If there is one thing that makes me growly, it's the number of authors who say they hate being asked, “Where do you get your inspiration from?” Honestly, I’m not entirely sure why this should be an issue. For non-writers, for those who don’t eat, drink, sleep and dream stories, it’s an obvious question to pose – you know, like, yo dude, where does the story come from? Well, yeah, authors, where do you get your ideas from?
I often wonder, when I’m reading, from where the author drew inspiration, or how the germ of an idea sprouted. Was it a face in a crowd, an article in a newspaper, a place, a personal experience, a memory from years ago? I think it’s a fascinating point of discussion because not only do you learn something about the author, but you also learn how they set about creating a story, and in that way, the reader is able to learn about the nature of story itself. And that, for any reader, particularly a non-writer, is akin to a mystical and magical process. And I do think it behooves authors to share this with their readers.
In case you’re wondering why I’m pondering this maligned topic it’s because once again, for the eleventy-hundredth time I’ve read of an author bemoaning the dreaded “where do you get your ideas from” question. And truly, I do want to smack your authorial butts when you do this! Come on, get over yourselves, your readers are genuinely intrigued and interested, don’t be so bad-ass as to whinge when they ask. They want to know. And you owe it to them to tell them. It’s part of the magic you create. (Unless, of course, you’re hiding deep dark secrets and it was really you who committed that murder and not your character, or you really are plotting to bring an end to the world…)
Right, now that little rant over, (and I make utterly no apologies), I’ve also been pondering the matter because I’ve been dreaming rather a lot about whales lately – wonderful, rich and vivid dreams. And last night’s dream not only involved whales but also a story-teller. And as I thought about the dream and the shamanic interpretation of whale symbolism (it’s all about creativity), I started thinking about the mythology of whales, which set me to thinking about mythology per se, which in turn directed my thoughts to local mythology, and that in turn brought a setting and two characters to mind... And before you know it, I’d leapt out of bed and gone sprinting down the passage to switch on the ‘puter so I could scribble down a sort of prologue thing and the flurry of ideas that suddenly started invading my consciousness.
So, when this story sees the light of day and someone asks me, “Where did you get your inspiration from?” I shall smile and say, “From a dream and a place and a bit of mythology - and you can read about it in a blog post I wrote back in 2012.”
And on that note, there will now be a short blogging break while I go off and stare at the ocean and look for whales.
Following on my post about the abundance of dystopia in so much of YA fiction, I’ve been pondering exactly what it is about YA fiction that captures not only the imagination of its intended audience and those who write it, but also the imagination of the increasing number of adults reading YA fiction.
If I jump back a moment, I’m struck how, from my mid-forties, it suddenly became so important to find friends from my later teen years. Friends lost along the way and whom I hadn’t necessarily thought about in 20 or 30 years but who had suddenly started invading my subconscious.
While I was wondering about it out loud, Lovely Husband observed that our young adult years are such an important time. And he is right. At that age we are no longer children and we are not yet adults. It’s a time of life which gives us a unique freedom. It is vivid, vibrant, full passion and zeal. It’s the time of life when we are exploring so much on our own, but also in the company of our friends. We think about the “meaning of life”, we indulge in wild parties, we push boundaries, we discover our independence, we savour the intense flavours of love, are swamped by heartbreak, we find ourselves, we lose ourselves and we find ourselves again. We join protest marches, we try to save the world, and in doing so we save ourselves. The good and the bad, the highs and the lows are all caught up in an intense whirlwind of living and feeling – of Being - in the most utterly vivid, sometimes painful and, frequently, guileless self-absorbed way.
There is just so much that happens as a young adult and as we transition from childhood to adulthood. Despite the intensity of emotion and living, it is one of the most carefree times of our lives. We are not hampered by the responsibilities of adulthood, and we are no longer hamstrung by the well-intentioned restraints of our parents. It is also the first time we are given to a wide range of freedom of expression which is taken seriously not only by our peers but the adults around us. It’s a time when we create so many of our own stories and are part of so many of the stories of those around us. It is hugely fertile ground.
And as Young Adult authors dig deep into their own pasts, their own emotions and memories, and connect them to the present to create stories that touch the intended YA audience, it is no small wonder that other adults are increasingly turning to YA fiction. Those years represent some of the best, the most vibrant and intense years of our lives – why on earth would we not want to recapture them in some way? Particularly so if words on a page wring poignant reminders, stir deep wells of memory, evoke gleeful laughter (and possibly waves of embarrassment!), and are as beautifully written and richly evocative as so much YA fiction is.
I know I lamented YA fiction last month – but really, what I lament is the industry focus on dystopia and the lack of balance of what is available on the shelves. In my heart I still love YA and always will - simply because of the wide range of richness it evokes and embraces.
There’s been a lot of talk lately on various blogs and writer’s groups about the fine art of procrastination at which writers appear to be so incredibly adept. I know from years of experience that things like doing the ironing and mowing the lawn can all, on occasions, become far more riveting and urgent than writing. When it reaches these levels, you know you’ve got a bad bout of procrastination, because, let’s face it, who in their right mind would rather iron than write? (I hasten to add, that I do draw the line at vacuuming the house.)
As a master procrastinator who can spend days and weeks researching, creating mood boards, sourcing character representations (which, like Sue Hyams, usually involve Ben Barnes), creating video trailers, which will never see the light of day, and cover art, which equally will never move beyond my pinboard, there is little I don’t know about not sitting down to write.
But in this last year I have found the Pinnacle of Procrastination and I advise all of you to try it if you want to heighten and hone your procrastinatory skills: build a house.
Oh yes, building a house will not only take you away from your research, your characterization, your mood boards, your video trailers, your faux cover art, it will take you right away from your desk. You will stop reading anything but décor magazines and websites. Your Twitter status updates will change from #amwriting to #housebuilding. You will find yourself gazing at finishes and fittings for days, you will find yourself sourcing images to create multiple mood-books, you will spend hours in site meetings and discussions. You will tell your build team that you really, really need to go and write and you will rush away, only to once more start Googling “contemporary light fittings” or “modern garden design”.
Then you will find yourself waking up at 3am in the morning with your characters kicking the inside of your brain. You’ll mumble, “Yes, yes, later. I’m too tired now. I had a long day looking at taps; I’ll deal with you in the morning.” And of course you won’t. Your characters, thus rejected, will start turning up in your dreams, they will haunt your gym sessions and you will, occasionally even call your project manager by your character’s name. But you will still not write.
And why? Because you know full well that once you do actually sit down to write, the muse will seize you by the nose hairs, smash your face against the keyboard for daring to go AWOL, and writing will then become a source of procrastination for not getting on with the important business of choosing tiles and blinds.
It is, I advise, at this point that you should resort to chocolate. Or drink. Truly, it is the only way.
Excuse me while I now run away and indulge in a spot of photography.
For further enlightenment on procrastination – I direct you to these excellent blog posts:
For as long as she can recall Bryn Halbrook has seen a golden aura around certain people, and it is only when her new best friend Joshua dies that she understands the glow means death. Bryn struggles to adapt to a new town and a new foster home while trying to deal with the guilt of being unable to save her friend. Until mysterious biker-boy, Aidan Lee arrives.
When Aidan unexpectedly takes off he leaves behind a shattered heart, a ton of unanswered questions and a mysterious book that suggests Bryn may be a Valkyrie. Bryn is faced with questions about Aidan’s real identity, the real reason he came to Craven, and that Odin, Freya and Valhalla just might be real.
As if accepting her new wings, new life and new home in Asgard isn’t difficult enough, Bryn is forced to find and return the precious necklace of the Goddess Freya. The only problem is – if she fails, Aidan will die.
Saturday the 25th of February saw the launch of South-African born, New Zealand-based, T G Ayer’s debut novel, Dead Radiance, the first book in the Valkyrie series. I “met” Tee online and we’ve been corresponding for a while, sharing stories of our respective writing journeys.
Now I’m delighted, as part of her promotional blog tour, to welcome T G Ayer to Absolute Vanilla.
Debut author, T G Ayer
Thank you for having me, Nicky! This is my first interview in South Africa and I feel rather special about it *grin
Now that it’s finally happened, Tee, tell us what it feels like to be published?
Slightly surreal, actually. I’ve been so looking forward to the release day that, to be quite honest, I would have blinked and missed it had I not slowed down. I’m pretty glad that my family organized an awesome little Release Day celebration to commemorate the day. I did feel awfully special when the 26th of Feb drew around.
Can you tell Absolute Vanilla readers a little about Dead Radiance and what inspired you to write it?
Dead Radiance is story about a teenage girl who discovers she is a Valkyrie. But such a privilege must have a price, and she is soon at the mercy of the goddess Freya, forced to find the goddess's precious necklace. The price for her failure - the life of the boy who betrayed her. Bryn's story is about dealing with the wishes that are finally granted, it's about yearning for closeness and then allowing oneself to trust. It's about a family that is joined not by blood but by love.
Watching my teens and their friends tiptoe through the minefield of teenhood was enough of a reason for me to write about Bryn. I wanted to inspire my readers, to remind them that courage and strength is always inside you, and that no matter what life throws at you there is always a positive side to life. Above all I didn't want to write a dark book. I have plenty of dark manuscripts to share with readers in the future, but Dead Radiance wrote as a story with hope and courage and trust within its pages. I hope that after reading Dead Radiance readers go away with a great experience in Norse Mythology and a desire to learn more about this interesting lore. And secondly I hope that readers are inspired to have take a chance on themselves, to trust in their own strength and to have courage to pursue life to its fullest.
As a South African, living in New Zealand, you have a wealth of mythologies you might have draw on, so what prompted you to explore Norse Mythology? And why Valkyries in particular?
I’ve always been a mythology nut. I have a deep respect for the concept of a mythology in that it is a representation of a society and its vision of what the world and life means. Each culture has a unique way of explaining how life works and what life and all its complexities really mean. But even then one can identify the similarities, the sharing of myths among cultures through trade and time.
Norse mythology is one set of Western myths which have not been overdone. Indeed it’s barely been touched within the YA genre itself. I’ve seen a bit of it in Carrie Jones’ NEED Series and Jennifer Esteps’ Mythos Academy
You must have done intense research for Dead Radiance, can you tell us about your process of researching and can you give other writers any tips about researching their own novels?
It was double action research – I used Google- there are so many amazing websites and blogs that are filled with information, its really interesting to read different opinions and analyses . I also use textbooks on the relevant subject so my non-fiction library is growing slowly :-)
Your main character, Bryn, is a very feisty girl. Can you tell us more about her, the development of her character and your thoughts about the importance of strong female characters in fiction?
I do believe, as a storyteller, you tell more than just the tale. Isn’t there always a moral to the story? End even when writers claim not to write a story with a moral running through it, as humans, we cannot deny that our life experience, opinion and essence of beliefs filter through to the words on the page.
You are right though, Bryn is a strong character, and although she is lonely she is not a wilting maid in desperate need of male attention. In fact, at times, she is too independent and does need to learn to trust again.
Aidan, the mysterious love interest in Dead Radiance, is a very vivid character. How important do you feel it is for YA fiction to contain a love aspect?
That’s a good question. I think in most tales, no matter the author, the love aspect plays a part. It’s part of human nature to need someone, and teenhood is the maelstrom of human emotion. Even as adults we yearn for closeness, for a spouse, for a family. As such I don’t think it’s easy to remove all romantic tones from any novel. And I think it’s only as important as the story itself.
DEAD RADIANCE is about Bryn and her trials, her emotional journey. Her emotional connection with Aidan is part of the story but is in no way the essence of the novel. I hope readers will love the romance, but I do want them to indulge in the intrigue, to explore the new worlds that Bryn visits and to enjoy the growth she experiences too.
What, for you, is the most important element of Dead Radiance?
For me it’s about Bryn’s inner strength. A strength she never acknowledged. And it’s something that each and every person has within themselves. So many of us spend years being lost, unable to find that strength and stand up for ourselves, to defend our beliefs and have the courage to go beyond our social or familial constraints.
Bryn’s journey is essentially about her strength. But the strongest thing anyone can ever do is to put their trust is someone else, to let go just a little bit, and to allow yourself to lean on someone. Strength is important, but without trust strength is just bravado.
You have two more books in the Valkyrie series coming out this year – can you give us a sneak peak into what readers may expect?
I don’t want to give too much away so all I can say is expect more travels within the realms of Norse Mythology, a few revelations, and, of course, there is betrayal. Yup, big-time betrayal. You won’t see it coming...
Tell us a little bit about your writing journey and your writing influences?
I’m a horror fan so Dean Koontz, Stephen King and Anne Rice I love fantasy too so Marion Zimmer Bradley, Tolkien and David Eddings I’ve written most of my life, I read every genre out there including science fiction and even romance. (Although I am not a fan of contemporary fiction or chicklit)
Do you have a special place where you like to write and a set writing routine?
I have a little library and I have a thing about my books. I love being surrounded by my books when I write so generally my writing takes place in my ‘library’ which is technically a small area in the corner of my lounge.
As for routine I write every day from 8.30am to 11am, then again from midday to 3.30pm. Often after the dinner rush I get back to work and usually go from 9pm to 11pm or midnight.
When I’m editing everything else is put aside, sometimes even meals and housework. I hand everything over to the family and say feed me and check for signs of life every so often :-)
You’ve been published by Evolved Publishing which describes itself as “In the simplest terms, we’re an Indie Publisher that’s part publisher, part authors’ cooperative, part self-publishing on steroids — a new hybrid.” How have you found working with an indie publisher? And what prompted you to go this route?
I love the advantage of truly professional editing. I also adore the fact that I was able to use my own cover artist, giving me full control of the creation of my cover. It’s really special knowing that what you see on the cover was exactly what I wanted- my cover artist worked with me to make my vision come true.
Working with a small press/hybrid like Evolved has opened my eyes to the complexities of publishing, and educated me no end.
The only reason I chose this route was the control really. I enjoy the fact that I have a lot of say in how my book is created and promoted. I think it’s very important for an author to have sufficient impact of the final result and indie give you that much more say in the end product.
And finally, where would you like to see yourself in five years time?
I see myself writing away – no attic though. My aim is to coninute to create more stories, to bring to life all my ideas that I have stockpiled away for when I get the time to write them. I actually can’t wait.
Do you think you’ll still be writing genre YA fiction or do you think you’d like to try something else?
I love writing YA, and I do certainly see myself continuing within the genre, although as we speak I have a psychological horror and a good-old fantasy well and truly screaming to be written so who knows what the future holds.
And, do you think you might ever consider writing something that draws on the mythologies you grew up with in South Africa and those you currently live with in New Zealand?
Definitely. African Mythology is fascinating and you hear so many stories growing up - my favourite and most hair raising tale is the Tokoloshe – so who knows, that little poltergeist might be a good story source soon enough.
As for New Zealand I am still learning the Maori mythology- but again the most famous spirit is that of the Taniwha – the whole story scares the liver out of me so possibly it might surface as more of a horror than a paranormal YA.
Here’s wishing you all the very best the Valkyrie series, Tee!
Thank you so much Nicky and I am so happy to have stopped over in my homeland during this tour :-)
You can buy Dead Radiance at Amazon.com and all other Amazon marketplaces as well as Bookdepository– both in paperback and e-book.
Reviews can be found on both Amazon and on Goodreads
You can find out more about T G Ayer on: Tee’s website Twitter- @TGAyerAuthor Facebook T.G. Ayer, Author
Julia Churchill is a dynamic, well-respected literary agent with Greenhouse Literary Agency, an international agency, started by Sarah Davies in 2008. Greenhouse represents some of my lovely SCBWI-BI pals - Jon Mayhew, Sarwat Chadda, Harriet Goodwin and Leila Rasheed – and many more besides. Julia is also involved with SCBWI-BI and gives generously of her time. Although we’ve not yet met, we’ve had several email interactions and Julia always strikes me as being friendly, professional, helpful and very knowledgeable.
Today, I’m delighted to introduce Julia Churchill to Absolute Vanilla readers.
Literary agent, Julia Churchill, of The Greenhouse Literary Agency
Julia, what first drew you to the world of agenting and how did you start?
Hello everyone.
I started at the Darley Anderson Agency, which is one of the bigger independent agencies. I was Darley Anderson’s PA, then Agency Manager, then became an agent, then later Head of Children’s Books.
When I went for my first interview there, I didn’t clearly understand the agenting business. I had a notion, but in the meeting with Darley I realised I had to get the job. It sounded like such an exciting area of the business, and I wasn’t wrong.
What prompted you to join Sarah Davies at Greenhouse Literary?
It was an irresistible opportunity. There was something very special about Sarah, Greenhouse and the company’s ethos - which is about passion for excellence, with an emphasis on working creatively with authors.
Greenhouse was founded in 2008, and Sarah had such a great first 12 months, that she was looking for a UK agent to build the UK business so she could focus on the US. That’s where I came in.
Sarah is based in Washington, and I am in London. It’s a very elegant set-up in terms of English Language representation.
What is a typical “agenting day” like for you?
Let’s go with today.
I’m sending out a debut, which is very exciting. The third revision came in on the weekend, and is ready to roll. So I did my pitch and my submission list last night and just got it out moments ago. Emails are popping up from excited publishers, saying they love the sound of it. I have a good feeling.
First thing this morning I spoke to Kevin, our contracts supremo, about a contract we’ve been negotiating for three months. I think we’re nearly there, but I need to talk to the editor today as there’s one last point that Contracts can’t resolve between themselves.
We have an agreed contract with most of the big publishers, but this deal is our first with this house so it takes a while to get it hammered out. A key part of our job is converting a publisher-friendly contract into an author-friendly contract. A contract has a long life, so it’s important it’s negotiated well and carefully.
Lots of emails to get through this morning. I just managed to secure a great quote from a really big author for a debut book of mine, so that’s something of a triumph. Need to approve some sub-rights deals and special promotions, and a couple need to be talked through with author as they are ‘new frontier’. I’m finalising plans for two speaking events I’m doing next month. I have a couple of new book ideas from an author that I’ll think through today. Also have to agree some wording on an ebook addendum. And I have a revised synopsis I need to look at (I think she’s nailed it – yay!).
Today I need to start our Bologna ‘hot list’. The book fair is only a month away, and Sarah and I will sit side by side and pitch our new projects like demons. So much fun.
We have a great website, and I’ve just uploaded four new author interviews. Also need to check on my submissions. I’m up to date as of a few days ago, but every time I check there are loads more. That’s a good thing, but it means it’s hard to relax.
Having lunch with a publisher shortly. I have several authors with her, and we need to catch up and talk through a couple of things, not least a new deal for one of them. In some ways the second deal is more satisfying than the first (and often harder!). It’s our job to get an author writing professionally, and also to keep them writing professionally. With the second and third deals, you’re in longer term territory and that’s where we aim to get with every author.
I think I’m forgetting a few things, but I’m always busy and tomorrow will be completely different, no doubt.
Oh goodness, I’ve promised to get back on a couple of author mss this week. So that will be tonight and in the evenings this week.
What is the best part of your job – and – what is the worst?
Good news – and bad news.
How would you describe your agenting style – and that of Greenhouse Literary per se - and how do you like to work with your clients?
Supportive, honest and very hardworking.
I imagine that I’m a slightly different agent to every author, according to their needs and strengths.
How do you feel being part of what is clearly a very international agency works best for your clients?
In short, it means more money, as we’re very strong in both the English Language and translation markets.
Thankfully the world is a big place, and while one market shudders or shrinks, another grows. Some of our authors make more money in Germany or Brazil than they do in the UK or US.
Sarah and I share information constantly, so when I send out one of my UK debuts, I will have a sense of its value in the US and translation markets. Of course a book doesn’t have a real financial value until a publisher has placed an offer on it. Taking on an author is an act of faith. I might have been working on a book for a year, and think it’s HUGE, but until I get a publisher endorsing that, it’s still just an opinion. But having an impression of the international value from my colleagues means I can be clear-minded about a UK deal. For example, if I’m offered a lot of money for world rights, I can take an informed view about whether or not to accept that.
I focus on my home market, which is the UK, but I have an eye on the foreign markets too.
How to you set about sending out your clients’ work to a publisher – do you “match-make” or do submit widely?
I widely submit, on the whole. Of course, I sometimes have my favourites for each project, but often you can be surprised by who feels the passion, and who needs the book the most.
Many have said that given changes in the industry (the rise of e-publishing, the force of the likes of Amazon on publishing, development of new publishing business models, recessionary woes) the role of the agent must necessarily change. What is your view on this? And how do you see agenting going into the future?
It’s more crucial than ever, no doubt in my mind. Traditional publishing meant one type of landscape, and one type of contract. The world has got more complex and challenging. There are lots of ways to publish, and lots of ways to make money (or not…). Now more than ever you want an agent - and a team - who understand (and are able to adapt to) this developing business.
What, for you, is the key to a good story, and can you give some examples of books that really stand out for you?
A MONSTER CALLS by Patrick Ness. I was very moved by that.
AFTER THE SNOW by SD Crockett, one of my authors. Mesmerising. I sent that book out to publishers the day I read it – the first time that’s ever happened to me. It was that perfect. And the publishers agreed.
Almost everything by Roald Dahl, for its originality and boldness.
GOODNIGHT MR TOM by Michelle Magorian. Classic, quality storytelling with a big heart.
The MR GUM books by Andy Stanton. Hilarious and pitch perfect. I also really like the David Walliams books. There’s something quite gentle and sweet about them, as well as irreverent.
THE DARK IS RISING by Susan Cooper is a masterpiece. It’s so big and sweeping and strange and yet so controlled and focused and human. She makes epic look easy.
What do I look for in a submission? A book should have quality in its concept, voice, character, plotting, theme and setting. Of course, debut books seldom come in to us ready to be sold, but in a standout submission you will see potential in all of these elements.
Just a small selection of some of The Greenhouse's titles
Voice is inevitably hailed as the key ingredient in a strong story, how would you suggest a writer learns to discover and hone “voice”? Which authors stand out for you as having really strong voices?
I expect everyone develops their voice in different ways, but hard work and being true to oneself must always be part of that process. This is not an easy business. And the only thing you surely have is that you are yourself, and different from everyone else.
What do you think is the biggest mistake writers make in submitting material to agents or publishers?
Rushing.
Don’t send a first draft. Often a first time writer, or even an established writer, might not have a clear idea of what their book is, or what it’s trying to say, at that early stage. If you’ve finished your book, taken a break from it, looked at the whole and improved it as whole, those first pages, first chapters are going to be stronger. You will know clearly what your book is and where it needs to go – and you're going to get there more effectively.
A first draft is often a mess. Revision is about focusing and refining and that should happen before you let anyone read the whole, even a beta-reader in your writing group.
The publishing industry is continually on the look for the “next big thing” – what is your view about trends and do you look for stories which follow trends or do you look for stories that grab you?
I look for ‘forever’ books and tend not to follow trends too closely. I’m more concerned with a bigger picture. For example, at the moment there’s plenty of great YA but not enough great 9-12 debuts. And there are a lot of dark books, and not that many perky, life-affirming, heart-warming books.
There is plenty of opportunity in not following trends.
You’ve said in the past that talent doesn’t come along all that often, so do you feel the market is set to be dominated by a few big name authors, or do you feel that there is always room for debut authors?
The market will always be dominated by a few, but the bestsellers of tomorrow are today’s debut authors.
It’s also possible for an author to make a good living even if they’re not a big brand name. Mid-list isn’t a dirty word.
What is your sense of what publishers are looking for right now?
What they’ve always looked for, books to love. Something different, something exciting, something moving. Books that are conceptually strong with a great voice. Surprises, I suppose. And masterful storytelling.
What sort of story would grab you right now? Is there anything you’re specifically looking for?
Anything that’s wonderful! Even if it’s a hard sell, if I love it, I’ll do everything I can for it.
Are you currently open to submissions and if so, what is your preferred means of contact?
We certainly are. Take a look at our submissions page on our website.
Many thanks to Julia Churchill for this interview.
I am going to be completely contrary today. I will no doubt piss off a lot of people – if you find you’re one of them, I apologise, but it needs to be said.
The first manuscript I wrote was YA fiction. The next three were a midgrade fantasy trilogy - which I have yet to complete because I was immediately distracted by yet another idea for YA fiction.
I love YA fiction. I love it because when I was a young adult there was none of it about and I always wished there was. I love it because the voices are so strong and so true. I love it because it deals with real issues, in multiple forms and genres, and because it is vivid and powerful, and more often than not, it is amongst some of the most well written fiction around. (More and more adults are reading YA fiction because of its quality.)
I’m currently working on two YA manuscripts. I read loads of YA fiction. I lead a YA critique group. My whole life, for the last several years, has been about YA fiction.
But here’s the thing. For the past little while I’ve noticed I’m reading less and less YA fiction. Instead I find I’m grubbing around on my shelves for midgrade fantasy. And it suddenly struck me last night that I am rapidly coming to loathe YA fiction.
When I sat down and thought about this startling development, I realized it is because so much of the YA fiction I read these days is gritty, it's edgy, it’s dark – and even if a story ends hopefully and even if it is beautifully written (and most are) there is just so much STUFF going on in the novels that they are enough to make me want to claw my eyes out!
It’s true; I am sick to death of YA fiction I’ve been reading. I’m sick and tired of the angst. I don’t want dark, traumatic and sombre stuff. I loathe and detest the dystopia. The world is a shitty enough place as it is, there’s enough angst and trauma out there. I don’t want to drag it into my leisure time. I want to read stories that are hopeful, happy, and maybe, God forbid, even just a little bit funny.
That’s not deny that young adults don’t go through a lot of stuff, it’s not to deny that the world is not, on far too many occasions, a desperate place. But where does it leave us, I wonder, if we only focus on the trauma, the angst, the trouble, the deeply complex and often destructive emotions and all the things that can go so badly wrong. As much as we need to reflect the darker side of life, it is equally, if not more imperative to focus on the happy things, the fun things, all the exhiliarating, wonderful things that being a young adult is also about. We need to find a balance. We need to find the balance in how individual books are written (grit needs to be balanced with lighter moments), and we need to find balance in what is published.
And it is not to say that lighter books are not out there, they are, or, they certainly were until the edgy, dystopian, dark fiction shoved them into the shadows.
So there, I’ve said it. Enough with the dark and the gritty and the troubled, I’m off to find me some love, some light, some laughter.
Any recommendations for recently published, light, hopeful, happy YA fiction will be greatly appreciated.
I was fortunate enough to meet literary agent, Erzsi Deàk at last year’s South African SCBWI conference. The first thing that struck me was Erzsi’s humour, the second was her enthusiasm and willingness to give of her time, the third was her knowledge of the industry, and the fourth was her no nonsense approach.
Erzsi Deàk at last year's SCBWI South Africa conference
Having started out as a journalist, Erzsi has been part of the SCBWI scene for many years, starting the French chapter in 1995 and going on to run the international arm of SCBWI for nearly ten years. She founded and organized the SCBWI Bologna Conference and currently edits the SCBWI Bulletin international page, “Here, There & Everywhere”. She is a published author, and writes regularly for the Children’s Writers & Illustrators’ Market. In 2009 she began working with the La Martinière Groupe in France and acquired approximately 40 titles for two of their imprints. She started her own literary ageny, Hen & Ink in early 2010 and represents authors from all over the world. She appears to spend an inordinate amount of time on planes.
I’m delighted Erzsi (pronounced "aire-zshee") has agreed to be interviewed on Absolute Vanilla .
Okay, first off, I have to ask, how did the chickens get involved?
First off, I think they are funny, awkwardly beautiful creatures that just have to know that even as they preen, the world is giggling. Add to this, years ago, when about to hatch Daughter Number 2 I was repulsed by chicken on my plate. And everyone was serving it wherever I went. Then, I wrote a graphic novel script entitled CHICK HEN and fell in love with these gawky beauties and found myself writing CHICKENS IN TIGHTS, CHICKS IN THE CITY and COCK-A-DOODLE-DON’T! Chickens are elegantly hilarious and they wanted a voice! Finally, fluffing my own tail feathers, it was the obvious jeux de mot for the name of the agency.
Let’s talk about your involvement with SCBWI – what made you join the organization - and become so involved - and what do you believe the SCBWI gives its members?
I joined the SCBWI one lonely November about six months after Daughter Number Three was born (clearly my daughters have been turning points!). It was 1995 and Paris was under siege – bombings and transport strike (5 weeks). I’d been eying the SCBWI for about two-to-three years but had never been a good joiner. But when I read Rebecca Gold’s piece about her SCBWI launch in Argentina, an idea bubbled to the surface. I wrote and asked about starting a chapter. And retired from bossing everyone around in France in 2001 and as international godmother in 2008. Thirteen years was a lucky number!
You started out as a writer, and you’re a published author, so why the switch to a literary agent?
I’m still a writer, I just also happen to be an agent now. And some would say, finally an agent. I’ve been talking about it for at least 15 years! It was when I was scouting for a French publisher that I fell upon the amazing Siobhan Curham and her terrific self-published book, DEAR DYLAN, that had just surprised everyone by winning the Young Minds Award in Britain. When she didn’t have an agent, I pitched her my long-kept secret and we took off out of the barnyard together, selling her book + her next novel in a two-book deal over the Christmas and New Year’s holidays to Egmont UK.
How have you found the life of a literary agent? Has your life changed more than you expected?
Nope. I love it. I read all the time and wield a fairly opinionated editorial pencil. It’s what I’ve always done, now I can just put a name on it.
How would you describe your agenting style, and how do you like to work with your clients?
If you mean editorial v. non-editorial, see above. :-) I’m demanding and often require a number of revisions. But I’m thrilled when the CLICK happens and/or I receive something that is ready to go out the door with little editorial work. Communication is key and I try to keep in touch with each client as often as necessary. We’ve built a friendly and supportive coop at Hen&ink and I’m thrilled with my chicks and love working with them and seeing their projects … hatch (sorry).
Hen & Ink works with several partners, how do you feel this improves your business offering?
Since we are young, I like the idea of offering a loose consortium of partners to my clients (and anyone who visits the website). Eventually, I hope that we can all work together closely on joint projects. Recently, Hen&ink client Sarah Towle was lucky enough to work with our partner Raab Associates and the results for her app, BEWARE MADAME LA GUILLOTINE, have been phenomenal.
Many have said that given changes in the industry (the rise of e-publishing, the force of the likes of Amazon on publishing, development of new publishing business models, recessionary woes) the role of the agent must necessarily change. What is your view on this? And how do you see agenting going into the future?
My goal is to offer transmedia possibilities to my clients (the growing partnerships play into this as well). We are not looking to work as an e-publisher, or otherwise, at this time. We are working with those who know their fields inside and out and are, ideally, on the cutting edge of developing technologies. The point is to be relevant for each client.
What, for you, is the key to a good story, and can you give some examples of books that really stand out for you?
A beginning, middle and a satisfying end. A hook that won’t let you go and that you never forget, even after you’ve closed the book. Characters you love or feel for. A YEAR DOWN YONDER by Richard Peck and LEGEND by Marie Lu stick in my head as terrific stories. There are tons of books I love. HOLES by Louis Sachar. THE PENDERWICKS by Jeanne Birdsall. THE PRINCESS BRIDE by William Goldman. MISSING MAY by Cynthia Rylant. WALK TWO MOONS by Sharon Creech. AN ABUNDANCE OF KATHERINES by John Green. WHEN YOU REACH ME by Rebecca Stead. Lloyd Alexander’s THE PRYDAIN CHRONICLES. To name a few middle-grade and YA titles.
Voice is inevitably hailed as the key ingredient in a strong story, how would you suggest a writer learns to discover and hone “voice”? Which authors stand out for you as having really strong voices?
Well, everybody in the above list, for sure. As far as how I suggest a writer learns to discover and hone voice? Let down the self-editing defenses. Embrace revision. Really, let yourself go and your characters speak. It’s great when you have a VOICE to start with, but if you start with a plot and then fall into a story and then the voice is trailing behind, at some point, one has to pick up the battered voice, dust it off and give it a holier-than-thou position. Voice is everything. It’s what makes your work different from the next writer and it’s what makes readers keep coming back to that book. To you. With my clients, we generally beat the story till the voice sings.
You represent authors from all over the world, yet you have said that “foreign” stories tend to be too specific to a country. What then do you look for when you receive a submission from foreign authors and what is your view on multicultural stories?
A twofold question! First, some stories don’t have to be specific to a country and others do. Simple as that. Some stories specific to another country will travel, say, to the US, but others won’t. It’s all subjective, of course, but that said, if there is not universal theme within the story, it’s unlikely to travel. I’m all about the details in a story as well, so I wouldn’t want a story about diamond hunters in Africa transplanted to Wisconsin to stay local. But I would want there to be an emotional thread within that could reach across cultures, countries and other divides and touch readers anywhere.
Multicultural stories. Same answer, really. As long as there is an emotional thread that speaks universally, good. I’m not interested in any didactic or victim stories, but am happy to see a well-rounded manuscript about a character from another culture or background that speaks universally.
It is always said that getting published is tough, and it seems that it is getting still tougher. Many now say that it is imperative for writers to use the services of a manuscript assessment agency in order to get an agent or a publisher. What is your view on this?
Just write your best work and then revise it again and again til it shines and then put it away for a month or two and then take it out and polish it again til you can’t look at it’s so bright. Then let it rest. Read it. See if it still sings. If it does, send it to a few targeted agents or publishers. If it helps to use an editorial service, do. If it helps to attend a workshop that kicks you in the backside to write the story that’s been screaming to be written by you, then take that workshop. The main thing is to get the words out. And then embrace the revision process.
The publishing industry is continually on the look for the “next big thing” – what is your view about trends and do you look for stories which follow trends or do you look for stories that grab you?
I always look for stories that grab me! It has to be love, love, love. And if that is the “next Big Thing,” well, cool!
Do you feel the market is dominated by a few big name authors, or do you feel that there is always room for debut authors?
Debut authors are taking over! Everyone is just born and just published. Of course, there are still established authors, but much of the material I see on the scouting side of Hen&ink is blasting the news that this is a DEBUT author! And s/he is only 12 (can you believe it!?). S/he wrote it while everyone else was ice-skating. Etc. There’s always room for great work. And if you have a story attached to you, you are even more of a marketing tool, so that doesn’t hurt you, for sure! But if you aren’t a 22 year-old newlywed with a mega-deal for a sci-fi paranormal romance trilogy that will knock the socks off of everyone, just write your best book and send it out. For me, the work speaks more than the backstory. Though a good backstory is great to work with should the work prove worthy!
What is your sense of what publishers are looking for right now?
Original work. Stories well told. It doesn’t hurt to have a platform so they can find you, but many are really just looking for a good story.
What sort of story would grab you right now? Is there anything you’re specifically looking for?
Something original, well-written and obviously worked and crafted so that we don’t notice it’s been worked and crafted (that make it look “easy”!). Something that touches me, making me laugh and cry, possibly, making me cry from laughing (if it’s too dark without any light, it’s not for me). I’m not big on horror, nor am I interested in unnecessary or gratuitous violence. Can’t stand didactic or message-driven texts. Want the story to be the story to be the story that I come back to again and again – whether awake or in my dreams. Looking for FILMIC work – ie, visual and detailed with writing that sounds like a nightingale. Okay, I’ll stop there. No, wait, I want to smile and nod YES! when I read a manuscript.
Are you currently open to submissions and if so, what is your preferred means of contact?
We are going to be instituting the Open Coop Day, ideally starting in February. Please watch the Henandink website and the Hen&ink Literary Facebook page for announcements. This will be a policy one day a month accepting queries and submissions. We believe it’s important to stay accessible. But we are limited in time and our eyes are still crossing with the number of submissions waiting to hear back. And, we hate the leave-them-hanging policy. We want to get back to everyone. But we are human and if you haven’t heard, write us at submissions@henandink.com. For submission guidelines, please visit the website.
Many thanks to Erzsi Deak for this interview.
To find out more about Hen & Ink please go to: henandink.com
To read Henandinkblots, the Hen&ink Literary blog, visit henandinkblots.wordpress.com/ (guest bloggers welcome; send your pitch to info@henandink.com)
