Photo by Peter Dutton , via Flickr When it comes to fiction, rules and limits almost always inspire me. And I’m not talking about grammar rules. My first manuscripts were crime novels written for adults, and I wrote without restriction, free to pepper my dialogue with swear words exactly as I heard them spray from my characters’ mouths. Then I rediscovered tween/teen and young adult fiction. And, before I knew it, a bubbly teenager stepped into my writer’s brain and rattled off a fantastic story I couldn’t wait to get down on screen. But I’d have to curb the curses if I was writing a book for kids. Easy enough, surely? Except, sixteen-year-old boys don’t go around saying “drat” and “darn” when something goes wrong. It was an interesting writing challenge to imply, but not actually specify, strong language. Another (self-imposed) limit was that none of the main characters could die. Again, it sounds simple enough – but it removes a lot of easy tension and conflict. More creati...

Short answer: I don’t. Longer answer: I first got the idea for A Dead Guy at the Summerhouse when I was a young adult, before young adult was even a label. Very long answer: A friend had given me some books in the genre that was known then as Gothic. Remember Gothics? Young girl goes to large house filled with wealthy eccentrics, usually with a threatening figure and a helpful figure (often romance is involved), the threatening one turns out to be Good and the helpful one turns out to be Bad, much fear and emotion, happy ending. The covers usually featured the house with the young girl (usually in her nightdress) running away under a full moon, looking back over her shoulder in terror. I thought it would be fun to write one with a young man instead of a young girl. I thought it would be fun if, instead of trying to winkle out the house’s secrets, everybody would be trying to share them with him and he would be all, “I don’t want to know. I don’t want any drama or excitement....

This month’s question comes from a man whose first book was published in the early 2000s after a decade of futile efforts to place his manuscript with an agent. Despite some good feedback from his submissions, he received no offers of representation. His disappointment and frustration spurred a multitude of questions that we will consider, among others, over the next months. Here is one that applies to many aspiring writers—one that doesn’t always receive the consideration it deserves. Does a writer need to identify “market” before starting a book? Consider this scenario: You have a terrific idea for a story. Do you sit down at the computer and begin writing? Do you decide first who will likely be your reading audience? Does it make any difference who reads your book? I’ve heard writers say, “My book is for everyone.” Really? Think about it. Does this even make sense? Let’s suppose your story involves an African safari. How would you write it for your five-year-old son, gr...

Thank you to Dani for inviting me to talk about my self-publishing experience. Going the self-pub route had not been my original choice. I had what I thought was an awesome idea for a young adult novel—two kids realize they’ve been living inside To Kill a Mockingbird for the past five years, and they undertake an adventure through great literature to find their real home and parents—and I wrote it. My agent loved it, I mean dropped the “F” bomb on the phone with me she loved it so much, but she couldn’t find a home for it. Publishers gave us positive feedback but said that ultimately, they couldn’t sell teenagers on classic literature. Now, I’ve traditionally published seven mysteries, with the eighth coming out in October. I also serve on the national board of the Mystery Writers of America. I’ve got some hard-earned publishing knowledge, and I’d been hearing the same buzz as everyone else: self-publishing is big. It’s huge. It’s the future. You can write a book and quit your job c...

1/25/2012 Update: At the recent ALA Conference, the award winners were announced and the 2012 Printz winner was Where Things Come Back by John Corey Whaley.   Click here for more information.  For many years, beloved Kansas librarian Michael L. Printz was considered by many to be the backbone of the American Library Association (ALA). After Printz died in 1996 at the age of 59, the Young Adult Library Services Association (YALSA, a branch of the ALA) memorialized him by bestowing the Michael L. Printz Award to the best young adult book published the previous year. While fiction, nonfiction, poetry, and anthologies are considered, so far the prize has been awarded to eleven novels and one graphic novel . While the Printz Award program is relatively new, other ALA prizes are not. Generations of parents, students, librarians, and teachers have trusted the reputation of books that have won the John Newbery and Randolf Caldecott medals, the first of ALA’s annual awards for e...