Children's Book Editors Are Lovely, Especially Cheryl Klein.

Cheryl Klein, I learned first hand when she spent hours brilliantly* editing my manuscript, is not only an amazing editor (Hey there, Harry Potter) but a huge-hearted person as well. She and Arthur Levine have made a courageous young writer's dream come true. If you are in the Western Washington area, please consider attending a truly beautiful book signing: * I typically hate the horribly over-used B-word, but nothing else really fit as well there. They were incredible edits, no joke. She's insanely smart. 

From Cheryl Klein's blog (http://chavelaque.blogspot.com/):

"Over a year ago, Arthur and I were contacted by the Make-A-Wish Foundation regarding a young Seattle-area writer named Stephanie Trimberger (who was 13 at the time; she’s 15 now). Stephanie has brain cancer, and her dream was to have her novel edited by “the Harry Potter editors.” Arthur and I read it and wrote her an editorial letter, and she began working on revisions. A year went by, and we didn’t hear anything more. Then last week, we heard that she had finished her book and wanted us to take one last look.

Thanks to the terrific coordination of a lot of people at Scholastic, we not only managed to edit it quickly, but our designers typeset the manuscript and created a gorgeous cover for it. And with the help of an extraordinarily generous donation from the printer, Command Web, three hundred copies of Stephanie’s THE RUBY HEART have now been printed.
Your Mission, Seattle Area People!:  Next Tuesday, September 25, at 6 p.m., Stephanie will be doing a reading and signing of her book at the Pacific Place Barnes & Noble. Will you please, please attend? It would be so very awesome to have a big audience there to applaud her accomplishment and make it a great day for her. Stephanie is a huge reader of YA and fantasy fiction; she lost her mom to brain cancer nine years ago, and it sounds like she’s been writing about that long. I’m sure ALL writers can sympathize with her dream of publishing a book, and it should be an amazing evening in seeing that dream fulfilled.
The details in full:
Tuesday, September 25
6 p.m. (it was scheduled for 5:30 earlier; the time has been moved back)

Barnes & Noble Pacific Place 600 Pine Street, Suite 107 Seattle, WA 98101 (206) 265-0156

You can RSVP or leave a message for Stephanie at the Facebook page for the event. Thank you!

 

Revision Rule Number One: Never "And then..."

This is the advice Matt Stone and Trey Parker (The Book Of Mormon, South Park) gave in their Ted Talk: Never, ever be able to describe your plot with an "And then..." A story trimmed of fat will follow a path of two words, and two words only: Therefore or But. Beautiful. Simple. Occam's razor. So, like this: "There's this girl in a cemetery, and then she meets this other lady, and then they go to the river, and then there's this other guy, and then he says ohmyGodIamsoboredkillmenow....."

See how boring? Yeah. That was my first try at novel writing, 100,000 words of "And then...." I sent this thing out. Seriously. To AGENTS. One incredibly kind one received this mess and took pity on me, he actually called me up and said he loved my prose but couldn't find the story in all the mess, he asked me to just tell him what the plot was - essentially, he wanted the central conflict, he wanted the nutshell, he wanted the Therefore and But.

But all I could give him was a bunch more "And then...." Ugh. Daniel Lazar, I salute you and thank you eternally for trying. He wanted to love it, he tried so hard to justify his love of it. But if I, the flipping writer, could not glean a compelling story from all those words, how was he supposed to?

Now compare that to:

"There's this girl who is scared of death but she now lives in a cemetery therefore when she meets this other girl she tries to escape but there's a secret keeping her trapped in the graves therefore when the gravedigger offers a way out she's psyched but...."

I think this sounds way more compelling, no matter the plot which by the way, that's not the plot of At Need, that was an example, however - all I'm saying is, it keeps me on my toes when revising and the questions of "Keep, throw out, or save for another book" come up. Which, sure, the Therefore and But rule is just another way of articulating Ye Olde Chestnut of "Does this scene advance the plot and/or character development in conjunction with said plot and if not, cut it. Now." But it is more concise, and I dearly love concise. Also I dearly love any rule I can hear in my head spoken in the voice of Cartman. "God**mnit! Cut that sh*t, right now! Therefore! But!"

It was only after I implemented this Therefore and But rule that I landed an amazing agent who continues to encourage this behavior, making At Need better with each pass. Revision is not for the weak-hearted, I tell you.

As I revise I've got this mantra running a loop in my head but then sometimes I'm all, "But this part is so pretty and look at my awesome vocab gymnastics!" and the smart part of my brain says, "Shut the hell up! Therefore or But! Only!" Which is not to say there cannot be beauty in the execution, not at all; I mean for God's sake nothing is more boring than stale, pedestrian words and a bunch of similes when a good metaphor will do - but I need to remember, let the beauty be always in the execution, and at the service of, Therefore or But. Only.

Now see, I'll write this post and my book will come out and someone will read this and go, "Uh, you should have taken your own advice, Hooker." And I'll say right now, yeah - I'm sure I'll fail at points in the attempt. But today, in the midst of revision, it's all I think about and I'm doing my level best to make it happen and the more I pour my attention into it the more I'm making it happen. Sometimes maybe my Therefore is someone else's And Then, so maybe once in a while it comes down to perception. But I'll tell you one thing - it's a mantra that has clearcut hundreds of words from this book, and to my future readers I say, in all humility, You're Welcome for the approximately extra forty five minutes of your life you get to keep. Thanks, Matt and Trey!

Keep, Throw Out, Give Away

You know when your house is super janked and filthy and there's something in all that mess that you KNOW you've seen recently, it's in there somewhere so you've got to just put on some good music and start making piles? Yeah. Sometimes in the midst of the two years of revision of my book before it sold, I felt that way - my agent did, too. We could tell there was something in this ginormous word count that we felt, if we whittled away the crap, we could find. Every editor who wanted it but ultimately passed seemed to feel that way, too. They all had their own ideas about new plots, less cussing, more romance, less emotional growth, more action, on and on and on and on. It got super confusing.

But every editor left me with another string to pull, and the knot began to loosen, and my agent agreed and disagreed and steered the ship and now there's this story left that feels - true. Not some heinous compromise, and not a crappy book written by a petulant brat who digs her heels in and refuses to listen to anyone's advice but her own - but the real story that was trying so hard to get out, were it not buried for so long by my own eager, anxious dumbness.

Do your family and friends, when you are editing and taking the advice of many people, get all up in your grill about, "Why do you have to CHANGE it? It's YOUR book, your story, who are these people?!?" Well. These 'People' are editors and agents and other various and sundry publishing professionals who know their audiences, markets, what have you - they aren't just random dumbasses off the street, they know what they're doing. And yes, their goal is to sell books. Which, B.T. Dubs, is my goal as well, otherwise I wouldn't have been trying to, you know, sell mine.

The thing though, is figuring out how to let the advice of all these smart people fall through the sieve of what you know or feel or have a hunch about what the story really is. Meaning, what is the point of it, why are you writing it, what do you wish the reader will understand or know or question when they finish? And that, I realize, is the only thing I did know about this book, the only thing I was certain of, which was why I was able to take all the advice and suggestions and changes, and eventually let what was not helping the narrative fall away, and let the other stuff guide me toward making the point of the story clearer. Without dumping it over readers' heads. You know?

At least it FEELS like I was able to do that. At the end of the day, it's the story I think it was meant to be. Which, plot-wise, did NOT start out the way it is now at all. It was over 100,000 words of "Um. What?" with a bit of "I think there's something in there somewhere...." and it was only with the help of agents, then MY agent, then a string of really enthusiastic editors, then my agent again...who helped me find the poor thing in the dark, cluttered basement of my spazzy mind. If I'd not let them, this book would have lived forever in my desk drawer - worse, it would never have been written. And I think its a good thing it was. Written, I mean. Its a book I would have loved to read if someone had only written it. So I did. But definitely not on my own.

The point, Dear Writers? Only that I've learned the lesson millions of real writers have learned before me: Don't roll over and surrender the entire reason you're telling this story, but learn how to recognize real help in telling the true story the best way you can. There are some ridiculous bits of advice out there ("Can you make sure there's a super steamy hot sex scene? Cause kids LOVE that! Sure it's totally counterintuitive to the point of the book but come on!") but if you are very clear about the true reason this story matters, why you think it could matter to readers? Those ridiculous bits will fall away, and the real threads to lead you will fall into your hands. Threads like, "This character does nothing but complain for fifty-three pages, could she maybe do some investigating into the causes of her distress...or something?"

Be brave, Dear Writers! Clean out that closet! FIll those bags for the Humane Society donation bin and buy some new hangers, ones that match! Let the purpose of the closet - i.e. the storage and organization of clothing - be its true purpose!

And now I'm mixing metaphors or something. Enough for now. Soldier on, Writers!

Signs, Signs Everywhere!

OMG, I am writing in Starbucks, working on my book which is all about a girl growing up in a graveyard and selling graves and two dudes are sitting behind me talking, they're yammering on and on and I'm drowning them out but I just perked up when I heard the older of the two say, "Why is there an embalming charge here, but not here?" Holy crap, the younger guy was selling old guy a coffin and a grave. For his WIFE. Young Guy had to delicately explain why the embalming charge applied only if Old Guy was going to go for an open casket which, really? You need to explain that to a person? Apparently yes, because old guy was all, "Why do I need it for open but not closed?" Oh brother. Poor dude. First of all, what are the odds - my God! - of these guys, of this conversation - happening right beside me as I write my graveyard book? Amazingly slim, I haven't written in this Starbucks in over a year, and only for today, this morning, am I doing it! And B., are people really doing this now? Selling graves and caskets at Starbucks? Yikes. Would have made my life easier, I tell you what.

Oh my God I love writing. It is magical. Magical! Back to it!

What's The Deal With My Kitchen Sinking My Plots?!?

How many hours do people spend actively writing in one sitting? Typing? I can't go more than four at the most on a regular day, five if I'm desperately revising. I get all bleary-eyed and head achy. Do people sit there for eight hours? Is that even possible? Trying to finish my next book has made me feel so dumb lately. I've got all this crap in there that I love and someone needs to curb this bird's nest of a mess - uh, namely me. I've got the following items crammed in here: Antarctica, ballet, foster care, West Portal (a neighborhood in San Francisco I love) Marine biology and cooking shows. Also baking.

Also, off topic but I wish I had a life and non-litigious family I could write a memoir about because memoir - the non-famous person kind - is my very favorite thing to read. If I use fake names can I get away with it?

Write on, kids!

Starting With Place

I have realized every story I write begins not with a character or a plot, but always with place. (Which could be the problem with my meandering plots, but that's another post altogether.) I once read a quote (which of course I could never find again) that Daphne Du Maurier once said about how she was never as emotionally attached to people so much as she was to places. My daughter and husband excepted, I read that and immediately thought, "Ooooh, Daphne! Me, too!" I have visceral, emotional connections to certain towns and counties which yes, I'm sure everyone does for one reason or another - but it really shows up in my writing, which will always be of the actual current world we're all familiar with and never fantasy, I have absolutely no head for that. And truly, no person could ever make me yearn the way Sausalito does. The way Mendocino, California and Dingle, Ireland and Ashland, Oregon and Arcata, California do. Then there's my MFA classes in playwriting during which I spent three years trying desperately to never, ever write a living room play because apparently Chekhov covered that pretty well already. So I wrote plays set in Antarctica and in graveyards, and now I'm turning them into books. I think the best method for me, when I am starting a story from scratch, is that I'll find myself in a familiar or fascinating new place and then ask "Who the hell would live here? And what would they do - and why?" Lately I love Vendela Vida's books. They always take place somewhere not here - 'Here' meaning middle class white America - and never in a living room. Not that great things can't happen in a living room, but maybe my imagination doesn't have the balls Chekov's does to make what's going on in the character's lives interesting enough to surmount the sofa and soar beyond the coffee table. So maybe place is my crutch. But at least it helps my characters do and say things they wouldn't have occasion to if they were just hanging out at home.

Blog Reboot 2012

I'll get this thing going, I swear! For now I'll say I am overjoyed to announce my first book, AT NEED, will publish in 2014 by Random House Children's thanks to my amazing agent, Melissa Sarver of Elizabeth Kaplan Literary, and my fabulous editor, Suzy Capozzi.I love this book, I have loved it since the story first formed in spiral notebooks over the consecutive summers of 1982/83. I was ten, then eleven years old. I spent those summers with my grandparents mourning first the death of my 19 year old cousin who lived next door to my grandparents, then the following year mourned from a distance the death of a fifth grade classmate back home. That second summer, we returned home where my mother announced, "Your father bought a graveyard today. Keep your mouths shut about it or we'll get in trouble." Good times! The notebook journal became a play in grad school where I earned an MFA in playwriting, then became a novel five years later. I'll blog here about this book's ascent to publication, writing and reading, and hopefully I can meet fellow writers who love to read and write about the same. Because who doesn't love to read and write about reading and writing? Come on! At this very beginning of my experience with publishing I have learned the following things: 1. A good agent is worth EVERYTHING. 2. Editors desperately want to find books they love, books readers will love, but that will speak to the fact that publishing is, still, a business. 3. Publishing, as an industry, is so. slow. oh. my. lord. 4. A thick skin and compartmentalized ego are kind of essential. 5. Self doubt is natural but will sink you and your book if it takes over and makes you second guess too much - without #4, a writer will not survive. Write a good book and shut the hell up already!

If it were only that easy - yeah. So that's where I'm at now, hope you all will share your part in the making of these books we love. For now I am off to write!