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The straight dope on publishing from publishing's most fearsome figure—THE INTERN.
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1. on turning thirty, sleeping and weeds


The first thirty years of my life were characterized by an extreme lack of anger. As a child growing up in a Catholic family, I was fascinated by stories of saints—young women with pretty names who could be burned and maimed in a thousand different ways without ever uttering a harsh word. In highschool, my best friend remarked with awe on my apparently true claim that I didn’t feel anger. Up until very recently, I still believed I had no anger—that I was just so sweet and gentle I couldn’t hold anything against anybody. I never wanted to hurt anyone, and so refrained from expressing any emotion or idea that could make people upset.

But I am thirty today, and have realized I’m angry about all sorts of things. And so, as a birthday present to myself, I want to talk briefly about something I am angry about.

I wrote a few days ago about my death battle with insomnia, a life event that provided the terminal bookend to almost ten years of sleeping pills. I am angry at the doctor who prescribed those pills to me when I was barely out of my teens, the subsequent doctors who didn’t bat an eye when they saw it on my charts, and the systems that collude to ensure that it is never questioned, in our society, whether it is good and proper to treat a condition like sleeplessness with heavy and apparently lifelong pharmaceutical medications.

This morning I gathered the bottles of leftover pills to bring to a drug take-back site, wanting to dispose of them responsibly. As I dropped the bottles into a bag, a thought floated into my mind, so quietly I almost didn’t hear it: You won’t flush this stuff down the toilet, said a skeptical voice, but you put it into your body every night without a second thought.

It was funny. I laughed, sort of. Later, while Googling drug disposal sites in Portland, I came across this gem:

“Don't flush your unused medications down the toilet. This allows them to get into the water stream which can impact fish, wildlife, or even you.”

So when a doctor tells me to take them, they’re safe and beneficial, even though they become an “impact” dangerous to the health of ecosystems, wildlife, and, by gosh, even me! the moment they hit the water stream?

The grasses and plants that appear in a vacant lot say a lot about the soil they grow in—what nutrients it has in abundance, what it desperately lacks. I believe insomnia is the same. But when it comes to conditions like insomnia, the Western medical system doesn’t listen for the message. It only sees the weeds and sprays them—letting all that valuable information about the soil go to waste. It saw the weeds in my mind and sprayed them with pharmaceuticals, and it has taken me until now to slowly begin to decode the message that it ought to have been the role of the healers and adults in my society to help me identify ten years ago.

I am angry about the unstated message, which I absorbed deeply, that the body-mind’s distress signals are something to suppress (that the earth’s distress signals are something to suppress, that the body-mind-earth should bow to the supposedly greater wisdom of chemicals, specialists, people in white coats…) and that this attitude continues to be reinforced, unquestioned, in our literature and media.

I could write about this at length, and probably will in days to come,  but at the moment I am eager to get off the computer and go enjoy the day. It is rainy here, and the plants have all set their buds for spring. Thirty years in, I am only beginning to notice these things.

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2. disastrous landscapes: survival, insomnia and A Sense of the Infinite

A few days ago, I got some wonderful news: my second novel, A Sense of the Infinite, is a finalist for the Oregon Book Award. It is also a finalist for the Ontario Library Association White Pine Award, a symmetry that pleases me greatly as the awards represent both my childhood home on the east coast of Canada and my current one on the west coast of the United States.

I never properly launched A Sense of the Infinite. It was published at a time in my life when basic survival had taken precedence over such things as book promotion, and this omission left me with an unfinished feeling that has dogged me over the past year. The book has felt like a seed blown onto the pavement: full of potential but unable to germinate until, by some miracle, a bird picks it up and drops it in fertile ground. And so I feel, in these nominations, an inordinate sense of rescue and of second chances, both for the novel and for myself, neither of whose survival seemed like a sure thing in May of 2015.

My twenties were haunted by insomnia which fluctuated in intensity over the months and years, but had recently hit a crisis point. Around the time A Sense of the Infinite was published, I was sleeping twelve hours a week, sixteen if I was lucky. No pill, no herb, no acupuncture, no amount of meditation seemed to help. If a prison guard had been inflicting this level of sleep deprivation on a prisoner, it would have met the legal definition of torture. But the torturer was invisible. It was inside me, or somewhere out in the universe. And it was doing a surgically precise job of driving me insane.

I will refrain from giving too detailed an account of this time. There is too strong an urge to make it poetic, to soften its brutality with pretty words. The truth is, I was a walking corpse. After a few months I’d given up hoping and negotiating and observing my breath and had arrived at the point of praying to be hit by a truck so I could finally die. My publisher asked me to write a promotional letter that would be bundled in with review copies of A Sense of the Infinite. I sat in the library and wrote a suicide letter instead. I had no intention to kill myself. But I needed to give myself permission to die—to acknowledge, if only in the form of a few typed words I swiftly deleted, that the torture had reached a level of severity, cruelty and seeming relentlessness under which it would be perfectly reasonable and indeed forgiveable to choose death.

On the day A Sense of the Infinite was published, I drove to Mount St. Helens and walked around the blackened landscape, past twisted and burned-out pieces of logging machinery nobody had bothered to haul out or reclaim. It was a place frozen in time, a disaster area which the processes of life had only barely begun to recover. It was a landscape eerily similar to the landscape of my own mind. I sat on a rock and nervously nibbled on the cheese and crackers I had brought. On my way back to the car, my troublesome knee gave out; I dragged myself the last mile using my hands, grabbing at roots, cursing my own body which seemed to be breaking down on every level.

*

In a few days, I will turn thirty. For the first time since I was a teenager, I’ve been sleeping every night (every single night, without any kind of medication—and this after a decade of struggle and anguish.) The blasted-out landscape is starting to grow back; I can hear birdsong in there, and see the shoots of small green plants. More and more, I’m starting to write again, and read, hungrily and with great and urgent questions. I feel like a beginner, a kid discovering the world for the first time, a creature engaged in the slow and curious process of figuring out what kind of creature it is.

Our machine culture places a lot of emphasis on productivity, and one result of this obsession is a feeling of shame and panic when one’s ability to be productive goes away or is forcibly removed. Since my own illness, I’ve come to see that a machine’s definition of productivity is insane; I now prefer to use nature as my guide. Productivity can mean waiting until the right moment. It can mean burying yourself underground. It can mean sitting still while yourself and everything around you burns up in a fire. It can mean dying, or rather, appearing to die, and trusting that nature is strong, the life urge is strong, and the processes of life are always working, working, working to rehabilitate what has been destroyed, to filter that which has been poisoned, to feed that which has been starved, if only we will allow them. I believe this is true of tortured minds as of tortured landscapes, and I’m grateful to have experienced this first hand.

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3. the two-minute tiger: notes from the Woodland Park Zoo



Last week, I had the pleasure of going to Washington for a handful of book events. The book events only took up about an hour and a half per day, and I spent the rest of my time wandering and pondering and enjoying being away from home.

One place I went over the course of my wanderings was the Woodland Park Zoo in Seattle. I've been thinking a lot about education—the teachings we communicate intentionally and directly ("a triangle has three sides!") and the ones we communicate indirectly and often accidentally ("success means knowing how many sides a triangle has!") Over the past few years, I've become particularly interested in the indirect messages we teach kids about nature. The zoo is a great place to watch this direct/indirect split in action, as parents are constantly aiming to educate their kids in words, while communicating a second set of unspoken messages with their behavior.

Parents take their kids to the zoo to teach them about animals, but they end up teaching them an entire orientation towards life.

With that in mind, here are some of the indirect messages I picked up while standing by the tiger pen:

"Animals are fun."

In general, people go to the zoo for entertainment—not for religious purposes, or to hunt the elk, or because the only way to get to their grandmother's house is to walk straight through the tiger pen. We go because it's fun, or because we want it to be fun, and feel anxious when the animals are not acting as fun as we need them to be.

An almost universal reaction to the tiger amongst toddlers and young children when coming upon a sleeping tiger in the tiger pen was to tap on the glass and sing "Wake up, tiger, wake up!" And even though the adults were too well-behaved to do the same, one could sense they shared the children's desire for the tiger to get up and dance, or at least to move around—make it fun.

Watching this interaction repeat itself over and over again, it struck me that the modern urban human's behavior around a tiger is almost the exact opposite of how humans would have acted around tigers throughout most of our history and pre-history. A child from a rural village, encountering a sleeping tiger on her way to get a jar of water, would almost certainly do everything she could to pass undetected and make sure the tiger stayed asleep. A modern, urban child does everything she can to make the sleeping tiger notice her, entertain her, giver her some sign of her specialness—wake up, tiger, wake up.

"One minute is a good amount of time to look at something."

The average time that any given party stayed to observe the tigers was one minute. After the one minute mark, most parents would begin to herd the children on to the next exhibit whether or not the children seemed bored with the tiger.

In the thirty minutes I was watching, not a single party stayed longer than two minutes. I got the sense, from watching the adults, that they deemed it right and proper and somehow responsible to move on after a minute or two—as if to stay longer would be awkward, creepy, or otherwise suspect.

I found this pattern especially interesting. We feel anxious if we observe any one animal at length, when there are still ninety-nine more exhibits to see—and to spend an entire morning watching only the tiger would be an act of blasphemy, of not-getting-one's-money's-worth of the worst degree. We're driven by a need to check every box, even if we'd be happier checking only one or two. We skim instead of reading deeply. We don't know how to observe animals at length, nor do we have any practical reason to do so—and so we move on, baffled and more bored than we care to admit, to see if the next one will be any more amazing.

"Learning about animals means learning to name and count them."

Many of the parents at the zoo seemed keen on stimulating their child's verbal and math skills, prompting them to repeat the names of the animals, or to see how many they could count—not how to track them, hunt them, cook them, pray to them, or interpret their behavior. In short, not how to have any sort of meaningful and necessary interaction with them. It struck me, as I watched this name-and-count pattern repeat itself again and again, that the children might as well have been counting Tupperware.

Indeed, the entire message of the zoo seems to be that animals are very wacky and fun to watch and it is so very sad that they are disappearing, but at the end of the day, they have no relevance to our "real" lives—neither as a threat, nor a food source, nor a source of the divine or mundane information necessary to organizing our days. At best, they are a vehicle we can use to learn about counting or colors or some other "educational" subject, but we could just as easily be counting something else.

"The interesting animals are the ones in the cages."

...Not the native squirrels, crows, hummingbirds, racoons, snakes, and possums that roam, scurry, and flap freely throughout the zoo grounds and which nobody has bothered to put in an enclosure.

"It is sad that animals are going extinct (but not sad enough to depave the parking lot.)"

The zoo is full of placards informing guests of the tiger's dire situation and suggesting we can help by changing which brand of cookies we buy (a table staffed by zoo volunteers displayed a range of Nabisco products, the company having signed some kind of rainforest pledge.) The message is that there is nothing we can do directly to help wildlife; we can and should continue to live as before, while mitigating our guilt by buying slightly different things.

I'm no psychologist, but I wonder what effect this kind of splitting has on children's emotions—I wonder what kind of effect it had on my emotions: to invoke a terrible, sad, guilty thing like extinction, get people feeling awful, and then offer impotent and abstract "solutions" (buy Nabisco!) while continuing to perpetuate the very thing (the economy, the culture, the disconnect) that is contributing to mass extinction in the first place.

How much healthier, saner, and more empowered would we be if there was a zoo volunteer standing next to that extinction placard handing out pickaxes so that kids and their parents could break up the concrete together? Instead, the adults at the zoo seem weak and ineffective, unable to do much in this world except buy popsicles and take pictures and possibly donate a dollar or two to the save-the-tiger fund. Nothing heroic. Nothing that inspires confidence or awe. What does it mean that most kids never see their parents making any serious attempt to address the most pressing crises of our time? That even earnest attempts to make things better often take the indirect forms of clicking or writing or buying, and only rarely of doing something physical—building, planting, fighting, slogging through mud.

"Being kind to animals means not tapping on the glass (let's not talk about whether it's kind to put them behind glass in the first place)"

Another way to state this: 'The problems with the way our culture deals with the wild are too large to tackle; therefore, let's just do our best to be as 'nice' as we can to animals within the absurd and insane constraints we've imposed upon them.'

As above: what does this kind of splitting do to a kid's psychology? What does it say about good and evil when the adults in your world bulldoze a creature's habitat and lock it in a pen, then inform you that you are being "bad" when you try to speak with it the only way you know how?

This is not a problem exclusive to zoos, of course; zoos are just a convenient microcosm. But the questions they raise are universal: What does it mean to be kind within a profoundly unkind, unjust, and evil system? Why doesn't the zoo have a special pen with an ethics committee inside who can answer these kinds of questions?

**


With so much that is confusing and contradictory in the messages we send kids about nature, the question remains: is there a better way to go to the zoo?

If there is, I imagine it would mostly consist of hanging out in the small patch of forest near the zoo parking lot, eating blackberries and picking mushrooms, watching the squirrels to see where they nest, checking to see if the saplings we planted last year have grown. Taking naps, building forts, and peeing on the ground. Smelling things and chewing them, getting bored and un-bored, learning to "do nothing" without feeling anxious about it. Learning, in short, to be sane.

I would like to be sane in the way I just described. I can imagine what it would be like. But it takes practice, and a long, slow undoing of the many assumptions, pressures, and anxieties our culture puts on us. Why am I typing up these mind-words instead of sitting outside in the rain? I don't know; I am trying to figure it out. What I can say for certain is this: while I am glad to have seen a tiger, I am gladder when I visit the giant oak tree that grows near my house, or when I go to watch birds by the river. The thing we need to feel and respond to is right here, wherever we are, not in a zoo or on another continent. And maybe the beginnings of answers are to be found there too.

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4. A Sense of the Infinite(ly) Old Author Photo, and Book Tour News

Hello friends! 

It seems I have agreed, against my better judgement, to appear IN PERSON at the following events in Beaverton, Portland, Seattle, Bainbridge Island, and Bellingham. Help me get through this! Show up and set off the fire alarm so I can get out of it---or better yet, let's fake a kidnapping. Please? I'd owe you one...

If you *would* like to fake-kidnap me from my own book reading, the following poster will be of no assistance in identifying me, because my author photo was taken when I was 23:



I am now a wizened old 29-year old with three books under my belt; I have to admit the process has aged me. Here is an updated photo:
Hilary T. Smith, YA author
Looking forward to meeting some of you. Bonus points if you show up wearing a PEE SISTERS headband.

Best wishes,

Hilary


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5. in which A Sense of the Infinite is published, and time travel occurs


Hello friends! A SENSE OF THE INFINITE comes out today. Whereas for both my previous books, my release day to-do list was dominated by items such as "1. Freak out" and "2. Stress balls" and "3. Tweet a bunch," I am celebrating this book by scheduling a blog post in advance and then disappearing into the national forest for the day (don't let the present tense fool you! I wrote this post yesterday. In reality-land, I am nowhere near a computer).

It is pretty nice here, not-on-a-computer. I am enjoying it immensely. Maybe I will even see a snake, or save an injured hiker, or get lost and survive on roots and berries for six months. More likely, I will just tromp around for several hours, eat a bag of peanuts, and go home--but that sounds pretty good too.

Thank you to everyone who has been a friend and supporter of this novel. Here are some links if you'd like to know more about it or buy a copy:

Interview on xoJane
Interview on First Draft Podcast
A SENSE OF THE INFINITE on BookRiot
Starred Review, VOYA
Buy on IndieBound
Buy on Amazon

Oh yes, and if you'd like to chat in person, you can catch me on this book tour in August:


It's been an amazing trip, and I'm grateful. Happy reading to all.

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6. a letter about A SENSE OF THE INFINITE, plus giveaway!

A few weeks ago, my editor at HarperCollins asked me to write a letter introducing my new novel, A Sense of the Infinite, to potential readers and reviewers. I fretted a bunch, tried not to barf, and then wrote this...

Dear Reader,

I am supposed to write this to get you interested in my new novel, A Sense of the Infinite, but every opening I’ve drafted, saying I am so excited for you to read this book, has made me feel more and more like a hypocrite. The truth is I am sitting here wishing I had written something different, anything different. A book about magical ponies who fight to save a cupcake factory from an evil prince, or about a pair of teens math whizzes who find true love. Something easy to explain. Something reasonable. Something that doesn’t make me worry about what people are going to think.

A Sense of the Infinite is not reasonable or easy to explain. The heroine, Annabeth Schultz, is a girl who gets an abortion, enacts vigilante justice on a rapist, and cheats on her art assignments; who finds friendship in unexpected places and turns to nature for companionship and strength. Because there are no car chases or explosions, it is what they are calling a “quiet” book, an appellation that is funny to me because it can be applied to just about anything, as long as it can be compared to something louder. A human howl is easily drowned out by a jet engine, but which one is more likely to set your heart pounding if you heard it in the middle of the night?

I didn’t set out to write a howl. I wanted very much to write a jet engine novel, but the howl came out instead. It is the howl of growing up in a culture that eats up wild nature and spits out places that nobody loves; that teaches young women to seek social approval at the expense of whatever in them is most precious and alive; that conspires to punish and eliminate diversity instead of cultivating it. Over the course of two years, I deleted the manuscript six times and wrote the whole thing over again. I am, quite simply, terrified that you are about to read it.

There is a scene near the end of the novel in which a dismembered finger gets thrown over the edge of a thundering waterfall. I feel a little like that right now, standing at the edge, vertigo setting in, mist soaking my face. It’s a scary thing, to throw a piece of yourself over the waterfall—a wondrous thing too. I hope, after reading A Sense of the Infinite, that you will join me here, where it is roaring and wild, and where even howls that start out anguished find themselves transformed into something fierce, hopeful, and true.

Sincerely,


Hilary T. Smith

**

I have a limited number of ARCs to give away. If you are a teacher or counselor, or have a special reason for wanting an ARC (or several) please e-mail me at internspills [at] gmail.com. Otherwise, please enter the contest below!

Don't want to take any chances? Pre-order A Sense of the Infinite here.

a Rafflecopter giveaway




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7. should bloggers be novelists? INTERN looks back

I remember when all the writing and publishing bloggers I knew began to “graduate,” posting book deal announcements and slowly (or quickly) abandoning their blogs to the cobwebs as the novels gobbled up more of the available time and energy. At the time, it seemed like a natural progression: build an audience, leverage it into a book deal, emerge from the cocoon of the blog into the sunshine of a “real” writing career, leaving the blog’s dried up husk behind to look on fondly and occasionally climb back into for old times’ sake. And why not? Weren’t the book deals what we wanted? And weren’t they proof that we knew what we were talking about when we posted advice on revising scenes and developing characters? We wanted to be novelists, didn’t we? The blogs were just vehicles—lovely, meaningful, intelligent vehicles, but still vehicles—weren’t they?

I have a friend who worked at a coffee shop for years. She talked to customers all day, read their tarot cards, learned the names of their pets and children, gave them spider plant cuttings and relationship advice. She was such a good employee they gave her a raise and promoted her to manager, upon which she grew very unhappy. She had moved up in the world, but now she was isolated, and her best talents were lying fallow as she attended to the supposedly more desirable job of running the shop. The world sets up all sorts of confusing situations for us. It is especially confusing when the reward for doing something well is to be allowed to do a different something you are perhaps less suited for. If you are an excellent barista, why should it follow that you will be happy as a manager? If you love blogging, why should it follow that you will want to publish novels?

This is not me admitting that writing novels has been a terrible mistake, although I know it might sound that way. I don’t regret a single minute I spent writing WILD AWAKE and a SENSE OF THE INFINITE, strange and difficult as some of those minutes were, and I’ll certainly write more books. But I do question whether the “graduation” model is the best thing for every blogger, every time, and if the prestige we place on having a published novel is an outdated relic that will soon fade out of importance as other forms of writing become more and more valued.

As I approach the conclusion of my own two book deal (a deal that happened as a direct result of writing the INTERN blog), I have been spending a lot of time pondering my next steps as a writer and trying to figure out who I really am. There are a lot of voices in my head. “You should write literary fiction,” says the part of me that still wants to be the next Janet Frame. “You should write another YA,” says the part of me that has a nice home in YA-land and doesn’t want to move. “You should quit writing altogether,” says the part of me that is tired of trying to figure out how to write a book without ripping it apart a dozen times. Then a few days ago, I got an e-mail from an old INTERN reader and another voice whispered, “Maybe you should  blog.”

There’s no moving back into your old cocoon, and no adventure in doing the same thing forever just because it works. But if you’re happiest being the person who makes the coffee and hands out spider plant cuttings, that’s a wonderful thing, a worthy thing—and perhaps not a thing to abandon when you get a promotion.






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8. Earth to YA, Part 2: songs and dances

This summer, Techie Boyfriend and I bought four acres of land for a little over three thousand dollars. Here is a picture:


The land has a nine foot swimming hole, a creek where crawfish live among the rocks, a babbling waterfall, and soft flat stones for hopping on. It has bigleaf maples, cedars, and ferns. It has deer and birds and bugs. And it was ours for less than the price of a used car.

I haven't gotten used to being a land owner yet. "I own this cedar," I think to myself, and the thought is uncanny and absurd. I walk around the land, experimenting: "I own this giant maple." "I own these boulders." "I own the ground this beetle burrows in."

If I wanted to, I could cut down the trees, rip out the ferns, squash the bugs, and sell the boulders to a landscaping company. If I wanted to, it would be within my legal rights to turn the place into this:



Or, with a few permits, into this:


I could go up there with a chainsaw this afternoon and lay waste to the place, and there would be nothing you could do about it except spit in my coffee the next time I stopped in at the local diner, or chain yourself to the last big maple and get hauled to jail. In other words, I am legally permitted to be a savage--even rewarded for it, if you consider the economic benefits I would gain from "developing" the land's resources. When it comes to these four acres of the biosphere, there is almost nothing forbidden to me, short of dumping gasoline in the creek and setting it on fire.

This, dear readers, is what they call a mindfuck.

*

A long, long time ago, all land was sacred land. There wasn't some land designated for "preservation" and some land designated for strip malls. It was all alive and rich with significance--you couldn't point to a single inch of the earth and say, "This part doesn't matter."

A thousand years ago, all art was sacred art. The Salish didn't have one type of dance they did for the gods, and another kind of dance for getting on TV. The Vikings didn't tell one kind of story to explain the origins of the universe, and another kind of story to make money. If someone sang, danced, or told a story, it was an act of communication with the divine--you couldn't point to a single moment of it and say "This part has no spiritual significance."

And I can't help but wonder what it means that we live in a world where you can buy a waterfall on craigslist, and sell your stories on the internet, and do your dances on TV. That our songs are no longer intended to make rain fall, our stories no longer function as thinly veiled maps of the underworld, and our land is a thing to be ransacked, paved over and ignored instead of a true and living friend. 

And I wonder how much richer, how much more miraculous our work would be if we were audacious enough to reach past our industrial roles as producers of entertainment and act as if our stories mattered--not just on a human level, but for the benefit of all beings.

*

I think about the creek land often. It enters my thoughts the way a friend does whom you love dearly but don't see every day. I go out my front door and wonder what it used to be like here before someone decided this land was an appropriate place to cut down all the trees and build a town. Then I go back to my writing room and sit at my desk, wondering what I can possibly type on this keyboard to call the old songs and dances back again.













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9. Earth to YA, Part 1: Environmental Ethics and the Young Adult Author

Lately I’ve been feeling a lot of distress about the destruction of wild places, and my own part in that. I wonder if my new book is worth the trees it’s going to be printed on. I wonder if all the writing and publishing advice I’ve posted here over the years has done nothing but validate the smash and grab mentality that dominates our culture—get the book deal, get the movie deal, ten easy steps, let’s go! I’ve been thinking a lot about what it means to be successful, as an author or in any career, and the more I think about it, the louder the words of David W. Orr repeat themselves in my head:

The truth is that without significant precautions, education can equip people merely to be more efficient vandals of the earth.”

            In other words, the “success” for which we educate young people and to which we ourselves aspire is associated with exponentially higher levels of environmental destruction. And that really sucks.
            If you are a “successful” real estate developer, you bulldoze far more acres of forest or wetland than an unsuccessful one.
            If you are a “successful” YA author, you might take dozens of flights, sleep in dozens of corporate hotels, cause the production of thousands or even millions of junky tote bags, action figures, DVDs, pens, bookmarks, and other “swag” which will eventually end up in a landfill.
As authors, our motivation is to make friends with Barnes and Noble, not express distress at the way our landscapes have been turned into shopping malls. We’re supposed to be flattered if our publishers fly us places or go to the expense of making promotional materials, not perturbed at the waste it represents.
We talk about our responsibility to young readers, and the important work we do in reaching out to teens who are dealing with bullying, depression, eating disorders and rape—but too often we give a free pass to the consumer culture that turns even the most sincere among us into vandals. We leave it unquestioned. Or we don’t recognize the urgency of questioning it at all.
            My goal is not to make people feel guilty, or throw cold water on anybody’s success. On the contrary, I want to point out a fabulous opportunity.
Our books have the potential to influence generations of readers, and if we give them characters who love the wild earth, who reject the system that ties success to vandalism, who question and resist the destructive culture they’ve inherited—and not only in the context of flashy dystopias, but in contemporary fiction too—our world might have a chance.
And as role models for future generations of writers, we YA authors have a responsibility to challenge the culture we will eventually hand down to them, whether that means resisting cover whitewashing, rejecting wasteful practices in the publishing industry, or writing stories that provoke teens to fight for what really matters.

            Over the next few weeks, I’m going to be using this space to conduct a survey on Young Adult literature and the earth. 
             Let's just hope it's not successful.

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10.

I have written a new novel. Harper has made a cover for it. Here is the cover:


It feels weird to see my name on it--like coming across your name splashed across a cereal box. "Why is my name on the corn puffs?!" I want to say. "I don't even EAT corn puffs." But there it is. Name on cover that distant publisher has made. Name on cover of book that I keep forgetting is actually coming out.

There is an apartment building a few blocks away from my house that has been under construction ever since I moved to my neighborhood. I have never known it except as big crazy structure with chain link fences around it and dark windows with dark rooms behind them. It didn't occur to me until just this morning that in a couple of months, the windows will have lights on, and people will be moving into it, and you will be able to walk on the sidewalk because the fences will be gone. It scares me that people are already walking in and out of this book--making it a cover and tagline and an Amazon description, printing up ARCS, turning on the lights and running the water. Part of me wants it to be an empty apartment building forever, mine to haunt, mine to control. Mine to demolish, if I felt like it. Mine to hole up in like a gremlin and never come out. 

Lately I've been feeling more and more unnerved by industrialization--the speed of it, and the distance. I would like to write one book every two hundred years, seek revision advice from a circle of wise Book Elders I'd known since childhood, print it on paper made of dried ferns, and leave it in a hollow tree for everybody or nobody to read. Any comments or discussion with readers could take the form of leisurely handwritten correspondence. In short, I don't want to power the machine--but I do. And I will. 

This new book I've written is partly about that machine, the damage it causes, and the growth and renewal that sneaks through the cracks. You won't find that on the back cover, but it's true (at least in my mind--but I'm always giving people incoherent and overly fretful explanations of my books, when it would be easier to say "boy and girl ride bicycles, start band"). 

My laptop is out of battery, so I am ending this post. To the friends who commented last time: it warms my heart to hear from each of you. When I make my dried-fern manuscript, you will be the first to know.




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11. rivers and rain: letter from St. Johns

Hello old friends!

It has been a long while.

I have fallen into a hole of sorts; a hole made of music practice and ferns and creaky floorboards and stubs of incense.

Here is where I am living now:


My house is in the mist, on the far side of the bridge. If you listen carefully, you can just make out the drone of a tambura and the water-drop warble of a tabla being played. If you can't hear that, it means I am in the garden, shoveling a mountain of dirt from one place to another for no apparent reason.

There is a mysterious truck in my neighborhood where the duck and chicken man lives with his duck and chickens. Here is a picture of them foraging outside the post office (the tall, red-legged duck is me):


I have not been writing very much lately. I sleep one night out of every two. I've been trying to figure out some big questions, and it's funny where figuring can lead you: sometimes down a rabbit trail you could not have conceived of months or years before, sometimes back to the very place you started from but forgot about along the way.

Here is a picture of the Chinese pagodas that live under my floor (the red shoe in the corner belongs to the duck in Figure 2.):


Mostly, they are covered by a rug, but now and then I lift it and peer down at them: pagodas! And cherry blossoms too, all year round. It's nice to know that there are many layers to this world, that there are springtime pagodas hiding just beneath the dusty rug. 

The red-bearded man some of you remember as Techie Boyfriend has just peered over my shoulder. He laughs: "Mostly YOU'RE covered by a rug," an unfair statement as I am currently only wearing one out of the two sweaters I wrested away from the hobo spiders this morning.

Friends, I hope you are all doing wonderfully and writing great stories. See you in the rain...




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12. dha dhin dhin dha: letter from Portland

Dear friends,

It is strange to be living in a city again after a several years of mountain cabins and forest shacks. Techie Boyfriend and I are living in a room in a sprawling house owned by a hippie real estate baron. We have twelve roommates. If you have ever lived in a hippie house with twelve roommates, you can probably tick them off your fingers like reindeer: Stoner Roommate, New Age Roommate, Loud Sex Roommate, Friendly Roommate, Roommate Nobody In the House Has Actually Met. Occasionally, a stranger will appear on the front porch and announce that they are "the new roommate." Our landlady is fond of dumping people into the house like fish into a bowl, and seeing if they fight, make peace, or need to be removed with a net a few days later.

Despite the crowdedness, things are actually quite harmonious most of the time. We live a block away from a donut shop and a pizzeria, so somebody is always bringing home giant bags of free food they scored in the alley. Plus, Friendly Roommate works at a cidery, so there are always a few bottles of apple cider lying around with which to numb the pain when someone's late-night ukelele jam is driving you insane.

Before I became a writer, I thought I might be a musician. Over the past five years, I had more or less given up music in order to devote my time to blogging, editing, and writing books. But on the day WILD AWAKE came out, I started taking music lessons again. And even though I still spend most of my time writing, a big part of my daily existence has returned to the study of music.

This is the instrument I am playing:



(The small drum on the left is called a tabla, and the big one on the right is called a bayan. Together, you just call them "tabla.")

When I'm not working on Novel 2, I am practicing the tabla or accompanying Techie Boyfriend's raga lessons (yes, we are studying compatible instruments. Barf if you must.) For me, music feels like a return to childhood. I get to leave the part of my brain that spends all day plotting and scheming and trying to make all the pieces of a novel work, and go to this very simple place of sound and rhythm that feels to me like pure delight. After Novel 2 is done, I just might run away to join a Qawwali group and give the next five years to music (or however long it takes for writing to claim my brain again.)

Speaking of writing, some humble news-ish items to conclude this missive:

-First, I will be in Boston from November 21-23 for the National Convention of Teachers of English. If you are a Teacher of English who is going to be there, please come say hello at HarperCollins Booth #1008, Hynes Convention Center, from 2:00-3:00 PM on Friday. (If you are not a Teacher of English, maybe you can sneak in anyway if you put on a tweed jacket and academic-y glasses.)

-The Canadian Children's Book Centre has selected WILD AWAKE as a Best Canadian Book for Kids and Teens 2013. I remember seeing this logo in elementary school, so it feels pretty cool to have them pick my book.

-WILD AWAKE was also selected as a Best Books of November in the Australia/New Zealand iBookstore. If you are in that part of the world, you can download it here.

*
Friends, I am on a December 1st deadline for this draft of Novel 2, so I will scuttle off to the library and attend to that.

Am sending you all warm thoughts even if I haven't been interacting much online. If you are ever in Portland and want to jam, you know how to get in touch.

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13. an interview with the Rejectionist

Back when I was INTERN, one of my very first blogging-friends was the Rejectionist, who was toiling as a literary agent's assistant at the time and now writes as Sarah McCarry. Her exquisite novel ALL OUR PRETTY SONGS comes out today. 



How did you become the Rejectionist? I don't mean how did you start a blog, but what combination of life circumstances/cosmic influences/formative events went into making you the politically engaged, opinionated, and highly distinctive voice the internet has come to know and love? Have you always been highly engaged + critical of mainstream culture, or was there a specific turning point (or series of turning points) for you?

Ha ha ha, shameless flattery will get you EVERYWHERE with me! I have certainly been quite opinionated, and quite uninhibited about informing other persons of my opinions, from a very early age, and my parents encouraged my outspokenness, which I think they maybe later came to regret. But in terms of my actual politics, I started working in domestic violence shelters when I was nineteen, and that was a hugely formative experience for me; it was the first time in my life I came face-to-face with structural oppression and injustice and the very real and very violent impact those forces have on people's lives. I went into that work extremely ignorant and came out of it a fundamentally altered person. So that, I think, is where a lot of my politics come from, and the friendships I made doing that work continue to push me toward a politics of compassion and resistance. 

ALL OUR PRETTY SONGS is not your typical YA novel, and I could just as easily picture it in the "adult" literary fiction section of a bookstore. What have you enjoyed the most about the publishing process? What has frustrated you? In what ways are categories such as "YA" and "adult" helpful, and in what ways are they a hindrance?

Well! As I think you know, I have a great many feelings about this! I do find the category of "YA" problematic, and at this point ultimately meaningless--it's just as likely to mean "a book about a teenage girl" as "a book actually written for a teenage audience." Because obviously, the only people who would want to read about teenage girls are other teenage girls, whereas stories about teenage boys are universal coming-of-age narratives that everyone can appreciate. And it's frustrating in the sense that, unless you are a white dude named John Green, if your book is published as YA it will absolutely be taken less seriously by the larger critical apparatus outside of trade reviews. I mean, if you look at the VIDA statistics, those are depressing enough, and those are women writing "real," "grownup" books. It's exhausting, regardless of one's opinion of the institutions doing the dismissing, to have one's work dismissed out of the gate. And those barriers are infinitely worse for writers of color, women of color in particular, many of whom are not able to get published in the first place. 

There is also a weird cultural assumption that if a book is published as young adult it is obligated to provide some sort of moral instruction to its audience, which is deeply bizarre to me--more than just the value of stories reflecting the diversity of bodies and lived experiences of their readers, which many people have already written about beautifully, that kind of expectation seems to me totally antithetical to the nature and purpose of literature. It is not my job as a writer to instill Christian values in schoolchildren, regardless of how my book is marketed, nor is that a project that is remotely interesting to me. We are extremely uncomfortable as a culture with the idea of teenagers, in particular teenage girls, having sex, but that's not really an appropriate anxiety with which to burden either teenage girls or writers. 

The flip side of all of that is that there are a lot of very savvy and very smart editors--my editor most definitely among them--who recognize that, under the vast umbrella of "YA," they can publish a lot of books that are weird or dark or don't fit into easily marketable categories. I'm tremendously lucky; I've heard horror story after horror story from other writers--again, in particular but certainly not exclusively, queer women writers of color--who were told to make their books less gay, or their characters less brown, or their sex scenes less complicated, or their female narrators less human and more "likeable." I love my agent, who has been incredibly supportive of me. And I love my editor; working with her has been a dream and she has given me total free rein to write books that are as goth and queer as I want, and she has never once asked me to change anything that was not an actual flaw in the story. That kind of trust in a writer is really rare in Big 6 (or 5 or 4 or whatever it is now) publishing. So whatever my larger frustrations with the industry, which are legion, I am incredibly happy and incredibly lucky to be where I am, and I worked in publishing long enough to recognize that my experience is an exceptional one and is due as much to extraordinary good fortune as it is to hard work on my part.

As a sometimes-Pacific Northwesterner, your descriptions of Seattle had me nodding and thinking YES on pretty much every page. I think it's interesting that we both set our first novels in places we lived at formative times in our lives, and I'm curious to know to what extent ALL OUR PRETTY SONGS is autobiographical, whether in terms of events, characters/relationships, or less tangible things like emotional truth.

Aw, thank you! It's really not autobiographical at all in terms of events or characters, much as I dearly would have loved it to be when I was myself seventeen. (My friend described the book as "the fantasy of adolescence I had when I was an adolescent," which I think is pretty much spot-on.) I did grow up outside Seattle and I did go to a lot of shows and I did do a lot of hiking. I did my best to do a lot of drugs, with limited success while I was still a teenager; my parents were considerably less tolerant than Cass. Otherwise, it's all fairly untrue.

But in terms of emotional truth, yes, absolutely: the outsize emotions and the impulse towards the transcendent and the desire to get outside of your body, and also the very visceral experience of music, which I miss a lot. It still happens to me sometimes, but I think the barriers between the self and the ecstatic are a lot more permeable when you are a teenager--or they were for me, anyway. And in terms of place, the Seattle of the book does not exist anymore, and never really existed at all, but the mythology of the Northwest is certainly very present in the book, and is another mythology that I grew up with. For me the Northwest is as much a character as any of the people, and in my real life it's a character with whom I have a very complicated relationship and about whom I think I'll probably be writing for a long time.

ALL OUR PRETTY SONGS has garnered comparisons to writers like Angela Carter and Francesca Lia Block. Have you always been drawn to the fantastical? What are some of your favorite stories and books from this mode?

I have, for sure. I read a lot of epic fantasy when I was little--I mean literally little; I was probably in third or fourth grade when I started reading these immense door-stopper books. If it had a dragon on the cover, I was sold. And I always really loved the old, very dark stuff: the original Grimm's fairytales, which are pretty brutal, and Greek mythology, which is also quite laden with murder and incest and rape and the dismemberment and consumption of one's children. 

When I got a little older I found the writers who were interleaving the fantastical and the real--like the narrator of All Our Pretty Songs, I've reread Pamela Dean's Tam Lin and Donna Tartt's The Secret History about a thousand times each. Elizabeth Hand was a huge, and I'm sure very obvious, influence on me. Likewise with Francesca Lia Block. Emma Donoghue's story collection Kissing the Witch was another book I reread constantly. I don't really read straight fantasy anymore--although I'll occasionally reread stuff I loved when I was a kid; I'm going back through Louise Cooper's Indigo series, and Tad Williams's Dragonbone Chair trilogy, both of which totally hold up--but I am still very much drawn to writers working with the fantastical. Both Liz Hand and Francesca Lia Block keep putting out great, gorgeous, stunning books; I think Kelly Link is probably one of the most brilliant writers currently working; I loved The September Girls, which is Bennett Madison's take on The Little Mermaid. Steph Kuehn's book, Charm & Strange, is a very dark and beautiful spin on the fantastical; I loved Jo Walton's Among Others... I could keep going for a long time.

Who is your ideal reader for ALL OUR PRETTY SONGS?

You know, I have no idea. I am so single-minded when I write that I don't think at all about who will read it, but it's not a "fuck the audience" impulse so much as a total faith in my audience, and faith in my audience's faith in me. Every day I wake up grateful that I get to do this, and that people want to read what I write, and as long as that keeps working I'm not going to ask the universe too many questions.


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14. scorpion days, rotten log nights: letter from san francisco


If you asked me where I've been over the past three weeks, my face would take on the apologetic puzzlement of a person attempting to recall a series of numbers heard in a dream. I know I slept one night in leaf litter at the side of a forest road, and several in the house of a kindly witch who kept candles burning at all hours, and Portland was in there somewhere, and our old neighbors' house in Mendocino County, with a scorpion in a jar, and a bowl of feverish strawberries sweating under a purple towel. Now, I am in San Francisco for a week—at least, I think I am—staying in a friend's room while he is away. I've lost track of where my belongings are, and feel almost as scattered myself—like I've been shuttling around so much there's no hope of ever getting all the pieces of myself back in one place again.

Bookwise, I feel oddly serene. I didn't realize how much I'd been holding in, and what a relief it would be to have WILD AWAKE become an artifact, something not-me, an object I could sign a stack of in a store and then walk away from. The truth is, the book has all but disappeared from my mind, and for the first time in two years I feel free. There's a great sweeping space, deliciously empty, where the book used to live in my head, and new things are bubbling up there, like the first ferns curling out of the earth after a forest fire. I'm happy—of course I'm happy—about everything that's happening, the Australian edition cover I am so in love with, and the first reader e-mails sprouting in my inbox. But mostly I feel a readiness inside myself, deep and certain, like something waiting to be harvested. I'm ready to get moving again. I'm ready to plunge into something completely mysterious and new. For readers, a book's pub date is a hello; for writers, it's a goodbye—a curiously delay in the transmission, like a star whose light isn't visible from the earth until the star itself has long ago burned out.

I don't know where I'll be over the next few weeks and months—asleep under the roadside maples, or curled up in the scorpion jar. But wherever it is, I feel certain it will matter later, will be something I sift through again and again, as if searching for those lost pieces I'm so sure I saw.

If you see me, say hello. Or just look between the pages, the one place I can promise I will always be.
Australia-New Zealand cover



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15. INTERN'S BOOK IS OUT!






"Everyone does something to be okay, Skunk. That's how the world is. At least the only things you need to muffle to survive are the voices in your head. Some people muffle their hearts."








Dedicated with love and gratitude to all of you who knew me as INTERN.





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16. the monk in the garden: notes on mental difference

I went to the Lan Su Chinese Gardens in Portland this afternoon, and was sitting under a pagoda feeling annoyed and disappointed that the tiny sanctuary intended to make you "feel as if you've traveled through time to another era in a faraway world" was instead crowded with so many people wielding cameras and smartphones that you couldn't take a single step without interrupting someone's shot, when I was approached by a young man in a hand-woven poncho and a Salish hat, with a leather medicine bag around his neck. He sat down beside me, took out a set of tingsha which he began to swing around, and started talking about Zen. It emerged that he was both a monk and a shaman and a traveler who had followed the river to Portland in search of a girl he had seen only in dreams. His life work was to restore balance to the universe; to achieve this, he often played his tingsha in the produce section of grocery stores.

He asked me if I was enjoying the garden. I grimaced slightly. "It's kind of—overstimulating," I said, waving at the iPhone hordes. 

Instead of joining me in my griping, he beamed and started telling me about Chinese garden design, pointing out the symmetry of the bridges, the interplay of light and shadow in the latticework, and the pruning of the trees. We spoke for a few minutes more. Now and then, I felt something begin to strain inside of me—the usual how-am-I-going-to-extract-myself-from-this-crazy-person's-company response. I stayed, partly because he was so young and seemed so fragile, and partly out of a desire to rebel against the iPhone-wielding hit-and-run spirit that had annoyed me so much when I entered the garden. If I really had traveled through time to another era in a faraway world, I reasoned, there would certainly be mad monks in the garden. And isn't that the kind of world I've been yearning for?

*

When I walked away, the whole garden looked different and more beautiful—not just the ponds and pagodas, but the people with their gadgets too, who suddenly appeared like the wondrous manifestations of an unfolding universe that they really were. I ended up spending another hour there, marveling at all the details I'd overlooked before. 

Encounters with people who exist outside the realm of consensus reality aren't always so uplifting—on the contrary, they're often awkward and anxiety-producing. As I was biking home from the garden, I wondered what had made this one so different. It wasn't just that he was young—young people experiencing reality disturbances can be plenty frightening. And it wasn't even the fact that his monologues were filled with starlight and river dreams instead of conspiracy theories.

It was that he seemed loved. 

He had come to the garden with a friend. He spoke fondly of his parents and teachers, and a brother with a honey and beehive store in a different part of town. He was clothed and sheltered, and seemed healthy, sober, and addiction-free. 

How much of the awkwardness, discomfort, and fear we feel around  people with mental differences is actually a discomfort with addiction or homelessness?

How many more starry-eyed monks would we have, I wondered, if we simply made room for them in the garden?




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17. a torn map, a candle stub: writing mental illness


WILD AWAKE is coming out in five days. I've been hiding from the internet, but Techie Boyfriend informs me that there are already more words written about WILD AWAKE (in reviews, comments, note-comparing, and general chitter-chatter) than the 75,000 in the novel itself. I know this is just what happens with books in the internet age, but the speed and intensity still feels like one of those elevator rides where the ground rushes toward you in a stomach-dropping whoosh while you're still saying not ready! not ready!

I realize I've been rather secretive about basic WILD AWAKE questions like "What is it about?"�less from actual secrecy than from the bewilderment that comes when you get so used to waiting for your novel to come out that when it finally does, it catches you off-guard.

Now that the proverbial cat is out of the bag, I'd like to belatedly and somewhat redundantly tell you that WILD AWAKE is a story about a teen musician who has a summer of chaos, first love, mystery and adventure while her parents are away on vacation. It's a story about family; a story about grief; and yes, a story about mental illness, although you won't find that term in the book.

Many people experience some kind of mental Thing (to use Kiri's word) at some point in their lives, whether they self-identify with a word like "bipolar" or "schizophrenic" or not. As most of you already know, I am one of them. Mental illness can make you feel alone and terrified, especially as a young adult—like you're on a distant planet where nobody can reach you. Novels like Janet Frame's The Edge of the Alphabet saved me from that terror by giving voice to the strangeness, horror, and profound beauty of that place.

When people find out that I've written about mental illness, they often tell me about their friends and loved ones who didn't make it. They always use that expression—"didn't make it"�which I've always found interesting for its connotations of journeys and quests. Not everyone who gets called to the underworld makes it back alive. Not everyone who wrestles with the Minotaur wins.

The better I get to know my own underworld, the more I believe that the stories we tell ourselves about mental illness are a crucial factor in determining how many people do make it. Our songs, poems, and metaphors—the language available to us for talking about experiences which are more complex than almost anyone is willing to acknowledge—these things matter both for our survival as a society and as individuals.

I used to think that mental illness had clear answers, that you could take it apart like an IKEA desk and spread the pieces out neatly on the floor. Now, I'm not so sure. What I do know is that stories are powerful, and the right one can make the difference between coming back from the underworld and getting consumed by it. The right story can act like a torn map or a candlestub: imperfect, but maybe just enough to light the way.

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18. yesterday...





One week!






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19. method for floating through book launches and other tumultuous times


"I read all this Zen stuff," I said, "and then two hours later I'm stressing again."
"The thing to realize," said my friend, "is you're already there."

*

this is the buddha climbing the hill
this is the buddha digging a hole
this is the buddha dusting the dirt off her hands
this is the buddha plugging in the electrical cord
this is the buddha boiling the water
this is the buddha fretting, gnawing her knuckles
this is the buddha writing a tweet
this is the buddha coffee-tongued and runny-nosed
this is the buddha writing a card
this is the buddha eating pistachios
this is the buddha worrying what people will think
this is the buddha feeling guilty
this is the buddha putting on a sweater
this is the buddha taking off a hat
this is the buddha making to-do lists
this is the buddha hunting for a pen
this is the buddha waiting for the ferry
this is the buddha riding in her old friend's pickup
this is the buddha sitting strained and hopeful while her old friend throws the I Ching
this is the buddha confused by the I Ching's answers
this is the buddha washing her hair
this is the buddha pulling the seed-heads off tall grasses
this is the buddha standing at the side of the road
this is the buddha kicking drum-beats in the gravel
this is the buddha feeling tense
this is the buddha brushing the hair out of her face
this is the buddha washing a dish
this is the buddha checking her e-mail
this is the buddha worrying about her remaining battery supply
this is the buddha putting on shoes
this is the buddha driving to the store
this is the buddha cutting open the cardboard box
this is the buddha sick with nerves
this is the buddha happy
this is the buddha watching moonlight ripple on the wooden rafters
this is the buddha listening to the sleeping bags crinkle
this is the buddha dreaming of a pirate feast
this is the buddha forgetting, remembering, and forgetting again and again.

*
With love to all you friends, penpals, and wise strangers out there, buddhas every one.  

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20. thought of the day



"Things are as they are. Looking out into the universe at night, we make no comparisons between right and wrong stars, nor between well and badly arranged constellations.” 
-Alan Watts

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21. parents of writers: a memo


Dear Parents of Writers (POW),

The summer book season will soon be in full swing. As several of you have writer-children with novels coming out in the next few weeks, the members of the board would like to take this opportunity to remind you of certain guidelines for interacting with your offspring during this sensitive time. If you have any questions or concerns, a registered POW counselor is available by telephone 24/7 at 1-888-POW-HELP to assist you.

Avoid sending your writer-child e-mail alerts with subject headings like "VegasBabe22 panned your book on Amazon." Although VegasBabe's comments might strike you as a serious affront requiring urgent action, your writer-child may take a more pacifist stance on the matter. Because your writer-child may not, in fact, take each and every internet review as seriously as you do—and indeed, may be avoiding them completely—it is important to inquire about her policy on this matter before filling her inbox with well-meaning updates every time an ignominious villain says something less-than-laudatory about her book.

Avoid asking your writer-child about her "plans" every time you talk on the phone. Your writer-child hasn't showered for a week; her "office" is a cardboard box that lives in the backseat of her boyfriend's car. Her "plans" involve acquiring a decent pair of socks in time for ALA, and possibly moving to this secret jungle camp in Hawaii that a cool stranger in whose backyard she recently camped told her about.

Avoid marching into tourist bookstores while you are on vacation, asking to be directed to your writer-child's book, and sending your writer-child alarmist e-mails when it is not in stock. Not every bookstore will stock your writer-child's book, especially the ones that sell mostly seagull magnets and coffee table books about sand dollars. Do not be surprised if your writer-child shows a bewildering lack of alarm about this state of affairs. Writer-children do not always appreciate the scope of these indignities; that is where you come in.

Avoid asking your writer-child if she has talked to her editor about publishing that barely-fictionalized travel novella she wrote at nineteen or the picture book she wrote and illustrated at age ten. Although the commerical potential of your writer-child's juvenalia may seem obvious to you, your writer-child will find all sorts of wily excuses not to pass them on to her agent and editor. You may wish to send said juvenalia to movie producers yourself, because otherwise there is no way you will ever see the genius that is Iggy The Iguana brought to life on the big screen.

Avoid asking your writer-child about her second novel unless you have first checked with her significant other to confirm that this is a Good Writing Day. If you receive an indication that this is a Bad Writing Day, wait twenty-four hours and check again.

Do listen carefully when your writer-child updates you on book news, to avoid making mistakes or exaggerations when repeating said news to extended family. A Junior Library Guild selection is not the same as an Oprah's Book Club selection; a Bloggy award is not the Pulitzer Prize. These differences may seem trivial to you, but may cause your writer-child considerable embarassment at Thanksgiving dinner.

Do seek out other POW's for support should you experience anxiety, frustration, anger or disappointment during any stage of your writer-child's career. It is not easy to be the parent of a writer, but remember that you are not alone.

Please feel free to reproduce and/or distribute this document at will, and our sincerest best wishes for this summer 2013 book season.

Velda Perez,
Chairwoman, Parents of Writers



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22. the secret lives of YA cover designers: an interview with Tom Forget

Tom Forget is an artist and cover designer who was recently declared to be one of the "most stylish New Yorkers" by TimeOut magazine. He also happens to be the man behind the cover for WILD AWAKE. He kindly agreed to share his thoughts on book design and the creative life. You can see more of his work at www.tomforget.com and at www.mammalmag.com.



What do you aim for in a YA cover (as opposed to a cover for the adult market)?  

That's an interesting question. I think the briefest way to answer that is that there's a certain direct-ness of imagery that we use in YA that is not as strictly observed in adult books. We are less likely to use images that are cropped or obscured than what you might see on adult covers. I think that in terms of color we try to be more immediate as well. There's certainly room for subtlety in YA design, and I think many of the best YA jackets employ it, but we have to make sure that we don't outsmart ourselves (or by extension our readers) by trying to be too sophisticated. In addition, just from a market standpoint, we're looking at different indicators. We need to pay attention to advertising, fashion, music, etc. that young people are consuming, where as that's obviously less crucial for adult designers.

What are the differences between designing for a hardcover or a paperback?  

Honestly, there is not much of a difference for me, aside from the fact that you're not really thinking about extending any art onto flaps. You basically have to plan for "front, back, spine," which might limit your ideas slightly. 
 
What are your biggest frustrations as a cover designer? 

That's an easy one. The approval process. I can only speak to my own experiences, but in my daily working life there are many "customers" to satisfy, and frequently they've got wildly different expectations. Editors and Authors might have a strong creative vision, but then the sales force and the bookseller will have commercial needs that have to be met. The designer has to walk a tightrope to get to the other side, while still on some level liking what they've created and finding some creative satisfaction from the end result. One specific thing relates to this is that in our market there is a tendency to follow in the footsteps of established successful jackets. Obviously, trend-spotting is important, but it can be exasperating when you are consistently asked to "make it look like (current successful jacket)". As designers, we crave new stimulus, so this can run current to our natural impulses.
 
What would be your dream book for which to design a cover? 

My dream project would be a line-wide redesign of crime writer Lawrence Block's Matthew Scudder books. That's one of my favorite series and it's really the kind of material I gravitate towards in my leisure hours. The books are currently packaged in a perfectly serviceable mass market design, but they're so morally compelling and gritty that I would really like to see something more attention-grabbing. The Lookout director Scott Frank is currently working on a film based on one of the books, starring Liam Neeson, so maybe a repackage is in the pipeline? One of my colleagues on the 6th floor will no doubt get the call, sadly.
 
Are you involved in creative projects outside of cover design? Do they influence your cover aesthetic, or do you keep them separated? 

Yes, absolutely. In my off hours I Paint and draw and have a small publication I work on with a group of old friends called MAMMAL Magazine, where I put any sort of odd idea I've been sketching out in the world. Lately I've been collaborating on skateboard deck designs for Handsome Skateboards, which is a small new brand founded by a talented sculptor friend of mine, Eric Eley. In my house, my wife and I are always working on something and bouncing ideas off of each other. She wrote a novel manuscript that she's shopping to agents, so she's sympathetic to my creative efforts too. We try to maintain an atmosphere where we can help each other over the humps we might struggle with. 
 
As far as my pursuits influencing my cover aesthetic, they certainly do, and vice versa! Actually, WILD AWAKE is a prime example of my leisure activities and my "day job" meeting up. For the flaps and back cover, I hand-painted the background treatments and drew flowers, as well as splattering ink on paper to make some of the other elements. It was a convergence of a number of different techniques that I don't often get to use at Harper. I also find myself referring back to compositional rules I learn at work when I'm creating my own off-hours stuff. Creativity isn't a one way street so much as it's different bodies of water that really just make up one big ocean.

How did you arrive at this cover for WILD AWAKE? 

This one took a little while. Some books are very easy to get a handle on (Vampire boy falls in love with human girl!), but the emotions in WILD AWAKE were more complicated than that. We needed to somehow show joy and deep sadness while being respectful to the darker aspects of the story. Because the girl in the story had an artist older sister, I started doing alot of stuff with actual, old-fashioned, handmade paints and inks, while simultaneously doing some stock photo research to see if anything clicked. Editorial provided us with some helpful competitive titles and jackets that both they and the author (in this instance you!) liked the feel of, and I tried to tailor what I was doing based on that information. In the meantime, there was discussion about the title, and when that changed it afforded us more room to play with the visual space. After a couple of "not...quite...right..." comps, we had a tremendously helpful conference call where all of the involved parties were able to communicate really directly. This is not usual procedure, but in this instance it was really clarifying and pretty much lead directly to us finding the correct tone for the final cover. And really, a lot of the earlier drawings and paint work from earlier comps went into crafting the back cover and flaps, so the whole process from the very beginning bore fruit.

What advice do you have for aspiring book designers? 

More than anything, I would say that you have to be ready to throw something out and start again! In modern book publishing, there are many layers of approval that you have to go through (art directors, sales team, editorial, author, bookseller), and you have to be ready to just roll with it if the cover you just worked on and have fallen in love with needs to be reconsidered. It's easier said than done when you've come up with a design you're really fond of but that just isn't quite right for the book in question, but you can always make that rejected cover part of your portfolio (as I did for one of the rejected covers for WILD AWAKE!)

I would also say that an aspiring book designer should always keep his or her eyes open. I of course try to keep abreast of the books on the shelves in the YA section of bookstores, but inspiration strikes when I look at the greater world around me. For example, the color scheme and flap design for WILD AWAKE was something I thought up from looking at Mark Rothko color field paintings when I was at the Museum of Modern Art. One other time, I got a great idea for a color scheme for a design from looking at really gnarly bread mold. If you peer too intently at other book designs exclusively, it'll be nearly impossible for you to design something fresh. It's the equivalent of trying to pick something up with a clenched fist.

  
Tom Forget's cover for WILD AWAKE: hand-made paint splatters and Rothko-inspired colors.

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Do you have any burning cover design questions for Tom? If so, please leave them in the comments and I will ask him very nicely for a guaranteed-to-be-stylish response!

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23. book deals and the nomadic author: letter from shaw island


Dear you,

It is May, and WILD AWAKE is coming out in three weeks. Techie Boyfriend and I have repaired to a campsite in the woods, which is possibly the world's least convenient place from which to launch a novel, but illuminating in its own way.

As I write this, my body is here in this driftwood shack, with a kerosene lantern burning over my shoulder and Techie Boyfriend playing a broken accordion in the twilight, but I'm aware of this other Hilary, a Monopoly-piece extension of myself, moving around the game board of publishing with all of the tumultuous joys and stresses that entails (one roll lands the coveted "You have won $10 in a beauty pageant," and on the next roll it's "Postage fees for over-ambitious ARC mailing; pay $50 to Community Chest.")



I feel a strange tension between those two realities—the one in which I'm a forest creature living a three-mile bike ride from the nearest electrical outlet, and the one in which I'm a person with a blog, a twitter account, and a calendar slowly but surely filling up with Real Actual Author Events in places like Chicago and Boston. Both realities excite me, and balancing the two is going to be an interesting dance. I'm especially grateful to have known many of you, oh readers of this blog, for a pretty long time now—I feel like I can write you these strange little letters and you will understand.

I am typing up this letter on my laptop, sitting at that three-mile electrical outlet in the shade. This morning I found a bird's nest with four tiny speckled eggs inside, and saw calypso orchids growing on the forest floor. I'm glad to live in a world where both are possible, the electrical outlet and the four speckled eggs. And although I still get worried sometimes that I'll never find the right balance between my publishing life and my forest one, I think there's something to be learned from watching your Monopoly piece by kerosene lantern.

Sincerely,


Hilary


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24. thought of the day...

"Turtles rarely pass up a chance to lay in the sun on a partly submerged log. No two turtles ever lunched together with the idea of promoting anything. No turtle ever went around complaining that there is no profit in book publishing except from the subsidiary rights. Turtles do not work day and night to perfect explosive devices that wipe out Pacific islands and eventually render turtles sterile.Turtles never use the word "implementation" or the phrases "hard core" and "in the last analysis." No turtle ever rang another turtle back on the phone. In the last analysis, a turtle, although lacking knowledge, knows how to live. A turtle, by its admirable habits, gets to the hard core of life. That may be why its arteries are so soft."
 -E.B. White, Turtle Blood Bank, 1953


Wishing you all a turtle-y day.

H


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25. WILD AWAKE news with a side of snurkleberry jam

Why hello!

I haven't shared much book news here, but lots of happy little things have been happening and it was time to give them a mention:

In Germany news:

WILD WACH verkauft Fischer Verlag in einer sehr schönen Deal—which is exciting, because now my German translator, Jenny, e-mails me every few days with queries like "on p. 22, what exactly are they smoking?" and "cannot find German word for 'snurkleberries,' please advise."

Fischer Verlage is an independent literary publisher that was founded in Berlin in 1886 by this dapper gentleman:


Note that he is smoking something (but what?) and has a pocket full of snurkleberries.

In Audio news:

The clever and talented Shannon McManus, whom you may remember from the audiobook of LOLA AND THE BOY NEXT DOOR, will be narrating the audio version of WILD AWAKE. This is a picture I stole from her website:


That expression? Surprise and delight upon tasting a true snurkleberry for the first time.

In news concerning Junior Librarians*:

WILD AWAKE is a Junior Library Guild selection for 2013. What does this mean? I'm still not entirely sure, but they gave me this shiny thing:


*the Junior Library Guild does not actually consist of Junior Librarians, but wouldn't that be neat?In

In let's-hang-out news:

I will be at the 2013 ALA conference in Chicago this June 27-July 2nd, and possibly doing some other bookish things in Chicago that week. We should hang out! 

In other news:

A few weeks ago when I visited HarperCollins, I was startled to see stacks and stacks of ARCs which have since made their way into the world. Result: a million billion* people are now reading WILD AWAKE.




*this is an exact figure.

If you are also reading WILD AWAKE, send me a picture or post it to this Tumblr. Bonus points for intriguing locations, exotic animals, and extremely dour and/or blissful facial expressions. 

In where-the-heck-are-you news:

Washington! For now!

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That is all!




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