Posts Tagged horror

Editor Spotlight: Georgia McBride, Georgia McBride Media Group

By on November 29, 2019   /   Articles, Editor / Agent Spotlight  

Georgia McBride is founder and editor of Georgia McBride Media Group, which is home to Month9Books, Swoon Romance, and Tantrum Books. She has used her experience launching brands in the music business, licensing music to film and TV, launching new technology products, and marketing and product development to build the Georgia McBride Media Group brand. Georgia is one of Publishers Marketplace’s most prolific editors. She’s completed over 225 publishing, audiobook, and film/TV deals on behalf of three imprints since 2012. Georgia founded the #YAlitchat hashtag and weekly chat on Twitter in 2009.

Hi Georgia, thanks for chatting with us!
You’re publishing two of my 2019 middle grade debut-mates: Malayna Evans and Kristin Thorsness. Can you talk about what originally sparked your interest and made you want to acquire their debut novels?

Thanks for having me, and congratulations on your debut! Malayna’s Jagger Jones and the Mummy’s Ankh has everything a kids’ action adventure fantasy should have but most of all, it has heart. Sure it’s a time travel adventure that takes Jagger and his little sister back to the Ancient Egyptian court, but it’s also funny and full of historical references and gags. So, while readers go on this harrowing adventure, they learn about Ancient Egypt and laugh the entire time. Additionally, the characters in this series are biracial, like my own kids, so I definitely was intrigued when it crossed my inbox. Representation is so important, especially at this age.

On the other hand, Kristin’s The Wicked Tree, which went through a title change after acquisition is spooky, atmospheric, and creepy. When I read it for the first time, it reminded me of a spooky tree outside my bedroom window when I was about the same age as the main character, Tav. I remember seeing a figure in the tree one night and screaming at the top of my lungs. None of the adults believed me, of course. The Wicked Tree captured all those creepy feelings I had back then, and I knew it would have a similar effect on readers. It’s also got a pretty cool mystery. So readers can put on their detective caps while getting spooked out.

With both of these stories, and especially for middle grade, I’m looking for something that makes the story and its characters unique. In both examples, I made a personal connection to the characters in both stories, so that helped.

Both these novels, The Wicked Tree, and Jagger Jones & The Mummy’s Ankh are in some sense quest/mystery novels. And Jagger is set in a very remote historical period. Are there any particular challenges in editing these genres?

I’m a lucky editor in that the author of Jagger Jones and the Mummy’s Ankh, Malayna Evans, has Ph. D. in Ancient Egyptology. That said, we did try our best to fact-check. We still asked questions, challenged assertions, and focused a lot on consistency during the edits.

For Kristin’s The Wicked Tree, we looked at the logic and reasoning behind the mystery and why characters did and said what they did – or why not. Mysteries can always be solved, and therefore, they have to follow basic and consistent logic, even with twists and even if it isn’t something a reader would personally do, think, or say.

Can you talk about your experience in the music business? What aspects do the music and book industry share?

As you can imagine, working in the music business is a lot of fun. It is also a lot of hard work. The music business and publishing business are very much alike in that my roles have remained basically the same. When I worked in music I did so mostly in marketing, talent acquisition, and packaging. Whether it is discovering, marketing, packaging, producing, editing, etc., the process and prospects are almost identical.

I miss the music business though. I no longer get free music now that I’m out. And, as of this year, I have had to pay to attend concerts. That is definitely new for me. I love what I do as a publisher, though. The similarities in my roles prepared me to hit the ground running in 2011. And now, I get free books and invites to all manner of spectacular bookish things.

What’s the number one thing authors can do, pre- or post-publication, to help boost sales of their books?

Be available. Be personable. Engage your audience in an authentic way. That may include in-person events, online, on social media, etc. I encourage those who write children’s literature to go where the kids are.

On average, middle schoolers spend 6-8 hours of their days in school. They receive book recommendations from teachers, librarians or media specialists, book fairs, etc. Engage that audience frequently, and you will soon start to build your own. Don’t give up or be discouraged if you don’t hit it out of the park on book 1. Stay focused, determined, and undeterred.

What’s an under-represented middle-grade genre or topic that you’d like to see more of?

This fall we published BERTIE’S BOOK OF SPOOKY WONDERS about a little girl who has difficulty making good choices. Her mother’s impending wedding to a widower with two kids compounds her difficulties. Of course, being TantrumBooks/Month9Books there’s magic and some spooky goings on in this story also, thus the wolves and raven on the cover!

As parents, we tend to focus on perfect behavior and good decision making for our kids, and sometimes fail to realize that our kids may struggle with impulse control and or feelings of anxiety. We expect our kids to manage their emotions and feelings well most of the time. Some kids are going through so much at home, and it can sometimes manifest as acting out. I love that BERTIE’S BOOK OF SPOOKY WONDERS tackles these issues. In her new blended family, Bertie’s parents are very much around, and are trying to help her cope. I would like to see more stories about coping with life in general and all the pressure twelve-year-olds are under to adapt in these modern times.

Do you have other forthcoming middle-grade novels you’d like to introduce us to?

Of course we have the sequels to Jagger Jones and the Mummy’s Ankh and The Wicked Tree releasing in 2020. We also have The Prince and the Goblin, a heavily illustrated adventure fantasy told from the point of view of a goblin who wants more from his life. Then there’s Kids from G.H.O.S.T, a graphic novel about kid ghost detectives, and The Fate of Freddy Mitchell, which is the new one from Andrew Buckley, author of Hair in all the Wrong Places.

Thanks so much for your time, Georgia!

Thank you!

Follow Georgia on Twitter: @georgia_mcbride
On Instagram @iamgeorgiamcbride, @month9books
Or visit her website at https://www.georgiamcbride.com/

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A Novel Approach to Readers’ Advisory

By on September 9, 2019   /   Articles, For Librarians  

Normally when a middle-grader comes into the library looking for a book, librarians will focus on a title’s genre and subject matter. They’ll try to match these up to the reader’s interests, such as mysteries, sports books, or science fiction. But it can be tough to pin down the exact type of experience that our readers are looking for. Dominique McCafferty, the Childrens’ Collection Management Librarian at Library System & Services, recommends using a different method of finding the right read, using the super genres developed by Neal Wyatt and Joyce Saricks in their book,The Reader’s Advisory Guide to Genre Fiction (3rd ed).

The super genres that Wyatt and Saricks use focus more on the experience of reading. Their genres are: Adrenaline, Intellect, Landscape, and Emotion. Each of these can contain a number of different subjects and interests. In this post, we’ll show you how the traditional genre of mysteries can translate into all of these different super genres. We’ll also give examples of how to broaden your reader’s interests using these same categories.

Support Independent Bookstores - Visit IndieBound.orgBooks in the adrenaline genre are the ones that readers will finish in one-sitting. Adrenaline books are all about speed. Tightly plotted, and fast paced, Thrillers, suspense, and adventure are among the traditional genre types in the adrenaline category. Mysteries like The 39 Clues are a great example of mysteries that fall into the adrenaline genre. They Cahills race around the globe to beat their greedy relatives to the clues. They’re adventurous because the Cahills often face danger from not only their relatives but also the environment and other enemies. Ultimately, The 39 Clues are mysteries because the Cahills work to figure out the clues that were left behind by their grandmother and solve the mystery of their family. But because of their fast pace and the thrilling adventure, the series also fits well within the adrenaline genre.

Support Independent Bookstores - Visit IndieBound.orgMysteries would normally be found in the intellect genre. This is the genre of books that challenge the mind with language, puzzles, and science. The Westing Game by Ellen Raskin would be a classic example of mystery in this genre with it’s puzzles and wordplay.  Books in the intellect genre can also have lyrical language. Science fiction also tends to fall into this genre because of the science and technology involved. In The Westing Game, a wealthy businessman leaves his fortune to the tenants of a neighboring apartment complex. But first, they need to solve the mystery that he’s left them. It’s a similar plot to The 39 Clues, but the focus in The Westing Game is not on adventure. In fact, most of the story takes place at the apartment complex. Instead, The Westing Game focuses on the puzzles left to each pair of heirs, making it an ideal selection for the intellect genre.

Support Independent Bookstores - Visit IndieBound.orgIf mysteries are normally at home in the intellect genre, then the world-building genre would be the realm of fantasy. But not always. Books in the landscape genre transport readers to a wholly different realm. For example Kate Milford’s Greenglass House is the rich, spooky setting for her mystery of the same name. Sitting on the edge of a cliff, Greenglass House is an inn that welcomes smugglers. Mysterious guests pour into the inn during the winter months when it is normally quiet, and each has a story. When guests belongings start to go missing, it’s up to Milo, the son of the inns’s owners, and Meddy, the cook’s daughter to figure out the mystery of Greenglass House.

Support Independent Bookstores - Visit IndieBound.orgFinally, the emotion genre brings out strong emotions in its readers. Swoony stories of first crushes, touching family stories, and even horror stories all fall into this genre. Thornhill by Pam Smy is just such a horror story. Part graphic novel, Thornhill is a spine-tingling mystery about the last days of Thornhill Institute, and the new girl in town who is intrigued by its tragedy. In dual narratives, Thornhill tells the story of Mary, one of the last residents of the Institute who is bullied by the other girls, and much later, Ella, a lonely girl who becomes fascinated with Thornhill and the girl she sometimes sees still inside. Mary’s story is told through her diary entries, while Ella’s is told through black and white illustrations. It’s a spooky, atmospheric read, but it’s also a mystery, as Ella discovers the truth about the girl in Thornhill.

These titles would all appeal to mystery lovers, and the super genres help librarians narrow down the type of mystery a reader is looking for. But these categories help readers expand their horizons. For example, a reader interested in the fast-paced adrenaline genre might enjoy the I Survived series by Lauren Tarshis. These historical fiction adventures place kids at the center of real life disasters. Or  they might like Tristan Strong Punches a Hole in the Sky by Kwame Mbalia. In this fantasy, a seventh-grader plunges into a conflict between gods, heroes, and monsters.

In the intellect genre, readers can be as intrigued by novels in verse like Aida Salazar’s The Moon Within. But they may also enjoy the STEM thriller, Charlie Thorne and the Last Equation by Stuart Gibbs.

These all-encompassing genres are a great tool for librarians to help readers narrow down exactly what they’re looking for. And they also help readers to find new books that might interest them.

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Editor Spotlight: Hannah Allaman, Disney-Hyperion

By on April 29, 2019   /   Articles, Editor / Agent Spotlight  

What do we mean by Middle Grade?

Hi Hannah, thanks for joining us to talk about your editorial work at Disney-Hyperion. To jump right in: My friends and I have an ongoing debate about what makes a book middle grade. It gets complicated when MG books in the US sell as adult in the UK, or books written as adult get slotted as MG (I know two debuts this year that fit that bill), or when very well received MG books don’t really read as typical MG. I think of novels like Wolf Hollow, which breaks the MG “rules” when the grown-up narrator appears to be telling a story about her distant 12-year-old self. Or a book like Quicksand Pond, where a good bit of the story is narrated from the perspective of a very old woman. So what makes middle grade middle grade?

To me, middle grade is all about that coming of age moment where you’re discovering your own autonomy and independence in complicated ways—those moments when you start taking ownership, making new friendships and exploring new interests, even discovering that your loved ones are flawed and that life isn’t always fair.

Positioning a book a certain way and for a certain audience can be rather subjective, but when I think about my overall list of middle grade titles, I tend to think about hope and humor. Even if it’s not a “funny” book, I think there’s often a sense of levity or lightness in the middle grade space that balances out darker themes kids may be interested in exploring, as well as an ultimate note of hope to buoy the story for younger audiences.

One of my middle grade titles, THE BONE SPARROW by Zana Fraillon, is a novel that sits on the cusp of middle grade and adult because of the heartbreaking topics it explores, but its central thread of hope and friendship feels just right for a middle grade audience.

And related to this, what ever happened to that hot “tween” category we used to hear about? There’s been a lot of convo on social media about the need for “younger YA” that might ride close to the line of “upper MG.” What’s your take on that nebulous readership? Are their needs being addressed?

I’m always, always looking for titles that reach those hinge readers who are moving between categories, because I do think there are gaps where we have greater likelihood of losing readers. We’re publishing more and more into that upper middle grade space with characters who are 13-14, but I think there’s still so much room for younger middle grade that captures readers transitioning out of chapter books (particularly stories with an emphasis on play and imagination), as well as in that younger YA space (especially stories that focus on friendship in those late middle school/early high school years). Those in-between audiences can be hard to capture, but I’m always on the hunt for stories that fill those gaps and meet readers’ needs at all stages.

Hannah’s Middle Grade Wish List

Every genre has trends. Are there any trends now that excite you? Are there any possible trends in MG that you dearly wish will soon have their moment?

I’m really hoping middle grade horror has its moment! There are some incredible new horror selections on shelves—I just finished THE DARKDEEP, by Allie Condie and Brendan Reichs, and I just got my hands on the audiobook of SMALL SPACES, by Katherine Arden. I grew up on a steady diet of R.L. Stine and would love for that type of accessible horror to make a comeback. For me, I think it’s all about that nailing that creepy commercial hook while still delivering a story that’s super voice-driven. I would love to find a horror story that uses a childhood game as a device, like truth or dare—so chilling and creepy and fun!

I also think witches are having a major moment—anyone who knows me knows I’m obsessed with witches. I like to say that I’m acquiring my own literary coven. But I honestly think they’re cropping up in so many different iterations, from seriously dark to sweet and bubbly. I’m absolutely looking for a charming, whimsical witchy chapter book or young middle grade novel!

I adore this recent crop of voicey, character-driven contemporary middle grade novels with a focus on sports—I loved ROLLER GIRL, by Victoria Jamieson, THE CROSSOVER, by Kwame Alexander, and SO DONE, by Paula Chase, and I can’t wait to get my hands on NIKKI ON THE LINE, by Barbara Carroll Roberts. (Give me a MG cheerleading book that engages with the sport on a similar level as E.K. Johnston’s YA novel, EXIT PURSUED BY A BEAR!) Also on the contemporary MG side, I think aspirational, high concept music stories are having a moment. From country to K-pop, stories about kids breaking into the music industry seem to be—oh no, I’m going to do it, I’m going to make a pun—hitting all the right notes.

Hook + Voice = Love

What’s the biggest factor that decides you to give a thumbs up on a book. Is it voice? Concept? What do you consider “fixable” and what isn’t?

I look for that perfect marriage of voice and concept—I want a big, fresh, stand-out hook to reel me in, but it’s really the strong voice and complex family relationships and friendships at the heart of a story that make me want to champion it. Sense of place is also something that can tip the scales of a story for me—I adore immersive, specific settings that become their own character (like in THE VANDERBEEKERS OF 141ST STREET, by Karina Yan Glaser). And particularly in middle grade, I want stakes, both emotional and larger-scale, that take the reader seriously.

To me, if a story has an unforgettable voice, anything else is potentially fixable. That doesn’t always mean that it’s ready for our acquisitions process; in fact, most of my R&R requests come from stories with exceptional voices/prose that need structural and pacing work. As an editor, I can help develop and shape so much about a story, but it’s gotta have that intangible, special, authentic voice at its heart.

How intensive is the editorial work you do with authors? Would you sign a book that was a long way away from being “ready to go”?

My authors will tell you I’ve been known to write some ridiculously long editorial letters. J Once I’ve acquired a project, I love taking a deep dive into developmental edits; I usually send an initial 10-15 page letter, followed by a shorter round focusing on pacing and any final character development notes, and then line edits. My style is super conversational, though, and I love the collaborative nature of revisions; I often come up with a lot of specific ideas to get our conversations going, but to me it’s all about finding the solutions that feel right for the story together.

Our acquisitions process is pretty rigorous; both the editorial team and the larger acquisitions group, including sales, marketing, and publicity, have to be excited about a project in order to move forward with it. (This is great in the long run, because our titles have a built in fan base when we bring them to our launch and sales conferences!) Because of that process, though, it’s hard for me to sign up something that’s a long way from being ready.

That said, I’m a huge fan of R&Rs—I have two that I ended up acquiring and are now on my upcoming 2020 slate! Especially because I’m a young editor who’s still building my list, I’m always looking for those exciting seeds of potential that I can help shape, and it’s thrilling to find an author who’s a skilled reviser and eager to partner with me on our shared vision for the manuscript.

What’s the toughest thing you have to do as an editor?

Honestly, R&Rs that ultimately don’t work out are heartbreaking for everyone, including me. It’s tough to fall in love with something that still needs more time to bake before it’s ready, so to speak, or just isn’t right for my overall list, even though I see its potential. But I cheer for them extra-loud when they do find their perfect homes!

Hannah’s 2019+ Middle Grade List

Can you introduce some of the MG titles you’re publishing this year, including my terrific 2019 debut mate Shauna Barnes Holyoak? What drew you to these titles?

I have such an amazing group of MG titles this year! Here are my highlights (but be warned, I could talk about these books for ages):

The Secrets of Topsea series, by Kir Fox and M. Shelley Coats: In January, we published the second book in the Secrets of Topsea series (THE EXTREMELY HIGH TIDE!), which follows a zany group of fifth graders in a fictional, topsy-turvy coastal town. These books are SO weird (think Wayside School meets the Nightvale podcast) and so full of heart, and I adore their original formats, including narrative/character-driven chapters, newspaper articles, journal entries, and more.

The Click’d series, by Tamara Ireland Stone: We also published the second book in the Click’d series (SWAP’D) in February. Crushes and coding—what more could you want in a MG novel?! Most of all, I love the complex, authentic friendships at the heart of these stories. And the covers, illustrated by Jameela Wahlgren, are seriously the CUTEST.

KAZU JONES AND THE DENVER DOGNAPPERS, by Shauna Holyoak: Okay, you already know this MG mystery stole my heart! Not only are there tons of cute pups (I cannot get enough of Genki and his doggy nests!), but there’s also an amazing mother-daughter relationship, seriously high stakes that had me on the edge of my seat, and an incredible ensemble cast of fifth graders who have all the spunk and persistence of the Scooby Gang.

MIDNIGHT ON STRANGE STREET, by K. E. Ormsbee: I’m cheating a little bit, because this one comes out January 2020, but I love it so much that I have to talk about it. J Imagine if all the kids in STRANGER THINGS had Eleven’s powers—that’s MIDNIGHT ON STRANGE STREET. I love the way the author uses these strange new powers to encapsulate both the extraordinary and extraordinarily tough aspects of being a middle schooler. Also, the kids are on a glowboarding team, which is the coolest sport that doesn’t (yet) exist—think sci-fi roller derby!

How long have you been tap dancing and what got you into it? I just met another MG editor who’s a tap dancer, and one of the characters in my WIP is too. Is something in the air?

Ooh, I hope so! I’ve been tap dancing since I was two. My mom put me in a combination class in hopes that I’d become a ballerina, but it didn’t take. I did competition tap in elementary/middle school and was obsessed with being on stage. One of my favorite tap solos was “I’m Getting Good at Being Bad” from the 102 Dalmatians soundtrack (the one with Glenn Close). My mom made my costume, which was held together with black & white sequins and hot glue.

I mostly stopped tapping in high school but picked it back up in college, in that way you sort of rediscover things you did as a kid that were actually really cool when you’re in college. I ended up taking classes with Margaret Morrison (including tap history courses, which were the absolute coolest for a tap nerd like me) and joining an on-campus tap group. Now I still occasionally take classes at the American Tap Dance Foundation!

All of which is to say, I’m desperate to find a book with a character who tap dances! (Honestly, dance of any kind, but bring on the tap!) We actually published an adorable tap picture book by Tim Federle called TOMMY CAN’T STOP! in 2015, which I highly recommend, but I’m hungry for a MG tap novel.

Many thanks for sharing your thoughts with us Hannah! Best of luck to you and all your middle grade books this year!

Follow Hannah on Twitter @hallaman13,  and look for her on Manuscript Wish List @ManuscriptWList and Manuscriptwishlist.com.

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