That's all for now. There's more work to be done and the night is young! Add a Comment
From Simon & Schuster Written by Joshua David Bellin Fourteen-year-old Querry Genn's world is a desert where small groups of survivors struggle against heat, starvation, and the creatures known as the Skaldi, monsters that appeared on the planet after war swept away the old world. Suffering from amnesia brought on by an accident, Querry struggles to recover the lost memories that might saveAdd a Comment
I am a huge Oliver Jeffers fan but have to admit his last few picture books haven’t hit the mark. That of course excludes the absolutely brilliant The Day The Crayons Quit he did with Drew Daywalt last year which was simply outstanding. Oliver Jeffers illustrations have always been outstanding but it was his stories that seemed […]Add a Comment
"You are an expert at your own life. Nobody else is." --Jen BryantAdd a Comment
|Sara,s drawing - well, most of it.|
|Sara on the left, me in the middle and Tim Howard at the bottom of the stairs.|
Do you have an innovative new program or service that requires funding? Are you looking to serve an underserved part of your community more fully? The ALSC/Candlewick Press “Light the Way: Outreach to the Underserved” Grant is a great opportunity for your library!
The Light the Way Grant was formed in honor of Newbery Medalist and Geisel Honoree author Kate DiCamillo. The spirit of the award honors the themes represented in her books. The award itself consists of a $3,000 grant to assist a library in conducting exemplary outreach to underserved populations through a new program or an expansion of work already being done. So, whether yours is a new idea or one that has already been put into place, your library would be eligible.
The ALSC Library Service to Special Population Children and Their Caregivers Committee has the honor of selecting the winner. Special population children may include those who have learning or physical differences, those who speak English as a second language, those who are in a non-traditional school environment, those who live in foster care settings, those who are in the juvenile justice system, those who live in gay and lesbian families, those who have teen parents, and those who need accommodation service to meet their needs.
Be inspired by the impact and the work of the 2014 ALSC/Candlewick Press “Light the Way” current grant winner. Don’t forget to check back on the ALSC website for the most current grant application to be available soon!Add a Comment
Where My Wellies Take Me... by Clare & Michael Murpurgo is one of those books that is so pretty and smart that I hesitate to do much of any kind of review because it's too hard not to lump the superlatives and make it sound impossible. I want to tell you it functions remarkably well as a poetry anthology, that Pippa's story of gentle outdoor adventure will appeal to kids and parents who enjoy a good jaunt and that Olivia Lomenech Gill's scrapbook style design and artwork is classic in all the best ways.
Oh heck. I love this book and I'm not afraid to just say tell you so.
The basic story is simple: Pippa sets off from her kind Aunt Peggy's on a trek through the countryside (hence the need to wear her wellies). She visits a local farmer, takes a ride on his horse, has a lunch, considers some birds, pigs and dandelions, plays Pooh sticks, spies a fisherman (and dwells on the end of life for a fish) and makes it back to the village in time to be crowned the unexpected victor of a race.
What elevates the book is the accompaniment of so many impressive poems from the likes of Ted Hughes, Rudyard Kipling, Yeats, Rossetti and more. The poems are often short, easy to understand and directly applicable to the text. The combination, with the great scrapbook pages and Pippa's story, makes this a lovely read and also a book to pore over for hours while studying the art.
Some books are treasures and Where My Wellies Take Me... certainly fits that standard. The very young will like Pippa a lot but I think it actually might reach best for the 6 & up crowd - 8 -10 year olds could be the best age of all. Really, though, it depends on the child. You'll know when you look at it if it fits for the explorer in your life. I hope it does.
Here are a couple of spreads from the Olivia Lomenech Gill's website:
Seorang pelintas alam bernama Darsh Patel (22) tewas diterkam beruang hitam ketika sedang berjalan-jalan di Cagar Alam Apshawa, West Milford, New Jersey, Senin (22/9/2014). Patel pergi ke cagar alam tersebut bersama empat temannya.
|Beruang Hitam : google images|
The Prix littéraire de la Mamounia, awarded for francophone Moroccan writing, has announced its fifth winner, and, as reported at, for example, Aujourd'hui, Prix Littéraire de la Mamounia: Le Job de Réda Dalil consacré -- apparently the big favorite. See also, for example, the Le Fennec publicity pageAdd a Comment
Beautiful work from EIGA, a multidisciplinary design studio based in Hamburg, Germany.
Also worth viewing:
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It’s that time again: A TIME OF SPOILAGE.
Use the comment thread of this post to discuss all that happens in Afterworlds. If you haven’t read the book, however, it might be wise to NOT LOOK AT THE COMMENTS.
Don’t forget what happened to this person back in May of 2006. I quote from the famous Specials spoiler thread:
oh god, i read the spoiler section before i read the book. i would have read the book by now but the bookstore doesn’t have it in yet! i got the first two before the sale date. why can’t i do that now!? crap i can’t believe i read the spoiler section . . . crap
The lamentations of one who has been spoiled!
Or of you live anywhere else, go check out my tour schedule and come get a book signed by me!
JUST DON’T READ THE SPOILERS.Add a Comment
Involved in a secret five-year relationship with her middle-school teacher, Ortiz focuses on the emotional toll experienced at the hands of "Mr. Ivers." It is pretty satisfying to watch as Ortiz slowly becomes aware of the inequalities of this relationship, yet at the same time, it's entirely heartbreaking to watch this child (because, let's be [...]Add a Comment
The most recent addition to the complete review is my review of Minato Kanae's Japanese bestseller (and basis for a popular film), Confessions, now out in English.
This was translated by Stephen Snyder; disappointingly, however: "Translation copyright © 2014 by Little, Brown and Company". (Not okay, guys.)
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I am a traditionally published thriller author. My latest book No Time to Die just hit shelves this week. When I first started writing suspense fiction, though, I had very little idea what I was doing. It took a humble amount of trial and error to get in a groove and overcome basic rookie errors. Now, seven years later, I like to think I’ve figured out some tricks of the trade. I’ve also been extremely lucky to receive the support and mentorship of some of the top names in the biz, like Jack Reacher’s creator Lee Child and the late Michael Palmer. So without further ado, here are some tips for budding thriller writers that I wish I’d known from day one…
GIVEAWAY: Kira is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before. (Please note that comments may take a little while to appear; this is normal).
Column by Kira Peikoff, a journalist and novelist in New York who has written
for the New York Times, Psychology Today, Slate, Salon, and Cosmopolitan.com,
among many others. She is the author of LIVING PROOF (Tor, 2012) and
NO TIME TO DIE (Kensington, 2014), which was praised by best-selling
author Lee Child. Connect with her on Facebook and Twitter.
1) Structure Scenes like Mini-Novels: Each one should contain its own narrative arc, with rising action and a climactic moment that signals the end of the chapter. It’s good form to finish most chapters on a cliffhanger—especially the first one. A major dramatic question should be raised in the opening scene, and then resolved in an unexpected or unfavorable way to hurl the main character further into the conflict (and thus drag your readers into the story). Get your protagonist in trouble as soon as possible and never let her get too comfortable or too safe. As far as chapter length, I’ve found that an average of five pages (double-spaced, size 12) works well for keeping up the pace.
2) Plot Strategically to Avoid the Sagging Middle: This rookie error is one I had the misfortune of making early on: I wrote the beginning of a book and then abruptly ran out of steam about sixty pages in. When you’re staring down 240 blank pages without a plan, it’s easy to freeze up. Now I have a method. Once I have the main cast of characters and their conflicts, I conceive a new book in four sections. At the end of each section, I devise a major twist to launch into the next section and keep up the narrative momentum. Once I’ve figured out my four big plot points, I go deeper into plotting the concretes of each individual section, dropping red herrings and hints about the twists to come so that they will be logical without being predictable. This is the most challenging part of the process for me and is apt to change when I actually get to writing. I think of the outline like a highway: you can go off-roading from time to time but you get back on the highway to get to your final destination.
3) Alternate Character POVs: I love writing in third-person multiple vision, alternating between protagonist, antagonist, and usually another main character who has a stake in the central conflict. Getting into each character’s head increases suspense for the reader, who knows to anticipate the moves of competing characters and either roots for or against them to succeed. It’s the easiest POV choice to use in writing a thriller. When you follow Tip 1 and end each chapter on a cliffhanger, then switch to a new character whose scene also ends on a cliffhanger, the reader will be tearing through the pages to learn what happens. A word to the wise: the hardest POV choice is writing in first person—and keeping with only one character—for the entire story, because then you can’t create dramatic irony. (i.e. when the reader knows more about the stakeholders in the conflict than each character alone knows.)
4) Obscure POV when useful: Say you’re writing a murder scene but you want the killer’s identity to remain a secret. I wanted to pull this off in my new book, since the killer was someone surprising in the story, but I didn’t want readers to know who until way later. The trick is to write the scene from the victim’s perspective. Don’t allow the victim to know or recognize the killer—so you can have a dramatic, intense scene without spoiling the mystery. This is the first chapter of No Time to Die.
5) Raise questions and delay the answers: This technique is the absolute key to suspense. Pique people’s curiosity and then make them wait for a resolution. While they’re waiting, introduce a new tantalizing question, and then delay that answer too. Once you can layer these successfully, you’ve got a page-turner. The famous author Pete Hamill told me once that writing suspense is about planting diving boards and then jumping off them later. Best advice I ever got.
Go forth and good luck!
GIVEAWAY: Kira is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before. (Please note that comments may take a little while to appear; this is normal).
Hook agents, editors and readers immediately.
Check out Les Edgerton’s guide, HOOKED, to
learn about how your fiction can pull readers in.
Other writing/publishing articles & links for you:
Want to build your visibility and sell more books?
Create Your Writer Platform shows you how to
promote yourself and your books through social
media, public speaking, article writing, branding,
and more. Order the book from WD at a discount.
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They are exploring the terrain. Tried to get more detailed with background and motion. Drawn on Corel Painter X3 with custom brush with Wacom Intuos. Day 26 of 30 day Trial.Add a Comment
Jersey Farm Scribe here on
Picture Books: Character Development in Every Word!
We all know that our characters need to resonate with the audience. They need to relate to them, yearn to grow with them, feel their pain and celebrate their accomplishments.
It’s asking a lot. But it’s what keeps little fingers reaching for the same stories again and again.
It’s not as easy task when I’m working on an MG project, and I’m sure it’s a struggle for any authors no matter what the genre. But when I’m working on a picture book, I have an even smaller window to describe my characters, and far less opportunities to tell SHOW others what makes them so special.
The intimate relationship we have with our manuscripts sometimes makes it necessary to take a step or two back. WE may know Little Lucy or Bumbling Bradley just as well as we know living, breathing children in our life. But we are tasked with putting entire personalities into as few as 500 words and still having room for a story!
But (deep breath) fear not! There is something truly beautiful hidden here as well.
One of my favorite things about writing picture books is that it is genuinely the epitome of the POWER of words. An entire story told in fewer words than this blog post will have. A full story arc with beginning, a middle and an end. And not just ANY story arc, one that will attract an agent, dazzle a publisher and make both parents and children reach to pull the story from the shelf time and time again.
Each word has a fingerprint.
Every word chosen MUST fit not only in the sentence, but in the essence of the story itself. Verbs are not only describing the action of the story, but setting the intangible style, the VIBE of the characters and of the story itself. Adjectives do more than describe the subject they’re linked to, but represent the attitude and individuality of the characters they are entangled with.
Snort and giggle may have the same definition. But the aura of the characters they describe, are distinctly different.
Bounding, lurching and hopping may all describe the same actions, but one word may bring up stronger images of chaos, versus innocence or playfulness. And to make things more… let’s say exciting… there are no hard and fast rules. The same word used in one sentence may have different implications when used in a different way.
Well, that’s just not helpful at all, is it?
While a daunting task for sure, these word description choices also open almost limitless doors. The power is in our hands. The slight change of a few words can alter an entire story, or give that extra shimmer of life that our characters so desire to have.
So okay, how do I DO that?
For me, something that helps me is when I assess every individual sentence in my picture books in two ways:
Auditory and Meaning
We have the benefit of knowing that 99 percent of the time picture books are read, out loud, TO our ultimate target audience. That’s powerful knowledge! And it’s important to capitalize on it. Of course, most picture book authors know the importance of reading your manuscript out loud from cover to cover. But you can go a step beyond that as well.
I take every individual sentence and read it out loud, numerous times in a row. Think about how the words sound together, how they physically feel coming off the tongue. Try different adjectives, new verbs, try to add or remove a comma, just to see if anything has a more pleasing flow, a more playful sound or something that fits better with the mood I want my readers to be experiencing.
And I ask myself, what would my character think of these sounds?
If I don’t feel that my character would have a natural and deep connection with the sounds and intonations throughout the story, than I’m probably not giving my readers a chance to connect with my character.
Again I take each and every word from each sentence individually and dissect it for meaning. As the great Ame Dyckman would say (author of Boy + Bot, Tea Party Rules and more), it’s the Picture Book Word Count SMACKDOWN! If a word does not make you tingle, if you don’t read it and say to yourself, THAT’S IT, that’s EXACTLY IT… find a better word or take it out!! Trust that your illustrators will know what they’re doing and that they will express the details and description so that you can focus on action.
Again, play with new verbs or adjectives and be sure that each word matches not only the scene that you’re painting in their minds, but the tone of the moment, the spirit of the main character and the emotion that the memory of reading the book will create.
The best picture books and characters are often burned into our memories for our entire lives. The words from these stories carried much more significance than their mere definitions. They were the medium for living, breathing characters that tiptoed off the pages and into our world. Your manuscripts have the opportunity to exercise the profound power of each individual word.
Your manuscripts… and the characters they will bring to life… are worth it!
Erika Wassall is a writer, a farmer and a liver of life. She is a member of SCBWI and a proud Mad Scientist, bringing science experiments right into children’s classrooms, and hearts. She has a small farm in New Jersey with sheep, chickens, pigs and vegetables. Check out her new website at www.TheJerseyFarmScribe.com where as a first generation farmer, she often takes the long way, learning the tricks of the trade on The Farm. On her website is also The Shop page with tips and a free Q/A from her husband’s mechanic shop, and The Writer page where she shares stories, experiences and characters from the heart. Follow her on Twitter at @NJFarmScribe. She’d love to hear from you!
Thank you Erika for another great post.
Adult/Teen Librarian Danielle Dreger-Babbitt from Mill Creek Library WA is here to Roar with readergirlz for Banned Books Week
We drove up the coast this weekend to move Jane back into school. My parents held down the fort here at home. Scott and I stayed in Pismo Beach and I was swooning every minute. California’s Central Coast is as lovely as it gets.
Now home, and the house seems so quiet with only five kids. Only, heh. Tomorrow we’ll be back to our regular routine. I have a stack of books awaiting me at the library, which is closed on Mondays. I was itchy all day for it to open.
Speaking of new books: two launches today made my heart go pittypat. One is Sarah Elwell’s latest, this one delivered in an innovative serialized-ebook fashion. Each week for three months you get a new installment. Sarah’s work is haunting and lovely, and I can’t wait to read this. A novel in weekly installments might just suit my jam-packed Cybils season schedule.
And the other is Scott’s latest! A YA novel available on Kindle. For readers of his UNCIVIL WAR series, this is NOT the next volume of that (but it too is coming out as soon as possible).
What are you reading right now?Add a Comment
Thomas Piketty's Capital in the Twenty-First Century continues to be one of this year's unlikely publishing success-stories -- a university press-publication, a work in translation (indeed, I wonder how many have sold more copies this year), and, well, on some level, a pretty scholarly-dry tome (though it is, in fact, a pretty good read).
In The Guardian they ask now four "star economists and finance experts" (and no literary experts, oddly enough) Why is Thomas Piketty's 700-page book a bestseller ?
(I've been impressed by the book, but the surfeit of reactions and reviews has kept me from posting review-coverage for now; meanwhile, see the Harvard University Press publicity page, or get your copy at Amazon.com or Amazon.co.uk.)
How do you hook an agent right away, keep them hooked, and make the most of your new publishing relationship? In this Boot Camp starting Oct. 1, 2014, “How to Find and Keep a Literary Agent,” you’ll learn how to get a literary agent’s attention through a great submission, and also how to navigate the process of working successfully with an agent. You’ll also work with an agent online to review and refine your all-important query letter and the first five pages of your novel. As always, seats in the boot camp are limited, and many WD camps sell out — so consider signing up sooner rather than later.
This Boot Camp will cover a range of important questions:
– What keeps an agent reading? What makes writing jump off the page?
– What are the most common Chapter 1 mistakes that make them stop reviewing your submission?
– What are the steps you need to give your query and manuscript the best possible shot?
– What are the turn-ons and turn-offs when it comes to queries?
– How do agents make judgment calls?
– And much more.
With real-life examples of queries that do and don’t work, you will learn how you can refine your own query letter and get an agent to request your novel.The world of literary agencies can be an intimidating place. You’ll be lead through the inner-workings of finding the perfect literary agent, working with an agent and how to get the most out of your relationship. See what a day in the life of an agent looks like, and get tips about how to find your perfect author-agent match that will result in a successful partnership.
The best part is that you’ll be working directly with a knowledgeable and experienced agent, who will provide feedback specific to your work.
Here’s how it works:
On October 1, you will gain access to a special 60-minute online tutorial presented by agents at the Dijkstra Literary Agency. It will explain the submission process of submitting to an agent, what they find appealing in a query letter and what an author-agent relationship looks like from the inside. You will also be notified by email which agent you’ll be working with Monday afternoon.
From 10:00 am to 1:00 pm (PT) on October 2, instructors will be available to answer questions and provide additional feedback via the Writer’s Digest University message boards. Only registered students can access these boards. You’ll also be able to ask question of your fellow students. Feel free to share your work and gain support from your peers.
After listening to the presentation and participating in the discussion sessions, you’ll be able to revise your query & first 5 double-spaced pages as necessary. Then, you’ll email those pages directly to Jill Marr, Elise Capron, Thao Le, Jessica Watterson, or Roz Foster, by the end of the day on Thursday. They will spend 10 days reviewing their assigned critiques and providing feedback as to what works and what doesn’t.
Please note that any one of the instructing agents may ask for additional pages if the initial submission shows serious promise.
In addition to feedback from instructing agents, attendees will also receive:
– Download of “An Agent’s Tips on Story Structures that Sell,” an on-demand webinar by Andrea Hurst
1-year subscription to the WritersMarket.com literary agent database
PLEASE NOTE: No Additional discounts are available. All sales are final. If you have a preferred agent you would like to work with, please notify WDU after registering.
RECAP ON DATES:
Wednesday, October 1 – Access to Tutorial
Thursday, October 2 – Blackboard Discussion 10 am to 1 pm (PT)
Friday, October 3 – Materials due to agents
Monday, October 13 – All critiqued materials due back to attendees
About the Instructors:
ELISE CAPRON is an acquiring agent at the Sandra Dijkstra Literary Agency. She also manages the SDLA office and works closely with Sandra Dijkstra on author development and management. She is most interested in serious, character-driven literary fiction and well-written narrative non-fiction (particularly serious history with a good story).A graduate of Emerson College, Elise holds a BFA in Writing, Literature and Publishing, and served on the editorial staff of the Emerson Review for several years. She interned at Harcourt and the Dijkstra Agency before joining the agency full-time in late 2003.Elise is interested in fiction that has unforgettable writing, a terrific narrative voice/tone, and memorable characters. She loves novels with an unusual or eccentric edge and is drawn to stories she has never heard before. She aims to work with writers who are getting their work published regularly in magazines and who have a realistic sense of the market and their audience. Some of Elise’s recent and soon-to-be-published fiction titles include Tiphanie Yanique’s Land of Love and Drowning (Riverhead) and How to Escape from a Leper Colony (Graywolf); Rachel Toor’s On The Road to Find Out (FSG); Jonathon Keats’ The Book of the Unknown (Random House); Rikki Ducornet’s Netsuke (Coffee House Press); Maureen McHugh’s After the Apocalypse (Small Beer Press), which was picked as a “Top 10 Best of the Year” by Publishers Weekly; Ali Liebegott’s The IHOP Papers (Carroll & Graf); Peter Plate’s Soon the Rest Will Fall (Seven Stories Press); and more.
On the non-fiction front, Elise is looking for fascinating true stories told in a compelling way. Currently, Elise is especially interested in working with up-and-coming scholars (particularly historians) who are looking to transition from the academic market to a trade readership. Some of Elise’s recent and soon-to-be-published non-fiction titles include Jack Shuler’s The Thirteenth Turn: A History of the Noose (Public Affairs) and Blood and Bone: Truth and Reconciliation in a Southern Town (University of South Carolina Press); Leo Braudy’s Haunted; Jane Vandenburgh’s The Wrong Dog Dream: A True Romance (Counterpoint); Jonathon Keats’ Forged: Why Fakes Are the Great Art of Our Age (Oxford University Press); Cynthia Barnett’s Blue Is the New Green: An American Water Ethic (Beacon); Billy Smith’s Ship of Death: The Voyage That Changed the Atlantic World (Yale); and more.
Please note that Elise is specifically not interested in: fantasy, young-adult/middle-grade, picture books, romance, sci-fi, business books, cookbooks, poetry, religious/spiritual books, screenplays, or self-help. And while she is interested in narrative non-fiction, please note that she takes on very little memoir.
JILL MARR is an acquiring agent at the Sandra Dijkstra Literary Agency.She graduated from San Diego State University with a B.A. in English with an emphasis in Creative Writing and a minor in History. She has a strong Internet and media background and nearly 15 years of publishing experience. She wrote features and ads for Pages, the literary magazine for people who love books, and continues to write book ads for publishing houses, magazine pieces, and promotional features for television.After writing ad copy and features for published books for years, she knows how to find the “hook” and sell it.
Jill is interested in commercial fiction, with an emphasis on mysteries, thrillers, romantic suspense and horror, women’s commercial fiction and historical fiction. She is also looking for non-fiction by authors who are getting their work published regularly and who have a realistic sense of the market and their audience. Jill is looking for non-fiction projects in the areas of history, sports, politics, current events, self-help, cookbooks, memoir, health & nutrition, pop culture, humor and music.
Some of Jill’s recent and soon-to-be-published non-fiction includes the Travel Channel’s Nick Groff’s Chasing Spirits (NAL); Maybe We’ll Have You Back (Skyhorse) by actor Fred Stoller; Get Over It (Seal Press) by Christina Pesoli; Doulas A. Wissing’s Funding Our Enemy (Prometheus Books); Why We Love Serial Killers (Skyhorse) by Scott Bonn; America’s Greatest “Failing” School (Nation Books) by journalist Kristina Rizga; Don’t Lick the Minivan (Skyhorse) by Leanne Shirtliffe; William Jones’ More Than the Dream: The Untold Story of the March on Washington (Norton); Rocking the Pink (Seal Press) by singer-songwriter Laura Roppé; Stop Reading Baby Books (Skyhorse) by JJ Keith; Drunks: America’s Search for Sobriety by Christopher Finan; and Argyle Armada: Life with America’s Top Pro Cycling Team (VeloPress) by Mark Johnson.
Some of Jill’s new and upcoming fiction includes Bloodman andAmerican Woman (Thomas & Mercer) by Robert Pobi; Reckless Disregard (Seven Stories Press) by Robert Rotstein; Three Souls(HarperCollins) by Janie Chang; Madam (Plume) by Cari Lynne and Kellie Martin; The Cordell Logan thriller series (The Permanent Press) by David Freed; Benefit of the Doubt (Tor/Forge) by Neal Griffin;Garbo’s Last Stand (Entranced) by Jon Miller; The Crossroads thriller series (Thomas & Mercer) by Eyre Price; The Dog Year (Berkley) by Ann Garvin; The Change Your Name Store (Sky Pony Press) by Leanne Shirliffe; and the Jaden Terrell series that includes the Shamus Award nominee Racing the Devil and A Cup Full of Midnight (The Permanent Press).
Please note that Jill is specifically not interested in: YA, children’s books, sci-fi, romance or anything involving unicorns.
ROZ FOSTER is an acquiring agent at the Sandra Dijkstra Literary Agency. She works from New York. She has a B.A. in English Literature from UC San Diego, studied philosophy for a year at the University of Sheffield, U.K., and earned her M.A. in English, with an emphasis in composition & rhetoric and creative writing, from Portland State University. At PSU, she taught writing in exchange for tuition. She’s been learning French since 2009.Roz spent over five years as a qualitative researcher in high-tech consumer products marketing. In 2008, she co-founded a web design company for which she provided non-profit organizations with audience-focused market research, project planning, and digital design. She joined SDLA in 2013.
Roz is interested in non-fiction in the areas of cultural studies, sociology, business, history, politics, current affairs, science and design. She looks for driven, narrative storytelling and sharp concepts that have the potential to transcend their primary audience. She’s also interested in literary and commercial fiction, literary YA with crossover potential for the adult market, and literary sci-fi. In fiction, she looks for a resonant, lively voice; rich, irresistible language; characters with compelling development arcs; and a mastery of dramatic structure. Across the board, she’s looking for books that make her feel like the author is tuned into a rising revolution — cultural, political, literary, or whatnot — that’s about to burst on the scene.
Please note that Roz is specifically not interested in: sports, cookbooks, screenplays, poetry, romance, fantasy, or children’s books.
THAO LE handles finances and selected contracts at the Dijkstra Agency. She is also an agent. Thao is looking to acquire adult Sci-Fi/Fantasy/Horror, New Adult, YA and Middle Grade. She enjoys both gritty, dark narratives and fantastically quirky stories. She is also looking for light-hearted, funny, and moving contemporary YAs with a raw, authentic teen voice. She’s particularly drawn to memorable characters, smart-mouthed dialogue, strong plots, and tight writing. Her favorite books are ones that reimagine familiar tales and tropes in a completely fresh new way and she has a soft spot for multicultural stories and lush settings. Recent sales include: Katherine Harbour’s fantasy, THORN JACK (Harper Voyager), Lisa Freeman’s surf YA, HONEY GIRL (Sky Pony Press), IPPY Award Winning S.K. Falls’ NA (Forever Yours), and James Kendley’s paranormal thriller, THE DROWNING GOD (Harper Voyager Impulse). Thao is NOT looking for: Biographies, business books, cook books, memoirs, picture books, poetry, religious/spiritual books, screenplays, self-help, short stories, travel books.
JESSICA WATTERSON graduated from the University of California at Irvine with a degree in Sociocultural Anthropology and English. Jessica has made books a serious part of her life for many years. Jessica is most interested in all subgenres of adult and new adult romance, and women’s fiction. She is looking for heartfelt and unique romance that will instantly draw a reader in and keep them hooked.Add a Comment
|Red line shows our itinerary...|
|The Brasov town square|
|A peacock is a good image in Brasov. It is a proud and beautiful city.|
|Did you think I would not sketch it?|
|Queen Marie's Chapel we thought... Gorgeous with all the moss...|
|Me, walking up to the castle...|