For whatever reason—the start of spring, the nearing release of my debut novel, the fast approach of my thirtieth birthday—I have decided that September will be the month of writing all the books.
Three books, exactly.
One polished draft and two rough drafts.
I’ve never done this before. I’ve always thought of myself as a one-project-at-a-time sort of writer. But if there’s anything I’ve learnt about writing (and life) it’s this: never assume anything you know about yourself is unchangeable. You can change anything if you really want to.
In preparation for my month of writing all the books, I have spent the last week of August acting like it’s a perfectly natural thing for me to be writing three projects at the same time. Would you like to know how I’ve made it work? Here are some things I have learnt in past seven days:
Make sure the projects are fairly different from one another (in some way)
One of things that’s made my week of crazy writing manageable is that the projects I’ve chosen to work on are all pretty different. One is YA, one is upper MG, and one is lower MG. So even though they’re all weird and magical, they’re distinct in my mind because they’re for different age categories. (If you write multiple genres, that could work, too.)
Assign a physical space/object to each project
This really helps me to compartmentalise. I’ve been working on the YA weird book on my sofa, using a pencil and notebook. I’ve only been looking at my upper MG fantasy at my desk, using my laptop, and I work on the lower MG fantasy on my laptop/in a notebook with pen, at the table in my dining room. Somehow I have tricked my brain into moving between projects by changing my position in space. (Yay, brain!)
It helps if the projects are at different stages
My upper MG book is in the editing/polishing stage, my YA book is in the drafting stage, and my lower MG book is in the outlining stage. This also helps my brain to see them as separate, instead of congealing them into one big glob of a book.
It’s easier to write short(er) books this way
I write books that are on the short side. Even the YA book I’m drafting is never going to be 80 000 words long. So. That’s not a tip, just an observation. If you’re writing 100 000-word books, maybe don’t do this? (Or, if you can do this, tell me and I will bow down to you, you writing genius.) For reference, my upper MG fairy tale/fantasy is about 40 000 words, the lower MG will be about 25 000 words. (Or it might be closer to 30 000 or 40 000. We’ll see?) And the YA—well, I’m actually writing it in verse at the moment so I’m aiming for 25 000 – 30 000 words. As you can see, we’re not dealing with huge word counts here.
They don’t have to be different genres, but it helps if they have different tones
Even though all of these books are dark, fairy-tale-style fantasies, they have very different settings, moods and colour palettes. If I were more visually inclined, I might make an aesthetics board for each of them to keep them separate in my mind, but since I’m not really that sort of writer, I just make sure I know how each of the worlds feels to me, and I try not to let them overlap. Each world has markers (climate, a species of magical animal, a city I’m basing the world on) and I try to keep them pretty distinct.
I’ve chosen one song for each project that I listen to on repeat. (I don’t always listen to music, though. Sometimes I need silence.) I find that if I’m struggling to enter the world of a book, a song can be a good door.
Set small goals
I’ve made my goals for each project really small so that I don’t get overwhelmed. “Small” is a relative term, depending on so many factors, so I’m not going to say what the actual word counts are, but just make sure your goals aren't so ambitious that you get overwhelmed. You want to be able to dip into each project a little every day (if you write every day, that is). Find what works for you.
Like I said, I’ve only been doing this for a week, so I might fail!
And that’s all right. I’m treating it as an experiment for now. But it’s been a pretty successful one so far!
How about you? Do you write multiple books at the same time, or do you focus on one project? I’d love to hear your thoughts in the comments!
And it's narrated by the wonderful Bailey Carr, who read none other than my favourite audio book ever, WHEN THE MOON WAS OURS by Anna-Marie McLemore!
Somebody pinch me.
You can pre-order the audio book here. (Pre-orders really help authors by showing the publisher that people are interested in a book.) (I'd appreciate it.) (Thank you!)
I was thrilled this week to announce that Kirkus Reviews has given THE TURNAWAY GIRLS a starred review!
I'll just be over here, not fully comprehending that this is real life.
You can read the full review here.
I repeat: THE TURNAWAY GIRLS has a UK cover! And I am so over the moon about it!
If anyone in the UK wants to pre-order, you can find TTG online at Waterstones or Foyles. Or, you know, go to your local independent bookshop and tell them what you want! (What you really, really want!)
Okay, I apologise for the Spice Girls interlude. I have just woken up from a nap and my head feels a little bit like it's been stuffed with cotton wool!
Here's the cover!
As you can see, it's quite different from the US cover (which I love and will always love). But I also love this! The turquoise tones make the tree stand out so beautifully, and Delphernia's silhouette makes her seem. . .mysterious. Which she kind of is. ALSO. ALSO. That gorgeous quote from Kiran Millwood Hargrave (author extraordinaire, poet extraordinaire and goddess extraordinaire) makes my heart beat all silly-like.
What do you think of the UK cover? Which do you prefer: UK or US?
Happy Friday, everyone. May your weekend be filled with all the things you love and that love you right back.
I have done three R&Rs.
And I might very well do another in the future.
I’ll let you in on a little secret: I am totally okay with this. Really. I actually kind of like R&Rs. They’re not offers, sure, but they’re not rejections either. Don’t listen to anyone who tells you that an R&R is a “soft no.” Writing up notes for an unknown writer takes time—time literary agents and editors simply don’t have. An R&R is a compliment, a vote of confidence. Most of all, it’s an opportunity. And I love opportunities. They smell a little bit like freshly brewed coffee. If you want to write and publish a novel, I suggest you learn to love them, too.
Like I said, I’ve done three R&Rs. Two of them worked out; one of them didn’t. So I feel like I’ve learnt a fair amount about them. If you’ve just been offered an R&R from a literary agent or editor, or you’re curious as to how they work, here’s some of the wisdom I’ve acquired over the years:
[In case you’re reading this and you don’t know what an R&R is, it’s when an agent or editor asks you to revise a piece of work and gives you an opportunity to resubmit it after those revisions have been done. Usually this involves getting some sort of edit letter from them, detailing what they perceive to be the weaker areas of the work and suggesting ways that you might go about strengthening them. Got it? Okay, on to the wisdom!]
Firstly, it really is a Good Thing. Okay, so this agent or editor didn’t call you immediately to offer representation/a book deal. But an offer to revise and resubmit really is a) rare and b) a huge vote of confidence. It means that the agent or editor in question loved one (or more) aspect(s) of your book SO MUCH that they couldn’t just say, “Sorry, this isn’t for me.” But they also couldn’t say yes, either, because maybe they know your plot is weak (*raises hand uncertainly*) or maybe they know the voice doesn’t work or the characters are flat, and, because of that, even though they love it A LOT, they won’t be able to sell it to the people they need to sell it to. Remember that agents and editors are not gods and goddesses—even though, sometimes, they may seem to exist on an entirely different plane to writers (and I’m pretty sure my literary agent is at least 25% magic). Agents and editors have to convince other people to love your book as much as they do. Most times, an R&R is an opportunity to give your book its best chance at selling.
Secondly: be open. But not too open. I mentioned above that I did an R&R that didn’t work out. What do I mean by that? Well, this lovely agent sent me some notes on how to make my manuscript—a novel in verse set in Johannesburg about a young girl whose voice is stolen by an ailing violinist—better. And I was so excited to dive into making changes! One of his (very smart) notes was that the story felt too small. It needed more of the main character’s life in it—her school, her neighbourhood, her family. And, for some reason, this translated to me as, “Oh, you know what I should do? I should rewrite the whole thing in prose rather than in verse!” And I did. You can see where this is going, and you can probably predict why it went that way. The agent in question got back to me fairly quickly, and it was a no. And although he didn’t say, “Ummmm, hello? You changed the very essence of what I loved about this book!” it’s clear to me, now, that that’s what I did. See, you want to do changes, but you don’t want to change your book so much that it becomes Another Thing Entirely. How do you stop from doing that? Well, you find the heart.
FYI: Your book has a heart. And its heart consists of non-negotiable elements. Earlier this week, I tweeted that I like to make a “Goosebump List” before starting revisions. This is a list of all the scenes, characters, world elements or snippets of dialogue that literally give me goosebumps. They make me feel all tingly, like a thunderstorm is on the horizon. The Goosebump List helps me to keep track of my book’s heart, so that I don’t stray too far from why I originally fell in love with the story. The Goosebump List is your book’s heart. Notice it. Keep it close to you.
If I’d given any thought to this back in 2014, I would have seen that the fact that my book was written in verse was a Major Non-Negotiable Element! (And just in case this isn’t clear: the agent who offered me the R&R did not ask me to write the story in prose. The error was entirely mine.)
You have to remember that if you’re getting an R&R, the person on the other end actually loves your book already. You might rework the plot, or add more setting, or cut a character, but they don’t want an entirely different book from you. They want This Book, but Better. So don’t throw the poodle out with the bathwater. Make your Goosebump List, pay attention to the elements the agent/editor said they loved, and don’t change your book’s heart. I promise you don’t need to.
Thirdly, take your time! No one wants to see an R&R in a couple of weeks. Most take a few months. The first R&R I did took four months. The second (for my magical agent) was supposed to take 4 months, but things changed when I received an offer of representation on my original manuscript. And the R&R I did for Miriam Newman at Candlewick (editor extraordinaire of THE TURNAWAY GIRLS) took me 3 months. Bottom line: rather take a little more time (and get the changes right) than rush through them and miss an opportunity to submit the best book you can submit. They won’t forget about you if you take six months to revise.
Lastly, when you read the agent’s or editor’s edit letter, do the following: read it through once. Step away from it. Come back to it the next day, or at least after having walked your dog, and read it again. Then make notes on what you’ve read, and start to think about how you could implement the changes. Let the notes sink in. Maybe take a week or two to mull them over. Don’t rush. Take a deep breath. You can do this.
I think that’s enough wisdom for today. But there’s a lot I have to say about R&Rs, so I might do another post like this soon! If you have any specific questions on revising and resubmitting, please let me know in the comments, or on Twitter, and I’ll try to answer them next time around.
Some of you may remember that I interviewed my friend and writing soulmate, K.A. Reynolds, last week. (She’s the author of one of the most beautiful middle grade books I’ve ever had the pleasure of reading, THE LAND OF YESTERDAY (coming on July 31, 2018 from HarperCollins)!
Well, this week, I am interviewing myself. No, not really. Kristin is interviewing me! But I’m posting it here, on my own blog. (Is this a weird thing to do? I don’t know. This is basically the interview equivalent of a selfie.) Anyway, Kristin asked me some really interesting questions and I couldn’t resist sharing them, so HERE WE GO.
Kristin: If the world were on fire and you could only save one book (not your own!), which would it be and why?
Hayley: THIS IS AN IMPOSSIBLE QUESTION. (At first, I thought you meant if my house were on fire—but the whole world?! What are you trying to do to me?!) Okay, if I had to answer, I would probably choose THE FOLK KEEPER by Franny Billingsley, because it’s really beautiful and delicate and it’s about courage and gender and love—and a world burnt down would be a world in need of things that are beautiful and delicate (about courage and gender and love).
Kristin: Do you hide any secrets in your books that only a few people will find?
Hayley: I actually don’t. But I’m always surprised, reading over my work, when I see something in there I didn’t intend―a connection I didn’t make consciously. I’m always surprised by how everything I have ever seen and heard and been ends up on the page. So I suppose I kind of leave secrets for myself?
Kristin: THE TURNAWAY GIRLS has a very feminist message. As a middle grader, was there a moment when you felt especially oppressed as a girl? How did you react then? Is that different from how you’d react now?
Hayley: There were lots of little moments, and most of them involved being objectified by older men. For instance, I had a music teacher who used to put his hand on my leg while I was playing the piano, and who once lifted up my shirt. At the time, I reacted by moving away from him or ignoring him. I also never told anyone about it. If I could go back, I would leave the room and call my mom to fetch me. I would also tell my mom about it.
Kristin: If you could go back in time and give your middle grade self one piece of advice, what would it be?
Hayley: Ditch the emotionally abusive friends. Write something all the way to the end. It’s okay (and possible) to happy and not “popular.”
Kristin: What is your favourite scene in THE TURNAWAY GIRLS?
Hayley: My favourite, favourite, FAVOURITE scene is too full of spoilers to describe. So I’ll tell you my favourite scene from the first part of the book: when Delphernia sneaks out in the middle of the night to sing and discovers the magic that opens her eyes to her own power. I adore that scene.
Kristin: If you could spend time with a character from your book, who would it be? And what would you do during the day?
Hayley: I would spend time with Linna, because she knows so much about the history and legends of Blightsend. We would probably snoop around Sorrowhall and discover secrets we have no business knowing, which would be PERFECT.
Kristin: Who are you favourite authors and why?
Oh, so many! Laini Taylor, because her writing is dazzling on every level―sentence, world, plot. Roshani Chokshi, for writing lyrical books about girls who go to war with lipstick on. Claire Legrand, because her characters always have the biggest, clearest hearts. Franny Billingsley, for writing books about girls with desire. Jessie Burton, because she’s a genius who writes about creativity unlike anyone I’ve ever experienced. Dhonielle Clayton, for writing about being a girl in such a deep, rich, tangled, complex way. Kiran Millwood-Hargrave, because her writing is so surprising and poetic. Jhumpa Lahiri―her short stories are so beautiful they give me chills. Toni Morrison, because she writes like words are music. Anne Michaels, because she writes with such vividness that she makes time travel seem possible. Sarah Crossan, for writing characters I instantly and irrevocably fall in love with. And Louise O’Neill―her writing is so true and brave. There are so many more, but I’ll stop there!
Kristin: Did you ever feel like giving up as a writer? If so, how did you push through?
Hayley: Yes, about a month ago! I sent my agent a revised version of my WIP and she told me (very gently) that it wasn’t working. She was right, and I’ve since rewritten that book, but at the time it felt like the end of the world. I usually let myself wallow in despair for a day. I’ll spend some time crying in the shower and watching Netflix in my pyjamas. And then I'll get back to work. I might feel like giving up, but I’m not prepared, ever, to actually give up. I love writing too much and I know this is what I was born to do.
Kristin: Hogwarts house?
Kristin: Favourite movie?
Amélie. I’ve loved it since I first saw it in my teens. I watch it once a year! It encapsulates so many of my values as a human being―the way I want to see the world and the way I want to be in the world.
Thanks so much for Kristin for interviewing me! I really hope I never have to choose one book to save during the Apocalypse.
PS. If any of this has piqued your interest, you can add THE TURNAWAY GIRLS on Goodreads, pre-order on Amazon, Barnes & Noble, or Indiebound, or follow me on Twitter or Instagram.
Today, I have the honour of hosting the incredibly talented and unicorn-like K.A Reynolds, author of my favourite 2018 debut, a strange, dark and whimsical middle grade fantasy called THE LAND OF YESTERDAY. If you haven’t yet heard of this beautiful book, here’s the description from Goodreads:
A tender and fantastical adventure story perfect for fans of CORALINE.
After Cecelia Dahl’s little brother, Celadon, dies tragically, his soul goes where all souls go: the Land of Yesterday—and Cecelia is left behind in a fractured world without him.
Her beloved house’s spirit is crumbling beyond repair, her father is imprisoned by sorrow, and worst of all, her grief-stricken mother abandons the land of the living to follow Celadon into Yesterday.
It’s up to Cecelia to put her family back together, even if that means venturing into the dark and forbidden Land of Yesterday on her own. But as Cecilia braves a hot-air balloon commanded by two gnomes, a sea of daisies, and the Planet of Nightmares, it’s clear that even if she finds her family, she might not be able to save them.
And if she’s not careful, she might just become a lost soul herself, trapped forever in Yesterday.
Doesn’t that sound AMAZING? I mean, I’ve read it, so I can 100% assure you that it IS amazing! But don’t just take my word for it. THE LAND OF YESTERDAY has been blurbed by TWO New York Times bestselling authors―Laini Taylor and Roshani Chokshi. Here’s what they have to say about this gorgeous book:
“From its first words, The Land of Yesterday has the pure crystal ring of a classic, like The Little Prince or The Phantom Tollbooth—beautiful, unique, and shimmering with truth. It’s a balm for grief, and a bursting fantastical joy of a story.” (Laini Taylor, New York Times bestselling author of Strange the Dreamer)
“Told with riveting language, this is a poignant tale that will resonate with readers of all ages and leave them reeling from such an emotional, gorgeous story.” (Roshani Chokshi, New York Times bestselling author of Aru Shah and the End of Time)
Are you sold yet? Because you should be! Okay, so now that you know all about Kristin’s stunning book (and you know you can pre-order it here) let’s get this interview started! (Kristin is also running a pre-order giveaway, and she's got some lovely prizes up for grabs! You can find out more about that here!)
Hayley: All the characters in THE LAND OF YESTERDAY have absolutely wonderful names! How did you go about choosing them? Was it a long process, or did they come naturally to you?
Kristin: Aww, thank you! Like the drafting process, names swirl out of the ether and whisper into my ear like magic. Sometimes I hear wrong, however. For example, my main character Cecelia wasn’t Cecelia at first, but Cicely! It was only after typing Cicely consistently wrong as Cecelia that I realised, “Hmm, I think her name is Cecelia!”
Hayley: That is so fascinating! If you could either travel by hot air balloon or by hippogriff for rest of your life, which would you choose?
Kristin: Okay, this should be a no-contest question in favor of 100% hippogriff. BUT . . . practical me is screaming, “THINK OF THE BOOKS!” Not much reading and napping and snacking on cheese and tiny cakes could occur on the back of a hippogriff, so I think I’m sticking with hot air balloon, preferably Dröm Ballong #19, if you please.
Hayley: Wise choice! We've spoken before about how your books are very driven by colour―how do you choose what "colour" a book is?
Kristin: While writing, the characters and their world bloom inexplicably onto the dark canvas of my brain in full colour. Then I write down what I see. Cecelia appeared to me with blue hair. Her father, Aubergine, came to me in an aubergine suit, her mother’s name is Mazarine, like her eyes, etc. The tiny gods of the otherworld who deliver these stories to me are much smarter than I am. They see instinctually that colors help to convey emotions, character arcs, and the tone of the entire book on subconscious levels in ways words alone cannot reach.
Hayley: Ah, that's so interesting! I always find it so fascinating how some elements of writing are totally subconscious, and others are so deliberate. It's such a mysterious process. You're a poet, too! What's your favourite poem?
Kristin: Oh, now THAT is a loaded question! How long have we got? Days? Eternities? No? Well, in that case I’ll have to settle for one my favourite poems by one of my three favorite poets/prophets: Jalāl ad-Dīn Muhammad Rūmī. This poem embodies so much of me it’s hard to tell where one ends and the other begins. . . .
Who Says Words with My Mouth?
All day I think about it, then at night I say it.
Where did I come from, and what am I supposed to be doing?
I have no idea.
My soul is from elsewhere, I'm sure of that,
and I intend to end up there.
This drunkenness began in some other tavern.
When I get back around to that place,
I'll be completely sober. Meanwhile,
I'm like a bird from another continent, sitting in this aviary.
The day is coming when I fly off,
but who is it now in my ear who hears my voice?
Who says words with my mouth?
Who looks out with my eyes? What is the soul?
I cannot stop asking.
If I could taste one sip of an answer,
I could break out of this prison for drunks.
I didn't come here of my own accord, and I can't leave that way.
Whoever brought me here will have to take me home.
This poetry, I never know what I'm going to say.
I don't plan it.
When I'm outside the saying of it,
I get very quiet and rarely speak at all.
Hayley: I love Rumi, too! His poems are so profound. I 100% approve of this choice! :P Your books always feature strange, quirky houses that have personality. What does home mean to you?
Kristin: Home is my all-time favorite word. Has been since I lost my first one at six, and the next seventeen after that first. I’ve not had the greatest luck holding onto homes, as you can tell! They get ripped away by death or disaster, monster or fire. I’m uprooted, and then, I move on. But each means something to me. The walls hold whispered midnight secrets. Laughter. Tears. Screams. Even after I leave, a ghost of myself remains. And that always feels sad, for myself, and for the house. Homes are the silent, forgotten members of the family—there for every triumph and sorrow, almost always overlooked. We leave them when they get old and decrepit, walk away when we are forced or find something new. So maybe the personified homes I write into my books now are a way to honour those fallen houses that kept me safe and warm through the years, because they’ve always felt like friends to me. They are where I hang my heart at each stage of my life. The foundation where I live and love and laugh until it’s time to move on.
Hayley: That is so beautiful! You're going to make me cry! *wipes eyes* Okay, if you could give Cecelia Dahl one piece of advice, what would it be?
Kristin: ☹ “Don’t be so quick to hate your little brother. He just wants you to love him back.”
Hayley: Excellent advice. <3 You get to time travel and have coffee with yourself. Which "you" do you choose to chat to?
Kristin: Great question! I would go back to myself at 22, when I was homeless and travelling alone in another country and didn’t think very much of myself. I would order my younger self a nice blonde ale downtown though, because the coffee at the local coffee shop (Icky’s Teahouse in Eugene, OR) by the school bus I was crashing in, was seriously as thick as tar, and oh my gods, the things I would say! We would laugh to tears and get into trouble, too I bet. Haha.
Hayley: I would love to be a fly on the wall for that conversation! <3 If you could get a language for your birthday like Karou from DAUGHTER OF SMOKE AND BONE by Laini Taylor, which one would you choose?
Kristin: French! Being born and raised in Canada meant I took French until high school, but I’ve forgotten most of it and was never very good at it anyway. But it’s such a beautiful language and I have big plans for France. 😊
Hayley: France is on my bucket list, too. We could go together someday. <3 You get to have a fantasy dinner party: ten guests, dead or alive―who do you invite?
Kristin: My mother and grandmother, Jesus, Buddha, Rumi, Hafiz, Rimbaud, Shakespeare, G. I. Gurdjieff . . . and Travis Fimmel in full Ragnar Lodbrok costume because I AM OBSESSED OKAY. *fans self*
Hayley: Hahaha! *googles Travis Fimmel* OHHHH OKAY, I see what you mean! :P Lastly, do you prefer drafting or revising?
Kristin: Once upon a time it was drafting. But, ha, not anymore! Revising forever!!!
Thank you so much to Kristin for stopping by my little blog to chat all things THE LAND OF YESTERDAY! I highly recommend you pre-order THE LAND OF YESTERDAY. It is simply divine.
Find TLOY on Goodreads.
Pre-order it here.
“Dorian” by Agnes Obel
This is the song I listened to on repeat while drafting THE TURNAWAY GIRLS for the first time. It became the book’s touchstone song, something I returned to whenever I wanted to remember why I was writing it. A song can be a door, and this song was the door to the world of the turnaway girls. I only had to listen to it, and I was transported to an island of mist with black-winged cloisterwings whirling through the air.
“The Brothel” by Susanne Sundfør
This is the song that I found myself more and more drawn to while revising THE TURNAWAY GIRLS. It’s so dark and mournful—and feminist-ragey—and I think it helped me to discover some of the more hidden layers of this book’s heart. The lyrics are incredibly beautiful and sad, and I kept coming back to this line: “There are echoes in the garden/Is anybody listening/There are echoes lost in the garden/Is anybody listening…”
“S.T.A.Y” by Hans Zimmer
A.K.A: the Saddest Song in the World. INTERSTELLAR pretty much gutted me, and this song continued to remind me of the separation between father and daughter, the endless time and space that both tore them apart and brought them together. I especially listened to it when I was working on scenes where secrets were revealed, epiphanies were squandered, and vulnerabilities showed their skins. It’s such a beautiful mix of sadness, hope, and longing.
“Show Me Forgiveness” by Björk
I have always loved the lyrics of this song. They’ve resonated with me deeply since I was about eighteen, and listening to Björk for the first time. This song is off my favourite Björk album, Medulla—an album made entirely out of voices and vocal sounds, which is very Blightsendish! It's a song about forgiving yourself for not remembering your strength, forgiving yourself for letting others dictate who you are―who you should be―and ultimately surviving because you recognise that you are your own safety net. It’s beautiful. And determined. And I’m sure you can see why the heart of its meaning resonates with Delphernia’s story.
Here are the lyrics:
Show me forgiveness
For having lost faith in myself
And let my own interior up
To inferior forces
The shame is endless
But if soon stars forgiveness
The girl might live
“Time Spent” by Deaf Center
This little song, with its lilting piano melody, sounded like a whispered story to me, and that’s why it ended up on my playlist. I like to think of it as the details song, as I listened to it often when I was putting the finishing touches on THE TURNAWAY GIRLS―adding sparks of gold, sewing little iridescent fish scales to the hem of a dress, or etching patterns into metal. It’s the delicate songs that remind me of detail, and the sweeping songs that remind me of the history and future of a story. This, as it turned out, was my zooming-in song.
No you go!
What songs inspired your work in progress?
Do you use music in your writing process?
Since THE TURNAWAY GIRLS is just over three months from release (somebody hold me!) I thought it would be fun to chat about some of the books that inspired it. After three years of writing and revising, TTG is finally done—it’s growing wings and getting ready to fly off into the world! Here are some of the books that subtly (and not-so-subtly) influenced its themes, style, tone and subject matter:
THE HANDMAID’S TALE by Margaret Atwood
I read THE HANDMAID’S TALE for the first time in 2011 or 2012—so, at least three years before I started drafting TTG—but when the TV series came out, I couldn’t help but spot the similarities they have in theme. THE HANDMAID’S TALE is unapologetic in its feminism, and so is TTG. THE HANDMAID’S TALE deals with the idea that women’s bodies are nothing more than literal vessels for something that others want/need. In TTG, the turnaway girls allow music to run through their bones in order to turn it into gold. They are not valued; the gold they make is. They make gold, but it'll never belong to them. In terms of theme, I like to think of TTG as a kind of middle grade HANDMAID’S TALE. (Sans the very adult themes, of course!)
MUSICOPHILIA by Oliver Sacks
This is an interesting one. I first read this book in 2008. It’s all about the relationship between music and the brain, and it is FASCINATING. There are stories in it about people who have amnesia, but who can remember how to play the piano perfectly; people who are struck by lightning and have a sudden, inescapable desire to learn a musical instrument; and people who can taste different keys/notes when they hear them. (Like I said, it’s fascinating!) I think what MUSICOPHILIA did was help me to think about music in magical terms. (Ironic, because it's a highly scientific book!) But the more I thought about it, music was a kind of real-life magic. I think it really influenced TTG in that way. (I highly recommend this book if you’ve never read it!)
THE FOLK KEEPER by Franny Billingsley
Discovering Franny Billingsley’s work had a huge influence on me as a writer. I love how beautiful her prose is, how she doesn’t shy away from very challenging and dark subjects in children’s books, how her protagonists have such distinctive voices. (Plus, her world building is amazing!) Reading THE FOLK KEEPER gave me permission, in a way, to write a dark, strange book for young people. Or, at least, it made me want to write one very badly! THE FOLK KEEPER is the kind of book you read and then put breathlessly down, thinking, I want to make something that makes a reader feel like this! In THE FOLK KEEPER, time is marked by the celebration of festivals, and that gave me the idea of having every day be a different festival on the island of Blightsend.
JANE EYRE by Charlotte Brontë
I first read JANE EYRE at university in 2009, long before I started trying to write a novel. And it completely captivated me. This is one of those really interesting instances where I didn’t think at all about JANE EYRE while drafting TTG and revising it, and then, when I was reading over my second pass pages, I kept seeing it everywhere. The strange, old, rambling house, the institutionalised girls, the punishment of disobedient women, and the imagery ("I am no bird; and no net ensnares me…”) somehow found their way into TTG in a completely magical, subconscious way.
CORALINE by Neil Gaiman
I have no doubt that CORALINE has inspired countless MG writers. It’s so dark and original and strange. I think it pushes the envelope of what a middle grade book can be. And I loved that the story was told in such a succinct way. CORALINE influenced me in the sense that it showed me that a children’s book could be very strange and very horrifying, and still hopeful. It also has a masterful structure, and even though I am The Actual Worst at Structure, it made me want to be better.
So there are five books that influenced TTG!
What books have influenced you on your writing journey?
I’d love to know!
PS. If this post in any way made you want to read THE TURNAWAY GIRLS, please preorder it! (Preordering really helps authors.) Thank you so much for reading!
1. Write what you want to write. (Seriously. The world doesn't need books written by people who didn't want to write them.)
2. If you don’t know what you want to write, try finding an intersection between: what matters to you + what frightens you + what you find beautiful.
3. Read books that are worth paper cutting your fingers for. Read everything. And read for pleasure—not just to analyse books.
4. Find one song that will always bring you back, instantly, to the world of your book. Use it when you’re feeling stuck.
5. Do an activity that gets you out of your head and into your body: driving, walking, yoga, crochet, whatever. Give your brain time to figure things out.
6. Find what works for you. You might love to outline in detail, or you might not. You might need to fast draft a project, or you might need to write slowly, polishing as you go. There are no rules.
7. I need to reiterate this: there are no rules.
8. Try to do the unexpected. One of the ways I try to do this is by going the opposite way. Take your instinct and flip it on its head. If you’re trying to figure out what should happen in a scene, don’t just go with the first thing you think of. Write a list of 50 possibilities and choose the most unlikely one.
9. Learn how to format correctly. (It makes a big difference when you’re submitting work.)
10. Read every word aloud.
11. Read from the end to the beginning when you’re polishing—it helps to prevent your brain from filling in the gaps.
12. If you don’t know where to start with a character, try asking yourself what they want. Then ask: why can’t they have what they want? Then ask: what will they do to get it?
13. Don’t worry about your relatives reading your writing.
14. Don’t talk too much about the book you’re writing. Channel the energy you would use talking into putting the words down on the page.
15. Yes, it’s as hard for everyone as it is for you. This isn’t an excuse to give up. Keep going.
16. Keep. Going.
17. Pay attention to criticism, but also pay attention to what readers think you’re doing right. (If no one’s telling you what you’re doing right, ask.)
18. You probably won’t know what the story is about until you write the whole thing.
19. Sometimes switching to writing in a notebook, or changing the room you’re writing in—or even sitting on the opposite side of your desk—can help you to see a story/scene differently.
20. The weirder the idea, the better. (Don't worry about being "too weird.")
21. Find your Best Time to Write and arrive there regularly.
22. Repetition can be a good thing.
23. Experimentation = failure. Creativity = experimentation. Aim to fail interestingly.
24. Your greatest dreams can come true if you show up to the truth of yourself, everyday, and don’t give up.
25. Too many voices = no voice. (Don’t listen to everyone. Or: listen, but make your own choices about where your story should go after listening. You can’t please everyone.)
26. Be polite and professional when you query. Say thank you. Try to avoid typos.
27. Your villain is the hero of her own story.
28. Go for the worst. Get pushed off the ledge of your own story.
29. Ask for help.
30. Don’t start writing a story before you’ve listened to the voice of that story. (Can you hear it?)
31. Sometimes you are not ready.
32. Begin and end each chapter with an irreparable disaster.
33. It helps to give your character a longing that is satisfied only by something that complicates their life immeasurably.
34. A plot is just an opposition of wants.
35. The language will take you there. Which is to say: sometimes you can’t plan where the story will go until you are actually writing it. Sometimes the voice of a character holds the map to your plot. If you're anything like me, the language will take you there. Wade into it.
1. Read books you actually want to read.
2. If a book gets boring halfway through, put it down.
3. Joy is a compass.
4. Ask for what you want.
5. It’s okay to want things.
6. When people who love you ask how you feel, tell them truthfully.
7. If you want to try something new, don’t overthink it. Just begin.
8. Hard work beats connections.
9. Kindness beats charm.
10. Feminism must mean intersectional feminism.
11. Eat intuitively.
12. It’s okay to eat.
13. Don’t have too many apps on your phone.
14. Treat your body with respect.
15. It’s okay for creative work to feel like play.
16. It’s okay for creative work to feel like work.
17. You can do a lot in 15 minutes.
18. Other women are not your competition.
19. You don’t have to be underweight to dance. Or eat. Or be loved.
20. Beauty is a myth. Wear lipstick on your own terms.
21. One email can change your life.
22. Always hope.
23. Don’t shrink yourself to make other people feel better about themselves.
24. You like what you like. Own it.
25. It’s actually okay if someone doesn’t like you.
26. Like yourself. Try hard for this.
27. Most of life can’t fit into any box you make. Let things be.
28. Going outside always helps.
29. Notice things. It makes your life richer.
I’ve noticed that I usually blog about things I’m struggling with. If I write a pep talk, it’s because I need one. If I’m talking about the smallness of my life, it’s because I’m genuinely struggling/wrestling with those ideas. So you can probably guess from the title of this post that I have NO IDEA WHAT TO WRITE NEXT.
It’s not that I don’t have ideas.
I have reams of ideas. Some of them are tiny little specks of hmmm, I wonder if, and others are bigger and more brainstormed and fleshed out. Some even have endings. (Endings are my Kryptonite.)
But which do I choose?
I told myself that I would not write another thing until I’d finished with TTG edits because, honestly, I felt like I needed to dive down deep into that manuscript, and not come up for air. That worked well for me, but now that I’ve moved on to copyedits, I find myself presented with a question: what next?
I don’t know what next.
But here are some markers I like to use for deciding whether or not to pursue a project:
1. Goosebumps: do I have them? Goosebumps are a very good sign. They indicate that I'm excited to write something, and I believe that books that come from a place of deep excitement/soul-stirring are always, always better.
2. Music: when I listen to music, does my mind wander toward the story? Can I picture scenes, a setting, a main character?
3. A title: I’m weird, so I like to start with titles. I love them and I don’t feel like I can quite begin until I have a title I love. (THE TURNAWAY GIRLS has had the same title from Day 1.)
4. A “why”: why am I writing this book? There has to be an abiding idea at its heart that pushes me along like a tide. Usually the “why” is a fear or issue I’m dealing with and want to explore.
5. Do I “know”? You know when you ask someone how you know when you’re in love and they go, “You just know”? Yeah, that. It’s kind of the same with a book idea. How do you know you want to write it? Well, you just know. Gut feelings are important here. Pay attention.
Okay, so here are a couple of guidelines:
1. Feelings, not thoughts:
Don’t try to logic your way into a new idea. Go with your gut. Choose the book you’re dying to write. The idea you’re in love with. Even if it seems a little crazy. In the early creative stages of making a book, I really give very little credence to logic. (Logic is for copyedits, trust me.)
2. Don’t ask other people:
This might be a controversial opinion, but I really don’t believe in sharing ideas before they’re ready. An idea for a book, when it first starts to grow, is delicate and easily killed. One stray comment (“But how would that work exactly?” “You can’t write about a girl with birds for hair!” “That genre is dead.”) can snuff it before it even has a chance. For this reason, I like to write in secret until my ideas have grown spines and can make two firm fists.
3. Do not wade—dive!
You know that feeling when it’s really hot outside but you can’t make yourself get into the pool? You dip a toe in and the sheer difference between this heat and that cold is enough to make you balk. You stand on the step for ten minutes before deciding it’s not worth the trouble. In my experience, drafting is the same. If I um and aw too much about where to start, what the main character’s name is, or what the inciting incident will be, I’ll never get started. For me, discovery happens while writing, so there’s little point in trying to decide how everything is going to pan out before I begin. I have to dive in head first.
Whatever tactics you have for deciding what to write next, one thing, I think, will remain universally true: choose love. Choose thrill. Choose the most unlikely possibility. That way lies the most affecting, and the most original, story.
My life is small—just look at my Instagram feed. Most of the pictures I take are of a book, a notebook, a cup of tea, my poodle, a favourite pen. Most of them are taken in the same room, too—my living room, which I love for its light and tidiness, and where I do most of my work.
When I first noticed this, I felt ashamed. But the more I thought about it, the more I realised: I like it that way.
Last week, I read THE LIFE-CHANGING MAGIC OF TIDYING UP by Marie Kondo. Immediately after reading it, I wanted to tidy up using the KonMari method. I started with my clothes. When I dropped a rubbish bag full of shoes, shirts and dresses off at the Hospice Shop, I felt so much lighter. I like owning less stuff. I like opening my drawers and seeing that I have three skirts—three skirts that I love and actually wear.
But this wrestling with smallness—and shame about smallness—doesn’t only pertain to my lifestyle. It also extends to my books. My life is small. My books are small, too. As it stands, the final manuscript for THE TURNAWAY GIRLS is 42,000 words long. When I read about people wracking up 70,000, 90,000, 100,000 words, I feel both awe and disappointment. Disappointment, because I can’t do that. And awe, because, well, have you ever tried to write 100,000 words? It’s A LOT.
Many of the books I love the most are on the shorter side: CORALINE, FLORA AND ULYSSES, SKELLIG, THE GIVER. But this doesn’t stop me from occasionally feeling like my inability to make a story 93, 000 words long is a cataclysmic creative failure.
But then I remind myself: just as my life is the perfect size for me, so are my books. If I work hard at making them what they are meant to be, then their word counts will be just right. No need to stress about it. (This is something I'd like to scrawl on the walls, to remind myself.)
Your job in life is to return to yourself. Find out what you have to offer. Give it freely. As Oprah puts it: “Find a way to be yourself.”
One of the things I have to offer is smallness and simplicity—finding the exact right skirt, and the exact right word.
And I’m okay with that.
They’re slippery little things.
If you ask a writer where to find them, they’re likely to say something like: “I don’t know??? They just...arrive??? Go ask somebody else???”
Part of me understands their frustration. Because sometimes ideas do simply arrive, sudden and whole and complete, and no one can explain that particular breed of magic.
But another part of me has always wanted to write a blog post about how to generate ideas, because writers don’t just sit around waiting for story-sparks. They also make them, from scratch, with nothing more than ink and spit.
So here are some exercises I’ve used to come up with story-seeds—which, after a little daydreaming and notebook time, can grow into Fully Fledged Ideas:
OPEN THE DICTIONARY
Let's get this out of the way: words are not just words. They're worlds. One word can spark a whole novel, or a whole universe.
So, open the dictionary to a random page and choose a word that reverberates at the same frequency as your heart.
Trick. Cinnamon. Dulcet. Sabotage.
Slip. Porridge. Leviathan. Herringbone.
Got a word?
Now take that word and play with it.
What if it were the name of a character? “Herringbone Linx was having a terrible day.”
What if it were the name of a world? “In the town of Porridge, gruel made people sick.”
Keep going until you find yourself in a world you recognise as your own.
THE TITLE GAME
I got this one from Ray Bradbury.
Take a couple of words and combine them into titles. (You could even put a bunch of words in a hat, and pick combinations out.)
The Cinnamon Trick.
A Trick of Cinnamon.
Cinnamon Trick and the Solstice Lampshade.
Ask yourself, if this were the title of a book, what would it be about?
Write, write, write.
Keep going until you find something—a spark or feeling—that makes your chest bloom with roses.
TURN A SONG INTO A BOOK
1. Find a song you love.
2. Take a look at the lyrics.
3. Make a story out of your favourite line.
Here’s one my favourite lines from "Possibly Maybe" by Björk:
I suck my tongue
In remembrance of you
Hmmm, okay. Who’s sucking their tongue? A girl. A girl who’s just bitten into an apple. Okay, maybe an apple is too obvious. A guava, then. Or a kiwi. Or a fruit with wings called a featherberry that can only be picked by the brokenhearted. . .
Who is this girl? She's a girl who’s just been reminded of something—who’s standing, after taking a sour bite of featherberry, in an orchard of memories. . .
Keep going until your heart shatters a little bit.
A NOUN + THE UNEXPECTED
Choose a noun.
(Choose one consciously, or open the dictionary and scan until you find one.)
Then put another word with that noun.
An unexpected word.
For instance, if your noun is glove, don’t use leather or velvet. How about forgiving? The Forgiving Glove. We could work with that.
Once you’ve got an odd combination, free write for a page or two, starting with a phrase that incorporates your title in some way:
"The gloves she wore were not forgiving."
"It was common cause in Flaunton Heights that a woman could not forgive a man if her hands were ungloved."
Keep digging until you find a gem.
So there you have it. Some exercises for generating ideas when your soul feels as dry as the Namibian desert.
All these exercises are variations on the same theme: words make worlds. You're a writer, and therefore a universe-maker. All you really need is one word that makes you shiver. So start there.
Remember to read, and to play, and to delight. Ideas are drawn to joy like bugs to a lamp.
And if one of you wants to write a book called The Forgiving Glove, please, go right ahead. . .
Voice is really important to me—as a reader and as a writer.
My favourite books are ones whose narrators seem to reinvent language—CHIME, ROOFTOPPERS, THE KINGDOM OF LITTLE WOUNDS, THE GOD OF SMALL THINGS, THE BLOODY CHAMBER AND OTHER STORIES, THE HANDMAID’S TALE, THE FOLK KEEPER, THE STAR-TOUCHED QUEEN.
I struggle to get started with a draft until I’ve found the voice of the narrator, and my writing is often described as "voicey".
You could say that voice is something I’m obsessed with.
But what is it, really?
In the publishing world, voice is a term used by literary agents and editors to describe the quality of a writer’s prose.
They’ll say things like, “I like the concept, but the voice didn’t grab me.” Or: “I love the voice here! I’d follow this character anywhere.” (Which is actually something my literary agent said to me when I sent her an early draft of THE TURNAWAY GIRLS.) (And I love her for it.)
When you boil it down, voice is diction, rhythm, metaphor. It’s structure and sentence length and punctuation and repetition.
Voice is basically words doing what they do best.
But it’s also this ephemeral quality that a piece of writing either has or doesn’t have—a quality that makes you want to keep reading, that connects deeply to your soul, that makes you go, “I can’t get enough of this!”
It's because of this that I think the idea of voice can be extended.
Voice isn't just how you write.
It's who you are.
This work happens off the page.
It starts with this: your life is argument for something. If there’s no argument in your life, there won’t be any argument in your writing. And by argument I mean: energy, drive, forward-motion.
If you don’t yet know what your life is an argument for, that’s okay. Here are some questions to get you started:
What do I have nightmares about?
What’s my deepest fear?
What makes me angry?
What do I love?
Who do I love?
What am I willing to fight for?
What problem in the world do I want to solve?
What is my most painful memory?
You’ll often hear writers say, “Write what you’re afraid of,” or, “Write the book that won’t leave you alone.” And I completely agree.
Here’s why: if you’re afraid of a project or you can’t stop thinking about a project, it’s more likely to be connected with themes, ideas and characters you care about. It's as simple (and as complicated) as that.
I would say that about 90% of voice is being true to yourself. The rest is craft and that can be learnt—through reading a lot and writing a lot, to put it simply—but the real work of voice starts away from your laptop or notebook.
It’s starts with living.
It’s starts with knowing yourself.
If you’re a creative person trying to Make a Thing, you’ve probably met your fair share of people who’ve told you that it’s dangerous to hope.
They’ve probably told you this with a tilted head and well-meaning sympathy in their eyes, as though they Know Better.
They’ve probably said, “Don’t get me wrong, you should write that book/paint that portrait/design that line of poodle-shaped ceramics—just don’t expect anything from it. That way, you won’t feel let down when it doesn’t work out.”
To be fair, you’ve probably even told yourself this.
(Well, if you’re me, you have.)
I’ve had people say this kind of thing to me a lot.
But I have this really revolutionary way of dealing with it. (Not really.)
I simply don’t listen.
See, if I listened, I would lose hope pretty quickly. And I can’t afford to do that.
Because I run on hope.
Hope is the petrol I put in my tank. It’s what kindles my creative fire. Hope is the thing that keeps me going. (Okay, and coffee.) Bottom line is: if I’m not hoping, I’m not working.
What do I mean by hoping?
I mean that when I’m writing a book, I believe all the good things it is possible to believe about a book.
I believe my agent will love it. I believe it will sell. I believe it will find an audience. I believe people will adore it as much as I do.
It’s not easy. In fact, it’s pretty hard to maintain a sense of hope in what sometimes feels like a never-ending maelstrom of Horrible Things.
But I do it anyway.
Because it’s the only thing I can do.
So in case you need a top up, here are some of the things I do to keep the positive vibes alive:
I give myself pep talks
Sometimes I’ll be like that bunny in the “you’re gonna do great today” meme and I’ll literally stand in front of a mirror and tell myself to keep going.
Sometimes I’ll write emails to myself when I’m backing up drafts of a manuscript. (When I was doing this for THE TURNAWAY GIRLS, I sent an email to myself that said, ‘Keep going. This is going to be your debut.’)
Often, in the mornings, while I’m having my first cup of coffee, I’ll write down all my dreams for a particular project.
Some days I don’t need a pep talk. Other days, I need three. (I find this is directly proportionate to the amount of time I’ve spent with The Head Tilters.)
A pep talk can be a flurry of words typed out on your laptop, or a whisper to yourself in the quiet of the evening.
It can be anything, as long as its central message reminds you why you’re Making a Thing and pushes you to keep going.
I hang out in bookshops
Bookshops are basically rooms full of realised dreams. They’re physical, touchable proof that the book I’m writing has the potential to become real.
Pick up a book in your genre. Run your hand over the cover. Feel its weight. Smell its pages.
Can you picture your book? Great. Now go home and write it.
(Note: you can adjust this technique to suit anything you’re trying to make. If you’re painting, go look at some paintings. If you’re making furniture, go to a design expo, etc.)
I block out negativity
Okay, so what if you’re at a dinner party and you tell someone you’re writing a book and they look at you in a way that makes you feel like you’re about the size of a grain of salt? Yeah. We’ve all been there. I don’t really have advice for that situation because it sucks and basically the only solution is to cry your eyes out and then fill yourself up with hope again.
But here’s my advice for avoiding all the pain to begin with:
DON’T TELL ANYONE YOU’RE WRITING A BOOK.
Or, only tell people who will hold your dreams with the delicate wonder they deserve.
You don’t have to tell anyone your creative secrets. You don’t owe anyone an explanation for how you’re spending your time. Keep your impossible dreams safe until they’re strong enough to face the critics.
I have conversations with my future self
I like to do this in the evenings, when everything’s quiet and tinted with purple. I lie on my bed, or on the floor. I close my eyes. I picture meeting my future self in my favourite coffee shop. I ask her how things are going and imagine the best possible answers.
I remember all the crazy, improbable, wonderful things that have happened to me already
I was born. (Seriously, look up the statistics on that one.) I met the love of my life in a coffee shop when I was eighteen. I sent poems out randomly and without query letters and somehow they were published before I was 20. I connected with my (perfect) agent. My (amazing) editor bought my book. I've received funding and met incredible people and I have the best poodle in the world.
These are just a few examples.
So much of our lives is miracle.
I keep working
If hope begets work, then work begets hope, too. Enough said.
If you run on hope, don’t let the world tell you you’re naïve or childish or silly for believing in your work.
Hoping is a radical act. It’s a rebellion.
Hoping is getting up every day and working and working and working even though you don’t know if your book will sell or your opera will be appreciated or your sculpture will find its way into someone’s living room.
You’re brave and strong and amazing, and you can do this.
We can all do this.
(I just realised this whole blog post is a pep talk.)
(I needed it, too.)
Typing the title of this post is incredibly surreal, because I’ve been dreaming about writing it since…well, since I knew what a literary agent was. It’s amazing and unbelievable and I still have this niggling feeling that someone is going to send me an email that says, “LOL! Just jokes! You do not have an agent after all!” (Fingers crossed that doesn’t happen.) But seriously. It’s wonderful. And I do not believe it. Not quite, anyway.
Here’s my story:
In 2013, I decided to write a middle grade novel. I read SKELLIG by David Almond, and it completely blew my mind, and I thought: I want to do this. So I did. Or, at least, I tried.
Side note: I had written other things before attempting to write middle grade. I grew up reading literary fiction—KAFKA ON THE SHORE was my YA—so I always harboured this dream of writing a Great Novel. In other words, the kind of novel that would win the Man Booker Prize. Hah! So, pre-middle grade, I had written pretentious short stories, poems (some of which were published) and half-novels that I started and got tired of because they were SO. VERY. BORING. (Advice to past-Hayley: Write what you love, and you won’t get bored.)
So, anyway, I wrote a middle grade novel. And it was…a mess. It was riddled with clichés, the pacing was all wrong, the plot was generic…I could go on. But the good thing was, I finished it. I had never finished anything novel-length before. It was a big deal.
After too many drafts to count, I decided it still wasn’t good enough to query, or even to show to anyone. (It was really bad.) So I shelved it, and I wrote middle grade novel #2. Then I rewrote middle grade novel #2. I revised it. I revised it some more. (I didn’t even show it to anyone because I didn’t have critique partners or betareaders and I was too shy to meet any! Yeah, I know—silly!)
Finally middle grade novel #2 seemed decent enough to query. After reading a gazillion articles on how to write an effective query letter, and writing and rewriting mine a couple of hundred times, I took a deep breath, and I sent it off.
Then I waited.
I got form rejections. But I also got…full requests! I danced around a little bit when I got the first one. What a FEELING! All the full requests I received ended up as (nice) rejections. Some of them were REALLY nice rejections. But one of them was a revise and resubmit.
This just happened to occur a few weeks before I got married, so I read through the notes slowly and then took some time to think (and not think) about them. When we got back from honeymoon, I started revising. It took me about three months to get everything done. I sent the revised manuscript off and immediately felt nauseous. What if the agent HATED the revisions? What if he HATED me? What if EVERYONE hated me? (Anxiety: it sucks.)
Well, it turns out, the agent didn’t hate the revisions. In fact, there were some things he loved about the new manuscript. But he had also picked up on some problems. In the end, he passed. And you know what? Looking back, I can TOTALLY see why he rejected the book. But at the time I was devastated. DEVASTATED.
So I allowed myself to wallow for a bit. And it was during this wallowing stage that I had the idea for middle grade novel #3. I let it sit in the back of my mind for a while, and then I started writing.
Once I’d finished polishing it up, I entered this competition called Pitch Slam.
Side note: I HIGHLY recommend entering Pitch Slam. The superheroines who run it are kind, smart, and encouraging, and it’s a great opportunity to make writerly friends.
I got four requests from the competition, which I sent off immediately, squealing all the while. I also sent off some queries while I was at it.
Then I waited.
The first agent to get back to me was one of the competition agents. She had read my manuscript in a weekend. And she wanted me to…revise and resubmit! Let’s call her Lovely R&R Agent. Now, I can’t say I was that happy about the idea of doing another R&R. After all, I’d spent months doing changes on my first queried MG and it was rejected after all that work and that sucked. A lot. But Lovely R&R Agent’s suggestions were specific and so insightful. Plus, I really liked her. I’d been following her on Twitter for a while and she was just…my kind of person.
So I decided to do it.
But this time, I did things a little differently. I read Lovely R&R Agent’s (detailed) notes and asked (a panoply of) questions. I read the craft books she recommended. I tore my draft to shreds. I re-thought the entire story. And I started from scratch.
Looking back on it, this was a little crazy of me. I mean, I’d gone through this before—rewriting an entire manuscript—and it was so much work and in the end it was rejected and it gutted me. But here’s the thing: it felt different this time. Like I was writing the book I wanted to write. Like I was writing with structure in mind. Like I was doing the right thing. And the truth was, I knew that even if Lovely R&R Agent rejected the new manuscript, I would still have something I was proud of.
That was the clincher for me.
So…I worked. I worked and I worked. I cried a little. I worked some more.
And then, I was bumbling along with the revisions when something CRAZY happened. I got an OFFER. Lovely Offering Agent called. We chatted. She was friendly, and kind, and she adored my book. I couldn’t believe it. (I still don’t—not quite.)
After I got off the phone with her, I sent emails to all the agents who had my full to let them know I had an offer. And, of course, this included sending an email to Lovely R&R Agent, even though all I had to show for my revisions was a very long and very rough first draft. Lovely R&R Agent asked if I could polish up the first fifty pages and send her a synopsis. I said, SURE!
And then I got to work again.
Because there was a lot of work to be done. Here’s the thing: my first drafts are severely first drafty. Messy, discombobulated, long sentences that go on for half a page…You get the gist. But…I did it. Within a week, I had the first fifty pages ready for her. I sent them off, biting my nails. Meanwhile, I got some really nice rejections, and another OFFER! I squealed some more. And then I got an email from Lovely R&R Agent. She loved the changes I’d made. And she wanted to talk about REPRESENTATION!
Lovely R&R Agent called. We spoke about the changes I’d made to the MS, my writing dreams, and the vision she had for my book. I felt…giddy. This is someone who basically reads for a LIVING, who has two Master’s degrees and who is a REALLY COOL PERSON and she actually LIKES my BOOK? Unbelievable doesn’t begin to cover it. It was a WONDERFUL call.
And then I spoke to Lovely Offering Agent #2 a couple of days later. She was so awesome! And she loved my book! And she suggested editorial changes that were spot on! I kept saying to my husband: “Everyone in publishing is SO NICE.” (It’s true.)
I had a few days to make my decision, and I thought about it A LOT. I read through contracts and asked LOTS of questions. I went through the notes I’d made during each phone call. I made lists of pros and cons.
But, in the end, after all the lists had been made and the comparisons had been drawn, I knew in my gut who I wanted to choose: Lovely R&R Agent. Her notes on my manuscript made it SO MUCH BETTER. She loved the ideas I sent her for future books. We got along so well on the phone. We just kind of…clicked.
So, now that it’s all official and stuff, I am SO EXCITED to say that I've signed with Patricia Nelson at Marsal Lyon Literary!
I’ll just be over here, doing cartwheels.