book has its own process and personality. Eventually it all comes together under the helpful guidance of my astute and savvy editor, Paula Manzanero.

The best part of writing this series, though, is the reaction from kids. They love those big heads! All the covers (more than 150!) were illustrated by Nancy Harrison, but the idea for the big heads (and for the series) came from editor Jane O’Connor. She says the big heads were inspired by the caricatures that used to appear on the cover of the Sunday New York Times Book Review. She thought they would have fantastic kid-appeal.

She was right. When I visit schools, the kids can’t hide their excitement over what they call the “Bobble-Head Bios.” Almost everyone has read at least one, some kids collect them, and they all have their favorites.

TBD: Tell us about your road to publication and how you navigate the stormy seas of the book business. And how in God’s name does one person write 340 books?

DMR: As I mentioned above, I started my career as an editor, and my first few books were for the companies I worked for. When I went freelance, I continued writing for them and for other school and library publishers. Books for the school and library market are often work-for-hire assignments, so my “day job” for the next 15-ish years involved taking on as many assignments as I could to earn a steady income (thus so many books!). I wrote for a variety of age levels on all sorts of topics—roller coasters, cupcakes, sneakers, ladybugs, aliens, suffrage, rocks and minerals, robots, planets, brains, sandcastles, rock climbing. You name it, it’s very possible I’ve written a book about it! Meanwhile, I was also working on picture books and middle grade novels, submitting them to publishers, and marking off rejections on my spreadsheets. So, while I passed the 300 mark for published books, I also passed the 300 mark for rejection letters. (It’s all part of the process for authors writing and submitting over so many years!)

In 2013, I got the itch to become a student again, so I enrolled at Vermont College of Fine Arts to get my MFA in Writing for Children and Young Adults. Coming out of that program, I secured an agent, who’s currently marketing a middle grade and a picture book while I work on a YA novel.

Through the years, no matter what the project, I grew as an author. I’ve also realized that there isn’t, nor should there ever be, a point of “arrival.” It’s healthy to give yourself goals along the way, but success is more about the development, patience, and perseverance of the journey.

TBD: What is an objective correlative, and why is it so important?

DMR: I first learned the term objective correlative in graduate school from author Tim Wynn-Jones, and it sounded so academic and important. But it’s quite a simple concept, at least how I interpret it—an author can use an object (setting or event) to correlate to an emotion. In other words, you don’t have to name an emotion to communicate it to readers, you can show it through sensory description. Suzy doesn’t have to say she feels neglected. Instead, Suzy can be looking at a dying, cobwebbed-covered plant on the windowsill that never gets any sun. That says neglected more than the word “neglected” ever could. The plant becomes shorthand for the emotion, so when the plant is reprised in the story, we feel “neglect” again. And then, if that same plant is thriving and blooming by the end, we feel the significance of that change, too.

TBD: How do you inject emotion into characters in a book?

DMR: For me, it all comes down to empathy—getting the reader to feel the same feelings as your character. I think of emotion as the engine of the story. A character’s wants and desires will drive what the character does (action/plot), what the character sees (setting), what the character says (dialogue), and what the character remembers (flashback). Everything in a story has to be in service to the emotions.

To get readers to empathize with characters, the author has to empathize with his or her characters, too. If you can tap into your own authentic, vulnerable, core emotions when writing, then those emotions will show up on the page and transfer to the core of your reader.

TBD: We hate to ask you this, but what advice do you have for writers?

DMR: This is a great question! Lord knows I’ve needed all the writerly advice I could get my hands on through the years.

Write what scares you…We often say we want to be bold and brave, but that’s not possible without fear. If you don’t think you’re a poet, write a poem. If you don’t think you could ever write YA, try it. You have nothing to lose, but everything to gain. You’ll most likely surprise yourself by easily conquering what you thought impossible.

Find a community… Often the people in your immediate circle (spouse, kids, family, every day friends) don’t understand the writer part of you. You need to find a team. Teams have teammates, of course, who understand the game. But they also have cheerleaders to spur you on and coaches who offer advice to help you become the best version of yourself. Join a critique group, join the Society of Children’s Book Writers and Illustrators, find your people.

Give yourself permission to play…for so long I thought I needed to be efficient with my writing time. But when I experiment, I create an unexpected (and better) result. Turn off the side of your brain that tells you your writing must have a purpose (and even worse, that it has to be good!). In other words, dig in the dirt hole. You never know what you’ll discover.

Dana Meachen Rau is the author of more than 340 books for children and young adults, including early readers, biographies, history, science, cookbooks, and craft books. Her most recent titles include Who Was Cesar Chavez? and Who Are the Rolling Stones? A graduate of Trinity College in Hartford CT, and Vermont College of Fine Arts in Montpelier, VT, she currently teaches writing at the University of Hartford. To find out more about her books and her blog, visit www.danameachenrau.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Rosa Daneshvar smiling wearing a hat

A Muslim Who’s Lived In America For Decades Is Terrified

I work with Rosa Daneshvar, a wonderful writer who’s writing a novel about emigrating from the Middle East. My parents are immigrants, so I’m first-generation, and I’m fascinated by how the experience of coming to America has changed over time. We were talking about what’s happened to her, as this administration tries to ban Muslims, and I was horrified by what she told me. So I picked her brain about what it’s like living in the United States right now when your faith is under attack.

Read this interview on the HuffPost.

Rosa Daneshvar smiling wearing a hat

Rosa Daneshvar

The Book Doctors: So, Rosa, where are you from in the Middle East, and how have President Trumps actions affected you personally?

Rosa Daneshvar: I am a Muslim from Iran. Never in my thirteen years of life in the States had I felt such a feeling of terror. It started the day after President Trump’s executive order came out– when my sister’s frantic back-to-back phone calls deprived me of my lazy slumber on that Saturday morning – when I opened my eyes to dozens of messages exchanged between my brother in Canada, my sister in Washington, my father in Michigan, and my youngest sister in Iran. They all wanted me to confirm the news that there was a travel ban and deportations.

TBD: That sounds terrifying, what happened next?

RD: In the brief moment that it took me to get from my bed to my computer, my naïve, half-sleep, half-dazed self was confident that it couldn’t be true. I was assured that my family had been carried away with false news. Because it was preposterous. Then I found myself staring at the news in disbelief. It couldn’t be. I searched for more information but I found none.

TBD: What did you do?

RD: My first impulse was to write a post on Facebook to see if my Iranian friends could give me more information. I wrote: “My mom is a green-card holder and visiting home for two months. Does the executive order mean she cannot come back to the US? Has anyone had any news on this?”

Then I sank into my chair. A terrible sense of despair overwhelmed me. Gradually I realized the depth of problem my family was in. My mom only had enough money for her two-month stay, during which she was going to take care of my 79-year-old aunt after her knee surgery. With the financial exchange sanctions on Iran, we were not going to be able to send her money to live on until we figured out how she could come back. Mom herself had had knee surgery two months ago. What if she had a complication and needed to see her doctor? How could Mom live in a suitcase in my aunt’s small two-bedroom apartment indefinitely?

TBD: We were able to contact anybody back home?

RD: Yes, I called home to inquire from my youngest sister about my mom’s reaction. As soon as her image loaded on the screen, I recognized those colorful tiles of my aunt’s bathroom. My sister had locked herself up in there to cry freely without worrying others. I asked if she was worried about herself. I told her there was no news about American citizens. She said she was sick with worry about Mom.

TBD: It must be so challenging to live with this every day. What’s that like?

RD: There is profound fear, uncertainty, and confusion, just like it’s always bubbling just below the surface. My family and I have spent countless hours searching the news, checking social media, and calling government agencies and lawyers to see if our mom would be able to come back. It’s exhausting, and very stressful.

TBD: The headlines just seem to feed fears. But the media doesn’t seem interested in filling in the blanks behind the hysteria, to get to the real stories of how people are being affected.

RD: Absolutely. “Muslim ban.” “Making the country safe.” “Securing our borders.” None of the headlines was a satisfying explanation of what was unfolding before us. There was a huge gap of missing information. I wanted to fill that gap because I knew it well. It was only a few years ago that I was in the shoes of those who were impacted by the executive order. I kept wondering why were the people who were among the most educated and progressive demography of my hometown targeted as a potential threat? Perhaps the extreme vetting that visa applicants had already gone through, not to mention multiple costly and onerous trips to a third country, was not widely understood. Surely people could see the political aspect of the executive order and how it was not about securing the borders or about terrorism but purely a move that was there to serve an agenda. Just as no one would question the desire for secure borders, no one would blame one for wanting a safe country. Yes, all these things were true, but how could I make people see what I saw? How could I take them to the corners and niches of that humongous room that the travel ban was, which everyone stepped into it just a foot and walked out of without seeing all there was to see? In searching for an answer, I found myself not thinking about the people who were going to be immediately sympathetic to what I had to say, but about the people who were going to turn their backs to me, the so-called “White Americans.”

TBD: Well, I am a white American, what do you want to tell me? What do you want to tell us?

RD: So when I say “White American,” I mean the notion of White American, the negative epithet that is currently used to imply certain characteristics and a set of beliefs: a group of people who would turn their backs to me as soon as I say, “Hi, my name is Rosa and I am a Muslim from Iran.”

What diversity in the States had taught me is that too many times my ignorance had opened the door of my perceptions to a manipulative world that wanted to build an imaginary foe in my head, to bundle a group of people together and label them in a negative way. Too often the image I had let others build for me had been proven wrong. I came to this country 13 years ago with a dependent student visa in hand, like many people who, under the executive order, were not allowed to board their flight with that same visa. I landed in Boston, as my then husband was going to start his graduate studies at MIT. Not long after my arrival, in that melting pot, I met someone who for 22 years had been portrayed to me as a detested enemy. When that Israeli student asked me where I was from, a dazed fear overcame me. How was he going to react when I told him I was from Iran? This is how he reacted: he invited us to his home. We met his kind, pregnant wife and their sweet, little daughter. Even then, my shy and intimidated self was nervous about the conversations we were going to have. My Israeli friends were not like how we were back then: timid, quiet, and culturally shocked. They talked about Persian cuisine and the Persian cookbook that they used to cook from back home. They told us about our similarities and about the reminiscences of our countries’ past cultural exchanges. With their kindness and rich cultural maturity, they turned that intimidating night into something that felt like a casual catch-up with a good old friend. Having had that experience and many more, I will not let anyone build a new perception of “White Americans” for me. No one else should accept any type of group labeling.

TBD: It does seem like we fear the thing we don’t know, and often when we’re exposed to another culture we see how similar we are rather than how different.

RD: Yes! Those types of exposures germinated something invaluable in the diffident and international student that I was, something that gradually flourished to become a defining principle of my character: that perceptions are like crafts. They are not authentically yours if others have formed them for you. My Israeli friend and his wife taught me a priceless lesson. They now live in Israel with their beautiful kids. We have stayed in touch. They are my friends.

TBD: How has living in America all these years changed the way you see yourself in the world?

RD: With every change of status, I had an opportunity to see a new facet of the society. I started my own graduate studies in Chemical Engineering and held a student visa, like many student-visa holders who, under the executive order, were sent home. Along with my professional growth, I nurtured the diverse cultural exposure that was an intrinsic part of American society I was living in. Christianity, Judaism, Buddhism, Hinduism were not dry concepts that I would come across in books or news, but an enticing reality of the people who I interacted with daily. Atheism and agnosticism were no longer unfamiliar words in my vocabulary. It was proximity to different religions that helped make happen my long-held desire of attending a church service with my Christian friend. It debunked the “Muslims are not welcome to church” myth. I was fascinated by the merry atmosphere of the service and sense of community.

TBD: What other immigration statuses have you held and how have they impacted your life?

RD: After seven years of residing in the States on a visa, I became a permanent resident, like many individuals who were affected by the executive order. Working became a new reality in my life. My change in status lifted the restraints of a life on a visa, where crossing the borders to visit my family was risking my standing in the States. I did not miss my brother’s wedding like many of my friends. I started working as a scientist in one of the largest biopharmaceutical companies in the world. After years of exposure to this culture, America—that one big entity that had been like one individual with one opinion and personality—started to morph into millions of pieces with countless opinions, ideologies, and beliefs. I learned that there was a red and a blue and that I had lived in the Blue all along and that the Red was something that opposed my opinions and me: a Muslim from Iran.

TBD: Yes, we’ve had lots of difficulties talking about politics as we go on the road to places that seem to be fine with rabid sexism, religious intolerance and racial prejudice.

RD: Exactly. I am guilty of holding prejudice myself. All through my residence in the Blue I remained wary of the Red, even when the hands of destiny made me work alongside one in my team who loved talking about politics. If I was accidentally caught up in political conversation in my conservative colleague’s presence, I was that quiet person who wanted to keep work relationships separate from personal opinions. That did not last long. Now we have walked many walks and talked many talks. I learned, once again, that I had been wrong in assuming one voice and one entity for the Red and that it had as many opinions as it had people. My colleague is the one who said, “You cannot really understand your viewpoint until you can eloquently articulate and defend a viewpoint you disagree with.” Her opposing views challenged me to re-evaluate all that I had thought was right, and separate what I deeply believed in from what I had borrowed from others without scrutiny.

TBD: Being a writer, you know how important the nuance of words and intricacies of vocabulary are to participating successfully in a culture. It seems like that’s one reason people who come to a new country sometimes hide among their own and don’t really attempt to assimilate. Have you found that?

RD: You are absolutely right. After thirteen years, I am not that international student who is forced to a shy corner by the new culture. Only after these many years, worries of making mistakes while speaking in a foreign language do not force me into silence and solitude. I do not immerse myself in the Iranian community to shield myself from the unfamiliar world that I live in. Now I have lived in the States long enough to get half of the cultural references and realize that the Seahawks and the Red Sox are sports teams. I am fluent enough in the language to make myself understood and brave enough to talk and make mistakes and learn from them. And I have learned enough social norms of communication to surround myself with people of different colors and race.

TBD: Didn’t you recently become a citizen?

RD: By pure chance, I took my oath of citizenship two days before President Trump’s inauguration. It’s deeply unfortunate to say that I feel lucky to have taken my oath before the change of administration. It shouldn’t be this way. My sister shouldn’t have halted her wedding plans because her future in-laws cannot attend the wedding due to the travel ban. My parents should not worry about crossing the border to visit my brother in Toronto. My brother shouldn’t be banned from entering the U.S. to see us. Our story is just one of the many thousand stories of people who have been affected by the travel ban.

TBD: Do you feel the acrimonious contentiousness of this recent election has divided people, and unleashed an anger simmering beneath the surface?

RD: I do. The excessively lengthy political race and its side effects have put profoundly disproportional weight on our differences and have instigated unhealthy hate and anger. “Unanimity” and “global agreement” are attractive and elevating notions, but are not meant for a healthy society. One cannot champion diversity and not welcome differences of opinions. It is barbaric to attack an idea or a group when you don’t know what that idea or group is about. At this time when our differences are being magnified by people who are running their own race, and rage is being fanned by people who are playing their own game, it is time for all of us to start a dialogue with each other. It is necessary for us, now more than ever, to eloquently articulate and defend a viewpoint we disagree with. Dialogue is the only means to peace. It is time that we the people have a dialogue, not to change each other’s convictions, since convictions fast changed are short-lived, but to understand each other and challenge our firm, long-held beliefs against reality.

TBD: Do you ever worry that exposure to different religions and cultures will water down your own sense of who you are, what God you worship, what you believe in fundamentally?

RD: Getting to know my Israeli and Christian friends neither converted me to Judaism or Christianity nor turned my Israeli and Christian friends to Islam. My conversation with my Republican colleague did not revolutionize me to take on a new political identity. Those exposures empowered me with knowledge of new realities, and broadened my perspective so much that no biased, agenda-driven media outlet can ever again color for me every Israeli or Jew with the color of their choice. No politician can provoke me to be against other religions. No uninformed entity can wrap my opposing ideas in one box and sell it to me. Deep understanding of the reality of the world we live in is what all of us need.

TBD: As someone who has come to this country and embraced it, what would you like to say to America?

RD: The enduring greatness of this nation has been the result, in her walk through time, of a continuum of right decisions. Let’s continue to take that walk together, not in unanimity but in unity. Let’s make that right decision together, not in complete agreement but with sincere understanding. To my so-called “White American” friends, my name is Rosa. I am a Muslim and I am from Iran. Who are you? What are your concerns?

Rosa Daneshvar was born in Tehran, Iran and moved to the United States for graduate studies in 2004. She now lives in Los Angeles, where she is a Chemical Engineer at the world’s largest independent biopharmaceutical company. Her first novel is Darya Chronicles. Inspired by her own cultural experiences and challenges of living away from home, she tells a story of the turbulent life of an Iranian woman, Darya, who has moved to the States for her graduate studies. Rosa is an avid Western horseback rider and dreams of having her own ranch with horses and cattle. Visit her at: rosadaneshvar.com

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Photo of author Paula Priamos

Paula Priamos on Writing, Saying “No” to an Agent, and Being a Shyster’s Daughter

We were lucky to receive a stack of books from Rare Bird Books, a publisher we love. We fell for Inside V by Paula Priamos, who also wrote the memoir The Shyster’s Daughter. So we thought we’d pick her brain about writing, thrillers, memoirs, and how she got published.

Read this interview on the HuffPost.

Photo of author Paula Priamos

Paula Priamos

The Book Doctors: What kind of books did you like to read when you were a kid and why?

Paula Priamos: Well before kindergarten I taught myself how to read with the book Black Beauty. I started sounding out the small words first and then I’d read those same basically one syllable words to my mother and I’d fill in the rest, concocting my own story about a runaway horse, a plot that had nothing to do with the words on the page. Oftentimes I grew frustrated that I didn’t understand the bigger words. But my mother would patiently help me sound those words out and eventually I read her the entire book. As I got a little older I gravitated towards Nancy Drew and Hardy Boys mysteries because I loved having to figure things out.

TBD: What was the inspiration for Inside V?

PP: I always start writing with characters first before conflict and I conceptualized this couple in my head, a man and woman, who are in the kind of relationship that begins with infidelity and quickly winds up in marriage. Yet even with a couple of solid years spent as husband and wife their relationship remains intense – deeply sexually and emotionally connected – and sometimes it’s even dangerous because their passion for each other doesn’t level off or stabilize. They remain in the throes of that initial passion that first brought them together.

The threat to their marriage in the form of a seventeen-year-old girl accusing the husband of sexual assault came to me next, and the events and other characters in the book pretty much played out in my head. It felt as if I spent most of the time writing this novel rapidly filling up lined notebooks, then typing it all on the computer, just trying to catch up.

Cover of Inside V by Paula Priamos; "Inside" in small letters on top, a giant V takes most of the cover

Rare Bird Books

TBD: How did you approach writing a novel, as opposed to a memoir?

PP: I wrote my memoir with literary elements like a narrative arc, scenes and dialogue, so it wasn’t very hard to segue into a novel. There are some literary people who claim a writer can’t write in more than one genre, but I think that mindset is false and quite limiting.

TBD: What was it like to be the daughter of a shyster?

PP: I was the only one out of my two siblings who stayed with my father after my parents decided to divorce when I was a young teen. I’m actually proud to be a shyster’s daughter. My father, in his day, before he was disbarred for embezzlement, was a sharp criminal defense attorney. He was a clever showman who rarely needed to rely on notes when he gave closing arguments, and he angered more than one veteran prosecutor when he’d successfully get his clients off. Over the years he’d done some bad things, crossed legal lines he knew he shouldn’t, and essentially became as morally corrupt as the clients he was defending. But that doesn’t mean he didn’t know how to teach me morals. My father taught me how to read people, to question their motives and to stand up for myself when I need to. I know I’m a much stronger woman for having been raised by him.

TBD: How do you think growing up in Southern California affected you as a writer?

PP: Being a So Cal native is a great thing. I live in an area that is ethnically diverse and with that comes all kinds of intriguing people to write about, conflicts to be had. Geographically Southern California offers mountains, the ocean, deserts and all kinds of city culture, so there are fantastic places to set the backdrop of my scenes. In Inside V, the story takes place in LA, the Valley, Palm Springs, and in Newport Beach.

TBD: What draws you to the thriller category?

PP: I love thrillers, whether it’s books or films. There is nothing more satisfying than reading or watching a smart and unpredictable whodunit that deals with character and story in equal measure. I wrote my memoir in a way that leaves the death of my father a mystery up until the end of the book, so it only made sense when I decided to write fiction that it be a thriller.

TBD: What are you working on next?

PP: I’m more than halfway through another thriller, set in the LA area and with another Greek female protagonist. That’s where the similarities end. This protagonist is not as headstrong as “V” nor as confident, but she gains strength in other ways throughout the narrative. The plot is different. She is trying to move on from a failed first marriage, a former husband who isn’t ready to let her go, all while she attempts to find an old childhood friend who’s suddenly disappeared just hours after they’d been reunited.

TBD: How did you go about getting this novel published?

PP: I had a disagreement with the literary agent who was going to send this novel out to publishers. This particular agent wanted me to fatten up my lean novel and make it more of a typical “women’s mystery novel,” which I did not want to do. I feel that some of these bulkier books derail the tension lines with unnecessary details and languishing asides. Instead I had a person who’d worked PR for my memoir send it to the publisher at Rare Bird, and, as it turns out, she sent it to the right place. The publisher loved that it was the type of book a reader could finish in one day while curled up on the couch or on a long plane ride.

TBD: What advice do you have for writers?

PP: I teach creative writing and one of the first things I tell my students is to be both humble and confident. Know that you’re not immune to criticism and helpful suggestions, but also know that you can’t please everyone nor should you try. Keep an open mind without losing your own creative vision. Try not to get frustrated with what may seem like a slow process of seeing your work to publication because, in the end, there’s nothing like the rush of holding your own beautifully bound book for the first time and knowing it now has the potential to reach countless readers.

Paula Priamos’ writing has appeared in The Los Angeles Times Magazine, The New York Times Magazine, ZYZZYVA, Crimewave Magazine in the UK, The Washington Post Magazine, and The San Francisco Chronicle, among others. She is the author of the memoir The Shyster’s Daughter and teaches English and creative writing at CSU San Bernardino. Visit her at paulapriamos.com.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED.

Cover of Oakland Noir by Eddie Muller

Eddie Muller, the Czar of Noir, on the Importance of Finding Empathy in Darkness

If you live in the Bay Area, which we did for many years, and you have a penchant for the dark side that draws you toward the underbelly of noir, you know Eddie Muller. He’s a legend. Let’s face it, you don’t get to be the Czar of Noir for nothing. So when we found out he was editing the new Oakland Noir, part of the great noir series by Akashic, we jumped at the chance to pick his dark brain about Oaktown, writing and the book business.

Read this interview on the HuffPost.

Photo of Eddie Muller wearing glasses and a hat, very noir

Eddie Muller

The Book Doctors: What are your earliest memories of being interested in noir? What were some of your favorite noirish books when you were going up, and why?

Eddie Muller: I’m of an earlier generation, pre-VCR. I was first drawn to noir by movies I’d see on Dialing for Dollars, weekdays afternoons when I’d cut school. Stuff like Thieves’ Highway and Cry of the City and The Big Heat. I started combing TV Guide to find movies with “Big,” “City,” “Street” and “Night” in the title. There’s a title: Big City Streets at Night. I’d watch that. The look of the films and the attitudes of the characters resonated with me. I was at the epicenter of the hippie movement in San Francisco, but I was intrigued by this earlier generation’s style and attitude.

In high school I started reading Raymond Chandler and Dashiell Hammett, and the die was cast. In that way, I’m like virtually every other crime fiction writer. It’s amazing the influence those guys had, especially Chandler. His prose was intoxicating. Reading Hammett’s short stories made you want to be a detective. Reading Chandler made you want to be a writer. After that, you just start devouring everything. At a certain point I began distinguishing between mystery writers and crime writers. And I became less interested in the detective whodunnits and more fascinated by the noir stuff: Patricia Highsmith, Jim Thompson, David Goodis, Charles Willeford. Their books don’t resolve neatly. Things aren’t going to end well.

TBD: What are you currently reading?

EM: I’m looking forward to a couple of days off so I can read Paul Auster’s latest, 4321. I’ve seen some discouraging reviews, but I read everything of this. He’s my favorite living author. I enjoy how his mind works and I like how he translates it to the page.

TBD: What are some of your favorite noir classics, and again, why?

EM: Derek Raymond’s Factory series books are pretty great, especially I Was Dora Suarez. He really turned detective stories into noir literature. Forgive me for touting the obvious touchstones: Hammett’s big three: Red Harvest, The Maltese Falcon, and The Glass Key. Chandler’s The Long Goodbye. Here’s the thing about crime fiction: you end up loving a writer’s body of work more than a single book. I like reading David Goodis, but I can’t say I like Cassidy’s Girl more than Nightfall. Same with Jim Thompson. Charles Willeford, The Burnt Orange Heresy. I like Highsmith’s Ripley novels. I like Highsmith in general. She still doesn’t get her due because, obviously, she was a woman writing in what’s perceived as a man’s genre. I had that bias once, as a younger and stupider man. Then I wised up. More guys should wise up.

Cover of Oakland Noir by Eddie Muller

Akashic

TBD: Having been published in San Francisco Noir, part of the Akashic series, I’m a big fan of these books. How did you become involved with Oakland Noir?

EM: Well, we were both in that San Francisco noir collection! I was sort of wondering when Johnny Temple, Akashic’s publisher, would get around to Oakland. I mean, seriously, how can you have Duluth Noir before Oakland Noir? As it turns out, Jerry Thompson, who’s a writer and bookseller in Oakland, had pitched Johnny on an Oakland Noir collection but hadn’t gotten a green light. Then Jerry approached me about co-editing the anthology—and I guess because Johnny and I had some history we got the go-ahead.

TBD: What was it like editing all these amazing writers?

EM: It was great! Jerry and I shared a vision of what we wanted the book to be—an accurate demographic reflection of the city. Meaning we wanted an appropriate gender/racial/ethnic mix to the stories. Which can be tricky. You want good well-conceived, well-written stories, not just stories featuring a black or Asian or Hispanic character. Let’s be honest: it’s a crap shoot. Jerry did the hard work of selecting most of the contributors, because he knew the literary landscape of Oakland; I pulled in a couple of my buddies, Kim Addonizio and Joe Loya. We had a vision of how the book should play out, but you can’t tell writers what to write. In the end, I was happy with the result. The reviewer for Publishers Weekly complained that some stories weren’t really noir, but the Kirkus reviewer understood completely: our mission was to reveal the city beneath the mainstream perceptions, to use genre fiction show sides of Oakland not usually seen.

TBD: What do you think separates great noir from everyday pulpy potboilers?

EM: Empathy. Great noir writing makes you feel and contemplate lives gone off the rails. That’s not entertaining for a lot of people, but to me it’s one of the purposes of art.

TBD: What exactly is a noircheologist? (Spell check really hated that word!)

EM: I dig through the past to rescue and revive this stuff. That’s the mission of the Film Noir Foundation, which I founded in 2006. We rescue and restore films, specifically noir, that have slipped through the cracks and disappeared. There are a lot of savvy small publishers who are noircheologists on the literary side, but I’m the guy when it comes to film. We recently resurrected a terrific 1956 noir film from Argentina, Los tallos amargos (The Bitter Stems), and preserved a sensational picture from 1952 called El vampiro negro; it’s an Argentine reworking of Fritz Lang’s M. I’m on a crusade now to show that film noir was not specifically an American thing.

TBD: You have one of the coolest nicknames around: “The Czar of Noir.” How did that come about? And how can I get a nickname that cool?

EM: A woman named Laura Sheppard, event coordinator at the Mechanic’s Institute Library in San Francisco, was introducing me one night. She was reading the far-too-lengthy bio I’d supplied—you do that when you’re young and trying too hard—and, frankly, I think she just got tired of it. So she said, “Hell, he’s just the czar of noir.” It’s been the gift that keeps on giving. If you want a cool nickname, I can put you in touch with Laura.

TBD: Will you ever get tired of noir?

EM: I don’t think so. Not once I realized there was far more to it than what was ascribed by the original scholars on the subject. It annoys some purists when you stretch the boundaries, but who cares? We sold out a week of shows at the Museum of Modern Art in New York presenting virtually unknown film noir from Argentina. Akashic’s Noir series has been a fabulous way of getting new writers published and providing a valuable anthropological–literary experience. There’s been a long overdue rethinking of this terrain as strictly a male-only province. All good, as far as I’m concerned.

TBD: We hate to ask you this, but what advice do you have for writers in general, and writers of noir specifically?

EM: Understand that noir is not about the body count. It is often about violence—the psychological pressures that lead to it, and the inherent drama in trying to stem the tide. It bothers me when books and films featuring ugly people engaged in relentless killing are described as “noir.” It’s not. Those are just Tom and Jerry cartoons for post-adolescent boys. Not entertaining to me, and not of any significant value to the culture at large. I guess my advice would be “Aim a little higher.”

Eddie Muller is the world’s foremost authority on film noir. As founder and president of the Film Noir Foundation he is a leading figure in film restoration and preservation, and a familiar face and voice on the international film festival circuit, DVD special features and Turner Classic Movies, where he hosts Noir Alley every Sunday morning at 10am EST.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Barry Lyga on Freedom, Pizza, and Writing Dark Shit for Young Adults

We met Barry Lyga when we were waiting to sign books at the (thoroughly awesome) New England SCBWI conference. Turns out we are all Jersey-crowd–the Garden State representing! We had a funny chat, and then we checked out his books. This guy is a powerful writer. His new book, Bang, is out, so we picked his brain about books and publishing and whatnot.

Read this interview on the HuffPost.

Black and white photo of Barry Lyga

Barry Lyga

The Book Doctors: Who were your favorite authors, and what were some of your favorite books when you are a kid?

Barry Lyga: I had such eclectic tastes as a kid! I loved old classics like Poe and Milton, but I was also obsessed with modern sci-fi authors like Joe Haldeman, as well as comic books by the truckload. Paul Levitz and Alan Moore were two of my favorite comic book writers. I read Haldeman’s Dealing in Futures short story collection over and over as a kid — those stories really opened my mind as to what was possible in storytelling. Oh, and I can’t forget to mention Ken Grimwood’s classic Replay. That book blew my mind. I re-read it every year, and it still knocks me down every time.

TBD: How did you learn to become a writer?

BL: I sort of figured it out on my own, really. I knew at a very young age that I wanted to tell stories, and I was manic in my reading. I read constantly. Every chance I had, I would have my nose in a book. So I sort of absorbed a lot of the lessons and the rhythms of writing and internalized them subconsciously. Which isn’t to say that I was a great writer the first time my fingers touched the keyboard! Hell, no! I still had to practice and hone my craft, which took literally decades. But no one ever really sat me down and taught me how to start — I figured that out on my own and then just kept iterating and trying until things started to click.

TBD: How did you find your first agent, and what was your road to publication?

BL: I met Kathy Anderson at a writers conference in early 2005. I had won the Editor’s Choice award at the conference, so she was looking for me. And I had seen one of her lectures the day before I won the award, so I was looking for her. And then it turned out I was scheduled for a pitch session with her! So, it was a fortuitous meeting.

She read the manuscript I had at the time, which was my first YA novel: The Astonishing Adventures of Fanboy & Goth Girl. After a couple of weeks, she offered me representation and I accepted. Then we talked about the book a little; she had some suggestions and I took ‘em. About five months later, she sold that book and my next one at auction. We haven’t looked back since!

TBD: Do you ever get pushback for writing books for teenagers that are so full of darkness?

BL: Not from anyone in the business. Occasionally there are people out there in the wider world who take issue with something I’ve written, but they are — thankfully — a minority. I think most people recognize that my books aren’t promoting the darkness or proselytizing for it; they just reflect it for the reader.

TBD: What did you learn about writing while working in the comic book business?

BL: I worked in comics on the distribution side, not the creative side. So honestly, the most important lesson I learned was that I wanted to be on the creative side!

But there WAS writing involved in that old job; it just wasn’t creative. It was a lot of marketing copy and so on. I did learn a substantial work ethic from that. I learned how to edit myself. I learned how to heed the sanctity of a deadline, which has stood me in good stead — in 12 years as a professional author, I think I’ve missed exactly one deadline. Thanks, comics!

TBD: Tell us about BANG.

BL: BANG is the story of Sebastian. Ten years ago, when he was four years old, Sebastian was playing with his father’s loaded handgun. It went off. And killed Sebastian’s four-month-old baby sister.

Now, ten years later, he’s still living with the guilt, the horror, the shame, and he’s decided he doesn’t deserve to live. How can you find forgiveness for something so unforgivable? How can you atone for a mistake you made before you even knew what a mistake was?

And there’s pizza. Believe me — the pizza is important. It’s a pretty dark book, so the pizza matters.

Cover of Bang by Barry Lyga; bullet hole in letter "A"

Little Brown Books For Young Readers

TBD: What are you working on next?

BL: I wish I could tell you! I have two projects in the hopper right now, but contracts have yet to be signed, so I’m not supposed to say anything about them. They’re both dream projects, for completely different reasons, and I’m so, so incredibly excited about them. Stay tuned!

TBD: What do you love most about being a professional author? What do you hate most about it?

BL: I love the freedom. I don’t mean the freedom of dictating my own hours and days (which is amazing; don’t get me wrong!), but rather the freedom of knowing that I am the one deciding what I do next. No one comes to me and says, “OK, your next book is about a kid who can talk to chickens…but he has a poultry allergy! Make it so!” I have the freedom to decide what stories I will tell. Some of them succeed; some of them don’t. But they’re all mine.

As to what I hate… I really hate the uncertainty. Which, of course, is the flip side of the freedom! There’s no way to know which, if any, of the stories I decide to tell will strike a chord with the reading public. If you made a graph of the sales of my books, it would look like a cardiac patient’s EKG. It’s all over the place. There’s nothing you can do about it, of course, but that doesn’t stop me from hating it!

TBD: You’ve written some pretty grim books on some really difficult topics. How does that affect you personally?

BL: Until recently, it didn’t! I mean, I wrote a book about child abuse (Boy Toy) and a whole series about serial killers (I Hunt Killers) and it never bothered me. I slept the sleep of the just every night, no matter what horrors I’d conjured during the day.

But BANG was different. Maybe because I was a new father. I was writing about a dead four-month-old baby while my own four-month-old baby was sleeping in a bassinet next to me. This book really, really got its hooks into me, and while that bothers me, I hope it will get its hooks into readers, too.

TBD: We hate to ask you this, but what advice do you have for writers?

BL: I always tell writers: It’s OK to suck. It’s OK to look at something you’ve written and not like it. That just means that you’ve grown as a writer, developed better taste and better instincts, in the interim. So, take that new perspective and write something new. Inevitably, you’ll look back on that in a little while and think that it sucks, too! But that’s all right. That’s progress. One of these days, you’ll write something that only half-sucks, and then you’re on your way!

Called a “YA rebel-author” by Kirkus Reviews, Barry Lyga has published seventeen novels in various genres in his eleven-year career, including the New York Times bestselling I Hunt Killers. His books have been or are slated to be published in more than a dozen different languages in North America, Australia, Europe, and Asia. Lyga lives and podcasts near New York City with his wife, Morgan Baden, their nigh-omnipotent daughter, and their preternaturally chill son. His comic book collection is a lot smaller than it used to be, but is still way too big.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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Todd Colby on Writing, Poetry, Art and Drunken Boat

We’ve been fans of Todd Colby for a long time. He’s one of the most creative people we know. He’s always making something: art, poetry, mayhem. So when we saw that his new book, Time for History, is out, we picked his fertile brain.

Read this interview on the HuffPost.

Photo of Todd Colby

Todd Colby

The Book Doctors: Why the heck did you decide to become an artist, of all things?

Todd Colby: The alternative is just, well, boring. Why not live in a state that allows me to pay attention to the world a little closer and then celebrate or mourn the delicious and repulsive state we’re all in?

TBD: For as long as I can remember, it seems people have been talking about the demise of art. And yet, we seem to be in a moment right now where poetry is flourishing. Why do you think that is?

TC: When the going gets tough, like right now, people need a lot more than the latest news cycle whopper to inspire themselves, at least the people I like to be around. They need some depth, something that lasts, or makes them laugh or cry or recognize their own lives in a new light. Movies can do that, music certainly, but poetry has that special distillation of language, rhythm, and meaning that is reassuring and makes me more mindful when it’s really working right.

TBD: How has your career as a poet influenced your career as a visual artist?

TC: They’ve always worked hand in hand for me. In fact, I feel little distinction between the two and shift from being a poet to a visual artist with great ease. I mean both arteries of expression come from the same “Todd,” and that goes for my musical excursions with my old band, Drunken Boat. At the same time, different things that I need to express require different modes. It’s really nice to have options. I feel lucky that way. I will say that when I’m painting or making any kind of art, time moves in very odd chunks. Hours will go by and suddenly I’ll realize it’s dark out or that I haven’t peed for a very long time. That sort of concentration in almost any form is just beautiful.

Knitted picture of the word "history" over a landscape

TBD: What was the inspiration for your new book?

TC: I was doing an artist’s residency on Governors Island provided by the Lower Manhattan Cultural Council during the winter and spring of 2015. A friend had given me a huge stack of antique linen postcards as a gift. I brought them with me to the island thinking I could do something with them. One day while strolling around Governors Island I thought, “There are no monuments to poets here!” So, I began altering the postcards by writing captions in oil markers over them. I made a lot of postcard monuments to Arthur Rimbaud, Charles Baudelaire, Gertrude Stein, James Schuyler, James Baldwin, Emily Dickinson and many more. I still feel compelled to make them. It is enormously satisfying to rename monuments that celebrate poets and writers I love.

Postcard-like art of various locations

TBD: How would you describe the art you’re doing in this book?

TC: Time for History is an expansion of the themes I explored on Governors Island. There is some political and social commentary that comes through in a few of the pieces that I made after Trump was elected. And oddly, there’s a narrative that emerges as one goes through the book in sequence.

Image of a dog race saying "They would not carry riders so they dressed them up like fools"

TBD: How did you go about getting this particular book published?

TC: My dear old friend and frequent collaborator, the artist Marianne Vitale approached me with the idea of putting a selection of the hundreds of postcards I’ve made into a book. We’ve done collaborative books together over the years, so she knew what I was capable of, believed in me and the project and helped get the whole thing moving along. She introduced me to a book designer she works with, Nicolas Borel. He designs with a very keen eye and understanding of a book as object and then he subverts that expectation and expands the notion of what a book is, and what it can be. He was a joy to work with.

TBD: Who are some of your favorite artists, and why?

TC: I love Joe Brainard and George Schneeman. They both lived in NYC, and had close ties to the Poetry Project (where I also serve on the board of directors) and they both collaborated with a number of poets I respect and admire, like Ted Berrigan, Alice Notley, John Ashbery, Bill Berkson, and so many more. I also love the painters Amy Sillman. Jack Whitten, Louise Fishman, and Sue Williams; all of them are very different from one another, but they are all fierce, agitated, funny, precise, and driven. All of these artists occupy distinct thrones in the palace of my artistic loves.

TBD: Do you think working in a bookstore has influenced you as someone who does art and puts it into a book?

TC: Yes. As the manager and programmer here at 192 Books, I have been able to meet a wide variety of incredibly talented and creative people. People who I’ve admired so greatly over the years come into the store and talk about their art and their lives. Interacting with them, asking them questions, and getting to know them has been a real life changer for me.

TBD: Do you make something every day?

TC: I do. I try to make or write something a few times a day, even while I’m at work.

TBD: We hate to ask you this, but what advice do you have for artists?

TC: Keep doing it. It’s important that whatever you want to do gets done. Don’t fall into line. Don’t do what you think other people want you to do because that is just a giant bummer for you and everyone else.

Todd Colby is the author of six books of poetry, most recently of Splash State (The Song Cave, 2014) and Flushing Meadows (Scary Topiary Press, 2012). He was the editor of the poetry anthology Heights of the Marvelous: A New York Anthology (St. Martin’s Press, 2001) and serves on the board of the Poetry Project. He was the lead singer for the critically acclaimed band Drunken Boat.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

JOIN OUR NEWSLETTER TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED.

Photo portrait of Julia Kite smiling

Julia Kite on Tottenham Hotspur, Rejection, and Her Long, Strange Trip to Getting Published

We first met Julia Kite many years ago, when she won one of our Pitchapaloozas (think American Idol for books, only kinder and gentler). She pitched us a fantastic story, full of fantastic characters. It’s been a long haul, but her book, The Hope and Anchor, has finally found a home, so we thought we would pick her brain about writing, authorship, books, and all things publishing.

Read this article on the HuffPost.

Photo portrait of Julia Kite smiling

Julia Kite

The Book Doctors: Why did you decide to become a writer?

Julia Kite: I never decided on it— it simply happened. I learned to read at a very young age, starting in a curry house where the owner gave me a calendar to play with because the food was all too spicy for me and I had nothing else to do. I made my parents read it to me until I memorized what words looked like, then I figured it all out from there and ever since then I haven’t stopped. Eventually I realized that if I was reading books that other people wrote, then I could write them as well. I was often bored in school and I needed some quiet, unobtrusive way to pass the time without getting in trouble. Turns out if you look like you’re working on an assignment or furiously scribbling notes, you can get away with actually writing a story. To this day, I’m a wimp who can’t deal with anything hotter than chicken tikka masala. It’s sad. I know.

TBD: What where your favorite authors and books when you were a kid, and why?

JK: I always liked the realistic stories of other girls’ lives— Beverly Cleary’s books were favorites of mine, because Ramona was so relatable in her mischief and her well-meaning imperfection. I saw a lot of myself in Harriet the Spy, wanting to know everything about everybody and write it down in a book, and I must have read Matilda a million times. It didn’t hurt that when the film adaptation of Matilda came out, I looked like Mara Wilson with a bigger nose. What fiction did to me was give me aspirations— look at these fascinating lives other people are having!

TBD: How did you learn to be a writer?

JK: I got there by first reading everything in sight, and then by being constantly observant of the world around me. I strongly believe that there’s only so much you can directly teach someone when it comes to writing. Being able to write is the function of being able to read, listen, interpret, synthesize, and abstract. These are skills you can only refine by going out and living in the world. You learn by doing. To be honest, eavesdropping on trains and in cafes probably taught me more about dialogue than any how-to book. Strange as this may sound, boredom also has had a lot to do with it. When you’re bored, you think a lot about other people’s lives, about things you’d rather be doing, places you’d rather be sitting at that exact time. You imagine that everything else in the world is so much more intriguing than what you’re stuck in at that moment, and you imagine being a part of it, what you’d do if you were someone else. And that’s the bedrock of fiction.

While I love being able to learn everything about anything at any time using my smartphone, I worry that if I’d had one when I was younger, I wouldn’t have had the opportunities brought by boredom and letting my mind wander. I think that’s a necessity when you’re young, and if people lose that because there’s just so much stimulation, their creativity is going to suffer.

TBD: How did you find a publisher for your debut novel?

JK: What a long, bizarre, maddening trip it has been. The Hope and Anchor is actually my second novel. My first novel was called The Results and it was about two sisters in Liverpool who start up a betting ring, choosing people in their neighborhood who they believe deserve a bit of joy in their lives, based off one girl’s unwanted knack of correctly predicting how every soccer match is going to end. They end up in too deep and realize the only way they can make a clean break with their pasts is to con everybody on the night of the Cup Final, making themselves rich and everybody else an enemy so that they can really never come back. The kitchen sink meets magic realism. I pitched it at your Pitchapalooza competition when I was living in San Francisco back in late 2011 (bloody hell). I ended up winning Pitchapalooza and it was a massive boost to my confidence, which was in the basement, because a year earlier I had abandoned my perfectly lovely life in London to move to California and study for a PhD, which turned out to be a disaster, to put it lightly. Within the course of one year I had gone from living the dream as a financially independent young woman with a decent job, a nice flat, a loving boyfriend, and one hell of a cute pet bird, to an anxious and depressed wreck running into bureaucratic brick walls with my research, earning barely above minimum wage, living in a neighborhood where I couldn’t wear sandals for all the used needles on the pavement, essentially undergoing massive culture shock in the country where I was born. California and I didn’t get along. I couldn’t even watch my beloved Tottenham Hotspur thanks to the eight-hour time difference, and if that means nothing to you, suffice it to say that is a very big deal. The one thing I still had was my writing. No arrogant professor or unhinged person screaming under my window at 3 AM could take my imagination away from me.

After Pitchapalooza, I was convinced my luck was going to change, and I would finally be getting somewhere with my writing. And despite a significant number of rejections, for a moment it looked like that was going to happen. I began working with a well-established agent in England who helped me edit The Results. He really liked it, but explained that unknown new authors of literary fiction are difficult to sell. If he was going to take me on as a client, I had to prove I had more than one book in me. So I wrote The Hope and Anchor…and it didn’t do anything for him. We parted company. I read the writing on the wall and put The Results aside.

After realizing there was a reason average time to degree in my department was nine years, and recognizing there’s definitely something wrong when blood-soaked clothes on the street no longer faze you, I found the courage to quit my PhD and I moved back to the East Coast. While I worked on rebuilding my interrupted policy and research career, I went back to the drawing board with pitching The Hope and Anchor and followed all the directions, writing personalized query letters to agents, double-checking their guidelines, making sure I was doing everything they wanted. I had quite a few agents request my manuscript. Unfortunately, none of them bit. I received many rejections with zero feedback— the most common response was, “I just don’t love it enough,” and variations on that theme. It was frustrating to me, because there’s no way to improve without clear feedback and concrete criticism. It almost would have been more reassuring to hear that they thought I had some kind of deficiency of skill, because at least then I would know what I needed to fix, where I needed to improve. You can learn to improve your mechanics, but you can’t force somebody to fall in love.

There was one agent who replied to my query with incredible enthusiasm and asked for the full. A few days later, she wrote me a bubbly email about how she was halfway through and absolutely in love with the book, and she would get back to me the following week. I was on cloud nine but I knew I needed to be patient, so I waited. And waited. A week passed. Two. Three. I didn’t want to be an annoyance, but after a month of no contact I finally sent her a polite check-in and she rejected me with zero feedback. I asked her if she would mind telling me what hadn’t worked for her in the second half of the book, essentially what had cooled her enthusiasm, but I never got a response. And I was utterly gobsmacked. I understand that the sheer volume of manuscripts literary agents have to deal with precludes detailed feedback, but I felt that I had been strung along and that I had the right to be miffed about a process that put me on ridiculous emotional roller-coasters. That was probably the moment when I first considered that maybe my book wasn’t the problem, the industry landscape was.

At the same time, I was trying to learn as much as possible from people in publishing, and from authors who had found mainstream success. Yet every time I went to a talk by an agent or an editor or an author, I left feeling utterly despondent. An agent spoke to my writing group, gave us all kinds of advice for landing someone like her, then revealed that in the past year, she had signed exactly one new client out of a slush pile of over 400. Then an author with her literary fiction debut published by one of the Big Five told us she had spent most of her modest advance on hiring a publicist, and my jaw hit the floor and stayed there far longer than could possibly be sanitary because I thought the entire point of signing with the Big Five was that they took care of publicity for you in-house. A member of my writing group landed a top-notch agent, then found out that they wanted him to completely change the genre of his book before editors would consider it. I saw people get agents who didn’t sell their books, and they’d part a year later, back at square one. At a certain point, the practical part of my brain intruded and said, “You’re a complete unknown writing literary fiction, and every indication is that the odds are stacked against you, no matter how good a writer you are. Why are you making yourself miserable, trying to do the impossible?” In my day job I’m a very analytic person, very evidence- and data-focused, and all the statistics were screaming that continuing down the same path was not going to magically make a door open. It would only make me bitter.

Friends asked me why I didn’t self-publish, but I knew that was a road I didn’t want to take. It can be fulfilling and occasionally lucrative for genre fiction, but that’s not what I write. Then one day in my Facebook feed, a friend had shared a link to a book one of his work colleagues was funding on a website called Unbound. The author was Gautam Malkani, and I recognized the name— he had published an acclaimed book called Londonstani several years earlier, and was now crowd-funding his second book after parting with his publisher. I knew that if a writer as talented as Gautam was going this route, it had to be legit, and that if his publisher had dropped him, then clearly there were issues with traditional publishing. Friends of mine in music were going their own way, recording brilliant songs and releasing them independently, and I realized that publishing needs to innovate just as the music industry has done over the past decade. Clinging to romantic notions of an industry that has changed almost beyond recognition would not get my book into the hands of strangers, but trying something new and exciting just might. I vetted Unbound very carefully, then submitted my manuscript.

I know now that “I just didn’t love it enough” can mean, “It’s good writing, but it’s not going to sell a million copies, and I need a book that will sell a million copies for this to be worth my while.” It’s business, not personal. But I believe there’s still space for good writing that’s not necessarily going to have wide enough appeal to be a summer beach read— and fortunately Unbound does, too.

It’s funny, you work for years to get anywhere with your book, and then two offers come along at once. I turned down an offer from a literary agent on the day I signed with Unbound. I didn’t want to go through any more of the craziness.

TBD: What is your book about?

JK: The Hope and Anchor is a story about love and loss, at its very core. Not only the actual disappearance of a beloved person, but also coming to terms with how your life isn’t going to turn out the way you had always planned, and the need to put old dreams, as lovely as they may have once been, to rest.

Our protagonist is Neely Sharpe, a woman in her late twenties who once believed that as soon as she moved to London, she would be somebody. She figured her life would take off and she would have the bright, exciting future she had always wanted growing up in a satellite town. She figured she had done everything right: being middle-class, highly educated, and ambitious. On paper, it seemed like the city should have been hers for the taking. Unfortunately, the recession took the shine off her big dreams, and so she finds herself working a dead-end job and living in a scruffy, downmarket part of West London. The one bright spot in her life is her relationship with her girlfriend, a local woman named Angela Archer. Angela’s upbringing couldn’t have been more different from Neely’s: nothing much was ever expected of her, particularly after her mother died and her troubled older sister moved away. She has epilepsy, but insists on not being treated differently. Her job at the local leisure center is never going to bring in a living wage, but to Neely she seems happy.

Neely, in her increasing dissatisfaction with life, is prone to making foolish and self-destructive decisions. The morning after one of those bad decisions, she stumbles home hungover and finds Angela is gone. And she’s not answering her mobile phone. Oh, and the medication Angela should have taken yesterday is still sitting in its little box in their kitchen.

Doubt and self-loathing leave Neely unsure of what to do. Locals who have known Angela since childhood tell Neely not to panic, and not to treat her girlfriend like she’s fragile or stupid. Neely, meanwhile, fears Angela may have left deliberately, perhaps knowing more than she let on about Neely’s drunken hookups with a mutual friend— but then there’s the matter of that medication. She finally goes to the police, but not until after making a few more potentially unwise decisions along the way.

We meet Andy, Angela’s older sister, who thought she had left behind her difficult upbringing when she married a middle-class man, moved to the suburbs, and had children. With Angela’s disappearance she gets pulled back into a life she never wanted to see again. Neely’s search for Angela, meanwhile, is interspersed with flashbacks of Angela’s teenage years, where one particular event left her determined to never leave this particular corner of the city. Little by little, Neely finds out just how little she really knew about her girlfriend. It shatters her self-image as someone who should have been smart enough to not end up in this mess, but also gives her greater clarity about her situation. She has to get a grip, get a clue, and come to terms with how little she knows about life, love, and London.

Without giving away too much of what happens, Neely ends up scouring the city, from pubs, to parks, to the sewers in a snowstorm, ending up far more immersed in her girlfriend’s history than she ever imagined. The only shot she has at finding answers is to risk losing all the illusions she ever had about what her life would be like.

I want the reader to be left wondering how much of one’s past you can really leave behind, and whether it’s wise to even try to do so.

TBD: What inspired your novel?

JK: I used to ride my bike along the towpath of the Grand Union Canal in West London, usually going all the way from my flat near Paddington Station out to a suburb called Greenford. When I traveled along the bit that runs beside a railway depot and a nature reserve, I was struck by how much it didn’t feel like the city out there. It was wooded and quiet and it felt a million miles from the council estate where I was living at the time. I thought—and don’t take this the wrong way— that if anybody wanted to get away with hiding a body, they could probably leave it there and nobody would find it for quite some time. I really don’t know why I thought that. I’m not a morbid person. But it planted the seeds of this book in my head. After I moved to California, writing vividly about a place I missed so much helped keep alive my plans to eventually get back the happiness I’d had in London; I suppose it was a grieving process, really, for the life I thought I would have. I picked the title as the name of a fictional pub, a complete wreck of a place, not really realizing at the time how well it fit me when I was writing the book. While Neely is definitely not based on me, I can certainly empathize with her situation where her best laid plans have gone astray and the world is passing her by. Had I not been so miserable in California, she probably wouldn’t have been so rich a character, so you have to take the good with the bad.

The imagery of the Grand Union Canal, which runs through Neely and Angela’s neighborhood, is constantly present throughout the book, as is the London transportation network. They link Angela’s past with her fate, Neely’s dreams with her reality, and Andy’s old resentment and shame with her determination to have a better life. Angela’s father is a Tube driver on the Circle Line, which, unfortunately, was re-routed a few years ago so that it’s no longer a circle, so that kind of wrecks a bit of imagery, but oh well. My day job is in transportation policy, and I’ve always been intrigued by the topic. Most teenagers wanted their own cars but I just wanted to ride the train to the end of the line, looking out at different neighborhoods, watching people come and go and wondering about their lives. In that aspect transportation has been an oddly massive part of my development as a writer, even if I’m the first to admit it’s not exactly sexy. My background in urban policy and planning has taught me that the only constant in any city is change, and the corner of West London captured in The Hope and Anchor is no different. I knew I had to get my book out in the world before the neighborhood morphed beyond recognition. Whenever I go back there, it seems like another pub has closed, another new development I could never afford is rising. It’s already too late for the police station that features throughout the story… it has been turned into luxury flats.

The strangest thing happened the last time I was in London, last year. I went for a walk down the Harrow Road like I always do, but when I passed by the building I had chosen for Neely and Angela to call home, I noticed the door leading to the flats above the shop was on the latch. Not wide open, just a crack. I pushed it open, walked into the hallway, and it was exactly how I had imagined it, with the mail on the tile floor, even though I’d never set foot in that building before. In the book, the light in the corridor has long burnt out and Neely always has to feel her way up the stairs to her flat. Well, I tried hitting the light switch— and just as I had written it, it was burnt out. I kind of freaked out and ran back to the street at that point. It was just a bit too eerie.

TBD: Tell us about your publisher; they’re quite unusual.

JK: Unbound uses what is essentially a modernized form of subscription publishing, which was popular with everybody from Samuel Johnson to Mark Twain back in their day. Authors essentially crowdfund a certain amount in pre-orders of their book, with different rewards for different levels, much like Kickstarter but without the risk. Once the author hits their funding target, full production of the book begins, like at any other publishing house, and the books land on shelves in brick-and-mortar stores as well as online. Everybody who pledged gets their name in the book as a nice thank-you for helping it come into existence.

The Unbound model makes a lot of sense from a practical standpoint. I’m an unknown with a literary fiction debut. Most unknowns with literary fiction debuts don’t make heaps of money for their publishers. In fact, a few years ago the New York Times said that seven out of ten books overall don’t earn back their advance. These more “niche” books are essentially subsidized by the big bestsellers. What I now realize, after my long experience trying to get a literary agent, is that someone like me is simply a bad risk from a business perspective.

Fortunately, Unbound realized that, too— and made room for people like me. By essentially outsourcing the risk to me, they can bring my book into physical existence without worrying that they’ll pay out thousands in an advance, spend lots of money on production, and then potentially not recoup their investment. You wouldn’t be in business very long if you kept doing that, no matter how skilled your authors— hence the Big Five’s focus on the celebrity clients and proven best-sellers over debut literary authors. I first prove that I can bring in an audience, and then Unbound goes ahead and invests their time and money in creating the physical book to be marketed and sold like any other. The pre-orders show there is a market for the book, as well as provide a financial cushion prior to the full print run. I don’t get an advance, but books sold in shops or online after hitting the target net a much better royalty rate than most authors typically see.

Unbound also gives me as an author a bit more control than a traditional house would. For example, I deliberately chose to not do a hardcover. That’s for a very practical reason: I live in a small Manhattan apartment with another voracious reader, and bookshelf space is at a premium! While I love the look of hardcovers and they certainly give you that “I’ve made it” feeling, I rarely buy them because they’re expensive, heavy, and difficult to shove into a handbag to take on the subway. Producing one would have meant a higher funding goal as well. Paperbacks and e-books are what I like and what are going to sell more effectively than a hardcover, so that’s what I’m going to have.

Unbound is not a vanity press, nor are they a self-publishing service. What I love about them is that they seem truly dedicated to getting an audience for quality writing. For a house that has been around only six years, they’re punching above their weight; they had a book longlisted for the Booker Prize a couple years ago.

TBD: How do you plan to promote and market your book?

JK: Social media is a huge part of this. I’ve had my Twitter account (@juliakite) for… oh god, more than eight years now. You bet I have chronicled the long, long journey to publication, and my followers have been along for the ride, so it’s great to finally be able to have something to show them for it. To find people outside my immediate network, I think about what aspects of the book might interest people who have never heard of me. Number one is the setting. It’s massively important to the story, so I’ve been a bit cheeky and searched for tweets mentioning the Harrow Road and the Grand Union Canal, and reached out to clubs and businesses in the neighborhood. I cringe a bit sending unsolicited messages, but the worst that can happen is that someone calls me annoying and then I move on. I also made an author page on Facebook and ran an ad targeted specifically to people in London who listed reading and novels as an interest. While it wasn’t hugely successful, I did get a few pledges, and when you’re completely unknown, every new person reading your book matters. I’m not the best at self-promotion, but I need to learn if I want this to be successful! I’ve made a video, which is on my Unbound page, featuring a lot of my photography. I think that helps humanize the project a bit, even if my hard-to-place American accent might come as a bit of a shock to some…

Cover of The Hope and Anchor by Julia Kite; a river runs between a road and trees

A few months ago I was on Jeopardy, where I lost spectacularly on the final question after leading for the entire game, but had a great time regardless. The Jeopardy contestant community is surprisingly close, and it includes several bookworms. I’m also fortunate to be part of a writing group called the Columbia Fiction Foundry, which is hosted by the Columbia University Alumni Association. All of us have the goal of being commercially published, and so we support each other. We’ve got a considerable mailing list that hopefully I haven’t completely irritated yet. The members of the workshop have seen this book come together over the past couple of years, and I hope that when they finally have copies in their hands, they’ll know they were an important part of it.

Several Unbound authors already have established careers in journalism, TV, or music, and many have successfully published before. Readers pledge to their projects knowing it’ll be something they will probably like. Me, I’m a complete unknown! I’m asking people to take a leap of faith, and it’s difficult to get a complete stranger to part with money when they’re not familiar with my work other than the excerpt on my Unbound page. I’m ridiculously grateful to everybody who has pledged, but especially to the people who don’t know me at all, because they’ve put their confidence in me. I really hope they’ll enjoy The Hope and Anchor.

TBD: What is your next project?

JK: Oh, wow. I feel like I haven’t had time to think about the next project because technically this first one isn’t finished! Sometimes I consider reviving The Results, but it may be time to simply let that one go. I feel like my next book will have to be set in New York City, as it’s a place I know as well as London and there’s infinite possibility for the kind of stories you could write about here.

I’ve been toying with the idea of writing about the aftermath of a fatal car crash, focusing on the surviving driver. In my job, we insist on saying car “crashes,” not car “accidents,” because even if it wasn’t deliberate, it’s down to the actions a person chose to take and which they could have prevented, rather than an act of God. That distinction is very fascinating to me and I think the exploration of personal agency versus chance is a pretty fertile seam to mine. But I’m still in the very, very early stages.

TBD: What advice do you have for writers?

JK: Be Patient. This was a difficult trait to cultivate in myself. I’m still not the world’s most patient person. If I had told 18-year-old me that I wouldn’t have a book deal until my early 30s, I probably would have torn my hair out. NaNoWriMo is great for motivation, but you shouldn’t expect a novel in one month. Not even the bad bare bones of one, if you have a day job. I’ve found that some of my best writing has come from times when I wasn’t expecting to generate anything substantial. I just started thinking, started writing, and what I created was far better than I expected. If you pressure yourself by putting time constraints on your writing, you miss out on the serendipitous joy of an idea simply popping into your head after ages of long slog.

Similarly, accept that writing the book is the easy part. You should expect to spend far, far more time editing and revising than you did actually getting the words onto the page. And it’s worth it. There’s no substitute for slow, deliberative, quality work.

Be judicious when incorporating autobiography. Remember that above all, your novel must be a work of fiction, and if you are constraining the possibilities of what you’re writing in order to match reality as you lived it, then you’re doing it wrong. Of course, you can lift scenes or character traits from your own life— if something interesting has happened to you, then why not? But be very careful. Your audience of complete strangers wants to read a good story, not your therapy session. They care about whether you can write an interesting, gripping book, not whether everything you’re writing about actually happened in real life. For example, I dropped out of a PhD, and I made Neely someone who has done likewise because I knew I could write really well from the emotional perspective of having derailed what you thought was your surefire plan in life. But the similarities largely stop there. Likewise, there are a few scenes where I’ve lifted the bare bones of the action from real life, but I fleshed them out with imagination. My bike rides along the Grand Union Canal are not Angela’s, even though we traveled in each other’s wheel ruts and looked at the same scenery. She can’t possibly be seeing things the exact same way I did, because she’s not me; she’s had a different life, a different perspective. The magic of fiction is that you get to create these characters who are nothing like you. You get to play God of your own tiny world in a way you can’t do anywhere else in life, so why force yourself to stay within your own experiences? That would be a failure of imagination. Why limit yourself to characters who only tick the same identity boxes that you do? That defeats the purpose of fiction, in my opinion.

I’ve found it’s quite obvious when fiction is really thinly-veiled autobiography. It’s difficult for your peers to critique honestly, because it feels like saying anything negative is casting disapproval on someone’s actual life. But without honest critique, you won’t have a decent book. If your real life is interesting enough to be fictionalized, you might as well write memoir, but remember that unless you’re Malala, Madonna, or Maradonna, few people outside your circle of friends and family will find it interesting.

Get a group. Writing feels like a solitary activity, but you must, must, MUST have readers giving you constructive criticism. Without the Columbia Fiction Foundry, The Hope and Anchor would have been a much weaker book. Your friends and family are lovely people, but they can’t always give you the tough critique you need to grow as a writer. As writers we pour our heart and soul into our work, so criticism can sometimes feel like an attack, but you have to force yourself to get over it. It’s medicine: taking it feels absolutely awful, but it’s what you need to get any better. In a good workshop environment, you’re all going to want each other to succeed, and that means hard truths and hard work, so remember that the people reading your work are just trying to make it the best it can be. Which brings me to my next point…

Don’t take it personally. This applies whether it’s a critique from a workshop or a rejection from an agent. Your work is separate from who you are. Someone not liking your story doesn’t mean they don’t like you. Someone thinking your book isn’t ready for publication doesn’t mean they think you’re talentless. It’s difficult, but you need to remember that writing this specific book is something you do, not something you are. You will fail at individual tasks— that’s simply part of learning and growing— but that does not make YOU a failure.

Cut, but don’t trash. For The Hope and Anchor, I created a Word document I titled excisions.doc, and I put in it everything that needed to be cut for the sake of the story, but which I felt was too well-written to simply throw away and get rid of forever. It functioned as a holding pen for good writing that simply wasn’t right for the moment. It turned out to be a wise idea; while doing a major revision, I found that lots of great lines that I had to cut from Andy when I made her a less central character were easily adaptable to Neely.

Don’t read the comments. Good advice for life, that.

Julia Kite lives in Manhattan, and calls New York City and London home. She is a graduate of Columbia University and the London School of Economics. Obsessed with cities and the people in them, she started her career researching housing and urban regeneration, and she now directs policy and research for Transportation Alternatives, New York City’s advocates for walking, biking, and public transit. Before she began working to make New York City’s streets better for cyclists, she was taking long rides along the Grand Union Canal in West London. She is a member of the Columbia Fiction Foundry, an alumna of quiz shows The Chase and Jeopardy, an urban wildlife rehabilitator, a keen amateur baker, and the owner of an opinionated parrot. The Hope and Anchor, currently funding on Unbound, is her first novel, a work of fiction about a very real place she holds dear.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.

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