Creating monsters, whether for stories, or in real life, takes some work. Especially in real life. It's not as simple as swapping human bits with animal bits, or digging up dead body parts and reanimating them in a lightning storm, or sprinkling glitter all over your skin and talking in a low voice, or changing your name to Larry.
Trust me. These things don't work. If they did, you'd be reading a blog written by a glittery penguin with the head of an ostrich, and Mark Twain's eyebrows. Also, I would be called Larry, and as I am clearly not called Larry, but E.J., it is clear that these things don't work. Not alone anyway.
If your goal is simply to create something for your story characters, or your bored friends, to hunt on a deserted island, boarding school, or starship, then by all means, hunt the glittery penguin. The penguin's motivation is simple: it's very hungry and Mark Twain's eyebrows have given it ideas about the fine quality of human meat. It must die. Cut it off from the glitter supply that's made Mark Twain's eyebrows sentient, and you've got an ending.
But lately, it seems, glittery penguins are beginning to get the cold shoulder in most mediums, particularly books.
Monsters have become not just something to kill, but something to understand, something to root for. In many instances, monsters have become the new hero by conquering their dark nature and rising to the story challenge.
Characters like Professor Lupin and Hagrid in Harry Potter, or the Cullen family in Twilight, or Rauschtlot in Return to Exile (yes, I just referenced my own book) are perfect examples. These types of characters represent a dramatic and encouraging shift in the way we tell stories. Thinking in terms of us versus them and good versus evil has led to some of the worst behaviors and wars in history.
Nearly everyone is good in their own mind, and if they're good, then those who oppose them must be evil. When both sides see themselves as right and good, war, in all its shapes and forms, is the inevitable outcome. And when I say war, I'm talking about everything from heated arguments between individuals to conflicts between nations. That's not to say that there aren't good and bad things--because there are--but good and bad people are a different matter entirely.
The best monsters are not creatures of external horror, but of internal complexity. Give them terrible urges and needs. Give them reasons to be better than they are. Show them struggling against their natures. In other words, make them like us. Because in the end, none of us are human.
We are all monsters.
Tuesday, June 28, 2011
Saturday, June 25, 2011
How I Got Published
I should have posted this last year sometime, but better late than never, I suppose.
My publishing story is fairly straightforward. I sent query letters to top agents (ten of them). Within a few days, three of them requested my manuscript. Steven Malk with Writer's House responded first (that same day) and asked for a two week exclusive, which I gave. When the next two requests came in later that week, from two more outstanding agents, I started wringing my hands--not the greedy Mr. Burns sort of wringing. It was more the "what have I done by giving someone a two week exclusive" kind of wringing (it's a very unique sort of wringing, and looks hilarious if you can get it on camera).
Steve came back with a soft offer: good book, needs work, I'll work with you to get it ready for publishers. This was not a formal offer of representation, and I was left with a dilemma: submit the manuscript to the other two agents or accept Steve's soft offer. I decided to work with Steve and it turned out to be a serendipitous fit.
With more hand wringing (still not the greedy kind) I delivered the second draft to Steve several months later. He was ecstatic about the changes, many of which had come about as a direct result of his extensive notes. I had kept one paragraph and a few character names from the original submission, and nothing else--no scenes, no plots, not anything. The book went from a lighthearted and humorous 300 page romp to a 512 page monster, with depth, complex plotting, a fantastic yet believable milieu, and detailed characters with compelling motivations.
It had become epic.
After submitting to publishers, and much hand wringing (the greedy kind), we had interest within a few days. After a week and a half or so, Courtney Bongiolatti (my awesome editor), at Simon & Schuster BFYR (my awesome publisher), came in with a pre-empt (an offer high enough to dissuade other publishers from entering an auction). This put the other interested publishers on the fence, and we nearly had an auction anyway, but the pre-empt was high enough to serve its purpose. We took the offer after a bit of negotiation. The release date was set for 1 1/2 years later (September 6, 2011)--an accelerated schedule in fiction (most the time it's two years, I think).
Now, a few things you should know if you are trying to find an agent and get into writing:
1. My case is unusual. Most agents (especially top agents) get hundreds of query letters each week, and out of those hundreds, they might request one or two manuscripts, which they usually reject. In a given year, and after somewhere around 20,000 queries, by my estimates (feel free to correct me if you know otherwise), a top agent might pick up ten clients, depending on their existing list. My agent (Steven Malk) is a top five agent in children's lit (usually he's number one depending on the week--go Steve!). Children's lit and YA is just about all he reps. Most agents have a specialty and it's important to find an agent that specializes in your category.
2. Though everyone will tell you that query letters don't work, and that you should try networking and conferences, I have two friends (Dave Butler and Platte Clark) who have recently been picked up by agents because of query letters, and one of them (Platte Clark) got a three book deal with Aladdin last week. I referred both of these friends to my agent, and he passed. Networking didn't work. All three of us got representation purely based on the strength of our query letter and writing, so while odds are definitely stacked against you, query letters can work.
3. Nearly every major fiction imprint will not accept manuscripts unless they are submitted by an agent. In fiction these days, you have to have an agent, or you will be limited to small presses or self-publishing, which isn't a bad thing, it just means you have fewer options. Agents will more than make up for their fees during negotiations with the publisher and having an agent will increase your range of options.
4. Subscribe to Publishers Marketplace for at least a month ($20) and browse through recent deals. Publishers Marketplace lists many of the book sales at major publishers, and some of the smaller publishers. Find books similar to yours. Search for the publisher that bought the book, and then find the agent who sold it (all of this info is on Publishers Marketplace). You can also find rankings on which agents have sold the most books in a specific category (like middle grade or YA). These are the agents you want to query. Research these agents and make sure you follow their submission guidelines.
5. In a query letter, do your best to demonstrate how your story is better than what's in the market, how it's different, and yet also how its recognizable within a category. Ask yourself, who would read this? Why? What's the heart of the story? What drives a reader to keep turning the page? What is the source of conflict (not fighting and arguing--but a strong character, with a strong need and strong, sometimes insurmountable, obstacles in her way)? Answering these questions and then putting those answers in your query in a compelling fashion will get an agent's attention. Also, figure out how your book would be categorized, where it would sit in a store, or online retailer, and what books it would sit next to, and then read those other books. Referencing these other books will help agents know where you fit and who to sell your book to. My query referenced Harry Potter. The line was something like "my book has the same audience, and is in the same genre as Harry Potter, or any other book you happen to like."
Finally, don't give up unless you're a sucky writer or you're feeling lazy. How do you know if you're a sucky writer? Because you're lazy. Your first book will almost always suck. Write it, and then toss it in the garbage and write something good. Okay, that's a bit harsh, but recognize that your first draft of your first book will be bad. You'll be tempted to cling to what you've done, or try some minor revisions. It won't work. You've learned much by writing it. Now, use that knowledge to visualize a better way and get to work. Use an axe, not a razor. You may even want to start with a blender. Then, switch to a carving knife, and then a small steak knife with a pretty handle, and then... well, you get the idea.
But don't inundate agents with queries for first draft sucky books. You'll only be disappointed and agents are busy enough as it is.
If you have any questions, corrections, or advice for getting published, feel free to make a comment.
My publishing story is fairly straightforward. I sent query letters to top agents (ten of them). Within a few days, three of them requested my manuscript. Steven Malk with Writer's House responded first (that same day) and asked for a two week exclusive, which I gave. When the next two requests came in later that week, from two more outstanding agents, I started wringing my hands--not the greedy Mr. Burns sort of wringing. It was more the "what have I done by giving someone a two week exclusive" kind of wringing (it's a very unique sort of wringing, and looks hilarious if you can get it on camera).
Steve came back with a soft offer: good book, needs work, I'll work with you to get it ready for publishers. This was not a formal offer of representation, and I was left with a dilemma: submit the manuscript to the other two agents or accept Steve's soft offer. I decided to work with Steve and it turned out to be a serendipitous fit.
With more hand wringing (still not the greedy kind) I delivered the second draft to Steve several months later. He was ecstatic about the changes, many of which had come about as a direct result of his extensive notes. I had kept one paragraph and a few character names from the original submission, and nothing else--no scenes, no plots, not anything. The book went from a lighthearted and humorous 300 page romp to a 512 page monster, with depth, complex plotting, a fantastic yet believable milieu, and detailed characters with compelling motivations.
It had become epic.
After submitting to publishers, and much hand wringing (the greedy kind), we had interest within a few days. After a week and a half or so, Courtney Bongiolatti (my awesome editor), at Simon & Schuster BFYR (my awesome publisher), came in with a pre-empt (an offer high enough to dissuade other publishers from entering an auction). This put the other interested publishers on the fence, and we nearly had an auction anyway, but the pre-empt was high enough to serve its purpose. We took the offer after a bit of negotiation. The release date was set for 1 1/2 years later (September 6, 2011)--an accelerated schedule in fiction (most the time it's two years, I think).
Now, a few things you should know if you are trying to find an agent and get into writing:
1. My case is unusual. Most agents (especially top agents) get hundreds of query letters each week, and out of those hundreds, they might request one or two manuscripts, which they usually reject. In a given year, and after somewhere around 20,000 queries, by my estimates (feel free to correct me if you know otherwise), a top agent might pick up ten clients, depending on their existing list. My agent (Steven Malk) is a top five agent in children's lit (usually he's number one depending on the week--go Steve!). Children's lit and YA is just about all he reps. Most agents have a specialty and it's important to find an agent that specializes in your category.
2. Though everyone will tell you that query letters don't work, and that you should try networking and conferences, I have two friends (Dave Butler and Platte Clark) who have recently been picked up by agents because of query letters, and one of them (Platte Clark) got a three book deal with Aladdin last week. I referred both of these friends to my agent, and he passed. Networking didn't work. All three of us got representation purely based on the strength of our query letter and writing, so while odds are definitely stacked against you, query letters can work.
3. Nearly every major fiction imprint will not accept manuscripts unless they are submitted by an agent. In fiction these days, you have to have an agent, or you will be limited to small presses or self-publishing, which isn't a bad thing, it just means you have fewer options. Agents will more than make up for their fees during negotiations with the publisher and having an agent will increase your range of options.
4. Subscribe to Publishers Marketplace for at least a month ($20) and browse through recent deals. Publishers Marketplace lists many of the book sales at major publishers, and some of the smaller publishers. Find books similar to yours. Search for the publisher that bought the book, and then find the agent who sold it (all of this info is on Publishers Marketplace). You can also find rankings on which agents have sold the most books in a specific category (like middle grade or YA). These are the agents you want to query. Research these agents and make sure you follow their submission guidelines.
5. In a query letter, do your best to demonstrate how your story is better than what's in the market, how it's different, and yet also how its recognizable within a category. Ask yourself, who would read this? Why? What's the heart of the story? What drives a reader to keep turning the page? What is the source of conflict (not fighting and arguing--but a strong character, with a strong need and strong, sometimes insurmountable, obstacles in her way)? Answering these questions and then putting those answers in your query in a compelling fashion will get an agent's attention. Also, figure out how your book would be categorized, where it would sit in a store, or online retailer, and what books it would sit next to, and then read those other books. Referencing these other books will help agents know where you fit and who to sell your book to. My query referenced Harry Potter. The line was something like "my book has the same audience, and is in the same genre as Harry Potter, or any other book you happen to like."
Finally, don't give up unless you're a sucky writer or you're feeling lazy. How do you know if you're a sucky writer? Because you're lazy. Your first book will almost always suck. Write it, and then toss it in the garbage and write something good. Okay, that's a bit harsh, but recognize that your first draft of your first book will be bad. You'll be tempted to cling to what you've done, or try some minor revisions. It won't work. You've learned much by writing it. Now, use that knowledge to visualize a better way and get to work. Use an axe, not a razor. You may even want to start with a blender. Then, switch to a carving knife, and then a small steak knife with a pretty handle, and then... well, you get the idea.
But don't inundate agents with queries for first draft sucky books. You'll only be disappointed and agents are busy enough as it is.
If you have any questions, corrections, or advice for getting published, feel free to make a comment.
Thursday, June 23, 2011
Book Plots I'd Love to See
Here's a list of plots I'd love to see in a book:
- Boy meets girl, boy loses girl, boy buys an Xbox and a large pizza.
- A vampire and a werewolf hook up and go to buy a love seat, only to discover, tragically, that they disagree on the choice of fabric.
- A gritty police detective wins a trip to Hawaii in the middle of a brutal murder investigation, has a very pleasant stay, and returns to discover that the case is all wrapped up.
- A budding concert pianist approaches the performance of her life and does an okay job.
- Girl meets boy, girl wins boy, boy buys an Xbox and a large pizza with the girl's money.
- After writing several ridiculous plot lines, a writer stops blogging and gets back to work.
Wednesday, June 22, 2011
Final Artwork for the Book Jacket
Another quick post. I just got the final artwork for the book jacket for Return to Exile, and I wanted to share. The jacket was designed by Laurent Linn at Simon & Schuster, who did a tremendous job. John Rocco did the cover art and over forty internal illustrations.
John Rocco is best know for doing the cover art for:
John has also written and done illustrations for:
Okay. This post wasn't as quick as I thought it would be. Back to writing...
 |
| Jacket Design for Return to Exile |
- Percy Jackson and the Olympians
- The Lightning Thief
- The Sea of Monsters
- The Titan's Curse
- The Battle of the Labrynth
- The Last Olympian
- The Heroes of Olympus
- The Lost Hero
- The Son of Neptune
- The Kane Chronicles
- The Red Pyramid
- The Throne of Fire
John has also written and done illustrations for:
- Blackout
- Moonpowder
- Wolf! Wolf!
- Fu Finds the Way
- The Flint Heart (by Katherine Paterson and John Paterson)
Okay. This post wasn't as quick as I thought it would be. Back to writing...
Thursday, June 9, 2011
New Website
Just a quick update since I'm under deadline for the second Hunter Chronicles book and I really should be working on that.
- The website for Return to Exile is now online. You can visit it at www.returntoexile.com or www.thehunterchroniclesbooks.com. We'll build it out more in the future, adding animations and such, but for now you can read up on some of the monsters, search out a few lost stories, and read my bio.
- BEA (BookExpo America) was a huge success (so I'm told). Simon & Schuster gave out over three hundred copies of my book.
- Return to Exile is also circulating in Hollywood at the moment. My agents submitted it to over twenty production companies last week. Hopefully I'll have more to share soon.
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