“You don’t grow out of YA”: My Interview with International Thriller Writers

Last fall, The International Thriller Writers interviewed me– they’re a great organization of highly respected authors who do a wonderful job supporting new thriller writers, with Lee Child, M.J. Rose, R.L. Stein, and other greats on the board. Here’s that interview!

From ITW:

A rural Missouri girl, Kate Brauning fell in love with writing at a young age. She was that child who practically lived in the library, discovering all its treasures. Now, she resides in Iowa with her husband and a Siberian husky, and works in publishing. She loves to connect with readers. If you see her and say hi, she might invite you for a coffee and to talk about books.

Her debut novel HOW WE FALL is a young adult tale about two cousins with a secret relationship, a missing best friend, and strange girl with secrets. Will this strange girl be a harbinger of doom? Will they find their friend? THE BIG THRILL sat down with Brauning to find out more.

When did you start writing?

Oh, I was pretty young. I wrote my first “story” at ten or so, I think. I’ve always had fun writing stories, and I wrote a novel all through high school. I loved it, but it just never occurred to me that I could write for a career. I kept on loving it, though. In college I decided that I loved it too much to not try.

Did you ever want to be anything besides a writer?

I decided early on that I wanted to be an author, so no, not really. Along the road to becoming an author, I’ve discovered I love the publishing world and I love editing, so if I couldn’t write anymore, I’d continue to work with publishing houses as an editor.

What got you interested in YA Fiction?

Great question. I didn’t imagine myself as a YA author to start with, actually. I started out writing adult, but it didn’t quite fit the stories I wanted to tell. Young adult fiction explores the teenage years of a person’s life, and those years are a significant point of change for most of us. Teens are tackling adult issues for the first time—serious relationships, jobs, shifting authority structures, new limits and opportunities—but they’re doing it without the experience, and often without the resources, that adults may have. It’s a vulnerable, heady, thrilling stage in someone’s life. Teens are also adjusting to greater independence and more authority in their own lives, but might still be dealing with limitations at odds with those things, like curfews, not having a car, house rules, and the structures of school. YA tackles that.

The experiences we have in our teenage years are formative ones, and the mistakes and choices we make can follow us into adulthood. There’s great opportunity, uncertainty, and passion in those years, and they leave a mark on us. I didn’t start reading YA until I reached my twenties, and I wish I’d found it earlier—seeing so closely into the lives of other teens who are wrestling with the same changes and struggles I was would have been so helpful as a teen. I still find myself identifying with the characters in these stories, because people never stop struggling with change. You don’t grow out of YA.

Did you have a favorite character to write?

HOW WE FALL is a YA contemporary story about two cousins who are hiding a relationship. I chose Jackie as the perspective character for this story because I really love how she thinks. She’s not really honest with herself, and often says the opposite of what she means, so it was a really interesting voice to write. Since it’s first person, the reader is really close to her thoughts, but I still needed to communicate the difference between her thoughts and reality. It was a really fun style I’m looking forward to doing more with.

What was the road to getting published like?

I’ve been writing since I was a teen, but it wasn’t until after college that I finished a novel I wanted to get published. I researched agents and query letters, developed an interest in the publishing world, and started working first as an internship with a publishing house. Then I worked with a literary agency, and started sending out query letters for my novel. I then moved to a job as an editor with a publishing house. While I was querying, I started writing my second novel, which was HOW WE FALL, and the response from agents was much more encouraging than for my first work. I did revisions and signed with an agent after about six months, then we went on submission right after the holidays and I had an offer in late February. It happened pretty fast and I couldn’t have done it without such a fantastic agent. My debut just released in early November, and it’s been a tough but really wonderful journey.

How would you describe your writing process?

I spend a long time working on the concept of the story—living in the story mentally, churning scenes around, and figuring out the focus—before I actually start drafting it. Once I start drafting, I try to fast-draft the first act so I can see how things work out when I write characters into the situation and the environment. Then I go back and heavily revise that first third to get all the layers in place and make any changes to the plot/characters that I thought of along the way. After I have the first act solidly drafted and revised, then I finish drafting the rest of the book. Of course, it depends some on the book and how well I know the story before I start writing it. Doing revisions in that first third makes starting a manuscript slow for me, but I do find it helps me avoid having to change major parts of the story.

What does 2015 hold for you?

I’d love to know that, myself! I’ve just moved to a new publishing house (Entangled Publishing) where I work as an editor with YA fiction, so I’ll be acquiring and editing some really wonderful YA titles. I’m also hard at work on new projects, both adult and new adult, that I’m really excited about. I’m also attending a lot of conferences (I’m a conference junkie), so be sure to say hi if you see me!

_________

PS Did you know there’s a narrative Pinterest board for How We Fall? Have you ever seen a narrative book board? I worked so hard on it! And I love it so much. Tell me what you think? ~Kate

 

Stress And Writing

The stress is getting to me, guys.  I have a book coming out in 7 weeks, one with a dual conflict (rare) and a unusual romance (controversial) with an even more controversial ending (which I love). I’ve also just gone through a major job change that’s requiring a lot of work. And reviews from critics are starting to come in, I’ll finally get to see my book in hardcover when my author copies arrive this week (hopefully!), and I’m knee-deep planning my physical-but-also-virtual launch party (you’re invited!), and I’m 40,000 words into my next MS. Plus, my husband and I partnered with a photographer friend this summer to open up a studio where creative arts professionals can purchase a subscription to the space and come work. Add to that the intense amount of traveling my husband and I have been doing for our careers, and I’m tired. And brain-fried. And stressed.

I’m also happy, and enjoying working on the new MS, and excited to start revising the one I have drafted and waiting in the wings. I have started a warm-water aquarium (I love tropical fish), started a weightlifting class with a friend (if there ever is a zombie apocalypse, I can now save you), and am really enjoying the new seasons of my favorite shows that are hitting Netflix. So, life is wonderful, yes.

But stress. All the million things running through my brain all day. All the worry that there might be something helpful I could be doing for HOW WE FALL that I’m not doing. The change in gears to writing a strictly contemporary story. The worry that I will never be as good a writer as I want to be, that I might not be able to bring a story home and do the concept justice. (I WILL TRY.)

And the stress is a problem, because it’s what holds me back from just doing what I need to do, realizing that how well I write is in my own hands, and most of this is just one-day-at-a-time stuff. Stress overrides what I know. As a side note, if you get the chance to encourage a writer, do it. That little positive bump can mean a lot.

So, this is me staying honest on the blog and letting you know how it’s going. It’s also me saying I’m not going to let the stress control my decisions and it’s not going to take me down. I’ve beaten a whole lot of things to get here, and I just need to get a little more balance and find good way to blow off steam. I’m going to get enough sleep, keep up weightlifting, block off enough time each week for things that aren’t work, and keep reading awesome books. (Recently read and highly recommended: THIS IS NOT A TEST by Courtney Summers, and SEX & VIOLENCE by Carrie Mesrobian. Both brilliant, completely absorbing, and powerfully written.)

Do you have a stress management plan for yourself? What do you do for coping?

Revisions, #Subtips, and Tumblr

Happy Tuesday, readers! I’m back from my week in Colorado to visit my brand-new nephew (born 6 weeks early!) and help my sister out a bit. He’s great, she’s great, and it was so great to have some time with family.

I’m back to writing and editing now, and I have a few fun things for you today.

First, I posted a guide to handling revisions for Pen and Muse’s summer school, where I discuss everything from receiving an editorial letter to turning that advice into specific action items, and from writing your own editorial letter to handling opposite feedback from critique partners: A Guide to Handling Revisions

Second, I recently had several people ask me to storyify some of my #subtips. I’ve put up a few on pacing, character development, writing romance, and gender roles, so in case that’s of interest to you, here they are! #Subtips on Storify

Third, Jamie Adams interviewed me about the best and worst writing advice I’ve ever received, the hardest scene for me to write in HOW WE FALL, my favorite scene (oh my), and my life phrase, in which I quote Kingsley Shacklebolt. Interview with Kate Brauning

Finally, I’m on tumblr! I’ve been figuring out how I want to use it, and since this blog is so writer/publishing-focused, I wanted something more reader-focused. So, if you want awesome content for readers who might not necessarily be writers, follow me there! Here’s what the content looks like:

Music Mondays: Most writers love music, and I’m no exception. Mondays I post a music video that has inspired me or my work. It’s often something from my WIP playlist or one of those life songs that you feel like all your friends need to know.

Ted Talk Tuesday: Tuesdays I post a Ted Talk about creativity, intelligence, literacy, efficiency, or anything else related to life as a creative. They’re fun, challenging short videos from experts in their field and a great way to challenge yourself and learn something valuable.

Wednesday Word Love: I post awesome quotes from writers or their books, news stories about awesome things writers are doing, and awesome new cover reveals and releases. Basically, anything awesome. 🙂

Thursday Thought: On Thursdays I try to post either something I’ve been thinking myself, or something thought-provoking I’ve found elsewhere, usually about books or creativity or literacy or social justice issues.

Fangirl Friday: Posts on Fridays cover anything I’m fangirling over– Game of Thrones wedding cakes, Harry Potter GIFs, YA books-turned-int0-movies that I want to see, etc.

Weekend Reads: Either Saturday or Sunday, I tell you what I’m reading that week, and if I think you should read it too!

So, yeah, if any of that sounds fun to you, feel free to follow me on tumblr!

Thanks so much for reading, guys!

Common Publishing Terms and Abbreviations

Below is a list of common terms and abbreviations you might see as you read my posts or other publishing blogs. About a year ago I wrote a similar list, and it has turned out to be one of my most popular posts, so here it is, revised and updated!

• Agent: Literary agents are professionals who represent an author’s career. The most well-known task an agent performs is selling the writer’s manuscript to a publishing house and negotiating the contract. Agents do much more than this, however, and function pretty much like career managers.

• Beta reader: Usually beta readers are people that an author asks to read his/her manuscript and give critiques and respond to the story. This is not the same thing as a critique partner.

• Big 5: Previously the “Big 6,” these are the major New York publishing houses: Hachette Book Group, HarperCollins Publishers, Macmillan Publishers, Penguin Random House, and Simon and Schuster. Many other significant, international publishing houses exist, though, such as Bloomsbury, Scholastic, and Harlequin.

• Category: a broader term than genre that addresses the age range the book is written for or about. All books fit into one of these categories: picture book, middle grade, young adult, new adult, or adult. Some people separate the younger categories into more divisions than that, but those are the basics. Young adult and new adult categories are a bit different than the others, because while they are written about characters of a certain age, they aren’t written just for readers of that age group–adults make up a huge percentage of their readership.

• Crit/Critique. An evaluation (usually from another writer) that aims for showing both the strong and weak elements of a MS. Critiques from other writers, especially authors and agents, can be a great way for writers to improve their writing.

• CP/Critique Partner. Writers who critique each other’s work in an on-going relationship. The critiques CPs give can be tougher than a beta reader’s feedback, and CPs often know each other’s writing strengths and weaknesses, and can push each other more. These can be great relationships to establish because of the encouragement, resources, and support writers receive from each other.

• Editor: Depending on the type of editor, editors acquire books for their house to publish and guide the book through the editorial process for publication. Like agents, they do much more than this, too.

• Form rejection: A copy-pasted rejection from an agent to a writer who queried. Most of the time this is what writers will receive. Most agents receive 100+ queries a week (I’ve seen some agents report 800+), so personal responses are often impossible

• Genre: A term to describe the kind of story a book is. When writers are asked what kind of books they write, they often respond with the category and genre– young adult fantasy, for example, or adult romance. Science fiction, contemporary, mystery, thriller, magical realism, and historical are all genres.

• MG: middle grade. Writing written for middle grade readers and adhering to certain age group conventions.

• MS: manuscript. An unpublished work of fiction or nonfiction. Plural: MSs.

• NA: new adult. Characters and plotlines that revolve around situations common to the 19 to mid-twenties age group. Some say this is a subset of adult fiction, and others maintain it’s its own category.

• Personalized rejection: A rejection from an agent to a writer who queried, but some element of the letter is personal. A line or two complimenting the work but explaining why it’s not right for the agent may be included. This is an encouraging sign and a compliment from the agent, and is actually a good thing to receive. If a writer is excited about receiving a rejection, this is likely why.

• Pitch: A brief description of a manuscript highlighting the main elements in a way that makes others want to read more. Contests sometimes ask for a 1, 2, or 3-sentence pitch. Writers should have one ready for contests and conferences, and many writers create the pitch while they are plotting the manuscript to help keep them focused on the story’s core.

• Query letter: A letter, often a professional email, that writers send to agents asking them to consider them for representation. The letter includes specific details about the manuscript the author has written and relevant credentials the writer may have. Some agents want 5 or 10 pages and/or a synopsis included as well. Conventions for queries are very particular.

• R&R(or R/R): Revise and resubmit. The request from an agent or editor to have the writer make certain changes to the manuscript and then resubmit the work for consideration. These happen frequently, and are an excellent sign of the story’s potential. The agent’s current list of titles, market trends, and the writing itself may be reasons the agent asked for an R&R, to see how well they can work with the author and how open to feedback the writer is.

• Request: An agent (or sometimes editor) requests to see a certain number of pages of a writer’s manuscript. These can be “partials”–generally 30, 50, or 100 pages– or else “fulls”– the entire manuscript. Usually agents request a partial first and then request a full if they are considering representing the writer. A request is a BIG deal, particularly if it’s a full.

• Slush/ slush pile: the queries and submissions waiting in the query inbox of an agent or editor.

• Small Press: A publisher with annual sales below a certain level, or else one who publishes a small list of titles per year. There can be significant benefits to publishing with a small press, such as increased attention from your publishing team.

• Submission: Usually this refers to when an agent takes an author’s manuscript on submission– actively submitting it to editors, hoping to receive an offer of publication. It can also mean the submission materials writers send to agents or contests.

• Synopsis: A 1-2 page summary that reveals the main elements of the MS in a cause-and-effect style. Agents and editors often ask for these to see how (and if) an author can wrap up the story.

• Twitter pitch: A pitch designed for Twitter contests designed to quickly hook the reader. 140 characters or less. Twitter contests can be a good way to reach agents who may be closed to submissions (if they are participating) or get a request that may move you up in the agent’s slush pile.

• WIP: work in progress. The manuscript an author is currently writing.

• YA: young adult. Writing intended for a teenage audience, but with tremendous crossover appeal to adults. Publishers Weekly reported that 55% of all YA books are purchased by adult buyers, and 78% of the time, those books are for themselves. Basically, YA is written about teens, but written for both teen and adult readers.

Have you heard any other terms you’d like to know more about or have added to the list? Let me know in the comments!

Small Press, Traditional, and Self-Publishing: Let’s Stop Judging

I’m going to get a little ranty today. This should be no surprise to those of you who follow my Twitter feed. I tend to get ranty about important things.

A part of human nature seems to be putting others down to make ourselves feel better. We like being set apart. We like being up high where we can look down at those below us and see how far we’ve come. It’s a sharp, nasty edge we’ve all got inside us somewhere. As much as I try not to, I do it almost daily. It’s tempting to make negative assumptions when I see someone in sweat pants with a screaming child in Walmart. I have no room to judge; I own sweat pants, and I’ve dealt with my share of upset children. But that negative assumption makes me feel a bit better about myself, because clearly I am not that woman.

That’s a small example of a serious problem. When we’re little, we bully and mock and taunt other kids to impress others with our wit, our strength, our bravery. If you asked us, we’d have “good” explanations, too. He’s fat. She has two moms. He’s the teacher’s pet.

We have “good” reasons, too, for judging people based on their skin color, nationality, orientation, faith, income level, education level, political beliefs, and any other difference we can think of. There must be some kind of inclination to instantly compare when it comes to differences. We see a difference and want to know which is better– mine or hers? We react like there’s some objective evaluation somewhere that weighs our differences and pronounces someone the winner.

No one wins when we put down someone else to make ourselves feel better. And it doesn’t make us feel better, not really. We’re still discontent. We’re still looking for someone else to be better than. We have to keep feeding our superiority complex, have to keep looking for proof that we matter MORE THAN THEY.

I see this showing up in publishing sometimes. We like to think self-published books are poorly edited. We assume, sometimes, that they were sent to and rejected by editors, when often self-publishing was the first choice for the author. We like to think they couldn’t sell to a publishing house because they weren’t good enough. There’s a horde of them. Look at all those self-published authors, thinking they can take a shortcut and still be respected.

We like to look down, just a little bit, on small press authors. Their books are just another ebook, right? Not good enough for major publishing houses, and the authors weren’t brave enough or business-minded enough to self-publish. Right? Look at them, wishing they were big-league and not making the cut. If they wanted a serious career, they wouldn’t accept a small press deal.

Sometimes it goes the opposite way. We resent authors who want a traditional publishing deal because they must think they’re better than us. A small press isn’t good enough for them. They’re too good for self-publishing. How elitist. How high-minded of them to think they deserve The Big Five, when everyone knows publishing is changing so fast.

Dividing up writing this way, into “us” and “them” so we can compare and judge and be better than is so damaging. Writing is hard. It’s solitary. It’s putting your soul, your thoughts, your love on the page and holding it up for the world. It takes so much commitment and bravery and enthusiasm to write a book, and even more to put it out there for people to read. And those things? They’re draining. People say writers have to develop thick skins, but I doubt many of us ever get there. We just learn to cope. Balance. Understand people are people; learn how much taste and quirks and knowledge affect why people say what they do. Thick skin? Not really. Not me, anyway.

When writing is this hard, this draining, when it contains so much of who we are and is a lifelong goal for so many of us, it’s an undeserved, unfair blow to judge someone by his or her publishing path. (And really, what a silly thing to judge someone by. Books are so much more than their publishing method.)

When we claim publishing path as a reason to feel better about ourselves and look down on someone else, we’re judging them unfairly. Read that author’s book. That’s what we should judge their book by. The actual pages of the story itself.

Yes, there are differences in publishing paths, and those differences matter. I’ve worked in a literary agency that deals almost exclusively with major publishing houses. I’ve worked with two small presses. As a freelance editor, I’ve helped authors self-publish. I’m attempting to start a career in traditional publishing, myself. The flexibility and marketing required for each of those choices affects where authors go. The distribution and personal attention available at the press affects why authors pick what they pick. The concept of the story itself and the market at the time of publication affects what authors want for their book. Sometimes it’s the writer’s long-term career goals that decide the matter. It’s not about the quality of the story.

I’m going to say that again. The publishing path an author chose is not an indicator of the quality of the story.

Judging someone’s art based on publication path isn’t right. Some self-published books are poorly edited. Some traditionally published books are poorly edited. Some small press books don’t sell well. Some Big Five books don’t sell well. Leigh Ann Kopans self-published her gorgeous story ONE (and now, TWO). The editing quality is great and the stories are every bit as enjoyable as my other recent YA reads. Leigh Ann is one of a growing crowd of sharp, smart, professional writers who are choosing to self-publish as a career decision. Earlier this year, I read Shadow and Bone, and I’m thrilled that Henry Holt brought this book to so many people. I regularly see the author, Leigh Bardugo, as well as a host of other classy, approachable authors (Mindee Arnett, Susan Dennard, Sarah J. Maas, Mindy McGinnis, John Green, etc) interacting in a supportive and appreciative manner with fans of all ages. I work in a small press where individual attention for authors is prioritized, and I simply can’t wait for you to read the titles I’m working on now. They are brilliant, creative, complex stories, and I couldn’t be prouder of my authors. Effortless With You by Lizzy Charles is one I worked on, and it’s gotten 60+ four- or five-star reviews, hit several Amazon bestseller lists, and just released in print. (CONGRATS, Lizzy!)

We don’t have to be alike to be equal in value. We don’t have to compare our differences and pick a winner. We don’t all have to want the same things for our career or try to fit our stories in the same box. Variety in the publishing world is a valuable, wonderful thing.

So many of my writing friends will cheer for and support their fellow writers no matter what publishing path they choose. It’s a solitary, unique career with a very odd set of challenges. We need each other. We need stories brought to readers, brought to us, no matter how they’re delivered. We need the support and excitement and understanding we gain from working together. It’s so much fun and it’s so rewarding to meet other writers and hear about their decisions, their stories, their publishing experience. (Hi, Em! Hi, Bethany! Hi, Summer and Nikki and Tonya!)

I am thrilled that writers have options. Let’s try, every day, to not judge fellow writers by what they felt was best for their story. Let’s judge a book by the book, not by the publishing path. Let’s respect each other’s differences, realize we don’t know others’ careers as well as we think we might, and be collaborators and colleagues. It’s such a rewarding field with so many truly talented and compassionate people.

I’ll leave you with a look at some of my books. In this stack, there are traditionally published, self-published, and small press books. Amazing how much they all look like real books, isn’t it?

Guest Post- A Fiction Writer’s Take On Writing Nonfiction

Hello readers! Please welcome my first guest blogger, Bree Brouwer. She has some unique experience in the writing world, and she’s approaching building her career as a writer in an entirely different way than I am. Even though she wants to be a fiction writer, she’s starting in the nonfiction arena, and since she’s done such a fantastic job building a platform in such a short amount of time, I invited her here today to talk about the what and why of writing nonfiction.

When I was younger, I decided quite early on that I wanted to be a writer.  My mom read me classic stories before bed like Little House on the Prairie and The Chronicles of Narnia.  As I grew up, I discovered YA literature like My Side of the Mountain, and my all-time favorites Misty of Chincoteague and The Saddle Club (boy, I loved horses).  As adulthood approached, teachers introduced me to Wilde, Tolkien, the Brontes, Austen, Lewis, Huxley, and so many more writers who created stories that made me yearn for more.

I wanted to do for others what these authors had done for me.  In college, I decided to focus on a degree in English writing, determined to pursue fiction the rest of my life.  The problem, as I’m sure many of you know, was that English writing degrees tend to involve lots of non-fiction writing, with only a smidgen of fiction classes added for “well-rounded” measure.  I grudgingly showed up at my journalism and advanced expository writing classes, anticipating that next semester I could take screenwriting.

Why such a diversion to non-fiction writing, you ask?  I grew up with a news anchor dad, and everything I saw in the news, journalism, and communication world disgusted me.  The sensationalism of it all seemed demeaning and frankly unethical.  Though I firmly believe that even one person can make a difference in an industry, I told myself I never wanted to be that one person.  Leave the job to someone who actually cared more about all that non-fiction stuff.

So now that college had drilled me with mostly non-fiction knowledge, I had a choice to make once I graduated: focus on fiction and stay penniless for a while, or plod through a non-fiction job just to start paying off loans.  I still cringed at the thought of becoming a journalist or copywriter, so I took a completely different route and became an online English teacher.

My job was a desk job in a massive warehouse-converted-to-office building, and since the school’s curriculum was pre-written, I mostly graded.  At home, I was so weary of English and grammar in general that my writing slowed to a complete stop.  Not surprisingly, it was towards the end of these three years as a teacher that I started to realize how much I needed to write… and write anything at all.

Fortunately, I’d been keeping up-to-date with all my favorite geeky websites about gaming and entertainment, and had been watching the developing world of blogging for years.  I noticed that the more I read articles and blogs by other writers, the more I thought, “I can do this.”  The world of new media journalism was growing, and I actually found myself wanting in on the adventure.  I started applying for internships and volunteering to write for these sites, all the while thinking of a blog I’d like to start myself and hoping that my non-fiction background would pay off.

It did.  This past August, a few months into writing for two sites, I decided to take the freelance plunge and quit my teaching job.  I networked on social media, launched a geek blog, and scored an entertainment blogging position with a smartphone app company called Fanhattan.  Though I had no paying clients, I was writing again and it felt perfectly right.  I still don’t have many paying clients, but I’m slowly getting closer to a livable salary and adoring my little non-fiction writing successes along the way!

I really think two key factors were at play in my non-fiction enlightenment.  First, the fact that I found a specific part of the often unethical, sensationalist world of journalism and non-fiction that I ended up loving (entertainment, new media, and other geeky stuff), really provided a whole new perspective on what I’d previously thought I hated.  Second, I had never had correct guidance in college or directly out of it on how to find and become involved in this area of non-fiction.  Once I learned all this myself, I was more than eager to try my writing hand at it.

I share all this with you because I know many of you are aspiring fiction authors like I was, and I know that as much as you want to write fiction, you shouldn’t avoid non-fiction.  I don’t mean to turn you off from fiction entirely, because it’s still one I haven’t given up on myself.  Instead, realize that some form of non-fiction exists that you probably would love to participate in (and in all reality, could easily get paid for doing so as you work on your fiction aspirations).  You may find blogging about ancient Mayans gets you going, or contributing articles to a local non-profit newsletter creates a sense of accomplishment.  Heck, you could even find joy in local news reporting.

Whatever it is you find about non-fiction that keeps you writing and stretches your skills, get to it, and don’t let your non-fiction prejudices hinder you.
Would you be interested in hearing more from Bree about how to start building a nonfiction platform? Do you have any questions about writing nonfiction? Let me know in the comments!

Bree Brouwer is a freelance writer and blogger who loves investigating culture, pursuing geek enlightenment, producing videos & short films, and shopping for deals like a true Dutchwoman.  She is working on the launch of her blog, Geek My Life (www.geekmylife.net).  Her desire is to create, discuss, and promote content worth consuming; find her at www.breebrouwer.com. Find her on Twitter at @BreeBrouwer

New Adult Round-up: Definition, Hurdles, and a Suggestion

If you’ve been following the blogs of agents and authors recently, you’ve probably seen the term “new adult” come up. It’s an interesting development in the world of books, and it’s generating some even more interesting discussion among writers, agents, and editors. The idea of new adult fiction is coming up against some tough obstacles, but it’s also developing a loyal following.

Since it’s such a new and intriguing development, I’ve been doing some research on the topic, and here’s what I’ve discovered, as well as an idea I think might actually solve some of the obstacles NA is encountering.

What is New Adult?

St. Martin’s Press coined the term “new adult” back in 2009 with the launch of a contest for manuscripts with protagonists slightly older than YA range with stories that could appeal to an adult audience.

The current idea is that NA is a category of fiction about a collection of experiences particular to “new adults”- moving out on their own, going to college, maintaining that first adult romantic relationship, buying a car and paying bills, landing and keeping a place in the professional workforce. Kristan Hoffman’s article for Writer’s Digest goes a bit more in-depth on what NA is and could be in the future, and author Sharon Bayliss wrote a great post on the what and why of new adult, so read those if you would like a bit deeper explanation.

Why do we want NA?

New adult currently revolves around the themes and situations common to YA fiction, but takes those ideas further. Becoming independent as a teenager in high school looks different than becoming independent as you move out of your parents’ home and begin your own life. This particular slice of life is rare in adult fiction, and the YA category doesn’t allow for those experiences, either (with a few rare exceptions). YA protagonists are almost always 18 or younger, and 18 can even be difficult to sell. Usually, if the protagonists aren’t teenagers/high school aged, it can’t be marketed as YA. Now this does look different for situations where no high school is involved (say, dystopian or fantasy genres), but the perspective of becoming an adult stays the same. See my post over at YA Stands for a discussion of the unique perspective of YA fiction and what elements make a work YA.

In an interview (here) shortly after that St. Martin’s Press contest, S. Jae-Jones, an editorial assistant at St. Martin’s, talked with Georgia McBride about the gap between YA and adult fiction, and how NA can help fill that gap.  J.J says, “Just as YA is about discovering who you are as a person, I think NA is fiction about building your own life.” I agree; there is a gap between the experiences of adult and YA fiction. Writers who still want to explore the themes of becoming independent and taking on the world, but want to do so beyond high school experiences, might find themselves fighting the current. I haven’t yet heard of a great way to market that kind of work, and I do think there is a readership for it.

In fact, Dahlia Adler, a YA writer represented by Andrea Somberg, argues in her post “Whose ‘Failure’ is New Adult?” a market for NA  exists, and it’s a market authors will reach with or without the support of the publishing industry. She lists some great deals of NA works originally self-published and then bought by publishing houses–proof readers are willing to vote with their money for NA stories.

In September The Guardian asked readers what they thought about NA, and if they would be more likely to buy NA vs. YA works, and then posted some of the responses. Those responses are excellent for reading some new perspectives on the issue, so I definitely recommend taking a look.

So what’s the problem?

Well, it’s not all problems and obstacles. New adult IS enjoying some success, which is great. The word is spreading, the group blog NA Alley is gaining a wide readership, and NA works are occasionally being published.

Tammara Webber, a new adult author, discusses her recent deal here and PR Newswire has also reported Atria’s deal with Coleen Hoover for SLAMMED and POINT OF RETREAT, both NA titles.

Part of the difficulty NA fiction is encountering is that many people in the publishing world believe it’s not really a thing yet. A few agents represent NA, some NA works have been sold and are doing well, some small presses accept NA works, and involved readers are starting to recognize the term. But just barely. Most of my friends, even voracious readers, hadn’t heard of NA when I asked. Many agents and editors insist it isn’t a separate category. NA is still early in its development, and wide-spread recognition still has to be fought for.

One of the biggest problems NA is facing is where to put those books in stores. Currently, a NA section doesn’t exist on shelves. Publishers can’t convince booksellers to purchase books they don’t have a shelf for. Booksellers aren’t going to create a whole new space for something with only a few recognized works. Most agents and editors aren’t going to take on projects facing this kind of issue. NA simply lacks a defined place in the current market, though recognition is spreading little by little. Canadian actor and writer Adrienne Cress wrote a blog post, “Why New Adult Interests Me”, addressing this problem with NA.  She quite appropriately points out the cross-over appeal of upper YA, as some have called NA, but also discusses why it’s hard to sell.

Agent Kristin Nelson discusses another hurdle in her blog post on NA. She says the target audience wouldn’t know where to find these books, even if they were to go looking for them. Would they look for them in the teen section or in general fiction? Creating space for them in a book store would take a shift in process and marketing.

Some people in the publishing industry believe these divisions aren’t necessary. Michael Stearns, founder of Upstart Crow Literary, argues here that dividing fiction up this much may become a slippery slope. He points out that in his own early 20’s, specifically because he was becoming an adult and figuring out his own tastes, would have reacted against the idea of a category of books developed especially for people in his age group. He didn’t want to be told what he should be reading at that age.

Another problem is that some people argue NA isn’t different enough from YA. NA is about the perspective of transition. But YA is about that too- the transition between adolescence and adulthood. This is, I suspect, one of the biggest hurdles for NA. I can see how NA is a different point in that transition from adolescence to adulthood, but I’m not sure the difference is distinct enough to change the industry. Different experiences, yes- high school is very different from college. Dorms and apartments are distinctly different from living at home with your parents. But that’s not what categories in fiction really deal with.

An important idea here is that categories are different from genres. Many people mistakenly refer to NA or YA or MG as genres, but they aren’t. Genres are divisions like science fiction, contemporary, horror, romance, etc. Genres are primarily about experiences and structural elements that follow similar patterns- water rights disputes, lone wolf cowboys, and girls who refuse to ride side saddle are common elements of westerns, for example.

Categories are basic divisions that separate fiction (and even nonfiction) into works targeted for picture book, middle grade, young adult, and adult readers. Of course, young adult is enjoying tremendous crossover appeal, with as many adults reading the category as teens. So it’s not just the targeted audience that makes something YA, MG, or adult. It’s the perspective, the lens through which the protagonist(s) view the world. In MG, the protagonist has an experience that may teach them more about himself or the world, but in the end still views the world like a child- which is a great thing. That age was a distinct point in my life, and it’s wonderful to be able to go back and remember it through MG works. In YA, the protagonist meets a challenge that changes how they view the world- they go from viewing the world as an adolescent to viewing it more or less as an adult. S. Jae-Jones (JJ) develops the difference between adult and young adult perspective more here.

Do certain experiences tend to gather around these perspectives? Of course. Perspective influences the events of the story and certain experiences gather around the age category. But those experiences are a mark of genre, not a defining element of category.

So here is my own personal suggestion: NA might meet with fewer obstacles and solve some of the issues it’s facing if it were treated as a genre instead of a category. Many of the experiences and structure elements unique to NA could easily be seen as genre elements, and NA could gain its distinctness and place in the market just like other new genres- steampunk and the genre mashup. Many elements of NA stories aren’t currently marketable as YA, but could NA become a genre of adult fiction? That’s what I wonder.

Truthfully, it’s hard to say what NA is or isn’t, since it’s still developing. To book people who believe the difference in perspective is significant, keep advocating for NA as a category, and keep showing readers how different that perspective is. I’d like to see that more clearly, and I’ll cheer on any NA success I see.

My closing thought, however, is that NA might do well as a genre, instead of a category. Could this genre still have fun being part of a mashup- say, NA paranormal, NA thriller? Sure. But some of the objections I’m hearing from agents and editors to new adult as a category might be solved if it were shaped into a genre.

For those of you who write new adult, Vickie Motter, Lauren Hammond, and Sara Megibow all represent NA. In fact, Vickie Motter wrote some advice on querying NA works.

From NA Alley, here is a list of NA books and films (though some were marketed and sold as either YA or adult):

For those of you who don’t write and don’t work in the publishing industry, but still love books and are wondering why in the world I’m talking about this tiny difference, what you need to know is this: whether NA is a category or genre makes a huge difference in who writers can submit those manuscripts to, how their chances of selling that book sit, and what the future NA as a whole looks like. Those first-time-as-an-adult experiences are dear to a lot of people, so go check out a NA book. You might like it!

Book Giveaway!

Hello, readers. I have some exciting news. The fabulous Rochelle Melander, writing coach and author of WRITE-A-THON: Write Your Book in 26 Days, has offered to give away a copy of WRITE-A-THON to one of my readers. See my review of the book here. Honestly, I think you’ll love it. Ms. Melander writes insightfully and honestly about the perils, rewards, and challenges of being a writer. It’s motivating and full of unique ideas. Frankly, this book is good company.

To enter the contest, do the following:

1) Follow my blog, if you haven’t already, and comment below that you’d like to enter the giveaway. I have all kinds of goodies and useful materials for writers coming up, so you’ll want to anyway.

2) Follow me on Twitter here. If you don’t have an account, you should. Twitter is one of the most helpful tools I’ve seen yet for making professional connections and finding invaluable resources.

3) Follow Rochelle Melander on Twitter here. Tweet to me that you followed Ms. Melander, using her Twitter handle so she sees the tweet too.

That’s all you have to do! Here’s what you can win:

First prize: WRITE-A-THON by Rochelle Melander

Second prize: An ebook copy (readable on PC) of Writing Fiction: The Practical Guide from the Gotham Writers’ Workshop, one of America’s leading private creative writing schools. This book isn’t just the thoughts of one author on how to write fiction; each chapter is contributed by a different writer, all 11 of them published authors. Publishers Weekly calls this one “fresh and full of concrete advice.” You definitely want to win a copy- you know you do.

Third prize: Yes, there’s a third. Everyone will receive something- something I’ll announce when we have our winners. Check back to see what it is!

Contest ends Friday May 4 at 5:30 pm central time. That’s this Friday- so enter while you’re here! I’ll use random.org to choose the winners Friday night- results will be announced on Twitter. Thanks so much for reading!

Review: Write Your Book in 26 Days

Once again, readers, I’m thrilled to recommend an excellent book.

Reading about writing is essential  to develop skills as a writer. Fantastic books on writing are listed in my “books on craft” page. These books focus on the craft of writing itself: character development, POV, plot and pacing, voice, and a hundred other elements.Their explanations and examples of techniques and principles are invaluable to writers of all kinds. Mostly, though, they teach writing skills, not how to be a writer.

I’ve just finished reading WRITE-A-THON: Write Your Book in 26 Days by Rochelle Melander, and at first I was skeptical. “26 days?” I thought. “Not if it’s a book worth reading.” Ms. Melander’s book, however, is not about rushing writers through creating their masterpiece, nor is the book about cranking out poor material. Her book is of a different sort. Rather than focusing on how to produce excellent prose and story, WRITE-A-THON teaches people how to be sucessful writers.

Ms. Melander comes alongside writers in this book as a coach. She teaches  how to prepare for the write-a-thon, how to write that first draft, and how to finish strong by revising, searching for agents, and preparing for the next project.

Really, WRITE-A-THON is 3 kinds of books in one. First, it’s a field guide. Ms. Mellander discusses who and what writers are and why they write. “Waiters wait,” she says. “Writers write.” She takes writers through the steps of preparing to write a book: finding the concept, beginning the research, designing the structure of the book, creating the marathon schedule, etc. She then moves on to writing the first draft. This first draft is what will take the 26 days. Every step of the way, she tells writers what needs to be done, what to expect while doing it, what works for others, and what may work for them.

WRITE-A-THON is also a motivational book. I don’t normally like motivational reading. I am typically a self-motivated person. This book, however, I found to be genuinely helpful and realisically motivating. Ms. Melander helps writers to identify their excuses, envision what they want their writing career to look like, and obtain the support needed to make those goals happen. She walks writers through isolating why they want to write, prioritizing the desire to write in their daily lives, and learning to take themselves seriously. Motivational discussion continues through the training, drafting, and editing stages of the book to keep writers encouraged and focused. Ms. Melander understands that writing can be difficult, isolating, and frustrating; she also understands how much confidence and persistence it takes. Even though I’ve already written my first novel, I was motivated to keep working by this book- not the brief motivation of cheerful encouragement, but rather the motivation that comes from identifying a goal, valuing it appropriately, and recognizing  progress. Before long, I was motivating myself. My writing motivated me. My research motivated me. The small steps I made each day in developing my writing career motivated me.

Finally, WRITE-A-THON is a toolbox. This is my favorite element of the book. I have truly never read a book this useful for making writing a daily part of life. Ms. Melander, while telling writers what needs done and what to expect, while telling them it will be hard but it will be even more rewarding, shows writers how to get it done.

People can Google warm-up tips and editing tips; Ms. Melander goes beyond standard how-to’s for writers. She teaches how to create a writing space; how to prioritize writing; how to build a support team; how to explain to friends and family that you are sorry, but you are writing, so you can’t babysit. She walks writers through finding out what brainstorming, writing, and researching materials work best for them. She discusses overcoming perfectionism, blank pages, and lack of inspiration. Maintaining a healthy lifestyle during the write-a-thon is discussed as well, as is developing the writer’s creative life. She keeps the writer progressing while avoiding burn-out.

Ms. Melander organizes all of this material into three sections: training, the write-a-thon, and recovery. Part One: Training takes the writer through the necessary steps to prepare.  I loved this section because of its thoroughness and Ms. Melander’s spot-on observations about writers- how they write, how they think, how they act and react. Faithfully following the steps she lays out will make every writer a better writer.

Part Two: The Write-a-Thon guides writers through getting the first draft on paper. Resources and even meals have been gathered beforehand; daily writing exercises have built writing muscles; project binders and story bibles have captured research, outlines, and character profiles. Writing the draft at this point just takes encouragement, focus, and seat-time. Ms. Melander will get writers there.

Part Three: Recovery helps writers celebrate their accomplishment, then gets them back to the task of finishing. Revisions, editors, first lines and word economy, the querying process, and finally persistence through rejection are outlined. The book closes with a fabulous bibliography of writer’s resources on organizing the writer’s life, writing advice, writing books quickly, fiction writing, nonfiction writing, writing exercises, and revising, submitting, and publishing.

WRITE-A-THON is both accessible and well-written. Concepts are made memorable through clear, humorous writing and relevant examples.  Not only is this a book worth reading, but its also a book worth re-reading. Writers of all kinds and all levels of experience will find it useful and motivating. One quote Ms. Melander includes is from Richard Bach: “A professional writer is an amateur who didn’t quit.” Rochelle Melander shows writers how to stick to their goals and not quit. She shows people how to be writers. “Writers write,” she says. WRITE-A-THON thoroughly unpacks how to be a writer who truly writes.

Visit Ms. Melander’s site here, and buy WRITE-A-THON on Amazon here or at Barnes & Noble here!

List of Agent Blogs and Interviews

A writer’s job is to read, read, read. Read fiction. Read nonfiction for research and nonfiction on your craft. Read your manscript aloud. Read publishing industry news. Read more fiction- bestsellers, books in your genre, and books nothing like your own. Read until your eyes cross. Read, read, read.

One of the most important things for aspiring authors to read is agent blogs. Whether you are querying agents, trying to break into the publishing business, or simply learning more about the world of books, agent blogs are an absolutely necessary source of information. During my plunge into querying agents, I’ve painstakingly divested the internet of its most valuable resource (don’t argue with me on that descriptor): agent blogs.

Blog posts from industry professionals contain the personal details you need to make your queries stand out, the contests that will give you a leg up, and the industry knowledge that will help jump start your writing career.

Actively Maintained Agent Blogs

Thoughts from a Literary Agent: blog from Marisa Corvisiero.

The New Literary Agents– blog of Kae Tienstra and her business partner, Jon.

Chip’s Blog: Blog of MacGregor Literary.

Ask a Literary Agent: Blog from Noah Lukeman, president of Lukeman Literary and author of multiple books on writing queries and fiction.

Carly Watters: Blog of literary agent Carly Watters. Great post from July 12 on making your query stand out in the slush pile.

Bookalicious– blog of agent and top YA book blogger Pam van Hylckama Vlieg.

Mandy Hubbard: author and agent with D4EO Literary.

LaVie en Prose: blog of Meredith Barnes, ex-literary agent now working in digital marketing for Soho Press.

Rapid-Progressive: The blog of Victoria Marini, agent with Gelfman Schneider Literary Agency.

New Leaf Literary: The blog of a brand-new agency headed by Joanna Stampfel-Volpe

This Literary Life: The stylish and thought-provoking blog of Bree Ogden, agent with D4EO Literary Agency.

Magical Words: Featuring posts on helpful topics by several literary agents and published authors.

Confessions: Posts by agent Suzie Townsend.

Janet Reid, Literary Agent: Posts by agent Janet Reid of FinePrint Literary Management. This blog in particular contains a wealth of information and blunt advice for writers. Janet has also been known to host contests.

Query Shark: Janet Reid, master shark of the query waters, also maintains this blog where she dices queries to bits. Enter yours, if you dare! Reading the archives is one of the most entertaining and alarming things you’ll do as a writer.

Pub Rants: Maintained by agent Kristin Nelson of Nelson Literary Agency. Personal, informative posts about all things literary.

Rachelle Gardner: Posts by Rachelle with Books and Such Literary Agency. Many of these posts contain enormously helpful information on the daily life of a successful author- taxes, social media, and the changing publishing landscape are all covered.

Coffee. Tea. And Literary: Blog of the Nancy Coffey Literary & Media Representation.  Contests are occasionally run here as well.

Kathleen Ortiz: Agent with Nancy Coffey Literary & Media Representation.

Glass Cases: Blog of the fabulous agent Sarah LaPolla with Curtis Brown, Ltd., featuring short stories, flash fiction, and memoir and novel excerpts from readers.

dhs liter show + tell: The wide-ranging blog of DHS Literary/Inkwell Management.

DGLM: Blog maintained by Dystel and Goderich Literary Management. Frequent posts revealing the world of publishing and writing in valuable detail.

Full Circle Literary: Blog of Full Circle Literary, with archives going back to 2006.

Et in arcaedia, ego. Blog of Jennifer Jackson, powerhouse agent and Vice President of Donald Maass Literary Agency. Frequent “query wars” reports  and contests. Archives back to 2003.

The Knight Agency: Blog of The Knight Agency- fantastic recent post on preparing your manuscript for submission.

Lucienne Diver’s Drivel: News, advice, and entertainment from author, agent, and superhero Lucienne Diver.

Agent Savant: “publishing morsels from Laurie McLean.”

Agent in the Middle: posts by RT-award-winning literary agent Lori Perkins.

KT Literary: blog from “shoe-obsessed superagent Daphne Unfeasible.” Immensely informative peeks into her query pile included.

Call My Agent!: Blog from Australian “Agent Sydney.” Emailed questions will be answered in a blog post.

Writing and Rambling- A Literary Agent’s Industry Musings: posts by Nephele Tempest.

Fresh Books, Inc.: infrequent but substantial posts from Fresh Books literary agent and founder Matt Wagner.

All that’s new(s) from A to Z: posts from The Zack Company, Inc.

Ask the Agent: Posts from Andy Ross.

Kidlit: Blog from YA and children’s lit agent Mary Kole.

The Forest for the Trees: Maintained by Betsy Lerner- author, ex-editor and agent with Dunow, Carlson and Lerner Literary Agency.

Between the Lines: Business Blog of Books and Such Literary Agency

Jennifer Represents: the blog of Jennifer Laughran, children’s and YA fiction agent with Andrea Brown Literary Agency.

Bent on Books: news and musings from The Bent Agency- Jenny Bent, Molly Ker Hawn, Susan Hawk, and Nicole Steen.

Susan Says: Blog from Susan Hawk of The Bent Agency. Excellent recent post detailing what Susan is actively seeking.

Jill Corcoran Books: posts from Jill Corcoran, children’s book agent with Herman Agency.

Agent Incite: Posts from agent Mike Kabongo

Red Sofa Literary: Red Sofa’s agency blog. Eclectic industry news.

Babbles from Scott Eagan: posts from Scott Eagan from Greyhaus Literary Agency. Frank and unique presentations of industry news and advice.

Slush Pile Hell: “one grumpy literary agent, a sea of query fails, and other publishing nonsense.” Sometimes it helps to see what not to do in your query.

The Steve Laube Agency:  Browse it and learn from it- you’ll love it. Fantastic “News You Can Use” feature.

Upstart Crow Literary: new book announcements, advice on getting published, and more.

Navigating the Slush Pile: “Agent and book lover discovers the world of publishing one fast paced, eye opening step at a time, armed with only a handful of books and an English Lit Degree.” Posts by Vickie Motter, agent with Andrea Hurst Literary Management.

Inactive Blogs

BookEnds, LLC- A Literary Agency: Recently inactive, but chock-full of must-read posts on submissions, query letter samples, and pitch lines.

Fox Literary: Blog of Diana Fox of boutique agency Fox Literary.

Miss Snark, the literary agent: Inactive since 2007, but still a valuable resource.

Deep, Deep Thoughts: informative posts from John Jarrold of John Jarrold Literary Agency.

B.G. Literary: inactive blog of Barry Goldblatt Literary.

The Rejecter: Blog of a super-secret agent. See if you can find out who it is! Contains fantastic archives going back to 2006.

Lyons Literary LLC: “tips and quips on publishing from a literary agent,” Jonathan Lyons, formerly of Curtin Brown, Ltd., and McIntosh & Otis, Inc.

A Gent’s Outlook: inactive since 2007, but still valuable archives.

Blogs Interviewing Agents

Chuck Sambuchino’s Guide to Literary Agents Blog featuring new agent alerts, “How I Got Published” stories, conference/event spotlights, and author interviews.

Hunger Mountain: The VCFA journal of the arts Listed by interview type, the archives contain interviews with authors and agents.

Algonkian Writer Classes: Online Workshops and National Conferences for Agents: Great list of interviews with well-known agents.

Stacey O’Neale: Writer, Publicist, Superhero.  Most of these interviews are very recent and therefore most likely to contain accurate information.

Agent Advice: “a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.”

Literary Rambles: “spotlighting children’s book authors, agents, and publishing.” The agent spotlights are invaluable for personalizing your query letter.

Mother. Write. (Repeat.) Long list of agent interviews. Be sure to check out the main page of this blog for “how I got my agent” stories, contests, and more.

YA Highway: Writers hosting contests, introducing agents, and collecting publishing news. Fantastic resource.

Comment to let me know what you think of these! I’d love to hear any agent-related blogs you follow. I’ll add them to the list! As always, thanks for reading.