Author Interviews

Marcus Emerson’s The Super Life of Ben Braver

By on July 16, 2018   /   Author Interviews, Giveaways  

I’m thrilled to have indie author Marcus Emerson join us here at The Files. Within the indie community, Marcus is a bit of an inspiration. His books often top the charts and his Diary of a 6th Grade Ninja series has over 2,500 Amazon reviews! I knew it would be invaluable to have him here as there’s much to learn from his success as an indie author.

My name is Chase Cooper, and I’m a 6th grade ninja. It’s my first day at a different school and the only person I know is my cousin, Zoe (but she might be a little too cool for me). I was just another scrawny kid until a group of ninjas recruited me into their clan. It was a world of trouble I wasn’t prepared for, which is why I kept this diary (or “chronicle” as my dad would call it) – to warn other kids about the dangers of becoming a ninja. They say history is destined to repeat itself… well, not if I can help it. Diary of a 6th Grade Ninja is a funny thriller that’s entertaining for kids, middle school students, and adults.

 

Amie: Welcome to the Mixed-Up Files, Marcus! We’re so excited to have you here. Your publication journey is inspiring and I’m excited to share it with our readers. So let’s start with the basics. What inspired you to want to write MG books?

Marcus: It started with Recess Warriors – I wanted to create a comic book, but I wanted to create a comic book that I wouldn’t have to hide from my 3-year-old (at the time) daughter, so that meant no realistic violence, foul language, or anything of the sort. I was working on it for several hours a day at the kitchen table, and she would constantly sit with me during that process.

Once that was finished, I realized that MG was where my heart was the whole time so I just kept going. I can’t see ever writing anything outside of that.

Amie: I believe writing is a calling. Once you find your genre, it almost feels like a betrayal to write outside of it. So you wrote Recess Warriors and had a finished manuscript. Why not find an agent or publisher? Why choose to self-publish?

Marcus: I love working, especially on creating stories. If I could, I’d work all day on just that and nothing else, which was the reason why I chose to self-publish. I wanted to tell stories, and I wanted people to read my stories so I got to work and put them out. I was never against finding an agent or against traditional publishing – I just wanted to work without thinking about anything but the work, and self-publishing allowed me to do that.

Amie: There’s a lot of waiting in traditional publishing and, understandably, there can be some lag time between book releases, so I can appreciate the desire to create and publish on your own timeline. Indie authors tend to sell mostly ebooks. Are your sales mostly digital or physical books?

Marcus: I’m selling a lot more physical books these days. I’m definitely not an expert on why that’s the case though. I suspect more people like having physical copies in their hands? Personally, I do. I’ve probably bought a handful of ebooks in my life, but I’ve got a thousand physical books on my shelf.

I like a book where I can jot notes down on the paper, tear out pages and pin them up for reference, stick post-its in the margins, fold an edge to mark my place, to toss on the couch and know it’s waiting for me when I need it, and to stack on my bookshelves as beat up trophies.

My first love is actually comics, and nothing beats a physical comic book in your hands.

Amie: Unlike other indie authors who write for older audiences and can market directly to them, middle grade readers don’t always purchase their own books.  How were you able to reach this younger audience?

Marcus: Amazon.com takes care of all that for me. Parents shop the site, see that my books are popular or are recommended in the “customers also bought” section. I really don’t do much (if any) marketing at all.

Amie: That’s great! Amazon is essential to the indie author. Diary of a 6th grade Ninja is your first self pubbed middle grade book, correct? Ninjas are always popular for this age group, particularly boys. Do you think this has had some influence over the popularity of your books? 

Marcus: Correct. NINJA was my first self pubbed book. Ninjas are timeless. I’m 37 years old, and I grew up loving the Ninja Turtles, and kids today are still growing up loving those same turtles. I’m sure being part of pop culture definitely helped my books connect with young readers. 

Amie: I’m a *little* older than you but I recall my siblings watching TMNT. I can definitely understand the timeless kid appeal. From here you went on to write additional series, including The Super Life of Ben Braver. Was this also self-published? How did the popularity of your Ninja series affect the follow through sales of your other books? 

Ben Braver is an ordinary kid. All he wants to do is finish his summer watching awesome TV shows and eating his favorite candy. But when some kid screams for help, Ben, like his favorite comic book heroes, tries to save the day. Let’s just say it ends badly. But it does lead him to a secret school where kids with super abilities learn to control thier powers. Ben’s never had any powers—and never thought he could be special. So when he’s offered a spot at the school, Ben realizes this is his chance to become the superhero he’s always dreamed of.

Marcus: BEN BRAVER is not self-published. It’s published through Roaring Brook Press. It’s been out for a few months now and the response has been great, but I’m not exactly sure if the success of NINJA has anything to do with it.

Amie: You’re now represented by an agent. Tell us a bit about how you found your agent. Why’d you decide to seek representation?

Marcus: So one day I got an email from an agent (Dan Lazar at Writers House) who had read DIARY OF A 6TH GRADE NINJA. He thought the book was really fun and wanted to have a phone call with me. At the time, I was buried in my own work, writing and drawing another book in the NINJA series, so his email kind of slipped my mind.

Fast forward to several months later when I started getting inquiries from foreign countries about publishing the NINJA series in different languages. Foreign taxes and laws and all that was too staggering for my brain to understand, so I emailed Dan back for advice, which he generously offered, and I’ve been working with him and the awesome folks at Writers House ever since.

Amie: Fantastic news on both to your foreign rights interest and to your representation! Since some of your books have now been picked up by a publisher, what are your marketing plans? How have they changed?

Marcus: My marketing hasn’t changed too much, except that I’m trying my best to maintain a social media presence. It’s kind of exhausting for me and inevitably leads me back to burying myself in work because that’s what I love anyway.

Amie: Tell us a bit about your transition from indie to trad and what that’s been like.

Marcus: Self-publishing is a lonely process, for me at least. I outline alone. I write alone. I edit myself, then my wife edits, and then a third person edits. I make the final draft alone. I draw alone. And then I release the book quietly and wait for fans to start reviewing. This process takes 2-3 months per book.

Traditional publishing is much more friendly and a team effort. I outline with my editor and her assistant. I write a first draft. I work on illustrations while they edit. We have phone calls about the first draft and then I work on the second draft based on those notes. I work on covers with designers and the sales team while the second draft is edited. I sharpen the third draft. The book is laid out by the designer. We sharpen the layout until it’s nearly perfect. The book gets printed as an Advanced Reader Copy. The book is sharpened further until it’s perfect. The final book is ready and printed and released. This process takes almost 2 years, and I have a wonderful team of people at Roaring Brook Press working hard to make sure the book is the best it can be.

Amie: What do you like most about being an indie author? What’s the worst thing? Will you continue to self-publish?

 Marcus: Most? I get to write what I want. Worst? The stress of writing what I want. There’s nobody to tell me “That’s a bad idea,” or “This part sucks,” or “This part is almost good.” I’m extra hard on my self-pubbed stuff because of that.

I think self-publishing will always be there for me, like my own playground for story telling experiments – nothing major – just small ideas and thoughts.

Amie: Any other books you’re working on?

Marcus: Right now I’m working on the sequel to Ben Braver (actually I’ve been working on it for the last year and a half).

Amie: Spaghetti and meatballs or bean burritos? Snow pants or swim trunks? Dinosaurs or unicorns?

Marcus: Bean burritos! It’s like a meal wrapped in a blanket. I can’t walk while eating spaghetti and walking while eating is very important to me. It’s the most important thing of all.

Swim trunks, because snow pants make too much noise when you walk in them, and I don’t need all those people looking at me when I’m eating my burrito.

Dinosaurs! Because how cool would it be to strap a saddle to one and fight crime while riding it?? But on the other hand, it could be pretty cool to fight crime on a unicorn, too. This question is too hard. Pass.

Amie: Haha! These are the best answers ever! I can’t help imagining you in noisy snow pants, eating your meal-wrapped-in-a-blanket while fighting crime from the back of a unicorn. Thanks for the visual. And thanks so much for joining us at The Files, Marcus. Best of luck to you with Ben Braver as well as all of your other titles. 

 

Marcus Emerson is the author of the hit Diary of a 6th Grade Ninja   series, The Super Life of Ben Braver, and Recess Warriors. His career   started in 2nd grade when he discovered Garfield. He grew up playing   Super Mario Bros., watching Thundercats, and reading comics like   X-Men, and Wildcats. He lives in Iowa with his wife and children.

If you’d like to win a copy of The Super Life of Ben Braver just fill out the rafflecopter form below. We’ll select one lucky winner!

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South Asian Awards for Children and Young Adult Literature : Author Interview with Uma Krishnaswami

By on July 11, 2018   /   Articles, Author Interviews, Book Lists, Cross-Curricular, Fiction, For Kids, For Librarians, For Parents, For Teachers, For Writers  

APALA is a professional library organization dedicated to cultivating Asian Pacific American leadership through mentorship and professional engagement, advancing social justice, and providing opportunities for dialogue and networking to promote the needs of Asian/Pacific American professionals and those who serve Asian/Pacific American communities.

Every year, the association (APALA) honors and recognizes individual work about Asian/Pacific Americans and their heritage, based on literature and artistic merit. This year, author Uma Krishnaswami won the award in the children’s literature category for her book, “Step Up To The Plate, Maria Singh”.

 

Today at MUF, Uma talks about her award, her writing life over the years,  and some of the key diversity issues in children’s and young adult literature.

 

Congratulations on the APALA award, Uma! What was it like winning the award for Step Up To the Plate, Maria Singh?

Uma: It’s a tremendous honor. Writing is such a solitary occupation. Even after all the work that goes into writing a book and nurturing it through successive revisions, through the editorial process and all the way to publication, you never know whether anyone’s going to pay attention to it. A book isn’t complete until readers have read it, and children can’t choose a book until some adult has first placed that book on a personal or library shelf. So the APALA award was a tremendous vote of confidence for my book. I’m deeply grateful.

 

In your interview at Cynthia Leitich Smith’s Cynsations Blog, you mention that there is a groundswell movement with organizations like We Need Diverse Books and independent publishers like Lee & Low Books, Cinco Puntos Press, and Enchanted Lion to draw attention to diverse books as well as international and translated books. What are some initiatives that make these organizations and publishing houses effective?

Uma: Lee & Low was founded with a mission of diversifying children’s books, long before diversity became trendy. Their blog called early attention to the diversity gap in children’s publishing. Cinco Puntos is more specialized with its roots on the border of the US and Mexico, and they too have beautiful books like All Around Us by Xelena González and Rudolfo Anaya’s Elegy on the Death of Cesar Chavez.

To me, WNDB represents the next generation of writers and activists pushing for change. They are doing terrific work. They offer grants and awards for writers, retreats, internships in publishing, mentorships, book giveaways and they have been a powerful force in the movement to diversify not only books for young readers but the range of voices engaged in the creation and publication of those books. They are fierce and committed and they remind us that we can’t get complacent.

 

To what extent does incorrect representation of culture in diverse children’s books harbor the danger of inauthenticity and marginalize people of color?

Uma: I think it’s about complexity—being aware of how easy it is to resort to a stereotypical depiction of characters or a simplistic view of history. We have to be willing to do the work as writers to go beyond that, whoever we are. And we have to be respectful of the people we’re writing about, and aware of what our relationship is to those people. We have to know where our own boundaries and limitations lie. That is the best way to get around issues of inauthentic work. I’ll give you an example. There was a time when it was considered fine for a white writer to write an array of books, each set in a different country, each using a particular “foreign” culture as the driving plot element. So you’d have books getting rave reviews (we’re talking back in the 1990s) with, say, spunky girl characters, and all the settings would feel like tourist videos. The reviewers never got that, so who would even know, right? Well, young readers from those places, or from immigrant communities with roots in those places, would know. Of course they’d know. And they’d want to duck their heads under their desks when those books were being praised in classrooms. This certainly happened with books set in South Asian countries, written by well-meaning writers who’d never set foot in the region.

It’s changing. Publishers are more aware of the pitfalls of writing culturally specific books. But we can’t take our eyes off that target of diversity because it will keep moving and there will always be pushback.

 

From your experience of writing and teaching at Vermont College Of Fine Arts for many years, do you think the lack of adequate diverse representation in children’s and young adult literature is part of a broader set of issues relating to inclusivity?

Uma: Absolutely. Until diverse voices get included at every level—in student bodies and faculty at writing programs and retreats and conferences, and at every level of publishing—publishing and marketing and distribution choices will continue to be made with a narrow view.

 

What are some common misunderstandings and incorrect assumptions about South Asian characters in North America? How do you see South Asian literature developing in the US in the foreseeable future?

Uma: I wrote about that years ago, but to tell you the truth, I haven’t studied a bunch of books lately to see if those trends persist. Do Americans still think Indian kids go to school on elephants? I have no idea.

But as to your second question, relative to literature for young readers, I see some very exciting new work coming out from talented writers. I’ll mention just a few: Sayantani DasGupta’s middle grade novel, The Serpent’s Secret. Book 2 in that series is out next year. It’s a wonderful mashup of mythic fantasy drawn from Bengali traditions, rollicking adventure, and utterly contemporary kid sensibility. Ahimsa by Supriya Kelkar is historical fiction set against the backdrop of India’s independence movement. Nidhi Chanani’s graphic novel, Pashmina, takes on immigrant identity and the silence between a mother and a daughter with a fresh and genuine energy. I think what makes these books ring so true is that they come from deep, personal roots. In each, the author cares deeply about context and worldview, culture and connections. And so each is complicated, as all cultures are, but they’re not explained by the text. In each, the story comes first.

Not so much what I see but what I’d like to see: more YA, more humor—oh please, more humor! More stories for younger readers. Chapter books. Fantasy. Fewer oppression tales about girls fighting unjust societies.

 

What do you wish someone had told you when you were starting out as a writer?

Uma: What a good question. I had to think about this.

At first, I often felt misunderstood. Early on, someone once asked me why I didn’t just write about “regular” kids instead of always focusing on kids with Indian connections—as if that was somehow “irregular!” And the opposite as well—a few in the Indian community were affronted that I’d put a divorce into my first novel, Naming Maya, as if that reflected badly on us as an immigrant group or something. So I sometimes wonder if it would have easier if those criticisms hadn’t cropped up. But I don’t think so. They gave me something to push against, and in all they strengthened my resolve to keep going.

If anything, I wish no one had given me any advice at all. Much of the advice I did get about conflict, character development, story structure, and so on never fit any of the stories I was writing, which led to a lot of wasted time while I tried unsuccessfully to make my stories fit into boxes that weren’t built for them. In the end I did best when I dumped a lot of it and paid more attention to my own instincts.

To learn more about Uma and her books, visit her website at https://umakrishnaswami.org/.

 

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Interview with MG author Mary Winn Heider

By on July 9, 2018   /   Author Interviews, For Kids, For Librarians, For Parents, New Releases  

I had the privilege of meeting and working with Mary Winn Heider at a Highlights Foundation workshop this spring. Mary Winn’s debut MG novel, The Mortification of Fovea Munson was released last month. This delightful story features talking heads in a cadaver lab, a Grandma who will leave you in stitches, losing friends and making new ones. Mary Winn took time from her busy book tour to offer insight into her writing and her work with the Barrel of Monkeys theater program in Chicago.

The setting of The Mortification of Fovea Munson is a cadaver lab. I know you worked briefly at a medical university lab. Can you tell us about that experience and how it played into your story? Did you meet any talking heads?  ?

Ha! I didn’t meet any talking heads, thankfully! I did meet the non-talking kind, despite the fact that my job was ostensibly just to be the receptionist. My responsibilities (like Fovea’s) definitely became a little more involved during my time there!

The lab itself was both very inspiring and very weird, which is sort of a sweet spot for me. On one hand, the stakes were super high: every day that I went to work, I found myself considering my own mortality. And my grandparents donated their bodies to science, so it felt somehow extra personal. On the other hand, the whole thing was really absurd—I was making signs to remind people not to wear flip-flops while they practiced surgeries. I was ordering body parts online. Minor spoiler: in the book, Fovea accidentally orders 600 legs. I totally did that. So there I was, at this intersection of super high stakes and total absurdity—and it felt so perfectly like my experience of middle school. Deadly serious. Completely bananas. Totally right.

And then aside from the ordering…er…snafu, I drew on the details of the real lab a lot, especially the day-to-day logistics. We’d order the parts, keep them frozen until they were needed, and plan ahead so they could thaw for however long they needed to thaw. There was a bit of a scandal with one of our suppliers at one point, and watching that play out helped me think through the ramifications of the (very different) trouble in the fictional lab.

I loved all the humor throughout especially the anatomical references, and the Grandma, oh my goodness, what a hoot! Tell us a little bit about your inspiration for the humor in your characters.

Well, broadly speaking, I wanted to have the most fun possible in this world that was (in theory, anyway) all about death and dying. Also, I’ll admit that once you start with the anatomy puns, it’s like you actually can’t stop—I don’t understand what force of nature that is, but it’s so real. So real.

Fovea initially struggles with her parents’ occupations, and yet, the plot involves Fovea trying to save them from ruin. I think it’s a perfect reflection of that awkward time in child/parent relationships. One minute a child doesn’t want anything to do with you, and the next they are defending you as a parent. You credit your parents as “being the coolest” in the acknowledgements. Did you ever experience the tug and pull in your relationship with yours?

For sure—I think maybe it’s impossible to avoid completely? And that that’s a really good thing. We test the waters of independence and maybe they’re a little intense or not intense enough, and then there are all sorts of feelings on both sides. But inch by inch, we grow up that way. My parents and I were lucky and didn’t have a lot of straight-up conflict—more like the occasional growing pains.

Fovea’s friendships are at the core of the story. Did you have an Em or Howe in your life?

The summer before sixth grade, I had a friendship that ended before I was ready. Every part of it was more nuanced (and less gross!)—but at heart, I’d say it was the same dance. I lost a friendship, found myself and found other friendships. Just…sans heads.

Your imagination is incredible! I found myself marveling at the solutions you provided for Fovea for the many challenges she came up against in helping Andy, Lake and McMullen. Especially the scene in making their way to the recording studio, which brought forth one of my fondest stories from my childhood. Care to offer any insights as to where you came up with such creative scenes?

Oh, I love that the trip to the studio managed to do that! That makes me so happy!

One of the things that I really dig about writing for this age is the constant negotiation between what middle schoolers can do on their own and what they can’t. So in some ways, it’s just about necessity being the mother of invention: in that scene, Fovea can’t drive, but she’s got to cover some serious ground to the studio.

And actually, early on, there was a very complicated subplot about getting to the studio (involving a kid with seven stepmothers who each had their own food truck—I’m rolling my eyes at myself even as I type this). A writer friend graciously clued me in that it was super distracting. So I cut the whole thing, and in the process, discovered Grandma Van, who adds so much more to the story. So I find when I try to be outrageous, I get in my own way. When I’m just problem-solving within some slightly oddly-shaped given circumstances, the internal logic of the story guides me. So I think I’m saying that I have nothing to do with it? That’s probably right.

I know you are a graduate of the Vermont College of Fine Arts Writing for Children and Young Adults. Did Fovea’s story originate while you were pursuing your master’s degree?

It did! I got the cadaver lab job toward the end of grad school. Then I realized I should be writing about the lab just in time for my last workshop at VCFA, so they got the first twenty pages. They were fantastic, and asked me all the questions I needed at that early generative stage.

I’d love to hear a bit about your writing process. Do you write every day? Where? Home? Coffee Shop? Cadaver lab? Theater?

All of the above! I try to write every day, although I don’t really succeed. But I’m generally doing the artist hustle, so I write wherever I can, which has definitely included at home, in coffee shops, at the cadaver lab, and backstage in theaters all over Chicago. Sometimes even in costume between shows. I have a harder time writing when I’m memorizing lines—my brain isn’t great at learning other people’s words and building my own sentences at the same time, but once a show is up and running, it gets a little easier.

Please tell us about your experiences with the Barrel of Monkeys theater program!

Yay! Barrel of Monkeys is the best. It’s a Chicago-based theater company. We go into Chicago Public Schools, teach six-week writing residencies, and then adapt what the kids have written and perform it for them in their own schools. The program gives the kids space to be expressive right at a time when they’re getting slammed hardest with state testing. And then we reflect back to them what creative rock stars they are by treating their work the way we’d treat professional writers’ work.

I’ve been in the company for about ten years—it’s made up of professional actors and educators all over the city. And the kids are endlessly inventive and inspiring. A month ago, I was in a show and got to play a reckless, heart-broken volcano, a metal-singing devotee of a potato chip god, a monster drawing come to life, and, as part of a reinterpretation of A Wrinkle in Time, played Mrs. Mild Sauce alongside Mrs. Ketchup and Mrs. Honey Mustard. The kids are where it’s at.

Finally, I know you’ve been involved in some interesting work situations in addition to your work at a cadaver lab. Are any of these roles playing a part in your next work?

I’ve had a pretty strange run of jobs, but at the moment, no! Well— none of my work as an adult, anyway—I’m currently drawing on my very influential time as second chair French horn at Hand Middle School.

Thank you so much for your time!

Thank YOU!

 

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