Nano Nation: You are all WINNERS! We had such a blast with this year’s National Novel Writing Month Pitchapalooza. So many AWESOME pitches with GREAT imagination and an ASTOUNDING display of talent. Thank you so much to all the writers who participated in this year’s NaNoWriMo Pitchapalooza!
And the winner is …
This year’s Fan Favorite is JANELLE FILA for her book The Gravedigger’s Assistant! Her pitch made us laugh and was well put together. She gets a free one-hour consultation with us (worth $250). Congratulations!
Kudos again to LEANN DANIEL, NaNoWriMo Pitchapalooza winner for her book The Anger Album. She wrote a glorious pitch with a Nick Hornby feel, a clock ticking, and a title that immediately grabbed our attention. Amazing job, Leann! She will receive an introduction to an agent or publisher appropriate for her manuscript.
We hope you’ll keep in touch. Sign up for our newsletter to receive advice on writing and getting published. We’ll also include info about our live Pitchapaloozas and workshops around the country. Chat with us on Facebook and Twitter.
We’re hosting Pitchapalooza during the Montclair Literary Festival on April 1, 2017. We’ll be joined by agents Liza Dawson, Joelle Delbourgo, and Monica Odum. Come pitch us at the Montclair Public Library.
On April 2, we’ll lead a master class that’ll teach you how to get your book successfully published in today’s ridiculously competitive marketplace. We hope you can join us. Learn more here.
Congratulations again to Janelle, Leann, and all the Wrimos who bravely shared their awesome pitches.
We first met Jenise Aminoff at the New England SCBWI Conference in Springfield, Massachusetts. She wowed us with her awesome pitch at our Pitchapalooza (think American Idol for books), and we were absolutely sure that she was going to be a published author sooner rather than later. Sure enough, her new book, A Witch’s Kitchen, is coming out, and we thought we would pick her brain about her road to publication.
The Book Doctors: How did you learn to be a writer?
Jenise Aminoff: Yikes. There are so many ways I could answer that question. The simple answer is that I took a lot of classes. When I got to MIT, thinking I’d be a physicist or aero/astro engineer, I started taking writing classes as stress relief. Contrary to popular belief, MIT actually has a robust humanities department and an excellent writing program. At some point, I realized that I was enjoying writing much more than solving equations, so I changed majors. I have a bachelor’s of science in writing, and my thesis was poetry. Go figure.
One of the classes I took was Joe Haldeman’s Science Fiction Writing. He told us about the Clarion Workshop, so the fall after I graduated (and got married), I applied and got in. Clarion ’95 was an incredible experience, and a lot of fantastic writers came out of it. Josh Peterson attended having just won the Writers of the Future contest. Kelly Link (a recent Pulitzer finalist) sold her first story to Asimov‘s during Clarion. Nalo Hopkinson (won a Campbell and a Nebula and many, many more), Lucy Snyder (just won a Stoker), and Michael Warren Lucas have all gone on to be successful novelists. Bruce Glassco wrote the incredibly popular board game Betrayal at House on the Hill.
Going from that to the MFA program at Emerson College was a huge letdown, and I quit after one semester. But I needed a job, so a friend took pity on me and got me a job as a technical writer. Funny thing: if you tell people you have a degree in writing from MIT, they immediately assume it’s technical or scientific writing. Since then, I’ve been a technical writer, science writer, information designer, webmaster, grants writer, marketing content writer, and STEM curriculum designer.
For a long time, my fiction and poetry took a backseat to career and kids, but then a novel fell on my head. And I realized I was in trouble because I’d never studied long-form fiction, and novels are NOT just longer versions of short stories. So I found more classes to take: Odyssey Online’s Fabulous Dialogue in Fantastic Fiction with Jeanne Cavelos, Writing Middle Grade/YA Novels with Holly Thompson, and Odyssey Online’s Getting the Big Picture (novel revision) with Barbara Ashford.
All throughout this, I was keeping active in one way or another. I belonged to critique groups, live and online. I was a slush reader for Aboriginal Science Fiction magazine right after Clarion, and after the first Odyssey Online class, I became an editor for New Myths magazine. I ran a reading series with an open mic for nearly ten years. And I read and read and read, everything I could get my hands on about writing: Le Guin’s Steering the Craft; Lawrence Block’s Spider, Spin Me a Web; Don Maass’s Writing the Breakout Novel; Cathy Yardley’s Rock Your Plot; and of course, The Essential Guide to Getting Your Book Published. I also joined the Society for Children’s Book Writers and Illustrators (SCBWI) and read their annual guide and quarterly newsletters and online articles.
TBD: What were some of your favorite books as a kid, and why?
JA: Yikes squared. How long can this article be? I’m a VORACIOUS reader.
When I was still in the children’s room of the Ernie Pyle branch of the Albuquerque Public Library, I read Walter Farley (The Black Stallion), Marguerite Henry (Misty of Chincoteague), Frances Hodgson Burnett (The Secret Garden, The Little Princess). At my school library, I read all the Happy Hollisters and the Oz novels, Louisa May Alcott and Laura Ingalls Wilder. Then one day, when I was nine, I stumbled across a new book, Anne McCaffrey’s Dragonflight. Yes, I know that’s not a juvenile. Someone had misshelved it, I suppose. But I checked it out, read it with avid interest, brought it back, and asked if there were more.
The children’s librarian looked at me. “You read this? Did you understand it?” When I nodded, she called my mother over, spoke to her briefly, then turned back to me and said, “Come with me.” She led me into the adult section of the library and placed in my hands a small paperback: J.R.R Tolkien’s The Fellowship of the Ring.
I owe that librarian so much, and I never even knew her name. After that, I had the run of the adult section. My mother was a mystery reader, but she also liked Ray Bradbury and introduced me to him. I started reading the entire SF section starting with the A’s: Anthony, Asimov, Beagle, Bradley, Cherryh, Clarke, Donaldson, Doyle… Eventually, I looped back to juveniles and found Lloyd Alexander and Madeline L’Engle. Of these, the ones I read over and over and over were Peter Beagle’s The Last Unicorn, Tolkien’s Lord of the Rings, all the McCaffreys, L’Engle’s A Wrinkle in Time, and, in my teen years, Windhaven by George R.R. Martin and Lisa Tuttle.
TBD: What are you reading these days?
JA: Still reading children’s literature, everything my girls bring into the house, plus a lot of stuff they don’t find interesting but I do. I’m currently investigating verse novels as an interesting form I’d never known about. Also adult SF, particularly Seanan McGuire, Cat Valente, N.K. Jemison, Daniel Jose Older, John Scalzi, and China Mieville. My husband is a history buff, and he hands me the well written stuff. I’m currently reading Sailing the Wine Dark Sea by Thomas Cahill. I’m also reading some basic psychology, articles on Maslow’s Hierarchy of Human Needs as a framework for structuring character development. I’m working my way through Second Sight by Cheryl B. Klein. I follow several web comics religiously: xkcd, Girl Genius, Questionable Content, Mare Internum, Blindsprings, Kiwiblitz, and Phoebe and Her Unicorn.
TBD: How did you come up with the idea for your book?
JA: It fell on my head. Really. In my family, we make each other Christmas presents. Right after Thanksgiving 2013, my younger daughter asked me to write her a story with fairies and unicorns as her present. I thought, okay, sure, 10 pages or so. A couple of days later, I was watching my older daughter baking a cake. She doesn’t use recipes (that’s cheating), and sometimes her cakes are fabulous and sometimes they’re awful, but most of the time they’re okay. I thought, What if there were a young witch who just can’t figure out magic but is really good at cooking? And I started writing. And writing. And the story wouldn’t end. By Christmas, I had something like 50 pages written, and I knew then that it was a novel. I finished the first draft in time for her birthday in March, and it was around 50k words by then.
In A Witch’s Kitchen, Millie’s an apprentice witch who can’t cast a successful spell but who can cook amazing meals and scrumptious desserts. Her mother’s only interested in the magic, though, so Millie feels unappreciated and worthless. Millie’s grandmother comes up with the clever idea of sending her to the Enchanted Forest School, where she studies magic and many other things with fairies and dragons and goblins, reconnects with her half-brother, a wizard, befriends a pixie and an elf, and starts discovering that her cooking has value, and her magic isn’t so messed up as it seems. Ultimately, the novel’s about not letting other people define you.
TBD: What were some of the joys and perils of writing your novel?
JA: Joys and perils is a good way to describe it. On the one hand, it was glorious. Words just kept pouring out of me in this seemingly unending stream, and the big challenge was finding time in which to write. Fortunately, my employer decided to move to a new location which would have meant a 90-minute commute for me, so I gleefully quit and focused on the novel. But I really had no idea what I was doing. It felt like navigating a maze in total darkness using only my elbows. Characters would suddenly appear out of nowhere and take over the plot, and I’d later have to ruthlessly revise them out. And because this was my first novel, every niggling little idea I’d ever had, and every moral I wanted to pass on to my girls, showed up in one form or another. And I then had to prune and prune and prune. I have determined, empirically, that I am not a pantser. All those years as a technical writer, I suppose.
TBD: How did you go about selling your book?
JA: First, I joined SCBWI and looked through their annual guide, The Book, and their lists of agents and their sample query letter. I usually attend Arisia, the largest SF convention in Boston, and it so happened that in January 2015, N.K. Jemison was doing a pitch session, so I signed up for that. I really had no idea what a pitch was, so I read her the first paragraph of my query letter, and she had some good advice for fixing that up. Her assistant gave me some comp suggestions.
Then I went to the New England SCBWI Conference in Springfield in April 2015, and I learned so much, my head nearly exploded. On the first day, I went to a query critique session with agent Kaylee Davis, and she had some very helpful advice. I was attending with my friend Dirk Tiede, who was also a first-time attendee, and he insisted I had to do the Pitchapalooza. I really didn’t want to; pitching in front of a huge crowd of people I didn’t know sounded absolutely terrifying, but Dirk was pitching, so I put my name in to be supportive. When you pulled my name out of that bucket, I was sitting on the floor in the back of the room, frantically revising that pitch using Davis’s advice. The sheet of paper I brought up was scribbled over and scratched out and rewritten. But I pitched it, and I won. I’m still stunned by this. I’d never even seen a Pitchapalooza before.
This gave me a lot of confidence. Taking what I learned at the conference, I revised the novel again, and I started querying in June, without a whole lot of success. My manuscript buddy Dana told me about Twitter pitch parties, and I tried a few of those and got a few lukewarm responses. And then my friend Elizabeth told me about the Young Explorers’ Adventure Guide, an annual anthology of science fiction written for children, mostly middle grade but also a little YA. I checked out the publisher, Dreaming Robot Press, and I noticed that they were accepting submissions for MG fantasy novels. So I sent them my query. They got back to me in early August expressing interest, and I called in my Pitchapalooza prize, a consultation with you. Thank you so much for holding my hand through that process.
Despite your and my best efforts, I never landed an agent, but I got a lot of good advice from Gay Haldeman and Jeanne Cavelos and Barbara Ashford, and I signed with Dreaming Robot Press in February 2016.
TBD: What was it like to do a Kickstarter campaign? What are some do’s and don’ts that you learned?
JA: The Kickstarter campaign was wild and terrifying and huge fun, all at the same time. I’d been involved in a failed Kickstarter before, but Dreaming Robot Press had done two successful Kickstarters in the past, and I trusted them to make it work. One smart thing they did was pair me up with a more seasoned author, Susan Jane Bigelow, whose Extrahuman Union series is now being republished by The Book Smugglers Publishing. One mistake they made was setting the goal way too low, at just $850. We funded it in the first seven hours, during our Facebook launch party! After that, I think a lot of people just thought, oh, it funded, I don’t need to support this, so getting more buy-in was hard.
I kept trying to come up with stretch goals. I offered to publish a companion cookbook, and we blew through that stretch goal within 24 hours. I then offered to do free school visits for every $1000 over the goal, but that was too high, and it looks like I’ll only be doing one of those. During the middle slump, I got the Kickstarter posted on boingboing.net, and that same evening Susan and I were interviewed on the Sci-Fi Saturday Night podcast. All that effort netted us a total of four new supporters. But at the end, we came in at $2101, which is a pretty good feeling and some nice early publicity before publication in September.
TBD: Many writers have used pen names. In fact, David published a middle grade novel using another name, but that was because his publisher basically forced him. Why are you using one?
JA: I posted a long essay about my pen name on my Facebook author page. Here’s the short form: Dianna is my middle name, and Sanchez is my mother’s maiden name, so it’s as much my name as Jenise Aminoff. Growing up, I never saw Hispanic names on the spines of the books I read, and I never found Hispanic characters inside those books. As a child, I never questioned this. It was obvious that science fiction/fantasy was a white thing, as so many things were then.
It wasn’t until I got to college that I discovered black SF writers such as Samuel R. Delany (who was one of my Clarion instructors) and Octavia Butler. I started asking, where are all the Hispanic SF writers? I found Gabriel Garcia Marquez and Jorge Luis Borges, but that was magic realism, and I didn’t really understand the distinction, why Hispanic speculative fiction needed its own little box. Thank goodness other Hispanic SF writers are starting to emerge now: Junot Diaz, Daniel Jose Older, Carmen Maria Machado.
I want my daughters to see Hispanic names on books. I want them to find Hispanic characters in books. I want other kids – white, black, Asian, whatever – to see them, too, and to understand that science fiction is for everyone.
TBD: What’s next?
JA: Right now, I’m in the middle of moving, but that’s starting to calm down a little, so I’m beginning to plan out my next novel. I have so many novels that have been simmering on back burners, it’s been hard to decide which ones to work on next. Right now, I’m outlining a MG urban fantasy which features cross-group characters: one black, one Hispanic, and one of mixed ancestry including Anasazi. It takes place in Albuquerque and addresses issues of culture shock and adapting to new environments.
At the same time, I really want to be working on a YA novel in which a Hispanic boy gets lost in an infinitely large discount store, encountering people from all over the world who are similarly trapped. There are so many fun things I can do with this, while also channeling a creepy vibe I haven’t really played with before. But this novel is much less fully developed than the MG novel, so I’ll probably work on that first. And I have a long, LONG list of other novels I want to get to, not to mention sequels to A Witch’s Kitchen.
TBD: We hate to ask you this, but what advice do you have for writers?
JA: Ooh, now you’re playing dirty. Okay, here are the things I find myself telling people again and again.
- Go easy on yourself. Life is hard and crazy, and you never know from day to day what’s going to come along to sabotage your writing practice. Don’t feel bad about that, because your life informs your craft, and everything you do when you’re not writing is going to end up in your writing later. It’s great if you have a stable enough life that you can write a set number of hours every day, but if you can’t write every day, don’t let the shame of having failed prevent you from writing when you do have the time.
- That said, be persistent. So you didn’t write today. Tomorrow, find ten minutes to jot down ideas or do character sketches. Then, when you have a luxurious hour or two for uninterrupted writing, you’ve got material ready to work on.
- Don’t write alone. Find a critique group that’s supportive and dedicated, one that’s not overly harsh but also doesn’t pull punches, and one in which everyone is contributing more or less equally. These people are your lifeline. They will keep you sane. Critiquing their work will help you recognize what you should improve in your own writing. If you write kidlit, SCBWI has a critique group matching service you can use. If you don’t, Meetup is another great place to find groups. There are lots of online groups, too. Join the Fantasy and Science Fiction Writers in America Facebook group and just ask there. And if you can’t find a group that meets your needs, make one. That’s what I did, pulling together a bunch of people I met at that fateful 2015 conference. I love them all; I could never have finished my novel without them.
- Every first draft is terrible. Don’t lose heart. That’s what revision is for. I hate revising, passionately, and would rather go clean the bathroom or weed my garden. But revision is actually where things get interesting, when you pull together all the disparate threads of your story into a complex, well-woven whole. Think of revision as an endless series of do-overs. In time, you’ll get it just right.
Dianna Sanchez is the not-so-secret identity of Jenise Aminoff, whose superpower is cooking with small children. She is an MIT alumna, graduate of the 1995 Clarion Workshop and Odyssey Online, active member of SCBWI, and a former editor of New Myths magazine (www.newmyths.com). Aside from 18 years as a technical and science writer, she has taught science in Boston Public Schools, developed curricula for STEM education, and taught Preschool Chef, a cooking class for children ages 3-5. Her debut novel is A Witch’s Kitchen, forthcoming from Dreaming Robot Press in September 2016.
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What’s the key to unlocking publishing doors? A great pitch! Earlier this year, we taught a live webinar on how to craft a pitch that’ll grab the attention of agents, publishers, booksellers, and readers. The recording is now available for everyone to view.
The Art of the Book Pitch
Learn the art and science of the seemingly impossible task of boiling your book down into 250 words or less.
- What is a pitch?
- Why is a pitch important?
- How do authors use pitches?
- Is a plot-heavy pitch good or bad?
- What is an elevator pitch?
- How is a pitch like a poem?
- How do authors use the pitch as a sales tool?
- And more!
DO YOU WANT NOTIFICATION OF UPCOMING WEBINARS? LET US KNOW.
We first met Michael Vance Gurley when he won our Pitchapalooza (think American Idol for books) in Anderson’s Bookshop (one of our favorite bookstores) in Naperville, IL. When he pitched us a book about Chicago, The Roaring Twenties, and a gay hockey player with a deep dark secret, we were hooked. We were sure it was a book. And now, lo and behold, his book The Long Season is out. So we thought we’d pick Michael’s brain about his road to publication.
The Book Doctors: How did you learn to be a writer?
Michael Vance Gurley: I remember specifically wanting to be a writer in the 7th grade, giving horror movie fan fiction to kids, who loved it and wanted more, meaning it was either good or twisted enough for the junior high mind. Creative writing classes helped add depth and purpose to characters and plots that didn’t have a machete in them. I wrote comic books, and learned the value of research, plot design, and character development. After taking a break to work around the clock for years, I decided it was time to stop working so hard at not writing and started a novel. I didn’t know how to structure it. For comics, there were templates online, so I looked there because the Internet has all the answers! Well, maybe not all, but I did some research into writing strategies for novels, like the snowflake method, which was helpful to construct an outline and character sheets. Really, the idea to write about a hockey player from the Roaring Twenties struggling to be his true self, while surrounded by all the razzmatazz of the Jazz Age and the excitement of the sports world, was so strong in my head it was like I was writing it even when I wasn’t. The simple answer is I haven’t learned to be a writer yet, as much as I continually learn to be one. My editor would agree!
TBD: What were some of your favorite books as a kid, and why?
MG: I loved The Adventures of Tom Sawyer and wanted to be him, seemingly able to control minds. My dad’s family is from Mississippi, and after school let out, I spent summers in the South. It was like I hung up my shoes and had a Huck Finn life every summer, so I related to those guys and their wild adventuring. Horror grabbed my attention at a far too early age. I remember reading Stephen King’s Misery and It all night long. I couldn’t put them down. What I read most were comic books. I devoured old Batman, Green Lantern, Fantastic Four, and X-Men. My cousins and uncles gave me boxes of books to read. I vividly remember spreading them out, that wonderful four color processing smell of old comics filling the room, and reading them over and over.
TBD: What are you reading right now?
MG: I love to read and am always reading two or three things at once. I am into classics, sci-fi, YA, steampunk, and pretty much anything. Right now, I’m reading James Baldwin’s Giovanni’s Room. It’s a deep look at the underground gay life of Paris in the 1950s. It was so courageously written, and even though it might draw harsh criticism about demonizing gay life today, it broke ground. I’m also reading Star Trek: Sight Unseen, which follows Riker after the Next Generation movies. He’s such a powerful character, and he inspires me when I need to think of something commanding for a character to say. There’s also an incredibly diverse cast with ridiculous tongue-twister names, which help me free my mind when world building, like I’m doing with my next book. I like to alternate classics or serious novels with fun reads, or just do both at the same time while grabbing a comic book in between.
TBD: Your novel has such a cool and unusual story; how did you come up with the idea for your book?
MG: The 1907 Kenora Thistles gave me the idea. They were a ragtag, underdog hockey team who won the Stanley Cup, back when you could just challenge the champs for a shot at the Cup without having a whole season. One of the boys, Art Ross, grew up to have the leading scorer trophy with his name on it. I was looking at a hockey history book and passed a lot of old team photos until I flipped the page to this one. Back then color photography was more rare than now, a little costly, and exposure times were longer, so people were more conscientious about their poses. They were more intentional in a portrait sense of photography, and less selfie. Their team photo displays these macho iron man athletes, some with their legs curled and draped over each other in what today would be considered an effeminate manner. One of them was not looking straight at the camera, but at another player. In a flash, I thought, what if those two players had a secret? I had to write that story. I changed the time period and location because my story had to take place on my favorite team in my city! But that photo moment is in the book. Sometimes you walk through a museum and pass a hundred paintings and barely glimpse them until you get to the one, and you just know. It was too powerful an image for me to leave uncaptioned.
TBD: What were some of the joys and pitfalls of writing your first novel?
MG: Since The Long Season is a period piece, I did quite a bit of research. I’m a history buff, which meant digging into the cost of a cab ride in the 1920s or what gay life had been like in Chicago was exciting. It actually took up quite a bit of writing time because the net is an infinite suck hole if you let it be, or a fount of information if you take the time to cross-reference. It took me six months of actual writing to get to the final moment in my book, but I feel like I had been writing it in my head for a long time before that. It would fill my mind as I did other things, thinking about what would happen if I tweaked one thing or another. Writing the outline and being able to create whatever I wanted was thrilling. I don’t recall worrying too much about what to do next with a character, or having writer’s block often, since I wrote such extensive outlines. I felt amazing as I wrote the last line, knowing in my soul I accomplished what I wanted with these people.
Then editing woke me back up. Most of the pitfalls happened after the first draft, with learning to let go of bad ideas or weak paragraphs when an editor or trusted friend reviewed it. It brings the phrase ‘kill your darlings’ to a whole new level when they are your darlings what need killing. The art of creating is great. The art of destroying so you can create anew is terrifying.
All that led me to the biggest joy: winning The Book Doctors’ Pitchapalooza, a pitch contest where you get 60 seconds to win them over, in front of a crowd. Your presentation needs to be tight and powerful. They helped connect me to a great editor who shared my vision. I looked for an agent and publisher for about a year, getting rejection letters with great notes in them, while working a time-consuming job. Marketing takes so much effort. It was heartbreaking, but I believe working with my editor, Jerry Wheeler, made my novel ready to compete. The Book Doctors made an introduction to the right publisher, who has loved my work and ideas. Like my favorite band sings, “I’m standing exactly where I’m supposed to be.”
TBD: How did you go about selling your book?
MG: That’s the difficult thing! I thought painting the idea into the written book was so hard I had to make a life goal about it. The real work is struggling to learn the process of finding an agent or publisher, turning hundreds of pages into punchy one-liners and two-page synopses. I entered the Pitchapalooza contest at Anderson’s Bookshop and won, which provided me with insight about what to do next. I also took a seminar on marketing yourself in publishing. It’s a very complicated thing to do. I sent pages to countless places before someone said yes to me. Then the contract came! Although I was so excited and ready, I heeded advice and had an entertainment lawyer help out. It doesn’t become smooth sailing after you get a publisher. They will market, and so will you.
I started simple by establishing a base of potential fans on Facebook by finding authors like me and groups that share my genre, and friending/joining them. I made some great connections by liking author book pages and having them like mine. I contacted many of them directly and just asked. Now my posts reach hundreds of people. I did research about blogs and review sites that would take small press books to review, and I started contacting them. I am scheduling interviews for a blog tour with some giveaways. I arranged a book release party at Anderson’s Bookshop in Naperville, IL for June 15th at 7 p.m. Anderson’s is the bookstore where it all started for me. I’m on the board at Youth Outlook, which runs drop-in locations and education programs for LGBT youth, and I am donating the event proceeds to them, to hopefully turn my potential success into something that benefits what I believe in. There will be press coverage. You have to have faith that the grass roots efforts will pay off in great reviews, which will drive sales.
TBD: Are you working on a new project?
MG: One of my writing goals is to challenge myself by working on vastly different projects each time. A sequel might be wonderful and would be easier to do. I even have a name for it–The Long Season: Overtime! Maybe later. My current novel is a steampunk, young adult, planned trilogy featuring LGBT main characters. I wrote some of it in comic book form back when I was self-publishing, and the interconnected world I built never left my mind. It is a much more complex plot than The Long Season and goes back further in time to the Victorian age. The research is intense, and of course, a wonderful distraction since I love history. The nice thing in speculative fiction is it is all right if I twist history to my needs even more than I deviated from known facts in The Long Season. Then I plan to swing wide to edit a first draft I’ve written for a children’s picture book, and then I plan a coming of age novel set in private school. I want to keep writing things I want to read. I want the next box of new books I open from the publisher to fill me with the same joy The Long Season did. It might be smarter to stick to a genre and make a name like James Patterson did in crime, but even he branched out into YA and other things, and that’s what I feel my path to be. Turn and face the strange! Changes.
TBD: How did working with special-needs kids influence your writing your book?
MG: The funniest work connection was when I let our COO know my novel had been signed. One of the first things he asked was whether it was about our school. I laughed because even though confidentiality is a large issue in special education, it would make an excellent book. He then reminded me in a half joking manner, that if I did, I’d be sued! I think writers put some of themselves into their work; my knowledge of how children relate to each other in times of stress, how they feel about adults in power, or when they are in need influenced how my characters relate to their worlds. Being a clinician and an educator helps me get into that headspace. The main protagonist, Brett, suffers from terrible obsessive compulsions, decades before anyone knew what OCD was or what to do about it. That came from my life of seeing so many struggle, desperate for help and a place to fit in. I want to make sure that my characters feel real to me. People that may seem unlikeable to others, or that have different methods of engaging in their environments than the norm, are what I am used to, so that’s what I write. The more someone has it figured out, the less intriguing they are to me. It’s all about the process of exploring problem solving, relationships, and responsibility in a world that is collapsing around you in a real way. And I think those things must come somewhat from my work, or maybe from an episode of Dawson’s Creek.
TBD: What were some things you learned from working with your editor?
MG: I learned not to fear the red pen or track changes in a Word document. Feedback is your friend and lots of it does not mean there is a lack of talent. I came to grips with my story being the art form, and the grammar being the frame that holds it all together. With the grammar, I needed help. My editor is very good with not only the structure, but I learned to trust in his instincts to chop when needed. A writer writes and wants there to be a lot of it. An editor doesn’t rewrite or try to change your ideas, but helps you cull what doesn’t need to be there or may be detracting. My editor did research into the time period I was using to convey my story and became an expert on the anachronistic issues of writing historical fiction of the Jazz Age. My favorite note was when I tried to write the phrase, “Rain on my parade,” into it and he reminded me that I was using a Streisand song from 1964. I laughed out loud and left him a comment when I sent it back saying I thought it qualified as the gayest correction in the whole book! So we had some fun with it.
TBD: We hate to ask you this, but what advice do you have for writers?
MG: Learn to write. It may sound flippant, but it is so true. I think after a few rounds of editing, we got down to the writing errors of the meat, and I grew frustrated seeing hundreds of instances of ‘that’ deleted. I protested, until I read the sentences out loud, hung my head, and started reading grammar guides. It sounds strange, but Mark Twain said something about replacing all the instances of ‘very’ with ‘damn’ so the editor could do with them what should be done!
It is equally as useful to point out how patience and politeness pay off. When sending your work to an agent or publisher, there is a long period of waiting afterward. When you get a contract, there’s more waiting for editing windows and print dates. When I was shopping around, I received great advice from agents, and even other authors. When they came in the form of a rejection letter, the instinctive response can be one of anger and denial, but I thanked them with openness and gratitude for taking time to write anything at all. It’s a small world. I can draw lines between people who have helped me and some who rejected me. I was polite in my responses and patient in my timing, and I feel that it paid off in having none of those connections snap like a twig. I wrote back and forth to some authors, asking for advice. Bart Yates and Jay Bell are two of my favorite authors and they answered a lot of questions in emails. I have more stories like that than stories when someone treated me poorly.
Michael Vance Gurley was born in a Chicago hospital that was quickly condemned and torn down. He grew up and worked in the shadow of Capone’s house in a union hall, where he first discovered a love of gangsters and the Roaring Twenties. Being an avid hockey fan led him to kissing the Stanley Cup, and as an ardent traveler, he kissed the Blarney Stone, both of which are unsanitary and from which he’s lucky to only have received the gift of gab. Michael has many literary interests and aspirations. He self-published One Angry Koala, a well received comic book. His poetry has been printed in the Southern Illinois University newspaper, which was a real big deal back then.
Michael has worked with special needs children for nearly twenty years. His work with young adults led to a love of YA books, but he was raised with classic horror, beat poetry, and comics. As winner of a “Pitchapalooza” author event, Michael received some helpful guidance for his first novel, The Long Season, by literary agent/authors Arielle Eckstut and David Henry Sterry, and editor Jerry Wheeler. Michael still lives in the Chicagoland area, and despite it being cliché, gets asked about gangsters whenever traveling abroad.
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Patricia Perry Donovan on Literary Journals, Being a Page, and How Her Novel Deliver Her Got Published
We first met Patricia Perry Donovan when she won our Pitchapalooza (think American Idol for books) down the shore in New Jersey, sponsored by one of our favorite bookstores, BookTowne (know and love thy local indie bookstore!). She dazzled us with her story, her presence, and her writing. Now that her book Deliver Her is out, we thought we’d pick her brain about how the heck she did it.
To read the full interview on the Huffington Post, click here.
The Book Doctors: When did you start being a writer, and how did you learn to be one?
Patricia Perry Donovan: I’ve always loved writing. My mother claims I was eight when I announced I would write a book. I began college with a major in languages, but when my French professor criticized my accent, I switched to journalism. It was the era of All the President’s Men, and we all wanted to be the next Bob Woodward or Carl Bernstein. I always made a living as a writer, but only began writing fiction in earnest five years ago.
P.S. I had the last laugh on that college professor: In my thirties, I moved to France for several years and became fluent in the language.
TBD: What are some of your favorite books, and why?
PD: My first job as a teen was as a page (yes, my actual title) in the children’s library, where I read voraciously. I have fond memories of the works of Judy Blume, Maud Hart Lovelace, Roald Dahl, and Isaac Asimov, to name a few. I would read a few pages of each book before reshelving it. In recent years, I’ve re-read and dissected Olive Kitteridge by Elizabeth Strout. I would love to write a novel of connected stories like that one day. Of late I’ve shed tears over Kristin Hannah’s Nightingale and All the Light We Cannot See by Anthony Doerr, and swooned over Mary-Louise Parker’s extraordinary prose in Dear Mr. You.
TBD: Why did you decide to write this particular book?
PD: Having heard about families desperate enough to resort to this type of solution for their child, I was fascinated by both circumstances that might lead to this arrangement and the sort of people (both transporter and client) involved. Also, I have family in New Hampshire, and the White Mountains seemed the perfect setting for Carl and Alex’s journey.
TBD: How has being a journalist influenced your fiction writing?
PD: Working as a reporter trained me to write efficiently. It also made me a thorough researcher. For the last fifteen years, I’ve covered the healthcare industry, which is probably why Meg Carmody is a nurse in Deliver Her and is so knowledgeable about insurance. Healthcare is a fascinating field; there are a few topics I’d like to explore in future books.
TBD: How did you get your fiction published in literary journals?
PD: With a thick skin, and perseverance. Using a subscription database of writers’ markets, I targeted smaller publications and sites with higher acceptance rates. It took a while, and a fair amount of rejection, but eventually I had some success. It’s refreshing to take a break from writing a book and play around with an essay or flash fiction. Often a “darling” excised from a work in progress is the perfect starting point for a short story.
The important thing is not to give up. Just because a piece is not right for one publication doesn’t mean another won’t love it. Keep trying!
TBD: Tell us about your road to publication.
PD: In 2012, I entered The Book Doctors’ Pitchapalooza event at BookTowne, my local bookstore. My pitch was chosen as the winning entry; the only problem was, I had written only about 25 pages of the book! The award motivated me, however; less than a year later, I delivered my manuscript to the agent assigned to read it. Although extremely generous with her feedback, she ultimately passed. I then set out to find an agent on my own, and after querying about a dozen agents, I received an offer of representation from Elisabeth Weed of The Book Group, a very hands-on agent who was determined to find a home for Deliver Her. In fall 2015, I signed a two-book deal with Lake Union Publishing.
TBD: How in Heaven’s name did you manage to get 285 reviews before your book was even officially released?
PD: Deliver Her was pre-released in digital format on April 1 as an Amazon Kindle First, a program in which Amazon editors select books from next month’s new releases that readers can preview early. That’s why Deliver Her has close to 300 reviews in advance of its official May 1 release.
TBD: What exactly is Lake Union Publishing?
PD: Lake Union is one of about a dozen imprints under Amazon’s full-service publishing arm (an arm completely separate from Kindle Direct Publishing). Lake Union specializes in contemporary and historical fiction, memoir, and popular non-fiction. My Lake Union team has championed and supported Deliver Her–and me–from day one. It’s been an extremely positive experience.
TBD: What do you love most about writing fiction?
PD: The surprising directions in which your story and characters will take you if you are open to them. Initially I imagined Deliver Her as a love story between the transporter and a woman who comes to his aid. The client was just a means to get Carl to Iris. But once I began writing, the mother-daughter relationship started to drive the story. I had to let go and enjoy the ride.
TBD: What are you working on for your next project?
PD: My next novel, At Wave’s End, is the story of a Manhattan chef whose estranged mother comes East after winning a Jersey Shore bed-and-breakfast in a lottery. All is not as it seems, however; in the aftermath of a hurricane, secrets about the B and B surface, threatening the inn’s future and fraying the already fragile mother-daughter bonds. The anticipated publication date is August 2017.
TBD: We hate to ask you this, but what advice do you have for writers?
PD: Having come late to the fiction game, I wish I had started doing this 25 years ago. So if you are a writer and feel that tug, that story begging to be told, don’t ignore it. Sit down and tell it.
That said, it’s never too late. Beginning this second act in my fifties, I have a well of experience and life lessons to draw from. I hope my characters are richer for it. Now I joke that while I’ll probably never suffer from writers’ block, I may run out of time to write all the stories I want to tell. That’s not such a terrible problem for a writer to have.
Patricia Perry Donovan is a journalist who writes about healthcare. Her fiction has appeared at The Bookends Review, Gravel Literary, Bethlehem Writers Roundtable and in other literary journals. The mother of two grown daughters, she lives at the Jersey shore with her husband. Learn more at www.patriciaperrydonovan.com
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Big Woods by May K. Cobb
When ten-year-old Lucy Spencer goes missing from her sleepy Texas town, her parents, the police, and the township all brace for the worst, assuming her body will soon be found. They imagine her case will follow the deadly fate of the other recent, unsolved kidnappings in the area. But Lucy’s sister, Leah, begins having dreams about Lucy and insists that she is still alive; that her dreams are messages from her sister, clues about what might have happened.
As the deluge of grief threatens to pull apart the once-close knit Spencer family, fourteen-year old Leah sets out on her own investigation, risking everything in her secure world to find her sister. Carl, Lucy’s father, slips further away from himself and his family as he tries to reconcile the fact th’s at his little girl slipped out of his hands one morning, while Roz, Lucy’s mother, must come to terms with the reality that some things lay beyond her control. But it’s Sylvia, a reclusive widow across town who witnessed something years ago, who might hold the key to finding Lucy, if only she can find the courage to come forward.
Set against the backdrop of 1980s small-town Texas and the feverish rise in paranoia surrounding satanic cults, “Big Woods” is a literary thriller about the enormity of grief, the magical bond between sisters, and a small town’s dark secrets.
“Big Woods” was selected as the winner in the 2015 Writer’s League of Texas Manuscript Contest.
The Book Doctors:
Love the way you throw us tight into the Texas hurricane of your story: girls gone missing, the background information adding to the deadly suspense with other children lost, a parent and community’s worst nightmare. We always say, what are the stakes? Well, don’t get much higher than that! We always want to make it difficult for our heroes to succeed. You put this family under such stress, duress, the dad is freaking out, the mom can’t control anything, they’re spiraling out of control, it’s horrible in life, but it’s great for a novel. The kookie neighbor who may be the key to it all. And then we have a telepathic dream-mystery, which leads to the sister becoming the detective and trying to find the murderer. It reminds us, in the best sense of, Winter’s Bone, a wonderful book that was made into a movie which launched a young woman named Jennifer Lawrence into the stratosphere of movie stardom. You don’t have comparable titles. There is one right there. And then there’s the setting. Everybody loves a Texas story. From Larry McMurtry to Friday Night Lights. And the story really leaves us hanging. In a great way. It makes me want to know what happens next, which is the ultimate goal of any pitch. I also love that you leave us with the fact of your not just winning a writing contest, but winning a writing contest in Texas, where your book is set. I would like to see more images from Texas. And there is a typographic/spelling mistake. Believe it or not, some agents will click the delete button on any query or pitch that has a mistake in it. Agents and editors are so overwhelmed and inundated they’re just looking for an excuse to say No to you. Don’t give them that excuse. Excellent pitch, great voice, great story, intriguing characters, wonderful location, just give me a couple of comparable titles and we’re ready to rock ‘n roll. Or, in this case, Texas Two-Step.
Vote for your favorite pitch. The pitch that receives the most votes will be awarded the “Fan Favorite,” and the author will receive a free one-hour consult with us (worth $250).
The Association of American University Presses has chosen Rebel on Pointe as one of five books that are “Best of the Best” published in 2014.
We connected with Lee Wilson during Pitchapalooza at pages: a book store in Manhattan Beach, California. She was so warm, funny, passionate and professional. And she had excellent posture! Turns out that was no accident. She had been a professional dancer at the highest level. She blew us away with her pitch. We helped her with her proposal, and with the help of the amazing Toni Bentley, we hooked her up with a fantastic publisher. Her memoir, Rebel on Pointe, came out Fall 2014 from University Press of Florida.
In other book news, Wendy Perron, editor at large for Dance Magazine, included Rebel on Pointe in her list of 2015 books that are “especially engaging.”
Rebel on Pointe
In this uplifting memoir, Lee Wilson describes how she danced her way out of the stifling suburbs of 1950s Delaware into the opera houses of Europe and onto the Broadway stage.
Rebel on Pointe brings readers into a remarkable and visionary world. It gives new perspectives on legendary dance icons like George Balanchine, Rosella Hightower, Erik Bruhn, and Rudolf Nureyev. Wilson describes the process of becoming a professional dancer and gives insight into a dancer’s daily life both in ballet companies and on Broadway. She shares the pain of rejection, the thrill of her first bravos, and the unforgettable experience of arriving in Algeria without her passport to dance for men with automatic weapons in a Roman amphitheater.
In her quest for freedom from the patriarchal post-war society in America, she finds a home in the inclusive, multicultural community of dance.
Lee Wilson danced for royalty in Europe, gun-toting revolutionaries in Algeria, American aristocrats at the Metropolitan Opera, and a galaxy of stars on Broadway. She is an award-winning writer, producer, and actor living in Los Angeles. Her website is: www.leewilsonpro.com.
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We first met Val Emmich during Pitchapalooza at Word Bookstore in Jersey City. He wowed us with his pitch and walked away a winner. Now he’s sold U.S. and foreign rights for his debut novel, The Highs and Lows of Never Forgetting. Look for it in 2017 from Little, Brown. Congratulations, Val!
Actor and musician Val Emmich sold his debut, The Highs and Lows of Never Forgetting, to Judy Clain at Little, Brown. Jeff Kleinman, at Folio Literary Management, brokered the North American rights deal for Emmich, who’s had roles on TV shows such as Ugly Betty and 30 Rock and the upcoming Martin Scorsese HBO show, Vinyl. The novel follows Joan, an aspiring 10-year-old musician who has the ability to recall her life in full detail. Knowing Joan’s gift, and that she knew his recently deceased partner, TV star Gavin seeks her out. But Joan, who herself worries about being forgotten, will share her recollections of Gavin’s partner only if he helps her write a song that will guarantee she is always remembered. The book sold in a flurry of foreign deals during last month’s Frankfurt Book Fair—it was acquired by houses in Brazil, Italy, Germany, and other countries—before it was sent to publishers in the U.S. It is also out for film, with Sylvie Rabineau representing it.
For more info, visit valemmich.com.
You can read the announcement in Publishers Weekly here.
Pitchapalooza is the American Idol for books (only without Simon) and it works like this: Anyone with an idea for a book has the chance to pitch it to a panel of judges. But they get only one minute. The Book Doctors team up with guest industry insiders to form the judging panel. The Judges critique everything from idea to style to potential in the marketplace and much, much more. Whether potential authors pitch themselves, or simply listen to trained professionals critique each presentation, all Pitchapalooza attendees come away with concrete advice on how to improve their pitch as well as a greater understanding of the ins and outs of the publishing industry. At the end of each Pitchapalooza, the judges come together to pick a winner. The winner receives an introduction to an agent or publisher appropriate for their work. Join us for an upcoming Pitchapalooza.
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