Debut Author of the Month:
Kristina Springer...

"I probably always knew in the back of my mind that I wanted to be a writer," Kristina Springer says in the long version of her bio on kristinaspringer.com. "But, it didn’t hit me really hard until about 10 years ago." After years of reading and writing (technical, TV, and a little bad poetry), Kristina began writing young adult fiction in earnest. Her debut novel THE ESPRESSOLOGIST was published by FSG in October 2009.

"The publishing process for THE ESPRESSOLOGIST was so great-- every step along the way was fun from the first line edits through getting the final cover. I finally found exactly what I want to do and it's an awesome, awesome thing."

Tell my readers about your debut book THE ESPRESSOLOGIST.

THE ESPRESSOLOGIST is about Jane, a 17-yr old part-time coffee barista at a Chicago coffee house. Jane has a notebook where she's been recording what type of drinks people order and she notices a trend--the same type of people always order the same type of drinks. One day she tries to match up a customer whose favorite drink is an iced vanilla latte with another whose drink is a dry cappuccino and they're a hit. She tries it a couple more times, with success, and then her boss finds out what she's been doing and turns her into the store's holiday promotion, causing a love and latte craze.


You wrote the entire manuscript for your book from the same table at your local Starbucks. Is the Starbucks culture conducive to writing non-coffee-themed books, too?

Oh yeah. I'm on book #8 now and I've written all of them in coffee shops. Though, I have been fancying Caribou lately--I can't lie.

You had offers of representation from two agents and then your first book went to auction. How did you get to that point?

Mostly just let rejections roll of my back and kept on going! I was inching toward the 100 agents queried mark with my first YA book (I've since buried that book. RIP Book #1) while writing THE ESPRESSOLOGIST. I felt really good about THE ESPRESSOLOGIST and was so excited to start querying it. Once I did, things happened really fast. Suddenly there were a number of agents reading it, two offered, and then maybe a week or so after I signed with one of the agents the first offer from a publisher came in. There were more interested publishers so my agent set up an auction. It was all very exciting!

You have four kids under 7. How do you juggle life and writing life (and don’t say lots of coffee).

I won't say coffee (but it helps!). It is a bit of a struggle. OK, it can be a lot of a struggle some days but I manage to pull it off. Basically, the kids can get loud and cranky so I always attend to their needs first. But if there is a moment that I can sneak to the laptop and post a blog here and there I'll take it. If an idea for a chapter I'm working on hits me I'll write it down anywhere I can. Of course then my notes end up in e-mail drafts and on post-its/receipts/mail/kids' homework/you name it. I do all business calls between 1 and 2 PM (a.k.a. naptime at the Springer house). And I write after the kids go to bed. Usually my husband will get home from work at this time and I can make a dash for the coffeeshop to write. I do promotional type stuff (signings, panels etc.) primarily on the weekends when my husband can take over with the kids.

THE ESPRESSOLOGIST has been out for several months. What have you done in the way of promotion? Online presence? How is it going?

I do as much as I can! Online I blog/tweet/facebook a lot. I'm at kristinaspringer.blogspot.com and I also blog with a great group of writers at author2author.blogspot.com. Our group posts five days a week so we're very active.

I've tried a couple of ads on various sites and I've done lots of giveaways. It's especially nice to group up with other authors for giveaways too, Like Kristin Walker (A MATCH MADE IN HIGH SCHOOL) and Rhonda Stapleton (STUPID CUPID) and I did a fun one for Valentine's Day. We asked people to write us a poem and we picked a random winner to receive an autographed copy of each of our books, candy, and handmade Valentine cards.

In person I go to as many events as I can. I've done a number of signings, a YA panel, the yearly Anderson's Children's literature breakfast, an author fair, and a school visit so far. I have a teacher's appreciation luncheon coming up this weekend and another author fair right after that so I try to keep busy on the weekends.

I don’t drink coffee. Does it make sense that I’d marry a Jewish psychologist who’s a java junkie?

No. That makes no sense whatsoever. Um, maybe it's an opposites attract thing? Perhaps you've yet to succumb to the delicious addiction and you'll eventually pick it up? I wouldn't eat salad until I was like 18 and now I love it. Maybe you'll come around.

How many reviewers have called your book “frothy”?

Too many to count! I've seen lots of "cute," "sweet," "frothy" and lots of people talking about reading it while getting cozy by fireplaces/christmas trees/with a blanket/whatever else you like to get cozy by or with. I totally love that people get that from the book because that's what I was going for--the warm fuzzies.

Tell us about your second novel that will be published by FGS later this year.

I am insanely excited about my new book! It's called MY FAKE BOYFRIEND IS BETTER THAN YOURS. It's about two 7th grade BFFs who each think each other's "boyfriend" is a fake. It becomes competitive (like if one says her boyfriend sent her carnations the other says her boyfriend sent her roses) and hilarious. It will be out in the August 31st.

Finally, can you offer some advice to other debut authors? To those pursuing publication?

To other debut authors: Don't read the reviews! Ok, I know you'll read some of the reviews-- especially from the bigger reviewers. But don't read ALL of the reviews. Like all the goodreads and Amazon and random reviews that pop up online everyday. People's opinions vary so widely and if you start reading everything you might let it affect your thinking and possibly your writing. One person may say OMG, this is the BEST BOOK EVER!! Um, no it's not. And another might say OMG, this is the worst thing ever written! Again, not. It's better to not obsess over what everyone is saying and just work on your next book.

To those pursuing publication: Don't give up! You'll be rejected. A LOT. But you can't let it stop you! You need to believe in your work and keep on trying.

Debut Author of the Month:
Libby Schmais

Je suis heureux de vous informer that starting today, I'm reviving le Debut Author du mois feature on mon blog. (Those of you who contacted me for First Books: You may be hearing from in months to come.)

January's DAotM is Libby Schmais, whose YA debut is The Pillow Book of Lotus Lowenstein, released from Delacorte en Décembre. Says Kirkus: "readers of any age will savor Lotus’s panache...Chick lit par excellence." You can read a délicieuse excerpt here.

Describe your debut YA novel, The Pillow Book of Lotus Lowenstein.

The Pillow Book of Lotus Lowenstein is a diary book by a teenager living in Brooklyn who is obsessed with all things French. Lotus feels stifled by her life in Park Slope, Brooklyn and fancies herself an existentialist, although her real knowledge of that philosophy and actual French words is a little sketchy. She and her best friend Joni end up both liking the same guy, another Sartre aficionado, and things come to a head during a school trip to Montreal, challenging both her friendship and her freethinking ideas.

You’d published a couple of books for adults—what made you write for a YA audience?

I didn’t consciously set out to write a YA book. The character of Lotus appeared to me one day, and the voice was a teenage one, so I just kind of went with it. I think if I had decided to write a modern-day YA novel from the beginning, I would have been intimidated, because it was out of my comfort zone.

Why did you choose diary format? Have you kept journals at some point?

Well, Lotus is studying The Pillow Book of Sei Shonagan in school, a famous Japanese diary book so that’s part of the reason I chose the diary format. The other reason is that I’ve always wanted to write a diary book. So many of my favorite books are diary books, like I Capture the Castle, Bridget Jones’ Diary, The Diary of Adrian Mole, etc. And in answer to your question, I have tried to write in many journals over the years and have a stack of half-filled notebooks that are impossible to read because my handwriting is so terrible.

Like your title character Brooklynite Lotus Lowenstein, are you a Francophile and/or an existentialist?

I’m definitely a Francophile. I love French food, speaking French badly, and I have recurring fantasy about moving to the South of France, preferably near a field of lavender and an outdoor café. I’m also a bit of an existentialist, particularly on Mondays, when life seems très meaningless.

How did you end up at Delacorte? Do you have an agent?

I do have an agent—the fabulous Stephen Barbara of Foundry Media, who hooked me up with Delacorte. I actually have a two-book deal, so I will have another YA book coming out in approximately a year or so, with a totally different character, although equally quirky and misguided.

You’ve recently completed the My-Life-Is-Merde-but-Have-a-Bonnes-Fêtes-Anyway Blog Tourapalooza, you’ve got a fan page on facebook, and you blog and tweet as your main character. Did I miss anything? How are your book promotion efforts going?

Wow, it sounds so exhausting when you put it like that. Yes, that covers it, except for maybe Goodreads, which is a great site for authors. I have to say all the YA bloggers are a very encouraging and enthusiastic bunch, and they’ve been very positive about the book, so I’d say the online promotion is going well, although I always feel that I could be doing more.

Can you offer some advice to first-time YA authors?

Advice. Hmmm. Probably the same advice I give myself—try not to be too influenced by what everyone else is doing and write the story that you need to write. And don’t be so hard on yourself. Writing is not easy.

My First Book Picks Are Picked...

I spent the better part of the week working on the agonizing-yet-fun task of choosing debut authors to feature in First Books in the 2011 edition of CWIM. I've e-mailed all of my chosen ones today. To all those debut authors who haven't heard from me, I will be contacting many of you in the coming months as I resurrect Debut Author of the Month here on the blog beginning in January 2010. (Why does this all sounds so Biblical?)

Thanks so much to everyone who contacted me. I was so thrilled to hear from each of you and so happy to read about your successes (and your books). You should all be very proud.

Happy Halloween weekend to everyone. (Don't forget to fall back--and haunt for an extra hour tomorrow night).

Debut Author of the Month:
Kristin O'Donnell Tubb...

Author Kristin O'Donnell Tubb's debut book Autumn Winifred Oliver Does Things Different was released just last week from Delacorte. Main character Autumn Winifred Oliver "has charmed a hive of bees, wrangled a flock of geese, and filched a stick of dynamite from the U.S. Government," says Kristin. "But it'll take a whole new kind of gumption to save her Cades Cove home."

Set in east Tennessee in 1934, the formation of the Great Smoky Mountains National Park drives Autumn Winifred Oliver, pitting the title character against loggers, farmers, and volunteers from the Great Smoky Mountains National Park who all want her home for their own uses.

Here Kristin talks about getting The Call from her editor (in an unusual setting), her revision process, doing research for historical fiction, and more.

If you're in the Nashville area, you can attend Kristin's book release tonight at 6 p.m. at Davis-Kidd. (Judging from what a delightful interview this is, I'm sure it will be a fun event!)

Share the details of how you got your first book deal. How did you end up with Delacorte?
I met my editor at an SCBWI conference in September 2006, where she critiqued the first three chapters and requested the full manuscript. A few months later, I got The Call. But mind you, like Autumn, I sometimes do things different:

THE SCENE: Early February, 2007. A 212 area code pops up on my ringing cell phone. I am nine months pregnant. I am AT THE OB/GYN.

Wendy: "Hello, Kristin? It's Wendy Loggia from Random House."
Me: "Oh my gosh! It's so good to hear from you! I'm at my gynecologist's office right now."
Wendy: silence
Me: "Oh, um--I should say, I'm not in the office right now--I mean, I am, but I'm checking out. I'm done." Shut up Kristin. "I mean--I'm scheduling my induction for my new baby. I was newly pregnant when we met, remember?" Shut UP, Kristin. "Everything's great! Healthy baby! I'm scheduling his arrival right now. That's why I'm at...my...OB's office..."
Wendy: laughing "I think this is a first for me."
Me: unbelievably mortified "Uh, me too?"
Wendy: "So I wanted to talk to you more about this wonderful story you sent me..."

And that was that! There, in my OB/GYN's office, I was offered my first book deal. Two weeks later, my son was born. It was one heckuva month.

You revised your manuscript on your editor’s request before you got a contract then went through more revision after you signed. Tell us about your revision process. What did you learn?
Autumn was revised four times with my editor before it reached the state that hit shelves on October 14. The first revision was indeed prior to getting a contract, so whenever I hear a writer ask, “Should I really put more work into this without a contract?,” I’m the one shouting, “Yes! Absolutely! Do it!” (Sidebar: I later found out that many editors simply won’t offer a contract to a first-time author without requesting a round of revisions first. Editors need to know that: one, you can revise, and two, you’re willing.)

My revision process goes as follows:

1. I receive an email from my editor, alerting me to the fact that my next round of revisions is headed my way. Feel a flutter of panic in stomach.
2. I receive the packet, along with a three-page, single spaced letter alerting me to the massive changes my editor would like to see. “No way,” I think. “I cannot complete all of this by this deadline!” Full-on panic ensues. Much chocolate is consumed.
3. A day or so passes. I review the letter again. “That’s no so bad,” I think. And, “Oh, right! That’ll work so much better! Why didn’t I think of it?”
4. An outline of all changes is constructed, lumping like thoughts/characteristics together. Brainstorming begins.
5. The old manuscript grows stronger as, item by item, each change is made.
6. I mail the revised manuscript back to my amazingly brilliant editor, before deadline.
7. I reward myself with chocolate.

And what did I learn, other than revision makes you fat? Revision is fun--really, truly fun. By the time you’ve been offered a contract for a book, you already know these characters inside and out. Revision is like visiting an old friend, and you get to go on all these great new adventures with her.

Your book just released last week. Tell me about your promotional events?
First, I threw a virtual launch party both at my blog and at the Class of 2k8 blog. The day of my release, October 14th, I’ll was a guest speaker at an Educator’s Appreciation Event at Barnes & Noble in Franklin, TN. My launch party--a real, live one, with people and food and everything--is today, October 23rd, at 6 p.m. at Davis-Kidd Booksellers in Nashville, TN. Throw in a couple of school visits, the Southern Festival of Books, and a guest room filled with my very happy parents, and you’ve pretty much got it!

One online reviewer said of your character Autumn: “Her problem seems to be convincing everyone else that it’s Okay for her to be different. That’s her internal struggle—one that’s familiar to almost all of us.” What drove you to create this spunky, free spirited character?
Until I wrote Autumn, I never quite understood those writers who talked about their characters like they were real people. I respected them, yes, but truly, I thought those authors were so eccentric: “I see. So your character told you she didn’t want to go hunting because she’s considering becoming a vegetarian. Hmm…”

But then I got the idea to write a story set in Cades Cove, TN, which is now a part of the Great Smoky Mountains National Park. I did the research first, and found that the people who lived in the Cove and throughout the Smokies prided themselves on pulling the biggest prank, telling the tallest tale. This, mixed with a heaping dose of Southern religion. Autumn grew out of that research, and once she got rolling, she dragged me by my shirt collar through the story. I am now a convert.

Do you do things different?
I wish I could shout, “Absolutely! I’m as different as they come!” but truly, I’m not. We’re all a little bit different, but a lot the same. I think we sometimes forget how alike we all truly are.

You have a writers group, correct? You’re also in the Class of 2k8. Can a writer do it alone?
I don’t believe a writer can do it alone. Well, maybe if you’re Steinbeck or Frost or some other rare genius, then yes, you can walk this path solo. But a good writers group is far more than a collection of people who mark up your manuscript; they challenge you to make your ideas better. They cheer your highs and give you chocolate when you hit your lows. And the Class of 2k8 has been wonderful in that it’s been a support system for those of us going through publication for the first time. (And yes, there are as many highs and lows on this side of the contract as there are on the other side.) Then, too, is the simple idea that two (or in the case of my writer’s group, four) heads are better than one. More people watching the business, researching CWIM, and recommending good reads is always a plus. So even if you could do it alone, why would you?

Why do you love research so much? Do have any tips for researching historical fiction?
Ah, man, the research! (Can you hear the sigh?) Research is like panning for gold; you dig and search and sift until you stumble upon a little nugget that is just so lovely you know it must be a part of your story, and so you string it together with the other gorgeous little gems you’ve found. I love the dizzy feeling you get when the microfilm is whizzing toward an article that sounds promising. I love musty yellow books and photographs that can only be handled while wearing gloves. I love that a newspaper article written in 1910 sounds nothing like a newspaper article written in 1971. Even if what you find isn’t true (“Pall Malls are good for you!”), it was true to the people who first read it in 1934. It is life, preserved.

Three of my favorite tips for researching historical fiction (These of course don’t apply to those of you who write about the Iron Ages, but if 20th century Americana is your thing…):

1. Find ads from the time period to get an idea of what the cars looked like, what kitchens looked like, what clothes looked like.
2. Read the classified ads. These not only show the kinds of goods for sale, but were written by everyday folk (i.e., not reporters), so the vocabulary can be unforgettable.
3. Ask your librarian for help on specific questions. My local librarian loves it when I walk up with a question like, “How much was rent for a two-room apartment in Chicago in May, 1910?” They live for that stuff. Really. That’s why they rule the world.

You also write for licensed characters. What are the benefits of doing that sort of work? How does a writer get those gigs?
Writing for internationally known characters such as Scooby-Doo and Strawberry Shortcake is like getting a crash course in voice. Each character is so distinct and recognizable that you must do a lot of research before writing for them, so that you capture them accurately. And there are usually several gatekeepers that monitor each license--as there should be--to make certain that the text rings true. It sounds like a lot of work, and it is, but it’s a blast, too! Another benefit is learning to work under extremely tight deadlines. Because of all those aforementioned gatekeepers, each person needs to review the text a few days before the next person does, which makes some turn-around times quite tight--like, a week or so to write 64 pages.

The saying, “right place, right time,” could be a writer’s mantra, and certainly applies to how I first started working with Dalmatian Press. Dalmatian holds the rights to many well-known licensed characters for coloring and activity books. I met my editor at a conference and began writing for them shortly thereafter. Yet another example of getting yourself and your work in front of people! The good news is that once you’ve proven yourself in this arena, it’s not difficult to find new gigs. Publishers are always looking for people who can pen licensed characters.

What else are you working on?
I have two works-in-progress at the moment. The first is Selling Hope (Or, Gaining Glorious Asylum from Mr. Halley’s Fiery Beast). In May 1910, Halley’s Comet passed by Earth; it passed so close, in fact, that Earth actually passed through the tail of the comet. Mass hysteria ensued, much like the panic of Y2K. It was considered the first case of global paranoia, because it was the first time that the media (i.e., newspapers) reached enough people to feed the fear. Hope, an entrepreneurial vaudevillian, sees an opportunity to cash in on this fear by selling anti-comet pills. (And yes, that really happened. Another gem found!)

The other story I’m working on will, I hope, be attractive as a series. Haunted Melody: A Stop the Presses! Mystery stars Eleanor Roosevelt Pitt, a socially awkward but lovable girl who is obsessed with investigate reporters. She’s so entranced, in fact, that she starts a school newspaper, and manages not only to solve the mystery of the ghost in the music room, but get her fellow students enamored with journalistic truth as well.

And oh, I’m always working on school lunches and dirty diapers! (Not at the same time…)

Any advice to those seeking publications, particularly middle grade writers?
Aside from the Top Two Biggies (Read middle grade and write, write, write--in that order), I’d recommend attending conferences. Except for magazine articles, every writing gig I’ve ever landed has been the result of attending a conference. Research conferences in the CWIM, and take advantage of those manuscript critiques! (Yes, they cost extra, but this is your dream, right?!) When you find out which editors will be at a conference you’re attending, go back to your CWIM to see what kinds of books their houses publish. Google the editors. Read the books they have edited. If you have something similar in your files, submit it for critique. Get out of your office and market yourself--editors want to know that you’ll work hard to promote your book, and the best way to show them you will is to work hard to promote yourself.

Debut Author of the Month: Laurel Snyder...

This month's debut author Laurel Snyder's first two books have release dates just a few months apart. Her picture book Inside the Slidy Diner is an October release from Tricycle, and her mid-grade Up and Down the Scratchy Mountains is coming in October from Random House. Both books were slush piles submissions. Here she explains her almost simulteanous first books; talks about finding her agent, waiting tables, and writing poetry; and offers advice to those seeking publication.

How did you end up with your first books being published so close together?

Oh, it's a funny situation, but for a good reason! Basically, both books were pulled from slush, about a year apart. Tricycle accepted Slidy a year ahead of Random House contacting me about Scratchy. So then Slidy was due to come out last fall, in time for Halloween (it's a spooky kind of book) and Scratchy was supposed to follow about a year later. But the artist working on Slidy threw herself into it like you wouldn't believe. The pages are very involved, hand painted with with collage elements, and some crazy details. There are recurring images like a mouse you have to hunt for on each page, and all sorts of little jokes... it's wonderful, a work of art (that I really can't take credit for at all). So it took a long time, and at first I think the press wanted to speed her up. But when they saw what she was doing, they decided to let her take her time so she could maintain that level of complexity, and they gave her another year!

Please tell me and my readers a little about both of your first books.

Inside the Slidy Diner is a picture book about a little girl named Edie who lives in a macabre sort of diner where the lady fingers really are! Watch out for the Wigglepedes!

Up and Down the Scratchy Mountains is a lower middle grade novel, an old-fashioned fairy tale set in a place called "The Bewilderness"—about a milkmaid named Lucy and a prince named Wynston. When Wynston has to pick a queen, and Lucy is deemed too common for the job, Lucy runs away in search of her mother. So of course Wynston chases after her, and they have all sorts of silly adventures. It has wonderful pictures by Greg Call, and a lot of silly songs. There's a sniffly prairie dog named Cat, a sweet but ornery cow, and some cautionary tales about living life too rigidly.

You started out submitting on your own, but you have an agent now. How did you find her?

When you get pulled from the slush at Random House, it suddenly becomes easier to find an agent! I queried about 30 of them in one whirlwind weekend, got offers from several great folks, and was lucky enough to be able to choose. I'm very very very happy with my amazing agent, Tina Wexler. I picked Tina because she didn't scare me. She talked to me like a person, laughed a lot, and felt immediately like a friend. One of the best decisions I ever made. But I was rejected by a lot of people before that all happened (some of whom sleazily offered to rep me after the book was in committee, but I'll never say who!).

Tell me about getting your first BFYR contract.

They never tell you how long it'll take to get the actual contract, do they? The formal offer came one day while I was teaching comp at a community college in Atlanta, and I actually got the message as I was dashing from school to pick up my son at his babysitter. I must have looked like a crazy lady, screaming my face off in the gridlock traffic all the way home. But the contract came about four decades later, in the heaviest envelope ever, and I just signed where I was supposed to, and sent it back. Maybe that's dumb but I figure that's why I have an agent.

How must inspiration did Slidy Diner draw from your experience waiting tables in several greasy spoons?

It really is a kind of encoded memoir of those years. I guess its a lesson in how anything can be interesting, and how we need to collect details wherever we go. Show Don't Tell, and all that. Rotten grill grease, tattooed waitresses, and sad patrons who sleep in their oatmeal don't sound like things you'd put in a children's book, but somehow it worked. I should say, for the record, that I love waiting tables, and plan to do it again when my kids are a little older. The Hamburg Inn, where I worked in Iowa City, was a second home to me. For me, living in a world of non-writers is important, so I have something to write about.

How have SCBWI, the Iowa Writers' Workshop, and the Class of 2k8 each helped to shape your writing career?

I could write a whole book about the Workshop. I really have a love/hate relationship with that world. I love poetry, and I love Iowa City, and I cannot imagine my life without some of the friends I made in those years. But the climate of that MFA program made me a little nutso. Not the program itself, but the weird competitive stuff that happens among the students. It made me so crazy I stopped trying to keep up and dove into children's books, my touchstones, and that's really how I began writing for kids. So I have to thank them for that! Also, although I didn't share with anyone else, my teacher Marvin Bell was very supportive of Scratchy Mountains. I'll never forget that!

Once I found myself writing for kids, I didn't feel like I could show anyone at the Workshop the things I was working on. And that's where the SCBWI came in. It provided, along with the Verla Kay Blueboards and the CWIM, a community and a set of instructions for how to think about publishing. I don't know how I would have ever found a home for my work without SCBWI. I don't actively participate in the physical world, but as a virtual community it was critical for me.

2k8 is awesome, but that happened very late in the game. I was already into several other books by the time I joined 2k8, and it's a nice way to meet people and get the word out, but I don't feel it had any effect on my publishing career, per se. Though another class member from Iowa, Sarah Prineas, was an early reader for my second novel (Any Which Wall, 2009) and she's become a good friend, so that's wonderful!

You have a lot of experience writing material for adult readers, having published in Salon, Utne Reader, The Iowa Review and others. What led you to write for children?

Children's books are some of the best, most innovative books in the world. I read them myself, and I find that there's a spark of magic in them. I just love them. I'd say that 80 percent of the most important books in my life are things I read before I was 12. I hate the division between children's books and the literary institutions. I just don't think the divide makes sense. Also, writing for kids feels almost political to me. Helping to shape the future--not writing political books and offering "messages," but providing the right stimulus for kids. Giving them something to chew on.

You've said that writing children's books is not as lucrative as you thought it would be when you were in fourth grade. Since (so far) writing for young readers has not helped you buy a mansion or become a gajillionaire, what keeps you interested?

Well, it's a lot more lucrative than poetry!

No, seriously, one benefit to beginning as a poet is that poets don't write to earn. They write to write. I don't think about money or the market when I write. As a result, I have written some books you will never see, like a morbid picture book called, The Boy Who Caught His Death. I always assumed I'd write, and make my money some other way--whether teaching, waitressing, or writing schlock for hire.

You have a book release party coming up and have a string of promotional events on the horizon. What's your plan for engaging your audience?

Oh, I don't know that I have a plan. I just think meeting kids and seeing them excited about books is the most exiting thing in the world. I want to believe that if I work hard, I'll write good books, and that if I write good books, they will find their way into people's hands. It has been explained to me, in so many words, that I'm not a "bestseller" kind of author. I can live with that. It's a great gift to me that I can write the books I most want to write, and I have an editor and an agent who will help them reach people. Especially since more copies have already been pre-ordered than were even printed when I published my book of poems. Poetry really does make you appreciate having a wider readership of any kind. Based on anything I've ever experienced, both of my books have already been successful.

What's your advice for those working toward publication?

I think the trick is a very careful balance--between writing hard without thinking about selling, and then selling hard (by which I mean hunting for a book deal) without thinking about the possibility of failure. I do believe that a good writer who plugs away will someday publish. You can only fail if you set quantitative expectations like, "I'll publish before I'm 30" or "I'll send this to 51 agents and then quit." I do think you have to listen to your most honest readers and friends, and if one books isn't working, try another. But you can't quit. I have about 30 "dead" picture book manuscripts in a drawer and Scratchy Mountains went through draft after draft before it was accepted. In fact, you can go to my blog and see a rejection letter from the very editor who acquired it! I figure if I can have two books pulled from slush by two different editors, it still happens a good bit.

Call for Debut Authors for the 2010 CWIM...


The 2009 CWIM is now in the stores, so I'm beginning to work on my lineup for the 2010 edition--which means I'm looking for a few debut authors and/or illustrators to feature in my annual First Books article!

Picking my lineup for First Books is one of the most enjoyable parts of my job. It's so much fun to hear from first-timers--and so hard to choose just four or five. (I often come up with a theme based on the types of replies I've gotten, which helps me narrow it down. First Books in the 2009 CWIM, for example, features all debut picture books.)

If you are interested in being featured in First Books, here are the rules and guidelines:

1. Email me at alice.pope@fwpubs.com, subject line "First Books."
2. Tell me about your debut book including the title, publisher, genre and approximate publication date.
3. The book must be available in some form by November (so it can be read before you're interviewed).
4. A cover image must be available by January 2009 (because I don't want to feature a book without showing the cover).
5. Please include links to your website or blog if you have one.
   
6. No self-published books please.
7. Tell me something fun/interesting/exciting/unusual/inspiring about you/your book/your path to publication.
8. E-mails must be received by August 8th. (I'll begin reading through them when I get back from the SCBWI conference.)
   
9. I'll be in touch with those I've chosen by the third full week of August; otherwise you likely will not hear from me--I simply don't have time to contact everyone, although I wish I could. (I may acknowledge receipt of emails, however, depending on how busy I am and/or how much I do or do not feel like doing other work.)
   
10. Debut authors not chosen to be featured in First Books could be chosen as Debut Authors of the Month, featured in my CWIM newsletter and blog throughout the year.