Blog

Interview with Nicole Resciniti, President of The Seymour Agency!

By on September 29, 2018   /   Editor / Agent Spotlight  

Hello Mixed-Up Filers! Are we in for a treat today! We have with us, Agent extraordinaire and all-around nice person, and I’m not just saying that just because she happens to be my agent, Nicole Resciniti!

 

Hi Nicole, thanks for joining us today!

JR: To start, could you tell us a little bit about your path to becoming an agent and also about Seymour Agency?

 

NR: My path to agenting was definitely unconventional. I grew up in a motorcycle dealership—yes, I sold bikes and boats and even did my fair share of service work. I was a consummate tomboy. School was a full science track—pre-med, resulting in degrees in Behavioral Neuroscience and Bio. Much to my parents’ dismay I didn’t stay on that path (not sure Dad has forgiven me yet, LOL). Resulting in several years as high school science teacher which aligned with when I began interning with my mentor, Mary Sue Seymour. Once Mary Sue offered me the chance to come aboard full time, I never looked back. Sooo, yes, roundabout to say the least, but I can say with certainty that there is nothing I’d rather do. I LOVE my job.

 

JR: Okay, I have to look at you in a new light, I had no clue that you used to work on motorcycles!

JR: What was the first book you sold?

NR: Julie Ann Walker’s Black Knights Inc. series to Leah Hultenschmidt at Sourcebooks. Julie has gone on to hit the NYT Bestseller’s list her and Black Knights series just released its twelfth book this past summer.

JR: That’s amazing. What’s changed in publishing between the time you started and now?

NR: So much! There are more opportunities than ever—and competition hasn’t been fiercer. It’s a really wonderful time because there are so many options, so many paths to publication and so many subrights to explore. I’m thrilled by all the new formats and technologies and even as the industry continues to evolve, there will always be room for new, great reads.

JR: I’m certainly glad to hear that. What do you enjoy the most about your job?

NR: My authors. Hands down. They are the most talented, intelligent, driven people. They possess a love for what they do and an enthusiasm for each word they put down on the page. It’s humbling to work amid so many incredibly talented people. Like my interviewer/client, for example. Your sense of humor is brilliant!!!

JR: Awww, thank you. It’s true, but thank you for saying. But, getting back to what others who aren’t me want to hear, what sort of books do you look for?

NR: I handle a wide range. YA, MG, mysteries, thrillers, cozies, romance of every variety, inspirational, cookbooks, historicals. I’m fortunate in that I can focus on just about any title that really grabs my attention. So long as I’m passionate about the project, I’m in!

Not that I’m partial or anything *wink, wink* but books in the vein of your Night of the Living Cuddle Bunnies are right up my alley. I adore your humor, wit and the way you craft unforgettable characters. Devin Dexter is a protagonist I can’t get enough of.

JR: And believe me, I’m grateful for that aspect! ? But, as I can attest, I also know that you’re very dedicated to all of your authors. What do you look for in an author/agent relationship?

NR: Communication. It’s vital. Most of the hiccups that occur in the industry can be overcome if we have a plan in place. And knowing what my author needs, wants and aspires toward allows me to formulate that plan.

JR: In your opinion, what’s the state of publishing right now?

NR: In one word: flux.

JR: What’s going on in Middle Grade?

NR: The MG market is still strong. I think we largely have librarians, booksellers, and teachers to thank for that. There is such a concerted effort to bring great books to the market and to talk about them and/or put them into children’s hands. It’s a really fantastic genre in how the authors network to support each other, and in how the publishers push for marketing, publicity, and placement.

JR: What advice can you give to authors?

NR: Enjoy every moment. Writing is a gift, a talent, a craft that can be honed over time. And no matter the road to success—be it a trebuchet bolt to the top or a slow and steady climb, take the time to savor each milestone. The books you create have the power to inspire (and entertain, educate, influence, provide an escape, etc…) and to literally impact someone’s life. That’s a pretty wondrous thing.

JR: I hate that slow and steady climb speech! ? But, yes, you’re right.

JR: Before we go, what was your favorite book as a child?

NR: Oh, I had SO many. Tolkien, for sure. I loved the classics too—Bronte, Joseph Conrad, Hemingway.

I was about to have you do the essay portion of answering in 10,000 words or more about why I’m so great to work with, but Dorian Cirrone has sent me yet another memo about being self-indulgent in my posts.

To Follow Nicole on Twitter

 

Thanks again to Nicole Resciniti for joining us today and to all of you for reading!

Until next time . . .

Back to Top

Developing A Scene Within A Chapter

By on September 27, 2018   /   For Writers, Writing  

Scenes are the workhorses of a story. A writer can have one or several scenes in a chapter. Instead of a story goal – to resolve the big problem that defines the whole novel, the point-of-view character creates a scene goal, which will advance his or her cause toward reaching that story goal.

In her book, The Scene Book, Sandra Scofield defines scenes as “those passages in narrative when we slow down and focus on an event in the story so that we are ‘in the moment’ with characters in action. Or we can say that a scene is a segment of story told in detail, the opposite of summarizing.” She further explains that there are four basic elements to a scene:

  1. Every scene has event and emotion.
  2. Every scene has a function.
  3. Every scene has a structure.
  4. Every scene has a pulse.

 

 

JK Rowling describes the four elements of a scene in the first chapter of Harry Potter And the Sorcerer’s Stone.

In a scene, characters do things and feel things. Or in other words, they act and react. Therefore, ever scene has an event and emotion. Rowling has Hagrid appear on his motorcycle with baby Harry when Professor McGonagall and Professor Dumbledore are engaged in a conversation with each other, waiting for his arrival:

“Hagrid,” said Dumbledore, sounding relieved. “At last. And where did you get that motorcycle? (14)”

The scene advances forward as they bend forward over the bundle of blankets on the motorcycle and find baby Harry fast asleep, and they confirm that it is indeed Harry with his scar:

“Is that where —?” whispered Professor McGonagall.

“Yes,” said Dumbledore. “He’ll have that scar forever. (15)”

The dialogues in the scene advance the plot further, and we can state the event and emotion developed in it through the characters’ reactions.

There is a reason a scene needs to be described in detail with dialogue, characters, and setting.  It accomplishes something for the story. It has a function. It changes something. It makes now different from the past.  Rowling describes this by showing how Hagrid wants to say goodbye to the baby, but eventually breaks down and howls like a wounded dog because he finds it hard to let the baby go:

“S-s-sorry,” sobbed Hagrid, taking out a large, spotted handkerchief and buying

his face in it. “But I c-c-can’t stand it – Lilly an’ James dead – an’ poor little Harry off ter live with Muggles – (15)”

These elements of the scene reveal something about Harry that he may be special, perhaps making the reader feel more deeply attached to him even if he is just a baby. This also sets up a situation that will be important later in the story.

Ever scene has a structure: a beginning, middle, and end. An alternative way to think of the scene structure is that there is a situation at the beginning, a line of action, and then there is a new situation at the end. Thus a scene establishes the structure in three parts.

JK Rowling does this effectively by setting up Hagrid’s arrival with baby Harry, sharing some of the conversations among Hagrid, Professor McGonagall and Dumbledore, Dumbledore taking the baby from Hagrid,   and finally, leaving Harry at the doorstep of the Dursleys:

“A low rumbling sound had broken the silence around them (14).”

Dumbledore took Harry in his arms and turned toward the Dursley’s house (15).

“Yeah,” said Hagrid in a muffled voice, “I’d best get this bike away. G’night, Professor McGonagall – Professor Dumbledore, sir (16).”

“Good luck, Harry.” Dumbledore murmured. He turned on his heel and with a swish of his cloak, he was gone (16).

This scene brings us into the story, letting us know what is going on, involves us, and lets us move forward with the plot.

Scofield defines the pulse of a scene as “some vibrancy in the story that makes the scene live in the page and makes it matter to the reader.” Sometimes the pulse is subtle, and sometimes it is highly visible, but it is always present in a scene. It is emotional, an attitude, a state of desire or need.

Rowling describes this by showing that Harry would grow up to be a special child who needs to be protected. Dumbledore trusts Hagrid enough to bring him home safely, and as the scene progresses, and the three of them take extra care to not wake the sleeping baby. At the end of the scene, as Harry Potter rolls over inside his blankets without waking up, people meeting in secret all over the country wish for his safety:

He couldn’t know that at this very moment, people meeting in secret all over the country were holding up their glasses and saying in their hushed voices: “To Harry Potter – the boy who lived!(17)”

All the main characters describe their feelings for the child through dialogue. They care for Harry’s well-being. Harry’s safety is the pulse of the scene.

Therefore while creating a scene, writers should make sure that the character with a goal runs into opposition. The opposition creates conflict that builds greater suspense through repeated thwarted efforts, until finally the character succeeds and reaches the goal, or fails. The scene ends with change: a surprise, twist, setback, or disaster relate to the goal.

 

Back to Top

Author Interview: Shea Fontana

By on September 27, 2018   /   Author Interviews  
DC Superhero Girls: Out of the Bottle Cover

DC Superhero Girls: Out of the Bottle Cover

As a proud comic book nerd, one of the coolest things about my job as a collection development librarian is  the opportunity to preview the latest in the DC Superhero Girls series, OUT OF THE BOTTLE, which was released in August, and SEARCH FOR ATLANTIS, which hits bookstores on October 2nd.

OUT OF THE BOTTLE highlights Harley Quinn as the comic book character she’s created for Ms. Moone’s art class comes to life and wreaks havoc on Superhero High. SEARCH FOR ATLANTIS introduces Raven and Mera to the team. Mera is a new student at Super Hero High, and as she and Wonder Woman becomes friends, Bumblebee becomes anxious that she’s losing her best friend. When the heroes discover that Atlantis has been stolen, the girls have to work together to get it back.

DC Superhero Girls: Search for Atlantis Cover

DC Superhero Girls: Search for Atlantis Cover

Then, I had a chance to talk to author Shea Fontana about the series.

MUF: Every book in the DC Superhero Girls series deals with an important life lesson. For example, OUT OF THE BOTTLE stresses the importance of mental health care, and SEARCH FOR ATLANTIS deals with accepting change. Do you feel that the graphic novel format makes these issues more accessible for young readers? If so, how?

The graphic novel format really gives us the space and intimacy with the reader to dive into big ideas. Plus, having these awesome, well-known characters explore these topics makes it accessible for kids. Our heroes are aspirational for kids reading the books, and we want to show kids that even heroes face hardships. When kids deal with those types of things, like mental health care or accepting change in their friendship groups, it can feel very lonely and it helps to know that superheroes are dealing with it, too! My goal with these types of stories is to always help kids feel less alone and empower them — like they have a team of superheroes that can fight and win every battle with them.

MUF: SEARCH FOR ATLANTIS has a couple of new beginnings. Both Mera and Raven are introduced, and the Teen Titans were essentially formed. Which of these new beginnings were you most excited about introducing? Was it fun brainstorming new names for the Titans? Were there any rejected names that didn’t make it into the book?

I loved integrating both Mera and Raven into this graphic novel! Both are such wonderful, and very different characters. From the beginning of the series, I knew that I wanted to build up to the Teen Titans reveal, bringing together the traditional Titans that kids know from the TV show as well as the comic book version that includes Miss Martian and Bumblebee. The misnaming thread was a fun way to build the tension toward what everyone knows is coming — of course their group name should be the Teen Titans!

MUF: Why was Brainiac chosen as the villain for this story?

We knew that Brainiac got away at the end of the DC Super Hero Girls: Intergalactic Games animated movie, so he’s been waiting in the wings for his next attack. Since in the Legends of Atlantis movie, we meet Mera and Aquaman under water on their “turf,” I wanted to do something different, but still Atlantis-oriented with this story. So, I decided to bring Atlantis out of the water. Since Brainiac is a collector of bottled cities, it seemed the perfect fit.

MUF: What was your favorite part of the story? What was the most difficult to write? What was the most fun?

My favorite part of the story is how Miss Martian steps up as a leader. She’s not the regular kind of leader that the heroes expect — she doesn’t seem as bold as Wonder Woman or as outgoing as Supergirl. But she has a quieter style of leadership that is just as valid.
The ending on this one was difficult for me to write. I really felt for and related to Bumblebee!

MUF: Who’s your favorite superhero? Who’s the most fun to write about? Why?

I loved writing Raven in this story! Her personality is a great contrast to a lot of the other characters. She has an edge and attitude that we don’t often see in kid superhero stories and it’s fun to explore that. 

MUF: Conversely, who’s your favorite villain? Who’s your favorite to write about?

We have had so many fun villains in this series, both in the graphic novels and the animation. I think my favorite is Dark Opal, because he went into villainy as a back-up career when musical theater didn’t work out. Mera’s sister, Siren, who we meet in the Legends of Atlantis animated move, is also great. She’s so controlling and manipulative.

MUF: If you could teach any class at Superhero High, which one would you want to teach?

Power Naps 101.

MUF: Right there with you! I think that would be my favorite class to take. Is there a superhero or villain that you’d like to write about that you haven’t yet? Who?

It had been Batman, as he is my childhood favorite hero, and he is not featured in DC Super Hero Girls. But now I’ve had the chance to write him in BATMAN: OVERDRIVE which will be published under the upcoming DC Zoom middle grade imprint! I can’t wait for everyone to read it — it’s some of the most fun I’ve had writing.

MUF: And finally, do you have any advice for aspiring writers and writers who would love to work on graphic novels one day?

Read a lot and do a lot! The best way to get familiar with story structure, dialogue, and how graphic novels work is by reading. But the best way to come up with stories is by doing! While the old adage of “write what you know” isn’t true (I don’t know how to fly or shoot lasers out of my eyes), the more you experience, the more you’ll have to pull from when thinking of story ideas. Whenever I need the courage to do something new, I tell myself, “Well, it could be a good experience for a story…”

Shea Fontana is a writer for film, television and graphic novels.  Her credits include developing and writing the DC Super Hero Girls animated shorts, TV specials, movies and graphic novels; Polly Pocket, Doc McStuffins, The 7D, Whisker Haven Tales with the Palace Pets, Dorothy and the Wizard of Oz , the new Muppet Babies series; two Disney on Ice shows where she wrote new material for the worlds of Mickey Mouse, Inside Out, Disney Princesses, Finding Dori, Frozen, and other Disney and Pixar properties; and the feature film, Crowning Jules. Learn more about her and her writing at http://www.sheafontana.com/.

 

 

Back to Top