This is the first of my (hopefully) weekly roundups where I post articles and events in publishing that caught my eye this week. The focus is that these are what caught my eye, so they may not be the most important stuff for anyone else.
Wordplay Podcast: Young Adult & Middle Grade Novels
Nathan Bransford (former agent, author of Jacob Wonderbar and the Cosmic Space Kapow), James Dashner (author of the Thirteenth Reality series, Maze Runner Trilogy), and J. Scott Savage (author of the Far World series and the forthcoming Grimville Case Files from HarperCollins) launched a new podcast this week called Wordplay. Their first episode was “Young Adult and Middle Grade Novels,” which, given their publishing credentials, was a perfect topic for them (the episode is around 20 minutes long—I’m pretty sure they don’t intend for it to become an hour-long monster ’cast).
The point they hit on that I appreciated the most was defining the idea of a middle grade sensibility. That sensibility is something I’ve heard a lot about, and when I read a YA book and then a middle grade book I can definitely feel the difference, but it’s hard to define. They essentially said that reaching a middle grade sensibility means writing from the perspective of a young reader—the things that get noticed, the way they’re interpreted, etc., should be seen like your ideal reader. This can come from channeling your inner 12-year-old (and trying to sound like them) or simply capturing the sense of wonder associated with what your ideal reader will fall in love with (they use Harry Potter and the Sorcerer’s Stone as an example of a middle grade book that doesn’t have a middle grade voice but still captures the middle grade sensibility). Portraying your ideal reader’s interests in a way they’ll appreciate is good advice no matter the age group you’re writing for.
Another interesting point they hit on was whether the MG/YA distinction is going to matter quite as much as people move away from physical bookstores (where things are shelved categorically, instead of by author). Nathan mentioned that middle grade is the youngest genre that gets read up by older people; James said he has the same reader in mind when he’s writing the Thirteenth Reality books (MG) and when he’s writing the Maze Runner books (YA). They all think the distinctions are going to become less important for future electronic markets.
The podcast will also have special episodes every third Monday that are just for younger writers and readers (3rd through 8th grade). You can email questions or requests for content directly to firstname.lastname@example.org.
Writing Excuses: World Building Communications Technology
If you write in speculative fiction, you’ve probably already heard of Writing Excuses, the writing podcast from Brandon Sanderson, Dan Wells, Howard Tayler, and (new to this season) Mary Robinette Kowal. For episode 13 of season 6, they put out “World Building Communications Technology.”
The podcast is basically an encouragement to think outside the box when you’re thinking about your speculative world’s communications capabilities, and they also warned against defaulting to the level of communication you’re familiar with. When you’re in a pre-industrial world, remember things like the semaphor, or the communication capabilities of the Great Wall of China (old war technologies are good things to look at). In Victorian England, they had mail deliveries and pickups 10 times a day—that’s practically as good as email if you live close enough together.
To find inspiration for conflict in your communications, the WE crew recommended looking for failure points in your communications system (where can servers clog up, what happens during natural disasters, etc.).
Nathan Bransford: The Place for Publishers with Big-Name Authors
Nathan Bransford makes his second appearance in this week’s roundup with his blog post entitled “By the Time A Self-Publisher Hits It Big, Do They Really Need a Publisher?” In the post he looks at John Locke’s recent distribution deal with Simon & Schuster and questions what publishers can offer authors who have already made a name for themselves (i.e. the authors who do much of the work to make publishing a functional business). He wonders if publishers who survive the revolution will need to focus on the package of services they provide authors and instead become service providers instead of top dogs.
Janet Reid: Pitch versus query
For those of you planning to go with traditional publishing: the literary agent behind Query Shark posted about the difference between a pitch and a query—with examples. Examples really are the best way to learn this stuff.
Joe Konrath: How To Succeed
For anyone trying to be published (traditionally or on your own): self-publishing advocate Joe Konrath succinctly outlines how to succeed. My favorite line? “No one deserves to make money writing. The world doesn’t owe you a living, and you aren’t entitled to huge sales. You simply need to work at it, until you get lucky.” I also like his answer to “What if I never get lucky?” and “Can it really take forever to be successful?” No matter what you’re trying to do with your books, it takes hard work, dedication, and a lot of luck. That doesn’t mean you need a lot of those things concentrated over a matter of month, or even over a few years.
Lou Anders: Thoughts on eBooks
Please take a moment to consider Lou Anders’s thoughts on ebooks. I wholeheartedly agree. I’ll probably add more thoughts on this in future posts.