Roxanna Elden is one of our favorite authors. We met her in a class at Miami Dade College where we were teaching. From the very first time she raised her hand and opened her mouth, we knew she was something special. One of the consistent things we’ve found in our years of teaching and doing Pitchapaloozas is that teachers make the best public speakers. Anybody who can wrangle a class full of kids and live to tell the tale is prepared for anything. With the publication of her debut novel, Adequate Yearly Progress, we thought we’d check in with Roxana and see what it was like to go from nonfiction to novel, from novice to fighting-sophomore-slump author, from wide-eyed debutante to grizzled veteran.

Adequate Yearly Progress by Roxanna Elden

The Book Doctors: Congratulations on your debut novel. Tell us about Adequate Yearly Progress.

Roxanna Elden: Adequate Yearly Progress is a workplace novel that captures teaching with humor, insight, and heart. It switches perspectives among a diverse group of educators as their professional lives impact their personal lives and vice versa. As an elevator pitch, I often describe it as being, “like the TV show The Office, but set in an urban high school.”

TBD: Your first book, See Me After Class: Advice for Teachers by Teachers, was non-fiction. Is it different taking your experience as a teacher and writing fiction instead of nonfiction?

RE: I started writing See Me After Class during my sister’s first year as a teacher. The specific goal of that book was to help teachers make it through their first years with a mix of humor, honesty, and practical advice. As an unexpected side effect of trying to spread the word about the book, I ended up in situations I might not otherwise have seen as a classroom teacher: Silicon Valley ed-entrepreneur conferences, television panels, and schools around the country where I got to talk to thousands of fellow educators. During all this, I was still spending most of my time doing daily high school teacher things, like grading essays and watching students play with their phones underneath their desks. It felt like there had to be a way to capture this panoramic view of the education world, with all its colliding ideas and interest groups, and how all of this played out at the school level. A novel told from many different points of view turned out to be my best answer.

TBD: Tell us how you used the Miami Writers Institute to find an agent and start your publishing career.

RE: The idea for my first book hit me in 2005. This also happened to be the first year of the Miami Writers Institute, which brings well-known authors and publishing industry people to Miami. The first class I ever took was The Book Doctors’ course on the process of getting a book published. That class provided a roadmap through the whole process of finding an agent and publisher for the book that became See Me After Class. Over the following years, I went on to write a children’s book and, most recently, a novel. I also continued to take classes at the Miami Writers Institute every year, and found that each year’s class corresponded to specific events in my writing life. Recently, I distilled the notes from the classes and the lessons learned from twelve years as an author into a twelve-day email series. The result is part creative writing crash course, part mobile-friendly memoir of what it takes to build a writing career.

TBD: What did you learn as a teacher that helped you in your publishing career?

RE: Teaching builds the type of thick skin that helps in the writing world. Agents and editors might not return your emails, but at least they don’t fall asleep on their desks right in front of you. As an English teacher, I also taught a lot of the skills that improve writing at any level. Constantly discussing the qualities of good writing helped in writing the book. And writing the book made me feel like the advice I’d been repeating to students actually worked outside of the classroom.

TBD: Do you approach promoting and marketing fiction differently then nonfiction?

RE: The common wisdom about marketing nonfiction books is that they should have a specific target audience. Literary fiction is expected to have a wider appeal, with authors that seemingly rise from the ether as debut talent. Adequate Yearly Progress, however, always felt like it was somewhere in between. My goal was to write a page-turning story that anyone would enjoy, but it was especially important to me that all the details rang true to teachers. The audience for my first book also included many teachers frustrated by Hollywood versions of the profession, which made it a natural fit to spread the word to teachers first. Their enthusiasm has helped spread the word about the book to a wider audience.

TBD: How did you get such great blurbs?

RE: I was thrilled to have a front cover blurb from Steve Almond for Adequate Yearly Progress, and from Dave Barry for See Me After Class. Additionally, there have been some great recent write-ups for Adequate Yearly Progress, including in The Washington Post and Forbes. The most helpful takeaway from all of these experiences is less of a specific trick and more of a general mindset: most authors are our own publicists most of the time. We might as well take the job seriously. If you were paying a professional publicist upwards of $5K a month to represent you, you’d want them to at least try to approach some of your favorite authors and publications. If you do this yourself over time, you’ll get better at the job. And hopefully, you’ll get a few lucky breaks along the way.

TBD: Tell us about the comedian you’ve been following who interviews behavioral scientists wherever he goes.

RE: About halfway through writing the novel, I stumbled on a podcast called Here We Are, in which stand-up comic Shane Mauss interviews behavioral scientists in each of the cities on his comedy tours. One of my biggest goals while writing AYP was to make sure the characters rang true as people, and the scientists on Here We Are provided a constant stream of insight into why humans do what we do. Many of these insights found their way into the novel. Naturally, I was pretty thrilled to have a chance to do an episode of the Here We Are podcast about Adequate Yearly Progress. This ended up being one of the funniest conversations I’ve ever had about teacher movies. It also reinforced my theory that teachers and stand-up comics have a lot in common.

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

RE: As a writer, you try 100 things and only two of them work. It’s tempting to wish you could go back and skip the other 98 attempts. But the truth is, it’s notjust the two things that worked. It’s the fact that you tried 100 things, learning along the way, laying the tracks as you drove the train. That’s probably good advice for teachers, too. Your trial-and-error efforts add up over time.

Roxanna Elden