II. NOVEL GENRES & TRENDS

Which genres and themes are you soliciting or avoiding in adolescent novels?

I don’t like to solicit particular themes in novels, since the best stories come from within rather than being developed to fill a market niche. I can’t think of a theme I would intentionally avoid other than because of personal taste.

Historical fiction is often difficult to do well since it can come across as dry and isn’t always a teen’s first choice for reading, but I wouldn’t discourage it altogether. I’m interested in historical novels with [uncommon] subject matter—not Civil War or Holocaust stories, for example, because they’ve been written about often. [On another note,] I grew up in Texas, so anything with a southwestern flavor might appeal to me. I’m also interested in stories with a fantastical twist—not witches, wizards, goblins, etc., but those in the magical realism genre.

I’m building my middle-grade and YA lists, especially, so I’m novel-hungry for almost anything that’s well-written!

Are raw, edgy, issue-driven teen novels selling well? What, if anything, is replacing them?

Issue-driven novels will always be successful in YA fiction because as a rule teens struggle with a host of difficult problems, and fiction is one of the best ways for them to work out their own feelings and ideas about whatever edgy topic may be at hand. There is also an emerging genre of less edgy books for slightly younger readers, or for parents to share with their kids when [parents] aren’t particularly comfortable with the sex, drugs, and rock-and-roll found in much YA fiction.

Sherry Garland says in Writing for Young Adults, “For YA novels, among the most common plots are the journey (quest), adventure, romance, survival, coming of age, underdog, and whodunit.” Do you believe these are timeless, along with friendship and family themes? 

These are absolutely timeless and very common themes found in YA literature from Catcher in the Rye to Gossip Girls. Unfortunately, I can’t bring any other ideas to mind!

Sherry Garland (op cit) notes a YA literature paradox: “The more unique and controversial your story and characters, the more likely the book will be acclaimed. Yet... the more unique and controversial the story and characters, the more difficult it will be to find a publisher, given the risk of censorship and resistance by schools.” Which kinds of controversial books, if any, are you likely to publish or acquire?

I must say I disagree with this comment. There are few topics left uncovered by YA literature in today’s market, and many of the “edgiest” have found great success. Librarians seem especially to be eager for books that give their students something real to latch onto. They have been among the first to embrace graphic novels and many books with controversial topics such as teen pregnancy, homosexuality, and depression in teens.

On the occasion that something in a book sparks controversy, it is often seen as an asset to raising discussions. Occasionally we have published books that some schools or parents would not approve of, but if we feel strongly enough about the story and the characters, then disapproving gatekeepers will never keep us from publishing a story that needs to be told—though we will take their concerns into consideration when editing and promoting the book to be sure it goes into the right hands. I would be delighted to publish any kind of book that pushes the envelope of teen fiction and gives readers a more realistic and powerful perspective on a particular issue than is currently available.

A writer asks: ”We’re taught that novelists must balance narrative, dialogue, characters’ thoughts, and action. Many recent acclaimed children’s books are heavy on narrative. What are your thoughts on using narrative in a youth novel?”

Every book has its own pacing and purpose—some are character driven, others focus on action, and still others develop more dialogue than narration. The balance is purely based on the book at hand and what that particular story needs to work effectively.

III. ON A PERSONAL NOTE...

What are some distinctive youth novels that you’ve acquired or edited in the past few years? What aspect(s) grabbed you, and/or what made them stand out from other submissions?

Ophelia by Lisa Klein: From the start, I loved this novel for teens as I have always been a Shakespeare buff. I was particularly drawn to a novel that took a familiar and classic play and turned it on its head by telling the story from a completely new and unexplored perspective.

The Extraordinary Adventures of Alfred Kropp by Rick Yancey: The fantastic main character of this high-octane action novel for teens caught my attention from the start. Alfred feels completely human and fully developed; sometimes I forget he isn’t real.

Please cite a contemporary and/or a classic youth novel you’ve enjoyed reading, and explain why they appealed to you.

The middle-grade Holes by Louis Sachar is both literary and funny; very kid-friendly.

One of my favorite books from childhood is Anne of Greene Gables. I believe this book has remained popular through the years because Anne herself is so perfectly crafted and fully developed. She is one of the most relatable and endearing characters I have ever come across in children’s literature.

How has meeting writers at workshops/conferences influenced you and your work?

I always learn a tremendous amount about the process of writing from the authors I meet at these events. Whenever possible, I like to sit in on lectures by authors who speak about the craft of writing, or about how their personal experiences influenced their books. (It is a mystery to me as I am not a writer myself, and I have huge admiration for anyone who can finish a book, whether or not it gets published.)

I’ve also learned a tremendous amount about how to edit gently and effectively with each one-on-one critique I have done. Every author responds differently to feedback, and I can always improve my tactics or the types of questions I ask as I better learn how to draw out the best in a story from seeing it work with certain authors.  

What do you like most about your job?

I love the chance to work with talented and interesting authors and illustrators and to have a small role in bringing their stories to young readers. The single best part of my job is usually my first phone call to an unpublished author to tell them I want to acquire their book.  

What would you like writers to know about you, the individual who scrutinizes (and sometimes rejects) their literary labor of love?

Please remember that editors are people too. We all have unique tastes, interests, and bad days at the office. Just because one editor doesn’t gobble up your manuscript and offer you zillions of dollars two weeks after submission, it doesn’t mean that the second or third or fourth won’t. The submission process is all about making a personal connection and finding the right fit. Every house has their own style, and every editor brings their own personal background and interests to everything they read.

Julie horsing around!

For instance, I grew up in Texas as a Mexican food addict and the only thing I know how to truly cook in the kitchen is guacamole. So how could I resist when a hilarious picture book manuscript called Chicks and Salsa landed on my desk? It was by chance that this book so perfectly matched my own sense of humor and background—but you can greatly increase your chances of making that kind of connection by attending conferences and meeting editors individually, paying attention to the kinds of books each publishing house produces, checking out the editor’s name in the acknowledgements of books you love, and always, always, working on your craft and improving your writing so that when the right editor comes along, your manuscript will be ready.

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