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I just opened a package that gave me shivers. Even, yes, a little warm pressure behind the eyes. For the brown padded envelope contained Advance Reader’s Copies of the Jigsaw Jones book, The Case from Outer Space, published by Macmillan. I have a few things to say, but let me start here:

Look at the new cover design, look at the terrific illustration by R.W. Alley, look at . . . Joey and Mila and Jigsaw.

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I wrote the first Jigsaw Jones mystery back in 1997 for Scholastic. To date, there are 40 titles in all, and more than 10 million copies have been sold, mostly through Scholastic Book Clubs. I’ve visited many schools as a guest author, and I’ve met a lot of young readers and teachers who know and enjoy those books. However, there’s really been nothing new for about ten years; Scholastic made a business decision to allow the series to die on the vine, with book after book slowly, painfully going out of print.

I put my heart into those characters. It’s the work for which I’m best recognized. I can’t easily convey how it felt to see those books fade into oblivion. I still receive letters from parents asking where they could get them. The note would explain that it was the first chapter book their a child had read by himself. I’d have to reply, “Try Craig’s List or eBay,” and a small dagger would slice into my soul. It was more than the disappointment of watching 40 books go out of print. It felt like a huge part of my career was being erased. All that work, the time and love, the accomplishment: poof, vaporized.

Oh well, right? That’s the deal. Writers go through this all the time. Publishing is a tough racket. Write something new.

But guess what? Jigsaw refused to go gentle into that good night. The books hung around in classrooms. There’s even a touring musical that still comes around, created by ArtsPower. Thanks to the efforts of three fierce women in publishing — my agent, Rosemary Stimola, along with Liz Szabla and Jean Feiwel at Macmillan — Jigsaw has found a new home, and new life. Jigsaw Jones is back. The immediate plan is to bring out this new title in the summer of 2017 (20 years after the first one), along with four newly updated classroom classics. In 2018, there will be at least four more, and hopefully I’ll get the chance to write another new one. These are books that have not been available in stores for a long, long while.

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Illustration by R. W. Alley, pages 12-13 from THE CASE FROM OUTER SPACE. Available this summer from Macmillan.

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I hope that Jigsaw and his friends are discovered by a next generation of young readers. I hope that maybe a little cheer will go up in various classrooms around the country. But today I won’t worry about that. Today I’ll just hold this beautiful Advance Reader’s Copy in my hands, grateful for everything, and just smile, proudly.

I am very excited about the revival of my “Jigsaw Jones” mystery series, thanks to my friends at Macmillan. I owe a particular debt to three people: my agent, Rosemary Stimola, and two fierce women in publishing, Jean Feiwel and Liz Szabla. Not only are they resurrecting some long out-of-print titles, but they’ve asked me to write a new book. Which a just did, The Case from Outer Space. Writing it was daunting at first — it had been some years since I’d entered Jigsaw’s world — but very quickly it felt like home again. It was a happy book for me to write, and I hope that comes through in the story. I like to imagine people reading it with a smile.

Right now my publisher, along with artist R.W. Alley, are exploring new cover designs for the series re-launch. My job, at this point, is to sit back and hope for the best. Fingers, toes, everything’s crossed! It’s not as hard as it sounds. I’m confident that the fate of my favorite detective is in good hands. Which is such a relief. Probably the most painful part of my publishing life has been to watch that beloved series, with more then ten million books in homes and classrooms, slowly die on the vine due to neglect. Nobody could buy them anymore. Well, that’s going to change, and I feel nothing but grateful.

One other small detail that pleases me about the new book is that I used a “Little Free Library” as a central device in the mystery. I love Little Free Libraries — we have several in our sunny burb — and I’ll glad to give the idea a moment in the spotlight. Readers may enjoy this terrific piece about the libraries by Tammy Mulligan and Clare Landrigan, originally posted over at The Nerdy Book Club.

In the meantime, here’s a sample from the upcoming book, due in the Spring of 2017, along with four more titles. Jigsaw is back!

Sample chapter from The Case from Outer Space.

CHAPTER TWO

One Small Problem

I poured three glasses of grape juice.

“Got any snacks?” Joey asked. “Cookies? Chips? Corn dogs? Crackers?”

“Corn dogs?” I repeated. “Seriously?”

“Oh, they are delicious,” Joey said. “I ate six yesterday. Or was that last week? I forget.”

Danika shook her head and giggled. Joey always made her laugh.

I set out a bowl of chips.

Joey pounced like a football player on a fumble. He was a skinny guy. But he ate like a rhinoceros.

“So what’s up?” I asked.

“We found a note,” Danika began.

“Aliens are coming,” Joey interrupted. He chomped on a fistful of potato chips.

I waited for Joey to stop chewing. It took a while. Hum-dee-dum, dee-dum-dum. I finally asked, “What do you mean, aliens?”

“Aliens, Jigsaw!” he exclaimed. “Little green men from Mars –- from the stars –- from outer space!”

I looked at Danika. She shrugged, palms up. “Maybe,” she said. “You never know.”

I took a long swig of grape juice. “You mentioned a note,” I said to Danika.

She sat tall, eyes wide. “It’s very mysterious, Jigsaw. That’s why we came to you.”

“Narffle-snarffle,” Joey mumbled, his mouth still full of chips.

I leaned back in my chair. I shoved my hands into my pockets. They were empty. Business had been slow. I was a detective without a case. “Let me make a phone call,” I said.

I never work alone. My partner’s name is Mila Yeh. We split the money down the middle, 50-50. Mila has long black hair. She’s crazy about books. And she’s my best friend on the planet. Together, we make a good team.

I asked Mila to meet us in my tree house. She said she’d be over in five minutes.

It took her three and a half.

Mila lived next door. And she was as quick as a rabbit.

As usual, Mila was singing. I knew the tune, but the words were different:

    “Twinkle, twinkle, little mystery!

     How I wonder what you are?

     Could you really be up there?

     Do Martians wear . . . underwear?”

“You’re funny,” Danika said. She sent a warm smile in Mila’s direction.

“That last line needs work,” Mila replied. She sang again, “Do Martians wear . . . underwear?” Satisfied, Mila sat down, criss-cross applesauce. We gathered in a snug circle. There was no choice. My tree house wasn’t exactly a palace. I am not complaining. But I don’t go up there on windy days. Mila’s eyes were active and alert. They moved from Joey to Danika, before settling on me. “Aliens, huh?” Mila asked.

“From outer space,” Joey said.

“Uh-huh,” Mila replied. If she thought Joey was crazy, Mila was too nice to say it out loud.

I took out my detective notebook. I opened to a clean page. With a blue pen, I wrote:

THE CASE FROM OUTER SPACE

CLIENTS: Joey and Danika

CLUES:

I left that part blank. I didn’t have any clues. I wasn’t even sure I had a case. But it was better than nothing.

“Maybe we could start from the beginning,” Mila suggested.

“Hold on.” I slid forward an empty coin jar. “We get a dollar a day.”

Joey and Danika exchanged glances. “We have one teensy-weensy problem,” Danika said.

Uh-oh.

“No money,” Joey confessed.

“We’re flat broke,” Danika said.

“That’s the worst kind of broke,” I sighed.

Here’s an illustration Jigsaw, Geetha, and Mila, taken from THE CASE OF THE PERFECT PRANK, illustrated by Jamie Smith. The art for OUTER SPACE hasn’t been completed.

“Maybe we could trade?” Joey offered. He reached into his back pocket. His hand came out holding a hunk of smelly orange glop. “I’ve got some cheese!”

Mila leaned away. “You keep random cheese in your back pocket?”

“My front pockets were full,” Joey explained.

I was afraid to ask. We were all afraid. No one wanted to know what was in Joey’s front pockets. A frog? A hard-boiled egg? Last week’s bologna sandwich? Anything was possible.

There was still the problem of payment. I did not liking working for free. It was bad for business. But I needed a mystery the way a fish needs to swim . . . the way a bird needs to fly . . . the way a three-toed South American tree sloth needs to hang upside down.

“Okay,” I decided. “We’ll look into it. No promises.”

“Thanks, Jigsaw,” Danika said.

“You can still have my cheese,” Joey said. He held out the orange glop as if it were pirate’s treasure.

Mila coughed. “That’s nice of you, Joey. Just hold on to it for now. For safe keeping.” She turned to Danika. “Let’s see that note.”

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About 18 months ago I was invited to contribute a short story to an “edgy” YA compilation, tentatively titled I See Reality. It would ultimately include twelve short stories by a range of writers. I was interested, but did not exactly have one waiting in my file cabinet. So I said, “Give me a few days and let’s see if anything bubbles to the surface.” After some thought, I knew the story I wanted to tell, and I knew the format in which I wanted to it.

Wallace Stevens wrote a poem, “Thirteen Ways of Looking at a Blackbird,” that had always captivated me. I admired its fragmentary nature, the way the text moves from perspective to perspective to create an almost cubist mosaic. Of course my story, “The Mistake,” did not come close to achieving anything of the sort. But that was the starting point, the push. I decided to play around with that idea. The final story included twenty-two brief sections.

What I wanted to say, what I was moved to address: I wanted to write a story that touched upon teenage pregnancy and the important role that Planned Parenthood plays in the lives of so many young women and men. We live in a challenging time when women’s reproductive rights are under almost daily attack. When the very existence of Planned Parenthood is under political and violent assault. This is a health organization that supplies people — often young women from low income groups — with birth control, pap smears, and cancer screening. According to The New England Journal of Medicine: “The contraception services that Planned Parenthood delivers may be the single greatest effort to prevent the unwanted pregnancies that result in abortions.”

Most importantly for this story, Planned Parenthood provides abortions as part of its array of services, a procedure that is legal in the United States of America. Abortion has long been debated, discussed, argued, and decided in the Supreme Court. As divisive as it may be, abortion has been declared a legal right in this country. And it touches young lives in profound ways.

Anyway, yes, I know that I risk offending people. Maybe I should just shut up. But when my thoughts bend this way, when I start to worry what people might think, I remind myself of this quote by Martin Luther King, Jr.: “Our lives begin to end the day we become silent about things that matter.”

I stand with Planned Parenthood.

Here’s the first two brief sections from my story, plus another quick scene, followed by review quotes about the entire collection from the major journals:

THE MISTAKE

By James Preller

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     “What do you think we should we do?” Angela asked.

     “I don’t know.” Malcolm shook his head. “What do you want?”

     It was, he thought, the right thing to ask. A reasonable question. Her choice. Besides, the truth was, he didn’t want to say it out loud.

     So he said the thing he said.

     “What do I want?” Angela said, as if shocked, as if hearing the ridiculous words for the first time. She stared at her skinny, dark-haired boyfriend and spat out words like lightning bolts, like thunder. “What’s that got to do with anything, Mal? What I want? How can you even ask me that?”

     “I’m sorry,” he said.

     “I’m sorry, too,” she replied stiffly, but Angela’s “sorry” seemed different than his. Malcolm was sorry for the mistake they made. Their carelessness. And in all honesty, his “sorry” in this conversation was also a strategy to silence her, a word that acted like a spigot to turn off the anger. Angela’s “sorry” encompassed the whole wide world that now rested on her slender shoulders. Malcolm understood that she was sorry for all of it, all the world’s weary sorrows, and most especially for the baby that was growing inside her belly.

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     Angela on her cell, punching keys, scrolling, reading, clicking furiously.

     At Planned Parenthood, there was a number she could text. She sent a question. Then another. And another.

     She was trying to be brave.

     Trying so hard.

     It wasn’t working out so well.

 <<snip>>

14

     “Angela?” A nurse appeared holding a clipboard, looking expectantly into the waiting room.

     Angela rose too quickly, as if yanked by a puppeteer’s string.

     The nurse offered a tight smile, a nod, gestured with a hand. This way.     

     Her balance regained, Angela stepped forward. As an afterthought, she gave a quick, quizzical look back at Malcolm.

     “Love you,” the words stumbled from his throat. But if she heard, Angela didn’t show it. She was on her own now. And so she walked through the door, down the hallway, and into another room. Simple as that.

     Malcolm sat and stared at the empty space where, only moments before, his Angela had been.

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Contributing authors include Jay Clark , Kristin Clark , Heather Demetrios , Stephen Emond , Patrick Flores-Scott , Faith Hicks , Trisha Leaver , Kekla Magoon , Marcella Pixley , James Preller , Jason Schmidt , and Jordan Sonnenblick .

Review by Booklist Review

“The hottest trend in YA literature is the renaissance of realistic fiction. Here, as further evidence, is a collection of 12 stories rooted in realism. Well, one of the stories, Stephen Emond’s illustrated tale The Night of the Living Creeper is narrated by a cat, but, otherwise, here are some examples: Jason Schmidt’s visceral story of a school shooting; Kekla Magoon’s tale of a mixed-race girl trying to find a place she belongs; Marcella Pixley’s operatic entry of a mother’s mental illness; and Patrick Flores-Scott’s haunting take on a brother’s life-changing sacrifice. Happily, not all of the stories portray reality as grim. Some, like Kristin Elizabeth Clark’s gay-themed coming-out story, Jordan Sonnenblick’s older-but-wiser romance, and Faith Erin Hicks’ graphic-novel offering about gay teens, are refreshingly lighthearted and sweet spirited. Many of the authors in this fine collection are emerging talents and their stories are, for the most part, successful. One of their characters laments how some don’t want to know about what goes on in the real world. This collection shows them.”

Review by School Library Journal Review

“Gr 10 Up-Tackling feelings-from grief to joy, from sorrow to hope, and from loss to love-this short story collection portrays real emotions of teenagers in real-life situations. Included in this volume are the conversation a girl has with herself while preparing to break up with an emotionally manipulative boyfriend, the story of a survivor of a high school shooting, an illustrated vignette told from the perspective of a family’s cat about a creeper at a Halloween party, and a short work in comic book format about the surprising secret of a high school’s golden couple. . . . With authors as diverse as Heather Demetrios, Trisha Leaver, Kekla Magoon, and Jordan Sonnenblick, this collection unflinchingly addresses subjects such as sexuality, abortion, addiction, school shootings, and abuse. VERDICT From beginning to end, this is a compelling work that looks at the reality teens are faced with today.”

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My thanks to editors Grace Kendall and Joy Peskin of Farrar Straus Giroux/Macmillan for inviting me to take part in this refreshing collection of stories. My editor at Feiwel & Friends, Liz Szabla, helped make the connection possible.

My two books that might have the most appeal to YA readers would be Before You Go and The Fall.

While — sure! of course! — I always enjoy receiving a big, old, 8 1/2″ x 11″ envelope filled with student letters, I admit to mixed feelings. Yes, I’m grateful and honored. Yet I can’t help but recognize that this was the product of an assignment. Some letters can seem rote, and I get it. However, I recently received a particularly wonderful batch, 23 letters in all, filled with insights & curiosity & ridiculously kind words. Here’s the teacher’s cover letter and my response to the class . . .

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I replied at length:

Dear Ms. Becker & Students,

Thank you for that impressive package of letters. I’ve received similar packages before, but yours was particularly outstanding for the overall quality of the letters. They struck me as authentic, rather than, say, written by a bored kid going through the motions.

And, hey, if you were a bored kid going through the motions, good job, you sure fooled me!

I’m sorry to say that I simply don’t have the time to respond to your letters in the manner that you deserve. I apologize for my one-size-fits-all reply.

Several of you asked about a sequel, and I didn’t plan on one while writing the book. I was satisfied with the ending, leaving the future for these characters up to the reader. People ask what happens to them –- and that’s a nice compliment to give a writer – but the honest answer is that I don’t know. Or more to the point, I never got around to making up those stories. Books have to end somewhere, or else I’d be writing about Mary’s grandchildren.

Even so, I remained interested in the perspective of the so-called bully. That’s why I wrote THE FALL, which I see as a companion to BYSTANDER. Along the lines of, “If you liked BYSTANDER, you might also like . . .”

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Jessica asked if anyone helped me with the story: Yes, my editor, Liz Szabla, was particularly important with this book. Mostly her help was in the form of conversations. We talked about the ideas, our own experiences, things we’ve seen and felt. She didn’t really inject herself into the writing of the book -– she left that up to me – but she was a great sounding board. In life, it’s essential to have that person who says to you, “I believe in you. Go for it.” For this book, for me, that person was Liz.

Philip asked if I have “a secondary job in case book writing fall through.” That kind of made me laugh, while giving me a minor heart attack. Do you know something I don’t know? Philip even included a bonus scene, where I could glimpse a future adventure for Eric. I liked it; nice work. BTW, Philip, to answer your question: No, I don’t. And some days it scares me silly. No kidding.

Some asked about Eric’s father and how he might figure in the book’s ending, or, I should say, an alternative ending for the book. If you go to my blog and search, “My Brother John . . . in BYSTANDER,” you’ll get the background story about Eric’s father. It’s not a tale with a happy ending, I’m sorry to say.

Many of you said really, really kind things to me. I want you to know that I appreciate your kindness. In particular, Alyssa, thank you! Paige and Grace and Katelyn and Toby, you guys, too. The truth is, this can be a hard business sometimes. It’s not easy to make a living. It’s not easy to be rejected, or suffer poor sales, or watch a good book go out of print. I am often filled with doubts and uncertainties. There are times, especially recently, when I feel like a failure. Lately I’ve been thinking of myself as “moderately talented.” Nothing great, you know? Oh well. But this is what I do, what I love, and I have to keep working at it. I have a Post-It note on my computer that reads: “IF YOU DON’T LIKE IT, WRITE BETTER.” That’s what I’m trying to do.

My current mantra.

I just wrote a book about a father and a son traveling along the Lewis & Clark trail. It’s a genre-bending blend of nonfiction and fiction, a story of family, a wilderness adventure –- whitewater rapids, an encounter with a bear –- and, I hope, a quest for the real America. The book, titled THE COURAGE TEST, should be out in 2016. After that, I wrote a pretty wild story that’s set in the not-to-distant future. And, yes, there are zombies in it –- but it’s not their fault! I’m also trying to write haikus, making a small study of them, because I’ve got the seed of an idea. They are not as easy as they look!

The next idea is always the flame that burns the brightest, that keeps creative people moving forward -– making paintings, performing in plays, practicing the guitar, telling stories. We all have to find the thing that makes us happy. And if you are lucky enough to find it, then hold on tight.

Thank you –- each one of you – but I’ve got to get to work! I’m sorry again for not writing to you individually. Thanks for understanding.

James Preller

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Chris Sheban is an enormously talented illustrator who has very possibly done the covers to some of the books that you know and love — all without notoriety or fanfare. You probably didn’t realize it was him, if you even thought about it at all.

Here’s just a few you might recognize:

I was very happy when my editor, Liz Szabla, told me that Chris would be doing the cover of my 2008 book, Six Innings. I was eager to see it, and nervous, too, since I couldn’t imagine what he and art director Rich Deas might come up with.

I waited and hoped until one day a jpeg of the cover art arrived in my email.

I was relieved, ecstatic, verklempt. Or go ahead, Dear Nation of Six Readers, insert your own baseball metaphor here. It was a home run. A stand-up triple. A squeeze play, um . . . oh, whatever. I loved it. That luminous blue-green.

Sad to say, I failed to thank Chris. Because I had never met the guy, and we had no interaction whatsoever, and I was raised by wolves. We were only connected by this one book, still clinging to semi-obscurity, and that was it. I should have reached out to Chris, sent a card or box of HoHos, but I didn’t.

Recently Chris appeared on Facebook, sharing a trove of rough sketches in addition to samples of light-infused finishes. I don’t know how Chris achieves it, but his work glows. He was also, I realized, a process guy. Organized too; he saves everything. I wrote to Chris and said, more or less, you may not know me, but I want to thank you for that terrific cover.

Actually — I just looked it up — and I wrote exactly this: “I’ve always been grateful to you for that beautiful cover of Six Innings; it only make sense that we don’t know each other on FB too.”

Chris wrote back and said something I didn’t expect. He said that he loved the story and loved working on it.

I was like, “You actually read it?”

Because up to that point, I didn’t realize that illustrators could read. Kidding! (A little.) But I honestly didn’t expect that he read the whole entire stinkin’ book. When I commented on that, Chris explained, “Absolutely read it. Yes, and read the others, too. Trying to get a feel for the story. Never easy to make one image sum up a whole book.”

So that’s when we got the idea to take this conversation to another level, complete with sketches and rough drafts.

Here you go, sit back and relax . . .

CHRIS SHEBAN: So after reading the manuscript, the first rough thoughts look something like this.

CS: After a little back and forth with the art director, a direction is chosen, then I’ll work up a rough color comp which I’ll use as reference for the finished piece.

JP: How much back, and how much forth, exactly? There must be times when you think, “ACK, they picked the wrong one!”-

CS: That’s the danger of sending too many sketches. Inevitably, most will be mediocre, some awful, but maybe there’s one or two that are decent. You hope they go for the best one. If they pick an awful one, you have no one to blame but yourself, because you did it in the first place. Sometimes I’m an idiot.

JP: Actually, once upon a time I packaged books for Scholastic. My art director and I had to go through the “approval by committee” process many times. It’s a lovely experience if you enjoy water torture. There’s a skill in the choices you present, as well as the ones you hold back. Sometimes you try to direct the response; other times, you honestly don’t know.

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CS: I tend to fall into the latter category, the “I honestly don’t know if it’s a good cover idea, or just plain bad” category. Sometimes having that second (art director) or third (editor) pair of eyes and opinions really helps if you feel like you don’t have a clue. When sending multiple sketch ideas, I gently suggest which one or two I feel are the best . . . then they pick a different one.

JP: At this point, you turn to color.

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CS: These rough color sketches are just pencil sketches that I photocopy to a larger size, then paint with watercolor and some pastel.

 

I got a big package in the mail yesterday . . .

This bit, four real books, finally published, represents a final payoff. It’s done, it exists. There’s also something a little, I don’t know, deflating about it. An ending. Now it will go out into the world, probably to be largely ignored. That might sound a touch maudlin, or even self-pitying, and I’m sorry about that. But that’s the business these days. So many books don’t make it, even the good ones. It can be disheartening. And, yes, scary.

Hey, check out my new shirt . . .

Cool, right? I love it.

And lastly, most exciting of all, came the editorial revisions for my upcoming book, THE FALL, a quasi-sequel to BYSTANDER. I try to enter the process of revisions with an open mind and an open heart. I trust my editor, Liz Szabla, and endeavor to deeply consider all of her comments, thoughts, suggestions. This is a new opportunity for me to try to make this book better than ever. That involves, sometimes, letting go of old ideas, favorite sentences. It means stepping back — to truly re/vise, to see again — and, well, take another whack at it.

In a moment, the sound you’ll hear will be that of a writer rolling up his sleeves.

When I think of the five books I’ve written so far for the “Scary Tales” Series — currently working on #6 now — I sometimes consider their relative “fear factor.”

I have been open about my debt to Rod Serling’s “The Twilight Zone.” Many people mistakenly think of TZ as a horror series. It was not, almost never. The stories were strange and always came with a twist. I’d call them intellectually ticklish. What I’ve tried to do with ST is capture some of that strangeness while still delivering the goosebumps.

This upcoming one, The One-Eyed Doll (September 2014), might be the scariest, creepiest of all. I’d put Home Sweet Horror in second place in terms of traditionally “scary,” Good Night, Zombie in third, with Nightmareland fourth. The least scary, but possibly most surprising, more in the thriller mode, is I Scream, You Scream. Of course, we all react differently. Some folks are afraid of spiders, others jump on chairs at the sight of mice.

When I started this series, I had big ambitions. I imagined — this is true — a painter working on a large canvas. I told my editor, “I don’t know if people will really see what I have in mind until I’ve done 20 titles, a color here, a splash there, because I want this to cross genre, move the “Horror” into Science Fiction, Fantasy, Thriller, Realistic and even Historical Fiction. I am most eager to do some Sci-Fi with this series, because in space they can’t hear you scream. But that’ll have to wait for now.

Here’s the new cover. I am so grateful for the opportunity given to me by Jean Feiwel and Liz Szabla to write these books. Don’t they look great? Aren’t I lucky? And what do you think of Iacopo Bruno’s latest cover? I love it!

The writing life has its ups and downs, and more downs than I’d prefer. No, it’s not coal mining, and I’m not an ice road trucker . . .

. . . .but this job can be full of doubt and disappointment. Still, and here’s the thing: I’m grateful for this career, thankful for this writing life, because it is literally a dream that came true. How many people can say that?

I published my first book in 1986. From then to now, more than half my life, I’ve done all sorts of work, from desperate, pay-the-rent stuff . . .

. . . to books that I’m proud of.

Today, 7/17/2012, my first Young Adult novel, Before You Go, will be available in bookstores near you. That’s the hope, anyway. I don’t expect it to sell well. Or for long. I don’t even know if many readers will like it. It’s not a book for everyone. But this is absolutely the book I wanted to write, the book I needed to write, and I am grateful to my editor, Liz Szabla, and my publisher Jean Feiwel, for giving me the artistic freedom to do the thing I wanted to do.

It’s a rare license these days. And a great feeling, like wind at your back.

And it’s not something I take lightly. It’s taken me a long time to arrive at that moment, to find that I’ve got good people who have my back. Hopefully Before You Go finds some appreciative readers along the way, whatever their number.

I don’t control what happens now.

Look, I want sales, I want to earn a living, I want my publisher to do well, I want great reviews, I want readers. But try as I might, not every book is going to be popular, acclaimed, beloved — these things are impossible to predict. My sense has always been that Before You Go is a quiet book, a slow story, not a whole lot of plot, and one that might be swimming against the tide of popularity. That’s okay. Sometimes as a writer you have to answer a different call. What’s amazing is to have such unbelievable support along the way.

Greetings, I’m Lewis Buzbee, guest-blogger for the day.

Guest blogger: Lewis Buzbee.

It’s true, I’ve hi-jacked James Preller’s blog to bring you a very cool conversation with Mr. Preller (he makes me call him that) about his newest book, Before You Go (Macmillan, July 2012), which is his first Young Adult novel. I’ve taken control here because Mr. Preller is a very generous writer who frequently trumpets and supports the work of his fellow writers, and I figure it was time to hear from him. James has interviewed me twice, and our conversations have been so enjoyable, so thoughtful, I wanted to turn the tables, see what he had to say.

Before You Go, I must tell you, is a deliciously good book, whether you call it YA or not. It centers on a tough summer in the life of Jude, who has to face all of the toughest questions — what is love, what is death, what comes next? It’s everything a novel should be; it’s funny, moving, troubling, smart, and illuminating. Forget the labels, it’s a beautiful novel, and you should read it.

James, you’ve written picture books, chapter books, and middle grade novels; Before You Go is your first Young Adult novel. Why now?

Before You Go was the most logical step in a haphazard career path. You could argue that writing older and longer has been a gradual process for me, roughly parallel to the growth of my own children (Maggie, 11, Gavin, 12, Nick, 19). But you asked, “Why now?” and frankly I don’t have an easy answer for that. Except: opportunity. I’m lucky to have an editor, Liz Szabla, who doesn’t look to put me in a box or turn me into a brand. She supports my randomness.

How was writing Young Adult different?

I felt that writing for young adults came closest to my natural voice. I loved going back to my 16-year-old self, tapping into that rich and vigorous vein. So many ideas and feelings and memories bubbled forth. First love, big emotions, friendships, wild times, painful times, all of it. Location became central to this story, and I set it in my hometown, including real places I’d been. That trip out to the Amityville Horror House, for example, that’s something many of us Long Island kids did in our boredom, in our driving-around-looking-for-something-to-do lives. I am instantly transported back into that car with my high school friends, Kevin, Eric, Billy, and Jim –- a bunch of guys, a little lost, trying to figure out Saturday night.

I recently did an interview — honestly forget where, but it was with a middle-school reader — who asked the following question about Bystander:

Q. What was the reason you added some questionable or inappropriate words?

I replied:

I don’t understand the question. I think the word “ass” is in the book a couple of times. Was there anything else? Given what’s on television, and in PG movies, and in middle school buses and playgrounds, I’m sure the language in my book is extremely restrained and tame. When someone smashes his thumb with a hammer, the typical reaction is stronger than, “Oh, gee, golly darn,” and as a writer you have to decide whether to be true or false to that moment. Often it’s a matter of degree. In Bystander, again, there are no curse words — and I contend that it’s far tamer than most middle school playgrounds.

I don’t know that my answer is all that great. I find myself unable to give pithy answers to deep questions, since as a thinker I tend to circle and circle back, over and again, nuancing the damn thing to death. I faced this issue far more seriously with my debut YA novel, Before You Go (Spring, 2012), where there were no rules governing what could be included in the book. I was free to color outside the lines, because there were no lines. “Anything goes,” my editor, Liz Szabla, told me. Ultimately, I had to decide what I needed for this particular book, and what I personally wanted to put out into the world. And, yes, certainly: I had to at least consider the gatekeepers, whether certain choices might keep my book out of classrooms and school libraries. This included issues not only of language, but drug use, sex, jokes, interior thoughts, etc. It becomes a balancing act of “how true,” and “how much,” and “why.” I ended up following the basic principle of, a little bit goes a long way. But I respect writers who take it as far as they need to go to get it right, to be true, or real, or relatable.

Tricky stuff involving censorship, self-censorship, and our responsibility (the ethics) of being an adult working in the broad, vast, ever-expanding field of “children’s literature,” whatever that is. I don’t have the answers. But I am learning the questions.

By the way, I have to recommend that you check out this link, from a blog post by Laurel Snyder, that addresses many of the above issues (as they pertain to the recent YA brouhaha caused by this WSJ article by Meghan Cox Gurdon). Great job, Laurel, balanced, poised, beautifully said.

Welcome to SCBWI TEAM BLOG coverage of the 2011 Annual Winter Conference. Check in often throughout the weekends as we offer live coverage of the conference as it happens.

Today offers a Writers' Intensive and an Illustrators' Intensive.

Before the Writers' Intensive critiquing kicks off, an agent and two editors are offering advice about handling a critique situation.

Edward Necarsulmer (McIntosh and Otis): Do your best to listen, but also understand that I'm just one guy. There are plenty of books out there that I've passed on that have become bestsellers. (He's found 3-5 novels through SCBWI events.) He gets that the idea of criticism in general can be hard to hear, but it's about turning off the defensiveness, and understand the critique for what it's worth.

Julie Strauss-Gabel (Dutton Children’s Books): The thing that surprises her most is when she asks, "What is this about." She find writers often don't really know what they're writing about--her assessment is very out of line with what the writer thinks she's putting on the page. Critiques are about being open--it's part of your professional process. There's nothing personal about it. At least stop to think about why you are hearing a particular critique or why certain questions were asked. If you're in a ccritique group, remember that they only work if they include honest discussion.

Liz Szabla (Feiwel and Friends): I find gold here. (She's currently working with two writers who she discovered at the SCBWI Winter Conference.) Remember that editors are thinking about your work in terms of the market. Go into a bookstore and really look at what the market is right now. She finds that a lot of writers are really surprised when she talks about market--but market is important. Critiquing with editors and agents, is a way to get another sort of compass as to where you are with your writing.

BEA YA Editors Book Buzz Panel...

I'm back in the office today after spending last week in New York attending BookExpo America. This week I'll be offering some reports on the conventions here on my blog. This is my first.

I was excited when I saw the list of BEA special events a few months ago and learned that this year there would be the first-ever BEA Young Adult Editor's Buzz panel. Past shows have featured Books Buzz panels, but never for YA. Which is crazy. Because there are some amazing YA titles out there that deserve to be buzzed just as much as any novel for grown-ups.

The YA Buzz panel allowed six editors to spend about 10 minutes talking about one title on their upcoming fall lists that they're really jazzed about. Scholastic Press/Push Editorial Director (and an author himself) David Levithan served as the master of ceremonies and introduced the editors on the panel.

Left to right: Host David Levithan;
Mark Siegel, Editorial Director, First Second Books;
Ari Lewin, Senior Editor, Disney/Hyperion;
Tara Weikum, Executive Editor, HarperCollins Children's Books;
Krista Marino, Senior Editor, Delacorte Press;
Liz Szabla, Editor-in-Cheif, Feiwel & Friends;
Arthur Levine, VP & Editorial Director, Arthur A. Levine Books.

Here's a quick rundown of the books they talked about so I can help spread the buzz! (I couldn't Twitter this session because because it took place in one of the many vortexes of no-reception that exist in the Javitz Center.)

• Arthur: Lips Touch, by Laini Taylor, illustrate by Jim Di Bartolo. He said it's a book with emotional impact, suspense, heat, and "a breathtakingly talented author." (Release date: October 1)

• Ari: Devil's Kiss, by by Sarwat Chada. It's an adventure story focusing on Billi, the youngest and only female member of the Knights of the Templar in the present day. (Release date: September 1)
  

• Krista: The Maze Runner, by James Dashner. This a book that the editor says changed the way she sees her world. The opening of this distoptian novel is disorienting, and the book crosses genres, delving into adventure, mystery and sci fi. It was acquired as a stand-alone, but envisioned as a trilogy. (Relase date: October 6)

• Mark: Refresh Refresh, by Danica Novgorodoff. This is graphic novel about high school seniors in a small town coping with the fact that their fathers are off serving in the Iraq war. The editor says it's a story that not calculated but born of need, the type of book that defines the First Second line. Graphic novelists, he says, are "the new literary rock stars." (Release date: September 29)
  

• Liz: The Sweetheart of Prosper County, by Jill Alexander. The editor describes this smalltown Southern comic novel as "a big delicious cassarole, a give-me-goosebumps novel." It was acquired on the first five pages. (Yes, you read that correctly.) (Release date: September 1)
  

• Tara: Viola in Reel Life, by Adriana Trigiani. This book is the story of a girl misplaced--the main character moves from Brooklyn to a boarding school in Indiana while her film maker parents are off working. Two more Viola books are in the pipeline. (Release date: September 1)