The Biggest Contest That Has Ever Been Known to Humankind

SO.

If you recall, yesterday I had some pretty huge news.

To celebrate, I am having a hideously amazing contest. The prizes, which will be revealed MOMENTARILY, are, I think you would agree, completely over-the-top in number and shipping charge. Which is why, in order to win, you have to do something fairly intense and VITAL TO THE SURVIVAL OF HUMANKIND.

You have to design a new cover for Invincible Summer.



As many of you know, there has been considerable drama over the Invincible Summer cover! While I think it's a beautiful cover, the opinion has been raised that it doesn't fit what the book is about. So let's make a game out of it!

Design a new cover. Use stock photos, use MS paint, take photos, scan a drawing, use all text, however you want to do this. Please do not use copyrighted images or otherwise do anything to hurt someone in any way (no real blood, etc). Make a cover that you believe represents what the book is really about.

This is obviously going to be an easier task if you've read IS, but if you haven't, PLEASE don't let that keep you from entering! I recommend reading a bunch of goodreads reviews, here, both positive and negative, and checking out the Invincible Summer tag (at the end of this post) for excerpts from the book and my own commentary on said excerpts. You can find a LOT in the soundtrack posts especially about what I think the important parts of the book are. And you can always ask around! You can always ask me! I'd be happy to answer questions.

Since this is a fairly intense thing I'm asking you to do, I am giving you ONE MONTH FROM TODAY. That means that, on August 13th, I will post a to-be-determined number of my favorites on the blog and we will vote on the winner!

Here's the big thing. I am really terrified that no one will enter. So in order to entice you...the prize.

THE WINNER WILL RECEIVE:

--a signed copy of my first book, BREAK.
--a signed copy of my second book, INVINCIBLE SUMMER.
--a signed arc of my first MG book, ZOMBIE TAG.
--a signed arc of my third YA book, GONE, GONE, GONE.
--their cover, printed up on pretty photo paper, signed by me (if you want me to? It's your art, you might not be into that. Let me know.)
--however many bookmarks I have lying around (three?) signed by me.

AND. MOST IMPORTANTLY:

--the first chapter of my just-sold novel, FISHBOY, printed out and signed. This is pre-edits! Who knows if this chapter will even EXIST in the final draft?? This is a first look that ONLY YOU WILL RECEIVE.

In the words of my hero, worth playing for?

This contest IS OPEN INTERNATIONALLY, but if you are not in the U.S. and Canada, the prize is a little less exciting: You will get Invincible Summer and Break via Book Depo and preorders of Zombie Tag and Gone, Gone, Gone. But still good, right? Three books? Eh?

You have until AUGUST 13TH to submit your covers. Please EMAIL THEM TO ME: until.hannah@gmail.com. And please please spread the word.

Have fun.

THE THIRD SCAVENGER HUNT

Well done, guys! Yesterday's scavenger hunt had 21 people answering correctly! The answers were:

1. EEF

2. Elise (French middle name in the middle of my mega-Jewish name ftw?)

3. False

4. It's just a jump to the left and then a step to the right, put your hands on your hips and brings your knees in tight, but it's the pelvic thrust that really drives you insane. Repeat!

And the randomly selected winner is...

Karen Yuan!!! Congratulations, Karen! Please get in touch with me with your info sometime in the next 24 hours. But I'll attempt to track you down if I don't hear from you, don't worry.

Time for the 3rd of our 4 scavenger hunts, since Invincible Summer is out TOMORROW!! Oh wow.

The same rules as the days before:

You will have 24 hours, starting from the minute this post goes up, to answer a series of questions. You will post your answers in the comments section of this post. Some of these questions have multiple (perhaps nearly infinite) correct answers, and some do not. You must answer all correctly to have a chance to be the randomly selected winner. There will be one winner each day, and I will announce that winner in the post opening the next round of the contest. If you do not win, you are absolutely free to enter the next few rounds! If you do win, you have 24 hours to email me your mailing information before I pass off to a different winner. And please do not enter again.

To find the answers of the questions, I suggest you try some of the following strategies:

a) look deep inside yourself

b) Google it

c) copy the answers of someone who posted before you

d) ask a muser. Just saying. These guys tend to know things. They're also busy people, so you might be lucky and you might not.

(Some names to try: @gracetopia, @Sagecollins, @sayitwhirly, @althrasher, @_bethanygriffin, @briannaorg, @suzanneyoung, @brittanimae, @libbymartin, @raemariz)

e) ask me. I may take pity on you, especially if you ask me in a funny way.

f) otherwise bribe/cheat/steal. This is a lawless society.

There will be none of that +1 for following or retweeting nonsense, but I would be ever so much obliged if you would consider adding the little book in question to your goodreads shelf, because I am a goodreads whore and sometimes you need little things to make you happy.

--

Today's rules!

THE PRIZE IS:

One copy of INVINCIBLE SUMMER and one CD of INVINCIBLE SUMMER'S PLAYLIST, as well as one signed bookmark.

THE RESTRICTIONS ARE:

WE'RE INTERNATIONAL TODAY!! Enter from anywhere in the whole world. Even Antarctica!

One entry per customer. No exceptions. Don't make me come down there.

Contest ends at 4:30 PM, April 19th, 2011.

And our questions are (today we have a theme!) :

1) Hannah Moskowitz has one sibling. What is his or her name? (hint: are you and I facebook friends? That will help.)

2) What is Hannah Moskowitz's Absolute Write username?

3) That username is a reference to a song. What is the name of that song?

4) Here's the tricky one: A major character in BREAK and a major character in Zombie Tag have the same name, though they are spelled slightly differently. What is this name?



Good luck!

We Need You

(Aaaaaaaand we're back. Hey.)

This is a post I've had in my head to write for a long time. It comes from a few questions I've heard asked, to me and to others, ever since I've been involved in the YA community, and moreso after BREAK sold.

1) Why aren't you using a penname? (related: You'd sell better if you didn't have a girl's name on your cover. also related, but not a question, and even more infuriating: your name is too Jewish to be on a book cover!)

2) Why are there so many books about white people?

3) Why are there so many Mormon YA writers? (related, also not a question: Stephanie Meyer waaaah waaaaah)

And, the big question, the one that, in its way, sums up all of the above and so, so much more:

4) Why aren't there more characters like me?

It sounds like a selfish question, I guess.

But...why aren't there?

The truth is, this post was hard to write because it is also a post about halfie-guilt. I'm a half-Jewish and half non-practicing Christian. Since religion wasn't important on my Christian half, I was raised largely, if mildly, Jewish, celebrating those holidays along with a nonreligious Christmas (and sometimes some candy on Easter).

I know the Hanukkah and the Passover blessings and all of that, but I don't speak Hebrew and I didn't have a Bat Mitzvah. But when I tried to get involved in Jewish life in college, neither of these things was a problem for me. The thing that was?

That big clunky Jewish last name means that the half of me that is Jewish is not my mother's half. And that is, according to (all but Reform) Jewish law, the half that matters.

I have not reconciled this yet. It's still something that I think about a lot and struggle with. I've heard a lot of people say that whenever they see half-anything characters in books, that their issues with their halfiness are way overwrought.

I need more half-whatevers. So I wrote a book about them. I'm working (and by working, I mean, desperately trying to avoid working) on an MG right now that features a half-Italian, half-Japanese main character who has issues with both communities since he looks more Japanese but speaks Italian. And he's dragging around the clunky last name, too, his Japanese, that doesn't make the other side of his family too happy.

He's not spending the whole book freaking out about it or anything, but it's there and it's an issue and it's important.

Wil, my main character in Zombie Tag, is Jewish. You would only know by his last name and by the fact that he mentions his Bar Mitzvah and his synagogue, in passing. Lio in Gone, Gone, Gone, is Jewish, and I can't remember when it comes up, if ever. I can't even remember his last name. I think he might not have one.

The point is, I throw Jewish characters in without consideration, and without there being a reason for them. It's important to me that there be Jewish characters, the same way it's important to me that I have gay characters and black characters represented in my books as well.

But I'm not fully Jewish, and I'm not gay, and I'm not black, so why were these things easier for me to write about than a true halfie?

Why aren't we writing characters like us?

Regardless of reasons, there are a lot of YA Mormon writers. So...why aren't we seeing more Mormon MCs?

Why are all of our main characters so pretty?

Why are we still writing books that take place in predominately white, predominately straight worlds, without ever noticing that that isn't the way most of the world works anymore? A gentrified neighborhood should stick out. It should warrant at least a passing reference in the book. It shouldn't be the assumption.

Why are so many books with black characters and gay characters still ABOUT being black and being gay, when we have wonderful writers who fit one or both of those descriptions who are living lives that are not defined by either of those?

I'm not saying we don't need books about struggling with identity. I wrote one about a halfie who is, after all, because that was a book I needed.

I'm just wondering why there aren't more characters like you.

Things Not To Worry About

There's a lot of stress in this life. There are a lot of reasons to freak out. There are a few things that, pretty much without exception, suck. Full rejections suck. Bad sales suck. Bad dialogue sucks. There are things you can fix and there are things you just need to let push past and let go.

There are also things that you should not be worried about.

--People leaving publishing. I know that with Nathan Bransford's recent announcement, some of you are probably left feeling a little stunned. I am too! And remember how surprised we were when Colleen Lindsay told us she was going to stop agenting? And my second, incredible agent, Brendan Deneen, left to pursue a job as an editor (and is doing a fantastic job!) after we were together for just six months. (But glorious months they were, Brendan.)

It's jarring. It makes you afraid that someone's going to leave you in the middle of the process. It makes you wonder if publishing is going to shit.

Here's why you shouldn't worry. New agents are appearing all the damn time. My amazing agent, Suzie Townsend, has been in the game for just a little over a year, and she's made amazing sales since then (and seriously, if you don't know her name by now, you've got your fingers shoved in your ears). And she's not the only amazing agent we've gained this year. How about Mandy Hubbard or Taylor Martindale or Weronika Janczuk?

And there are still tons and tons of agents who have been at this for years and are showing no signs of stopping. And so what if they do? Just like there will always be new writers, there will always be new agents. Don't worry. Publishing might be changing, but it isn't going anywhere.

On that note...

--Paper books are dead, self-publishing is taking over, and it's the apocalypse. It's very easy to get sucked in to all the talk about how publishing is an outdated, dying model, and that if you have children in the next five years, they're never going to know what a book is. And they probably won't know how to write in cursive. Or how to read. Also books will be animated, Amazon will rule the world, and gay immigrants will start making out in our public schools.

Here's why you shouldn't worry. With the exception of that last one (which I am entrusting all you magic gay fish to ENSURE HAPPENS), none of this has to be your concern. Let someone else worry about all this shit. Shut up and write a book. They're not going anywhere.

--Celebrity books. They sell for huge advances. They're written by ghostwriters. They're not very good. They're cliche and pandering to an illiterate audience, so and so forth.

Here's why you shouldn't worry. Celebrity books sell for huge advances because they make huge amounts of money. Tuck away the jealousy and realize what this does for a publisher.

The more money they can make on sure things, the greater their ability to take a risk on new, unknown writers. In all likelihood, this means you!

Be proud of your publisher/a publisher you like when they buy a celebrity book. They're being fiscally responsible! It doesn't mean that the people there don't recognize good books. Trust me. They do. And if you don't like the celeb book, don't read.

--Twilight. It makes a lot of money, its merchandise fills the YA section, there are a million knock-offs of it, Edward is a pedophile, glitter sticks to your clothes.

Here's why you shouldn't worry. God, guys, this shit is old. No one cares anymore. We're the only ones talking about it. Move on.

--You get a small advance. So you're hearing about all these six figure advances, and even though you're freaking ECSTATIC that your book sold, you can't help but be a little disappointed by your three figure (for a small publisher), four figure or low five figure advance. You can't quit any day job for this kind of money.

You didn't have any delusions about writing making you rich, but you had a little inkling of a dream that maybe it would. And that's understandable.

Here's why you shouldn't worry. For a first book, a small advance can be a blessing. They're easier to earn out, and earning out gets you major props with your publisher, and they'll be more willing to take risks with you in the future. All that stuff about how hard it is to get off the midlist is scary, I won't lie to you, but it isn't a death sentence. You can always try out different age groups and genres, or you can win a bitchin' award, or you can chug away happily with your small advances and keep producing and producing and building a fan base. Your life is not over.

Hello, I'm Hannah Moskowitz, and I am midlist. And my life fucking rocks. So don't worry about it.

--Bad reviews. Son of a fucking bitch, it's not even that it's bad, it's that it's like they didn't even read the goddamn book. They spelled your characters' names wrong. They mixed up major plot points. They said they didn't get your main character's motivations, when nobody else had that problem. What the hell?

Or maybe it's a professional review, and they checked all their spellings and their plot points twice, but the guy who wrote the review must have been on his period or something, because he ignored all the best parts of the book and only focused on its faults.

Or maybe your book isn't out, or your book hasn't sold, but the idea of a bad review has you quaking in your shiny sexy writer boots.

Here's why you shouldn't worry. Yeah, they sting a little. But every book gets them, and everyone knows that. Go look up your favorite book on goodreads. There are people who hated it.

Then go look up books you hated, read the bad reviews, and laugh quietly to yourself. It happens. Learn to shrug it off and laugh at yourself. Don't respond, don't let it affect your writing, and, if you can--learn from them.

After a lot of reviewers commented on Break's weak ending, I started putting a lot more consideration into how I end my books. I hope it shows. And if it doesn't, well, fuck it. I can laugh it off. And then I can creepily go stalk books you liked more than mine and read all their bad reviews. It's a cycle!

English Class with Ms. Moskowitz--Part 1: Theme

Hello, I am Ms. Moskowitz, and I will be your teacher today.

I'm fresh out of a long day of classes and ready to toss some words at you. Topics we will cover: theme, motif, and allusion. We're starting with theme.

Before I start, we have, as usual, a few caveats:

1. I am a sophomore in college. Just...yeah. I wouldn't be blogging this if I didn't know it, but it's something to keep in mind.

2. I'm sure people will have different definitions for some of these. They're words and everyone approaches them differently. These are my interpretations and my explanations, and God knows I have a weird way of explaining stuff.

3. The most important point: no one is making you think about these things. You don't need to think about theme or motif or allusion or anything else to write a good book. You don't even need to know what they are. There's a good chance that, even if you don't know these terms, this is stuff you've already been doing.

But knowledge is power. And whether or not you choose to use these things, I really do believe that you should be aware of them. It's good to have options, and if thinking about any of these things helps any of you (they help me) then I've done my job.

Let's begin! Class in session.

--THEME

This comes first and foremost, because, in my experience, it comes first and foremost. Well, almost. Theme is the second thing I think of when I'm formulating an idea. I start with characters, proceed to theme, and then put together a plot. That's all I need to start writing.

To put it in the most naked of terms: Theme is the message of the book.

Most books have several themes. Let's talk about uhhhh I don't know. Romeo and Juliet. Here are some things you could legitimately say are themes in Romeo and Juliet.

--True love transcends societal segregation.
--Teenagers will choose their boyfriends over their families.
--True love leads to death.
--Teenagers are incapable of lasting relationships.
--Love leads to death.
--Teenage boys are full of hormones and fickle affections.

and there are a million other themes you could find in Romeo and Juliet. The truth is, if someone tells you that something is the theme of a work, it's very hard to prove them wrong. I could say the theme of Romeo and Juliet is "cats are better than dogs," and even though that's true, it's probably not one of the themes of Romeo and Juliet. Can you prove it?

And that's a very important thing about themes--they are very subjective. Because a theme is always, always, ALWAYS a full sentence.

For a theme to be a theme, it needs to be an opinion. It needs a verb. It needs to be something that you can find and identify and argue.

So "cat" could not be a theme. Cats are either in the books or they're not. No amount of arguing is going to change that. But I can argue that Romeo and Juliet has the theme "cats are better than dogs" until the cows get home, because theme is way more abstract than a simple world or two.

Let's talk about how this fits into your own writing. Your theme is the feeling that you want people to take away from the book. It's the question or the opinion or the decision that you want them to be rolling around in their brains when they close your book.

Don't worry if your theme sounds trite as hell. "Self-destruction doesn't work as a solution," is a theme in BREAK. Like, wow, hannah. Way to say something really fucking original, there. Here's your Pulitzer.

No. Themes are totally allowed to be simple, because it's still all about execution. If I were beating the reader over the head with my message (let's say for the sake of this argument that I did not do this) then it would be a different story, but if you have to suss out my theme from my 44,000 words, then I'm doing an okay job.

Theme's job is to answer the question so what? You have a nice story and some cool characters, but why do I care? What footprint are you leaving? That's your theme.

And please don't ignore that thing I hinted at two paragraphs up--you do NOT need to spell out your theme. At least 90% of the time, you shouldn't. At least 90% of the people who think they fall into the remaining 10% do not. Take out the part where you state your theme out loud, please. If your writing is strong enough, you don't need to say what your theme is.

Having a theme is NOT the same as having a moral. You don't have to be trying to teach you reader something, but your book should, in a sense, argue something. There's a reason you're writing this book. Sharing that makes the reader care too. But you've got to resist the urge to beat the reader over the head with it. Trust your reader!

Theme is your backbone, but you wouldn't go around smacking people in the face with your backbone. Keep that shit to yourself.

So class is over for today. I'll be back later with motif and allusion. They're simpler. But theme is first.

Now I have e.e. cummings stuck in my head--since feeling is first/who pays any attention/ to the syntax of things--appropriate, I think.

Anyway. I realize I'm spouting a lot of esoteric crap, here, so hit me with your questions/comments, please.

MG vs. YA

I've written YA for a long time, and I've only seriously been writing MG for about six months. In a lot of ways, I'm still learning the ropes.

But MGs are my favorites to read. They have been ever since I was very, very young. Even while I was still reading picture books or early chapter books on my own, my mom was reading my sister and me MG books before we went to sleep. I know a lot of voracious readers who grew up reading the classics. They read Huck Finn and Jane Eyre when they were five. I didn't do that. (Hell, I still haven't read Huck Finn). I grew up with middle grade books.

By the time I was eleven, I'd switched mainly to YA, and that's still the bulk of what I read. And don't get me wrong. I love YA. Some of my favorite books are YA. But a lot of my very, very favorites are MG, which is why writing it has been this pretty amazing experience.

People have asked me lately what the differences are between writing YA and writing MG. Some of them are easy. But before I start...

I'M INVOKING THE EXCEPTION RULE: YES. THERE ARE EXCEPTIONS. FROM HERE ON OUT, EXPECT EXCEPTIONS. COOL? COOL.

--In MG, your main character's probably going to be 8-14 years old. In YA, you're looking at 15-18.

--Sex, drugs, cursing, those things that some people still think you can't do in YA? Well, you can't do them in MG.

--MG is probably shorter. This is way more relevant in contemporary (as is probably everything I'm going to say) than in fantasy. And if you're like me, they'll probably end up being about the same size anyway, because all my books are fairly short. BREAK (YA) is 43,000 words, INVINCIBLE SUMMER (YA) is 53,000, ZOMBIE TAG (MG) is 44,000. Not a huge amount of variation there.

There are other differences I've noticed that are harder to define, but that I think are really noteworthy and interesting.

--THEMES.

MG books tend to be very focused on the main character's place in his community, whatever that may be. The MG protag wants to fit in. That doesn't have to be as literal as "I want the popular kids to like me!" though it certainly can be. You'll see a lot of "I want to be the son my father wants me to be," "I want to make the baseball team," "I want everyone to stop treating me like I'm a freak because I have cerebral palsy," or "I want my community to trust me despite this mistake I made a while ago." From there, conflict happens and things can get very confusing (though they can also stay focused on that initial motivation) but when the book starts out, very often the main character's primary goal is to find his place and slip into it.

I know it isn't a book (and I haven't even read the books. I suck) but I use the movie How To Train Your Dragon all the time when people ask me what a MG book is, because it's such a perfect example in my head. At the beginning of the movie, all Hiccup wants is to be a big strong dragon hunter like the other men in the village.

The themes in YA, on the other hand, tend to be focused on the individual alone or on her relationship with a very select group of people. "I want to get over my father's death." "I want to get into a healthy relationship. "I want to stop doing drugs." "I want to start doing drugs." "I want to get into a good college." "I want everyone to leave me alone."

Unlike MGs, which typically start wide (Hiccup's whole village) and later narrow somewhat (Hiccup's friendship with Toothless--though please keep in mind that the wider issue does not get left behind), a YA sometimes starts wide but almost always ends up very narrowly focused.

I can't use a book example for YA when I'm not using one for MG, so let's use My So-Called Life. Angela Chase wants a new life. She has all these people and they're all new and exciting. That's the first episode. By the middle of the first season, her conflicts aren't with the whole world around her anymore. They're with whether she's going to let Jordan Catalano keep copying her homework. The other people are still there, and she can still interact with them, but the individual bits of conflict tend to be on a very very tight basis. And the main conflict is definitely not how the whole school thinks of Angela, as it is for Hiccup and his village.

And before I go on--you guys know that "fitting in" or "getting a boyfriend" or "romance" or "killing dragons"...you guys know those things aren't themes, right? I saw a writer misuse the word "theme" the other day, and it broke my heart. Those are "thematic elements"--stuff the themes are concerned with--but they aren't the themes themselves. "Fitting in is impossible without altering who you are," or "Getting a boyfriend requires more persistence than most people are willing to put in," those are themes. Really depressing ones, but themes nonetheless.

Let me know if I should do a post on stuff like themes and motifs and the differences between them. I'm an English major. I can bring it if you want it.

Anyway.

--SCOPE.

The easiest way to define this is--in MG, you get to save the world. In YA, you don't.

And this is related to the last point. A typical plot arc in MG starts with the kind of conflict mentioned above and turns into something like...

MAIN CHARACTER wants X. Through doing X, he learns that he has to save the world from CONSEQUENCES OF X.

By trying to accomplish his initial goal, the protagonist might learn something or do something or figure out something that will cause him to have to save the universe, or whatever his version of the universe might be (His town, his school, his family, an actual universe).

How to Train Your Dragon:

HICCUP wants TO KILL A DRAGON. Through TRYING TO KILL A DRAGON, he learns that he has to save the world from KILLING ALL THE DRAGONS BECAUSE THEY ARE ACTUALLY NOT BAD.

Zombie Tag:

WIL wants TO BRING HIS BROTHER BACK TO LIFE. Through BRINGING HIS BROTHER BACK TO LIFE, he learns that he has to save the world from ALL THE OTHER PEOPLE HE BROUGHT BACK TO LIFE.

In YA? Not so much. The climax is way more likely to be between the main character and her boyfriend, or the main character and her best friend, than it is to be between the forces of good and evil.

Are these set in stone? Nope. A YA fantasy is way more likely to have a world-saving element than a quiet, meandering MG. But these two rules *are* the reason I'm staunchly on the "They're all MG" side of the Harry Potter debate. Harry grows up, but the themes and scope don't. It's not like we're reading thousands of pages to see if he and Ginny are going to get it on, and it's not like we wanted the final showdown in Book 7 to be Ron and Harry fighting over Hermione. The rules are looser in fantasy, but I still think the Harry Potter themes stick them all into the MG camp. A lot of the fantasy we have in YA right now is paranormal romance. Not a genre I'm well-versed in, but even though there's that element of a bigger threat, most of the conflict is still interpersonal, right?

--DEPTH AND BREADTH.

I've been giving YA sort of a bad rap in this post, which...sucks, because it's not at all what I intended. I love YA. And maybe this point will help illustrate why.

Generally, word for word, page for page, not as much happens in a YA. You get to linger. You get to really sink into a main character's voice. The fact that you're focused on two or three important relationships and not the fate of the whole world is such a blessing because it lets you go into everything very, very deeply. You can have fantastically complicated relationships in YA--think about Angela and Rayanne's in My So-Called Life. You have time to really delve into them and explore them and do whatever the fuck you want with them. And that's the thing, if you ask me, that makes YA so damn cool. I think again, measuring proportionally, word for word, YA books do more for character development and exploration than any other genre. (Go ahead, kill me for that. I don't care.)

In an MG book, usually more happens. You have a lot more action and movement and excitement. You cover a lot of ground. You don't have as much time to pause and dive into things. Is there time? Of course, and an MG that doesn't give itself time to build strong relationships between the characters is going to fall completely flat. Even if you're drawn to a book because of a cool plot--and at this age, most of the readers are--you're going to stay because you love the characters. But MG does sometimes need to leave more to the imagination than a YA, simply because there isn't time to explore all the nuances of the characters' relationships.

I mean, you have to go save the world.

A Brief Interruption

I know you guys want Part 3, but we need to do this first.

One year ago today...



Though it had been spotted in the wild before...




BREAK was officially unleashed upon the world.



I celebrated in the usual ways...





Since then, BREAK has received reviews like THIS:

Hannah Moskowitz delivers a passionate debut about one boy struggle to make his world sane by being insane. It's a story that I'll never forget!
A Must Read!

And like THIS...

I thought this book was absolutely boring and stupid. I am not trying to be overly harsh, but I found that I was bored throughout most of the book.

And I've received so many emails that made me do this.



So I would like to offer up a big slice of



to all the lovely ladies (and men--I know you're there somewhere) of Simon Pulse who believed in a crazy book like BREAK.

And to all of you--



Who have read BREAK, especially if you reviewed it, especially if you told a friend about it.

Thank you so much. It has been an amazing year.

Happy birthday, BREAK.

The Agent Story--PART 2

So I left Agent #1 in May of 2009. I'd been wanting to split for a few months, but I had a book on submission with her and I wanted to wait and see how that turned out. But the emails slowed, then stopped, and no matter how many times I emailed and called, I got no response. I realized I had nothing to gain my staying. I terminated the contract on my way out the door to a restaurant. I felt great.

Immediately after the split, even before I queried again, I did two things.

First, I emailed the editors who, as far as I know, still had the book on sub. I pretty much groveled, asking if they knew the status of the manuscript. Most of them answered, and they were all very nice. They'd all passed, but my agent hadn't told me. So that was that.

Second, I emailed my Simon Pulse editor, who had asked for a manuscript of mine nearly six months earlier. My agent didn't think it was ready, and said we weren't going to do anything with it until I edited according to some notes she had. I asked about these notes every few weeks. They never materialized.

So as soon as we split, I emailed my editor, told her what was up, and asked her if she wanted to see the manuscript. She did. And I got to work finding another agent.

I seriously thought I'd have no problem drumming up another agent. I'd worked with an gent for over a year! I knew the drill! I had a book coming out in three months! Who wouldn't want to work with me?

It took about three weeks for that to get sucked out of me. When May passed, and then June, and then July with no new agent, I was terrified.

This was a busy summer for me. I was planning for BREAK's release, which was stressful but not time-consuming, since by that point the book's all done and completely out of your hands. I was getting ready to go to college in the fall and taking two summer classes. And I was querying essentially non-stop.

I decided to query INVINCIBLE SUMMER because it was my favorite, and really it was either that, a manuscript I didn't like as much, or the manuscript I loved that had been subbed all over the place my Agent #1, which I didn't think would make it a very attractive commodity to agents. In either late July or early August, I got one of the weirdest emails ever. Something like...

Hey Hannah. I finished reading INVINCIBLE SUMMER. Great job!

Great job? What the fuck does that mean?

I puzzled over that for a minute, then I wrote back thanking him and asking if he'd like to schedule a phone call. He said absolutely, and that's when I relaxed. Significantly.

I ended up with one other offer from an absolutely brilliant agent, but I went with the one who originally offered (hereafter Agent #2) because his vision of INVINCIBLE SUMMER meshed more closely with mine (meaning, he didn't make me do any edits. More on this later!

About a week after we signed, I got an email from my SP editor telling me she was halfway through INVINCIBLE SUMMER and loving it. Agent #2 stepped up to the plate, drummed up a mini-auction, and we ended up selling INVINCIBLE SUMMER back to my SP editor in a two-book deal. This was the week before BREAK came out.

(In case anyone's confused re. why SP didn't automatically get IS--IS was not my option book. SP had already turned that one down. Just clarifying.)

I was wildly, deliriously happy with Agent #2, and I have nothing but good memories from working with him. He didn't edit my manuscripts, but at that point, I didn't think I wanted that, since I'd gone through so much hell waiting for edits from Agent #1. He answered all my emails in a heartbeat and had a great sense of humor. I found out later that he way more clients than I ever would have guessed. I felt like I was his only one, and I never had any communication issues at all. I was in heaven.

He had great big ideas for my career as a whole, and he worked hard on subsidiary rights and encouraged me to branch out beyond YA. He's the reason I wrote an adult book. He's not the reason the adult book was a big big mess that didn't sell.

So...we're on sub with the big mess of an adult book, and he emails me and says, "Need to talk to you. Can I call?"

This is January of 2010. I'd just spent my first night in my new house. I thought this was big news. You know, one of The Calls.

I was completely jittery when he called and said, "So. I have news."

I said, "I love news."

And he said, "You won't love this news."

To be continued...

The Agent Story--PART 1

Okay. So I've had a lot of people ask me how the hell I managed to be nineteen and on my third agent. This is actually a topic I've been fairly quiet about, but I think it's helpful for me to be honest because my story is actually, in my opinion, a very good example of the kinds of problems and decisions you might have to make with regards to agents.

So. Here's what happened. I will not be naming every name, because the purpose of this post isn't to call out anyone but to take you through the thought process in choosing an agent, leaving an agent, and dealing with losing an agent.

This is a very long story, so I'm going to divide it into three posts.

PART ONE

I queried four different manuscripts for a total of a year before I got my first offer, which turned into four by the end of that week. It felt as if something had fallen from the sky and landed on my head. Something awesome.

I was sixteen and still fairly new in the online writing community (though not new to writing)

I talked to three of the four agents on the phone. I asked the fourth (actually, the first to offer) if she'd like to talk, and she said she didn't think there was any reason to do a phone call. The first phone call went well. The second went VERY well, and I was pretty sure that unless something unprecedented happened, I would be going with her. The third phone call was fine, but we didn't click, so I confidently went with #2.

Factors in my decision:

--My friend was with her and loved her.
--We clicked on the phone. She was talkative, gregarious, and completely enthusiastic about my work.
--She offered on another manuscript, while all the others offered on BREAK. I liked the other one more and liked the possibility of going out with that one first. We ended up going out with BREAK anyway, and the one she offered on never sold, so there you go.

Things didn't work out.

I feel like an idiot now, thinking about the stuff I let happen before the split. But my logic was really clear: I thought it was normal.

I thought it was normal that my agent didn't do a lot of contract negotiations or ask me for my input.

I thought it was normal that I had to send five to ten emails on a subject, spread out over a period of months, before I would get a response. I thought being on sub meant months of silence followed by, after extensive nagging, an email with every rejection she'd collected but not mentioned.

I thought it was normal that she'd promise edits on my manuscript and never send them.

I want to make two things very clear:

1. This was a legitimate agent. She did not charge any fees or do anything unethical. She didn't steal anyone's work or money. She successfully sold my first novel. She came from a well-known agency. She had many sales before mine and some after. Many of her authors have gone on to be very successful.

I was not cheated, victimized, or taken advantage of.

I just made a mistake.

Which leads me to point two:

2. I was not an idiot. I was young and naive, yes, but I was not in a bubble. I was an active member on AW and knew a fair amount of writers. The Musers existed even before I signed with this agent, and they were with me through this whole process. So the reason I thought this was okay wasn't because of a lack of information.

Really, it was the opposite.

Because this happens to so many people.

I know so many people who have signed with agents--agents that other people I respect have and love--and the relationship did not work for them. Many of them had the same problems I did: lack of responsiveness. There's a reason that I mentioned to both agent 2 and agent 3 that I was paranoid about them dropping off the face of the earth. It happens.

It happens more often than you'd think.

And people don't leave because they are so grateful to have an agent, because getting an agent is hard. And because everyone around them seems so fucking chipper, that they think the problem might be them. They have a great agent. They have the same agent as a celebrity or a friend of theirs or they have the agent that everyone's talking about over on AW. They do not have a bad agent. They wouldn't be that stupid.

No one wants to be the guy who leaves his agent.

When I was applying to college, one of my favorite teachers said to my class, a group of stressed out, hyped up, first semester seniors, "You know, you don't have to get it right the first time. Plenty of people transfer. It's okay."

And we smiled and nodded and uh-hmmed and in our heads we're all going, "Not me, no way, transferring is for other people."

I was the fucking queen of transferring is for other people. I applied Early Decision to the school I knew, absolutely knew, I was going to go to.

I left after a semester.

I am so, so happy that I did.

I left my first agent after 15 months. And I so, so wish I had done it sooner.

Which is why I want to run around spreading the gospel now.

I know what it's like to be happy with my agent. (Hey Suzie!) At the time, I didn't. I didn't know if it could get better.

If you're asking yourself if it can, it can.

Do not stay in a relationship that makes you unhappy. If you have an issue that you have broached that cannot be solved, it might be time to leave. If you two cannot see eye-to-eye on something important, it might be time to leave.

If you think it might be time to leave, it is almost definitely time to leave.

Obviously I appreciate the value of agents. Scroll down a post if you don't believe me. But all those things that I mentioned down there? I only realized they were true when I got with an agent who worked for me.

You need and deserve an agent who works for you.

And just because an agent is great does NOT mean she works for you.

The next post will go over what happened after I left Agent 1 and how I connected with Agent 2. I'll take any questions in the comments, as always, and please feel free to email me if you have any questions you don't want all over the internet (she says as she sprays her problems all over the internet).

SCBWI!

SO. I will be in LA from Thursday the 29th until Tuesday the 2nd or the 3rd, I can't count. And after that I'm leaving for New York for the rest of the week, then Orlando for the week after that, so...posting will be light for the next couple of weeks.

That being said, I hope and pray that you will be at SCBWI and that you will come say hello to me. If you see me, you absolutely MUST say hi, no avoiding it. Check the videos if you need to know what I look like, and I'll tweet in the mornings what I'mw earing if you'd like to stalk me that much (which you obviously should).

If you have a copy of BREAK, please give it to me so I can sign it! I'll also tons of bookmarks on my person at all times, so you should come talk to me if just for a signed bookmark.

I am absolutely horrible with names and faces, so please, if you run into me, tell me your full name and your email address and what your book is about and your twitter handle and what your twitter picture looks like and your social security number and any other possible way for me to identify you. I promise I love you all, I just am dumb and this is how I exist.

If you are coming to SCBWI, or if you are just in the area, I have to encourage you very very VERY highly to come to the Muser reading at Open bookstore in Long Beach at 7 PM on Monday (details are in the flier in the post below this one.) I'll be reading from both Invincible Summer and Zombie Tag, giving away signed copies of BREAK like candy, and we will be playing a REAL LIVE GAME of Zombie Tag. So please come. Wine and cheese. A good time for all.

THE WINNERS

I want to thank all of you like crazy. I loved reading your entries.

Without further ado...

The signed copy of BREAK goes to....

Sara!

And the signed ARC of INVINCIBLE SUMMER goes to...

althrasher!


If you didn't win, WAIT. All is not lost. PUT DOWN THE NOOSE.

1. Soon, I will have BREAK/INVINCIBLE SUMMER bookmarks and magnets coming that I won in the Do The Write Thing For Nashville auction. If you entered my ARC contest, then I love you to frickin pieces, and pretty please shoot me an email at until.hannah@gmail.com telling me whether you would like a signed bookmark or a magnet (which will also be signed, if I can figure out how the hell to sign a magnet. Cross your fingers). I promise I won't send you any spam/utility bills.

To make this clearer: I don't give a shit if you entered or not, if you send me your address, you'll get swag. Cool?

2. April isn't that far away. And if you have to wait until then to buy a copy, look at it this way: You're helping me pay for all these bookmarks I'm sending out.

3. If you are a book blogger (have I made it clear yet that I love book bloggers?), pretty please send me an email at the above address with your mailing address and a link to your blog and I will BEG my publicist to send you a copy. I can't promise it'll be possible to get them to all of you, but I can promise that I will try my fucking damndest.

Unnnnfortunately, I know that my publicist won't send overseas. I KNOW GUYS I'M SAD TOO.

Again, thank you so much for entering, and I love you guys to pieces. I'll do another giveaway (of both books, probably!) when I get my INVINCIBLE SUMMER author copies in :).

You People And Your Magic Gay Fish

You're all crazy, you know that? I invent some weird #magicgayfish hashtag and you all LIKE it. And I ask which book you want to see a teaser from, and you're like I LOVE MYSTICAL HOMOSEXUAL SEA CREATURES. You guys are sick. Sick and wrong.

Also my video this week is funny, and you should watch it.

--
The fishboy is pulling me down as hard as he can, and he's going to kill me, fuck, my parents are going to actually fall apart, but I manage to kick him in the ribs and free myself for a breath. My foot brushes his tail. It's rough like sandpaper.

“Get off me!” I push myself away from him, panting. I grab onto the edge of the dock and pull myself up, into the air. Safe. I'm huddling against the wood like it's my mother. I don't know if I'm strong enough to haul myself back onto the dock, so maybe I'll just stay here forever. This is my new home.

He's panting too. Probably from the kick in the ribs. He was already pretty bruised.

I say, “You're not a fish, you're a fucking maniac.”

He laughs, hard, his face up to the sky. I see all his teeth, must be a hundred of them, as thin as pine needles. He has a loud, piercing laugh. Like a whistle.

I know that voice. He's the screams at night. He's the screaming and the crying that my parents told me is the wind.

He spends hours screaming. Goddamn. Either he really is a maniac, or he's got to be the saddest fishboy in the world.

Then he grabs me by the front of my shirt. “I don't want to see you killing any more fish, you got that?”

I pull away from him. “My brother needs them.”

I really didn't think this would concern him, but he lets go and looks at me. He keeps his eyes narrowed. “What's wrong with your brother?”

“You're a shitty spy.”

“What's wrong with your brother?”

“He's sick. Cystic Fibrosis.”

“Cystic whatever.” But he doesn't say it cruelly, but like he's trying to figure out what I meant. ”Whatever fibrosis.” He tilts his head like it will help the words roll around in his brain.

“Yeah. The fish are making him well.”

He keeps looking at me for a long minute. “They're working?”

“Yeah.” Slowly.

“Well. Good, I guess.” There's this pause, then he goes, “The little one, right? Who was with your...you know.”

“Mom?”

“Yeah.”

“That's the one.”

The fishboy rubs the back of his head. “My hair used to be really long. It was awesome. Fisherman cut it off, said I looked like a girl.”

“Oh.”

“Your brother's cute. How old is he?”

“Five.”

I can tell he doesn't like this answer, for some reason. “Oh. He looks younger.”

The way we're balanced in the water right now, I feel like he's a lot shorter than I am. And his frown makes him look suddenly younger.

“Good luck with that, then, I guess,” he says.

I say, “Thanks.”

“But stay the fuck away from my fish.”

Wait. “I...”

Fishboy mumbles, “Sorry about your brother,” then he pushes off from me and swims away. He's faster than I could ever be, but he doesn't get out very far before he has to stop and pant while he treads water. His silver-spotted chest is heaving. I should have kicked him somewhere besides his chest.

Then he dives back under the water and he's gone. And I wait a few minutes until I can pull myself back on the dock. I walk home shivering and trying to think of what story I'm going to tell my parents about why I'm all wet, but when I get there, Dylan's coughing so hard that they don't even notice me come in.

Influences

For each book, I'm usually inspired by two specific things, often ones that have nothing to do with each other. And then my brain mashes them up and makes an idea.

BREAK: Fight Club and Into the Wild, first the movies, then the books.

INVINCIBLE SUMMER: A book of essays by Camus and The Hotel New Hampshire.

THE ANIMALS WERE GONE: Love Is The Higher Law and the 2002 Metro sniper shootings.

ZOMBIE TAG: How To Train Your Dragon (movie) and this comic.

FISHBOY: Peter Pan and Choke (the books).

For me, the experience of going to the movies always triggers something. There's something about sitting in the theater and just getting assaulted by someone else's ideas. Something, even something tiny, always hits me.

What are your inspirations?

Rules

Thanks for the poll answers, guys! I'll post something analyzing the results in a little while, and by all means keep voting until then.

But here's something that's been on my mind lately.

Rules.

I bet you think I'm going to jump around and be like "FUCK THE RULES!" but my opinion on this is actually slightly--slightly--more complicated.

I think there are two kinds of rules in this business that you typically hear--those about writing and those about publishing. The latter usually come from agents. Don't send attachments with your query letter. Don't forget your page numbers. Don't query two agents at the agency at the same time. Format your manuscript in this precise way. Although these rules sometimes seem like unnecessary hoops to jump through, they actually do have, and fulfill, their purpose. These are the ones that you should follow (though there is a time and a place to break them. More on that later.)

The other type of rules, the ones you probably get more and more often, are the ones from writers.

Write every day. Write in Courier. No, Times New Roman. No, Courier. Use MS word count. No, use 250 x number of pages for word count. Don't write a book below 40,000 or over 80,000 words. Set your manuscript aside for three months before you start revising. If you write too fast, your book won't be good. If you write too slow, you'll never finish a book. Don't use adverbs. Ever. Don't use anything other than 'said' for dialogue tags. It's impossible to write with other people in the room. Don't watch TV while you write--are you kidding? Write by hand. Write on a typewriter. Write on an Alphasmart. Write on a laptop. Read all the classics. Read everything in your genre. Read outside of your genre. Write high concept. Write whatever the fuck you want. Write for an existing market. Try to expand the boundaries of the existing market. Write for the lowest common denominator. Write for your mom. Write for yourself. Write for the MFAs. Get a day job. Spend your advance on publicity. Don't expect to earn out. Use a pen name. Write in the mornings.

And here, guys, is where it gets to be bullshit.

The only right way to write is however the fuck you get it done. People decide something works for them, or they read what Stephen King does that works for them, and decide that that's the only 'real' way to write.

I'm going to go over how I write, now, too, but let's be very clear before I do--I am not advocating my method for everyone. For anyone. I'm doing this so you can see how fucked up and crazy my writing method is, so you can see how possible it is to get shit written without following the Butt-In-Chair-Allow-Yourself-To-Write-Crap methods you'll see so often quoted. If that's what works for you, fantastic. But it's not the only way, at all.

--I do not even come close to writing every day. About 80% of days, I'd estimate, I don't write at all. I spend some of these days working on edits or blogging or plotting a new idea, but most of them I spend playing video games or going to school or sleeping or watching Queer as Folk or cooking with the shiksa. Not writing. Am I thinking about it? Of course. But it's not something I do every day.

--When I do write, really write, new words on new pages, I call that initial part "fast-drafting." That's when I get a first draft down as fast as I possibly can. This isn't (just) for the bragging rights; it makes sure the idea stays fresh in my head and I don't lose interest along the way, as I'm apt to do if I stretch the story out. I've tried writing over longer periods of time, when I'm not feeling the story as much. I rarely finish, and when I do, the stories are never as good as the fast-drafted ones.

Fast-drafting so far has taken me 5 (The Animals Were Gone, Fishboy), 7 (Break) and 8 (Invincible Summer) days. I was in school during both Break and Animals, and studying for midterms during Animals as well, so I do this despite being busy. Which means I do nothing else during any moment of free time but write. Nothing. Nada. I park on the couch like a fatass and I write. Eight hours a day, nine hours a day, whatever it takes.

I write my first draft in single spaced, 10 pt font. I am not kidding. This is actually something I recommend. Don't do 10 pt if it's going to kill your eyes. Do triple-spaced 30 pt Comic Sans for all I care. Do anything to keep your manuscript from looking like a real manuscript. Make it something you can fuck up. Double spaced 12 pt looks way too fucking intimidating for a first draft, if you ask me.

I flip to the internet every 70-100 words and screw around. Because that's how I roll. It still gets done.

I watch TV while I write, or I chat with my roommate or my boyfriend, if they're around.

--My fast drafts come out very short. BREAK was 27,000 words. INVINCIBLE SUMMER was 23,000 words. The one I just finished was 25,000. This comes with angst, every single time, that the book isn't going to be long enough.

--I start editing that draft immediately, as in an hour after I finish the first draft. I do not let it sit. If I sit, I'm going to hate the story. I'll start hating it halfway through the second draft anyway, so I might as well get the thing over with. (This is where I am right now. Someone stop me before I set the thing on fire.)

--After the second draft, I've lived and breathed this story for about two weeks, breaks, cereal standing up, sleeping four hours a night kind of living, and I don't want to think about it ever again. Off it goes to Suzie and betas.

--We work from there.


This shit. It is not typical. But it's how I work, and it's what works for me.

You will hear a lot of contradictory advice about how to be a "real writer." But the only ticket to being a real writer is to write. I know you've heard that a million times, but let it give you some freedom this time. You're released. You write words, how you want them, when you want them. You don't have to prove shit to anyone.

Do whatever you do to get it done, and smile and nod when people tell you how their way is closer to the "real thing."

Deleted Scenes from BREAK

These come from different parts of the book, but I thought I'd post them together because they have a nice little link, which you'll discover if you read carefully.

Neither of these scenes made it to my editor; they were both removed by yours truly when I realized they weren't really important.

Elements of these scenes were snatched up and used elsewhere, and parts contradict with stuff that made it into the book. I figure you're smart enough to figure it out.

------------

“Jesse?” I call.

I hear him stop. “Uh-huh?”

“Feel like a visitor?”

He doesn’t answer for a moment. “Sure. Come in.”

I leave the hammer and transfer over to Jesse’s room. He’s sweaty and gross, a heap on his slated wood floor.

He flops down and peers up at me, his hair covering his eyes. “What’s up?”

His room smells like teenage deodorant and feather dusters. I lean against his bed and close my eyes. “I’m going to ask you something.”

“Okay.”

“Can you tell me what happened?”

He sighs and scratches his throat. “The reaction?”

“Yeah. Don’t scratch.”

He starts his sit-ups again, exercise-growling between his words. “I broke out in some intense hives like five minutes after you left. Went inside, took some Benadryl. Throat closed up. Epi-pen. Ambulance. Standard fare.”

“Who did the epi?”

“I did.”

I sit for a moment, watching his pristine stomach muscles tighten every time he sits up. “I should have been there.”

He rests his elbows on his knees. “Stop, Jonah.”

“I should have been there.”

“Don’t beat yourself up about this. Seriously. I don’t want to deal with you.”

“How bad was it?”

He pushes off and resumes the sit-ups. “They’re all the same.”

I thought talking to Jesse would make me feel better, and now I just want to kill him or myself or both.

“Did Mom and Dad stay with you until the ambulance came?”

“Of course. God, I hate ambulances. I wish they’d just drive me. It would have been faster.”

“Could you breathe?”

“It was okay. I only thought I was going to die for a minute.”

Even when I was in the car accident, I never thought I was going to die. Now, I’m jealous of him in this horrible way.

“What’s it like?”

He rubs the back of his neck. “You basically just want to breathe.”

“You’re fine now, right?”

“Of course.”

“Do you want something to eat? I can make you a shake. Or get you a rice cake or something.”

“I’m all right.” He flips onto his stomach and starts push-ups. “Thanks.”

Yeah, thanks, Jess.

I retreat back into my room and sit on the floor. Push-ups are quieter than sit-ups, and now all I hear is the whisper of his wheezing if I listen very, very closely.


-------------

The cold road is like an ice pack on my chest.

No, wait. There’s an ice pack on my chest.

I open my eyes and it’s the hardest thing I’ve ever done.

The first thing I see is Jesse, both his hands tight on the steering wheel. I’m packed in ice from the top of my head to my shoes, like I’m some kind of corpse.

There’s ice in my shirt, over my hips, stuffed in my socks. I’m soaking wet, shaking. Too much ice, or too much fever?

“Jesse,” I say. Jesse is my angel.

“Shh.”

“I--”

“We’re going to the hospital,” he says. “You’re going to be fine. You stay with me now, all right?”

The psych ward will find me at the hospital, but...they can’t make go back. If Mom and Dad want me, if someone here needs me...

There’s no crying. I sit up as straight as I can. “Where’s Will?’

“Naomi’s got him.”

“Where is he?”

“I’m right here,” Naomi says from somewhere behind my head.

I spin around. There she is in the backseat, clutching Will on her lap.

He’s not crying.

“Did I kill him?”

“Jonah, of course not,” Jesse says. “Just close your eyes. Everything’s going to be fine. You’re okay.”

I didn’t know my heart could beat this hard. My blood feels like it’s made of maple syrup.

Naomi says, “Jess, take the beltway.”

He shakes his head. “This is faster.”

I start coughing, and Naomi says, “Shit, you are sick.”

I shake my head.

“Yeah, you are.”

“What’s wrong with Will?”

“He’s fine, Jonah.”

The more I think about not shaking, the more I spasm like I’m having a seizure. Jesse steps harder on the gas.

I say, “Why didn’t you call an ambulance?”

His voice is steady and clear. “Because I can get you there faster. You hold on, now. That’s an order.”

After a minute, he takes his right hand off the wheel and finds my broken and swollen left one underneath all the ice packs. I close my eyes and think about Jesse’s hand and Charlotte’s eyes, and how I’d rather not die right now.

He says, “Please be okay.”

Will coos, “Jo.”

No But Seriously Guys

You want this.

how a book becomes a book--writing a synopsis

So next in our "how a book becomes a book" series is something a bit earlier in the process.

If you're anything like me, when you query agents you avoid, definitely, the ones who ask for a synopsis with the query letter. Like, I'm sure they're perfectly good agents, but synopses are horrible and no one should ever have to write them.

There are a few reasons they're so horrible. A lot of people have trouble with query letters, and, for them, synopses are understandably even more evil. You have to sum up the entirety of your book without taking away its voice and without making it boring as fuck, and you don't have the pleasure of using 1st person, if that's your thing, and there is very little room for error. If you love query letters, like I do, you can STILL hate synopses. And there's a very clear reason why I do.

In a synopsis, you can't lie.

Query letters are like commercials to me. You shouldn't lie, and underneath every lie you do tell, there has to be some truth. But...I've always been a little liberal with my query letters. I say what I need to say in order to get the book read.

Obviously you don't want to write a query for an entirely different plot. But if it's actually Stacey's great-aunt's dog that drags the magic locket out of the garbage and shows it to her? It's okay to say "Stacey finds a magic locket." Let Stacey take the credit. Make your query snappier. It's okay to fudge the truth a little if it makes the query look good and read well.

Not so with synopses.

Helllll no.

Synopses need to say exactly what happens in your book and no more. There is no lying. And that's what makes them so scary.

BUT do not think, for a minute, that I'm saying your synopses needs to have ALL of what happens in your book. No no no no. Knowing what to leave out is what keeps it from getting voiceless, confusing, and boring as all fuck.

So. Here are my guidelines to writing a synopsis.

1) HAVE AS FEW CHARACTERS AS POSSIBLE. Aim for five or less named characters in your synopsis. BREAK named Jonah, Jesse, Naomi, Charlotte, and Will, so I was pushing it a little. Don't give your reader more names to have to remember. Have you ever tried to read the summary of a Shakespeare play on Wikipedia? Too many fucking names.

The first time a name appears, CAPITALIZE it.

2) GIVE AWAY THE ENDING. The whole ending, the entire ending, every speck of the ending. And more than just what happens, try to set up the feeling of the ending. If it's happy, make it feel happy. If it's open, make it feel open (and shame on you.) Etc etc.

3) START IT AS A CHAPTER-BY-CHAPTER OUTLINE. This is the only way they get written for me. Start out summing each chapter up in a paragraph, then go through and cut EVERYTHING you can for the thing to still be cohesive. Sometimes you can cut entire chapters from your synopses, which is always really exciting. It doesn't mean you have to cut them from the manuscript. Maybe they're full of nuanced and beautiful character development. But, in the synopsis, Jesse didn't come visit Jonah at the psychiatric hospital, and Jonah didn't have a nice phone conversation with Charlotte's sister. I don't think the video store was even mentioned. Cut out as much as you can so the synopsis is still cohesive.

4) DON'T FOCUS ON SCENES. "Jonah and his family are sitting around the dinner table discussing..." Fuck that. The reason you can cut down from your one-para-per-chapter structure is that you don't need to write a synopses in scenes. This is not a book.

5) INJECT IT WITH VOICE SERUM. Voice. Voice voice voice is SO important. Your synopsis should read like your book, not a dried out raisin version of your book. Make it all the good parts smushed together. It should be EXPLODING WITH VOICE.

This does not mean that you can write it in 1st person or 2nd person or whatever person you like (unless that person is 3rd). You need to adhere to synopsis rules. And that's tricky. But YOU CAN DO IT.

I'll leave you with the first paragraph of BREAK's synopsis. It started as "one paragraph per chapter," then I cut cut cut cut. This first paragraph sums up the first four or so chapters of the book.


JONAH falls off his skateboard. He and his best friend, NAOMI, confirm he’s broken his right wrist, his jaw, and a few ribs. This is great news. Jonah’s on a quest to break every bone in his body. His theory: the more he breaks, the stronger he gets. He sees the power of overcoming challenges everyday through his younger brother, JESSE, whose horrible food allergies have forced him into a better person. And Jesse’s practically a candidate for sainthood. He’s also the only one in the family who knows about Jonah’s mission. He thinks it’s stupid and self-mutilating. Naomi calls it an act of artistic integrity. His parents and ‘not-girlfriend,’ CHARLOTTE, are too idealistic to suspect their Jonah’s a secret wackjob.

Questions? Throw 'em at me.

how a book becomes a book--copyedits

Hello everyone, happy April. I'm going to be nineteen in ten days, which is ridiculous.

So as you should know, last week I was working on my edits for INVINCIBLE SUMMER. Basically, my editor sent back my manuscript (this time it was electronic and hard copy--for BREAK it was just hard copy. It's fun to watch things change) with a letter summing up the basic things I needed to do--add about 40-60 pages, draw out a minor character and strengthen her relationship with the main character, slow down the ending (you're going to like this ending, goddamn it), etc. In the manuscript, she'd marked specific lines she didn't like or places where she wanted me to add more.

Somehow all these edits translated into me being like "MOAR SEX" and stuffing the book full of the dirty bits, so if you're scandalized by the nakedness when you're reading INVINCIBLE SUMMER, please remember MY EDITOR MADE ME DO IT.

heehee.

So, she emailed me yesterday and essentially said "Good work, hannah." (Actually she said I'm a genius and a rock star and I made her sob through the last fifth of the book, but even I'M not egotistical enough to post that kind of praise on my blog, hello.) We don't have to do another round of edits, which is exciting, because I hit all the points she wanted me to hit (and I'm a rock star) so now we're going straight to copyedits, the next part of the process.

Copyedits are cool. For BREAK, they were hardcopy, and I have a feeling they will be for IS too. Basically, you get a passage, and inside is your manuscript, all crazy marked up. It's already been through the hands of at least two people--your copyeditor and your editor. These edits are all small. In BREAK, there was a lot of changing "Seven-Eleven" to "7-Eleven" and making sure the therapist's name was spelled consistently (I had like twelve different versions of her name) throughout her scene. The copyeditor will also make sure that a character who you said was sitting down isn't suddenly standing up. Copyeditors freakin' have your back, basically. I love it.

Some of the changes might have "STET" next to them already--that means your editor saw them and disliked them and vetoes them. My editor didn't like capitalizing "popsicle," even though it's technically supposed to be, I think, so that stayed lowercase in BREAK.

You have veto power too, which is fun. I can't remember specific examples for when I wrote STET for BREAK, but I know I did it at least a few times. If there's something you don't like, you just write STET next to it. The other changes you leave as-is. You don't have to go into the document and make the changes the copyeditor gives you; that's the typesetter's job. You just look the edits over and approve them. It's one of the first times you really feel like you're working with your publisher as a member of a larger team, and I really like that feeling. It stops being just you and your editor and becomes you and your editor and your copyeditor and your typesetter and your art designer and your marketing director and your publicist and your everythingelse and that's pretty cool.

So I'm anticipating those! Any questions about the publishing process (or anything) let me know.

Vlog!

I did a vlog post for YA rebels this week. Check it out!

Writer Survey

Yes, yes, I know, the vlog the vlog. But my lovely friend Sage did this over at her blog (http://sagelikethespice.wordpress.com/) and I wanted to play too.

1. What’s the last thing you wrote? What’s the first thing you wrote that you still have?

The last thing I wrote (and finished) is a YA about two boys getting together (the easy part) and staying together (not quite so easy) over the course of October 2002 sniper shootings in the suburbs of Washington D.C. This is my favorite book I've written, and it's basically my baby. The sniper attacks are, with good reason, I think, very close to me--like the MCs in the story, I was a teenager (though a young one) in Montgomery County, MD during the shootings.

I never really let the shootings go--sometimes I'd torture myself by researching details, if I was having a bad day--but John Allen Muhammad's execution this fall made them very raw in my head. I knew I had a book in me about them, and writing it was a pretty amazing experience to me. It was, without a doubt, the easiest book I've ever written, and I think the most honest in a lot of ways. It's called THE ANIMALS WERE GONE, after a song by Damien Rice. I'm working on revising it for my agent right now.

The first thing I ever wrote is a little harder to pin down. My first "book"--about 150 pages--I wrote when I was in 6th grade. It was about a girl named Augusta Margo Elizabeth Talia Clara (hellz to the yeah) who has to go live with her mom after her brother died in a plane crash. She JUST HAPPENS to be looking out her window one day and JUST HAPPENS to see a boy get hit by a car, and this boy JUST HAPPENS to be her half-brother. I. Know. It's called YOU JUST DON'T GET IT, it's all in a fluorescent green composition notebook, and I have no idea where that notebook is.

2. Poetry?

Hahahahaha no.

3. Angsty poetry?

Not since I was twelve...

4. Favorite genre of writing?

Young adult! Contemporary, gritty, angsty young adult. But it has to be funny.

5. Most annoying character you’ve ever created?

Bianca in ALL TOGETHER WITH FEELING makes me want to put her head through a wall. Every. Chapter.

6. Best plot you’ve ever created?

I'm pretty into the plot of my adult book, APD. It's pretty wild and twisted.

7. Coolest plot twist you’ve ever created?

Haha, now it's deeeefinitely APD. Heehee. Although INVINCIBLE SUMMER's climax, too...hmmm.

8. How often do you get writer’s block?

Fuck writer's block, that stuff is bullshit. Shut up and write a book.

9. Write fan fiction?

A lady never tells. (So...yeah.)

10. Do you type or write by hand?

I type. I used to write by hand a lot more (in high school, really, so I could write in class) but not anymore.

11. Do you save everything you write?

Nah.

12. Do you ever go back to an idea after you abandon it? it

Rarely. I have a few plot points I've tried to work into several different books, so far unsuccessfully. Still trying to figure out where they belong.

13. What’s your favorite thing you’ve ever written?

THE ANIMALS WERE GONE, though INVINCIBLE SUMMER is up there.

14. What’s everyone else’s favorite story you’ve ever written?

INVINCIBLE SUMMER, unless you're a muser, in which case it's THESE HUMANS ALL SUCK.

15. Ever written romance or angsty teen drama?

Dude, my career depends on angsty teen drama. Romance? Eh, sometimes it's in there.

16. What’s your favorite setting for your characters?

The beach in INVINCIBLE SUMMER.

17. How many writing projects are you working on right now?

I have a YA rolling around in my head, I'm working on the first draft of an MG, I'm editing THE ANIMALS WERE GONE and waiting for my editorial letter for INVINCIBLE SUMMER (any day now!)

18. Have you ever won an award for your writing?

I won you guys, obv.

Oh and BREAK was an ALA Popular Paperback for Teens of 2009.

19. What are your five favorite words?

Epiphany, lucid, silhouette, maybe, cameo.

20. What character have you created that is most like yourself?

Probably Bianca. No wonder she's so goddamn annoying.

21. Where do you get your ideas for your characters?

I don't really get ideas for characters. I think of a situation, then I just the characters up as I go along. They develop with the story. I don't go in there thinking "Jonah's going to stubborn and honest and introspective and..." he just talks.

22. Do you ever write based on your dreams?

Once. It was weird.

23. Do you favor happy endings?

Yes. Yes yes yes yes. Anyone who follows me on Twitter has heard my opinions on this. A good ending means you satisfy your reader. And satisfying your reader usually means that if you make them root for a character, or a relationship, or an anything, you make that part work out. Characters should get what they deserve. Seriously, I'm sick of authors teaching me some lesson about how life is meaningless and unsatisfying by giving me a meaningless and unsatisfying book. Yeah, I see what you're saying. I'm in on the joke. Now I'm throwing your book against a wall and crying into my pillow.

I read fiction because I want things to work out. If I wanted a disappointment to come and smack me in the face out of nowhere, I have my own life.

(And yes, I recognize the irony that I'M the one lecturing about how to end a book. Sorry about BREAK btw. Buy it anyway, I need money for food and internet.)

24. Are you concerned with spelling and grammar as you write?

Of course.

25. Does music help you write?

Yep. I always write either to music or in front of the TV. I make playlists for all my books.

26. Quote something you’ve written. Whatever pops in your head.

I'm not sure if this is the exact wording, but...
Camus and Melinda were right: "one always finds one's burden again."--Invincible Summer