Monday, March 28, 2011

District 7 - Reaping for THE GIRL WHO WAS ON FIRE



Yes, I warned you guys that I might or might not but most definitely might be participating in something amazingly awesome for the release of the amazingly awesome essay anthology I'm a part of that analyses the amazingly awesome series, the Hunger Games, called . . . THE GIRL WHO WAS ON FIRE (echo echo echo).

Basically I get to be part of a contest, aka Reaping, where I get to give away to two people a copy each of the book!

Or as Smart Pop Books puts it:

"April 5 is the official release of The Girl Who Was on Fire, and we’re celebrating by holding our own version of the Hunger Games’ reaping—one with much less threat of death and way less perilous prizes.

For the 13 days (excluding weekends) leading up to the release, we’ve arranged to give away 2 copies of The Girl Who Was on Fire at 13 different “districts” around the web."

If you are curious what those other districts are and want to up your chances of winning, check out the contest page here.

(if you want to read an excerpt from my essay you can do so here)


So evidently I am representing District 7, which really, I feel is so totally perfect a district for a book giveaway contest considering it is the district responsible for lumber and PAPER products.

And it's all pretty simple. Leave a comment and contact email below and at the end of the day I'll be "reaping" two winners of the book! And just to make it a bit more fun, how about this, why don't you also share your favourite character from the series aside from the obvious trio: Katniss, Peeta and Gale.

I'll go first: my favourite would have to be . . . Cinna.

Your turn!


*UPDATE*

The contest is now closed :( . But do check out the linked page above to see where the next district is! Thank you all for entering, and I hope for those of you who don't win you'll still get yourself a copy of the book (I've been reading the essays myself, and they are so compelling, a must read for any HUNGER GAMES fan). All hail the HUNGER GAMES!

Friday, March 25, 2011

Literally

Let's just get this straight once and for all.

Literally means literally.

It doesn't mean figuratively.

So when you say you did something embarrassing and that you were "literally dying inside", unless you actually have a fatal disease or a knife plunged into your gut, no, you aren't literally dying. You felt like you were dying. You were figuratively dying inside.

Here's the thing. "Literally" is used correctly when you are demonstrating that the usual metaphor used to describe the situation is not a metaphor at all, but real. So, let's say your friend had a heart transplant and they put in a heart made of marble for some reason. THEN you could say, "He literally has a heart of stone." Otherwise you are using the metaphor as a means of demonstrating a truth about someone, so if you met a guy who was super mean and cold and didn't care about anyone or anything, that's when you'd say "He has a heart of stone." Because it isn't literal. He doesn't actually have a heart made of stone. He's just a jerk.

If you feel a need to put extra emphasis on how stone like that heart is, don't add "literally". You could add "figuratively" but that's a bit obvious, I mean, we tend to know that it's a figurative description.

Basically it's like this. If you want to emphasize your metaphor, chances are . . . you don't mean "literally". You just don't.


Ehem.

I'm done now.

Tuesday, March 22, 2011

Emotions and Ebooks

So the web has been in a tizzy the last few days ever since Barry Eisler turned down a $500,000 book deal on two books in favour of self-publishing (ebook self-publishing). So now lots of people are talking about the brave new world etc ahead all of a sudden. Again.

And I thought to myself, didn't I blog about this already? 'Cause I feel like I did, and yet . . . I feel like I didn't.

Turns out I was half right. I blogged about The Race for the Future and my hope that we could all just get along, stop being so adversarial in having either one form of media topple the other. And that we could appreciate the unique qualities of both.

And I touched upon the fact that the debate is between two very different sides, the pragmatic (ebooks) vs the emotional (paper books).

However I wanted to expand on the emotional thing, not just focus on the emotional connection to paper books, but on the emotions running underneath this whole ebook discussion currently going on. And thought that I'd already done that too. Again . . . half right. I'd done it. But in a writing forum. So I decided to repost what I said there, here. Because I think emotions are often ignored, and people who are all gung-ho about ebooks tend to look at us who, yes think they have a lot of merits to them but are nonetheless a little sad about their existence, as totally bonkers. Why on earth wouldn't we be as excited as they are about this brave new world?

So here's that post. Hope you like it:


You know what I think [the tension] is, it isn't people dismissing the Kindle ebook revolution or whatever you want to call it (I for one am keeping a very close watch on it, and I adore my new Kobo ereader - it's so pretty ), it's more personal than that.

Honestly, with the rare exception of some real techno-files, the true reason for the joy amongst certain authors about the boom in ebooks has to do with "how can I use this to get my books out there". It's not about the technology or how reading is changing, it's "what can I get out of this". And there is ABSOLUTELY nothing wrong with that. There are SO MANY advantages to self epublishing. Getting the writing into the hands of more readers. Control over the product, higher percentage of sales etc.

But just as people greet the ebooks with that kind of excitement over what they will get out of it, so too do people on the other side of the aisle greet the news with "what am I going to lose".

So for someone like me, who has seriously contemplated self publishing herself, I think about what I lose:

1. I lose the ability to just be an author. Now I know people really do feel that publishers these days do nothing for an author, but that isn't true. They edit, they format, they hire a designer and cover artist. Some publishers even pay for fancy websites for their authors. They make swag, they offer special deals etc. They send you on tour.

Yes authors these days are doing more than ever and to just sit back and do nothing is ridiculous. But some people are more publicity savvy than others, and the thought that I'd have to do EVERYTHING (and that includes all the putting the book together stuff) on my own terrifies me. Also one of the things holding me back from putting an ebook out there is that I'm currently trying to finish writing a novel, and I just don't have the time to do both. Now I know some people are seriously awesome at writing fast and multi-tasking, but I'm not.

That's another thing. It seems to me the authors who do best with epublishing are authors who can produce books quickly. Like Amanda Hocking . The idea that the world of literature is going to turn into "be fast or be left behind" frightens me because I don't know if I can keep up, and I don't know if I want to keep up.

Instant gratification isn't always a good thing.


2. I don't get to hold a copy of my book in my hands. I love books. I love how they look, I love how they feel. I love everything about the aesthetic of a book.

For that matter, I love bookstores, and I'm SO worried what would happen in an ebook only universe.



3. I don't get paid up front.


4. A more general thought: a possible devaluing of books. Like what they say in THE INCREDIBLES: "When everyone is special, no one will be." When everyone who wants to be an author can be, then it devalues the work of authors who actually ought to be. I know people say that the strong stuff will float to the top, and I hope people are right in that (and that it won't just be people with marketing savvy who float to the top), but I still fear being put on par with someone who can't even string a sentence together and decided for a lark to put their work up on Kindle.


5. I don't get to role play author. I know that's probably the most superficial of all the losing out things, but having gone to BEA three times now, been sent on tour, going for lunch with my editor and agent, meeting my publisher at their offices. All that stuff is just plain fun. I like it.



I know all these points are debatable, and I know some of these points are just personal preferences. I am NOT posting them to debate them. I am pointing them out to maybe give some a perspective on the other side. On why people can feel sad about the ebook revolution while still being interested in it. That it can also just be an emotional thing, not entirely pragmatic.

And also, you know what, it hurts to see so many authors be so full of joy at the demise of publishers. Because for those of us with publishers, their demise means we're . . . well . . . in trouble. So these authors are basically happy that we're in trouble. I know they don't think of it like that, but that's how some of us feel. Like they'd be happy to see all us authors published the "traditional" way fail.

And that just hurts.

I know people would prefer to think emotions aren't a part of this debate, but I believe they are so key to it. It's a matter of either an excitement over what we'll get out of it, or a sadness over what we'll lose. Though I do think most people, like myself, are somewhere in the middle.

Saturday, March 19, 2011

Some fun news!

So I have a couple nice things to share!

First: I got my author copies for THE GIRL WHO WAS ON FIRE this week and they're awesome!

For those of you who don't know, it's an essay anthology analysing the awesome that is the HUNGER GAMES, and I was super stoked to be asked to contribute seeing as I'm a pretty big fan of the series (on a side note, how exciting is it that they cast Jennifer Lawrence as Katniss?! Good choice and bodes well for the quality of the film I think).

Here's a description of the book:

"In The Girl Who Was on Fire, thirteen YA authors take you back to Panem with moving, dark, and funny pieces on Katniss, the Games, Gale and Peeta, reality TV, survival, and more.
  • How does the way the Games affect the brain explain Haymitch’s drinking, Annie’s distraction, and Wiress’ speech problems?
  • What does the rebellion have in common with the War on Terror?
  • Why isn’t the answer to “Peeta or Gale?” as interesting as the question itself?
  • What should Panem have learned from the fates of other hedonistic societies throughout history—and what can we? <----- that's my essay :)

The Girl Who Was On Fire covers all three books in the Hunger Games trilogy."

(other contributing authors are: Jennifer Lynn Barnes, Mary Borsellino, Sarah Rees Brennan, Terri Clark, Bree Despain, Cara Lockwood, Mitali Perkins, Diana Peterfreund, Elizabeth M. Rees, Carrie Ryan, Linda Joy Singleton, Ned Vizzini, Lili Wilkinson)


My essay is "The Inevitable Decline of Decadence" and you can read an excerpt from it over at the Smart Pop site.

There's also a contest going called (appropriately enough) The Reaping, where each day two books are given away and I may or may not be participating in said contest. Stay tuned!


So here is the book:



Here is the back cover:



Here is the intro to my essay:



And over at The Reading Zone you can check out a great review and a nice little mention that the reviewer "used [my essay] as an example in [her] classes!" Seriously, I don't know what could be more flattering than someone using my work as a teaching tool in class. Coming from a long line of teachers, I know what a big deal that is. So thanks so much to the reviewer!

_____________________________________________



Second: And on another note, review copies of CORSETS & CLOCKWORK (the other anthology I'm in, this time YA Steampunk Romance) have been sent out and people have been saying some awfully nice things around the web. Here in particular is a sweet mini-review of my story, "The Clockwork Corset" that I just had to share with my thanks to the reviewer over at Reading Between The Wines Book Club (warning the site is a bit PG 13):


"The Clockwork Corset by Adrienne Kress

A beautiful tale about a girl who grew up on a house filled with clocks, the boy she grew up with and the promises that they made to each other. I really enjoyed Imogen (though not her name =P) and Rafe, the clockwork inventions he made and Imogen’s loyalty to him. It was a full story packed into a small space, 40 pages.
Rating – 4 (Loved it)"



So yeah! There you go for now :) . Will as always keep you posted and keep checking back in the next week for more Reaping news . . .

Tuesday, March 15, 2011

The Image of Canadian Authors

So today the Globe and Mail posted a series of answers made by Canadian authors to the question: Is This Country Supportive of its Authors? You should check out the answers, especially if you're Canadian because it does fill you with a sense of pride. Also two of my most awesome friends (Lesley Livingston and Tish Cohen) were asked to contribute their thoughts, so that's just cool too - you know, the fact that I know cool people :) .

But then a few people posted in the comments section talking about how much they didn't like Canadian writing. One person said that he/she was waiting for the day "when the writers in Canada finally produced something worth reading" and another commented that "the reason many Canadians don't want to read Canadian authors is because people feel down and depressed after doing so . . ." and that "living in the cold is no excuse for depressing writing. It's as if a Cdn. writer who isn't perpetually depressed and grumpy doesn't qualify for grants. "Another said "why would anyone slog through the extreme dullness of most Canadian fiction?"

So I decided to respond to these posters. You can read my responses over at the newspaper's site but basically I just said something along the lines of "uh, I know a lot of Canadian authors, and many of them write happy upbeat stuff. Also there's more Canadian fiction out there than just this supposedly depressing lit fic, and how can you judge all us authors based on reading only a very select few?"

I then added a list of awesome Canadian authors I knew, who write in many different genres and styles. This is that list (and I apologise for it not being entirely comprehensive, it was a spur of the moment response):

Guy Gavriel Kay
Robert J Sawyer
Danielle Younge-Ullman
Arthur Slade
RJ Anderson
Caitlin Sweet
Rob Weston
Kelley Armstrong
Vincent Lam
Peter Watts
Julie Czerneda
Robert Munsch
Gordon Korman
Erin Bow
Robert Wiersema

(I should add that this list came after I asked whether a particular poster had actually read any of the authors interviewed for the article and was used to augment that list of authors - that's why you'll see a lack of say Lesley and Tish's names in the list, as well as big wigs like Margaret Atwood etc)


But I realised in answering these absurd generalisations about Canadian authors that there was another point to be made. And so I made it. In a follow up post:

"Having now responded twice to people posting in the comments section about the state of Canadian lit and what kinds of books Canadians write, I felt a need to post an actual post on what these posters represent.

You see, the idea that there is only one genre in Canadian writing (depressing lit fic) is very frustrating to me as I am very familiar with many Canadian authors who write many different genres (myself included), but I think it might be very well worth having a conversation as to WHY that's the image Canadian writing has with its own people. Why when there are Canadian authors who write every genre and style imaginable, does Canadian writing get pigeonholed as only one thing? And maybe this conversation can help answer the question of this article as to the supportive nature of Canada of its writers. Possibly this reputation suggests that Canada tends to be more supportive of a certain kind of writer, and less so of others, if people only consider Canadian authors to write one kind of thing.

I would never say that Canada doesn't support authors, and I myself have benefited from its generous support, but that isn't to say that there can't be room for improvement and, further, that maybe we should take a serious look at the nature of that support when the reputation of our writers does not accurately reflect the diversity of our writers.

For example, in a list created by one of Canada's largest national papers there was a remarkable lack of genre and children's writers. There was also a remarkable lack of ethnic diversity. Certainly not done on purpose, but interesting to note it having been done nonetheless."


And now . . . through the marvel of blogging . . . I expand on that thought . . .

The question I think isn't if Canada is supportive of writers - Canada is one of the most supportive countries of authors. In fact, we are a country where one only tends to get famous once one leaves it (ie: like with actors, musicians etc), unless one is an author. Authors are lauded in this country and can become bonafide superstars here. And I think that's wonderful.

But in a casual article for the Globe and Mail we see how the support tends to be distributed, even if it is totally by accident: a lack of children's, genre, and minority authors.

And this is reflected on a larger scale as well.

We see the work of our children's authors ignored in favour of this Canadian lit fic. A perfect example can be found this past year when the TD Canadian Children's Literature Awards - which hands out several monetary awards with the top being $25 000 - was almost completely ignored by the mainstream media in favour of the Scotiabank Giller Awards which honours literary fiction (with a larger award, $50 000 - but when you factor in the other prizes given out at the TD event, the amount spent on both genres is about equal). When it comes to the Giller awards, every year the nominees are interviewed separately in televised specials, then sometimes even in a group special, AND THEN the evening was televised itself. Oh. And both events? Happened on the same night. I can honestly tell you I have no idea why one gets all the attention and the other none. If the money wasn't the same, maybe . . . but . . . it's not even that.

Okay. I can tell you. It's because Adult Lit Fic is seen as more worthy of attention than Children' Fic.

We see genre authors time and time again seek agents outside this country because selling genre to Canadian publishers is very difficult. We see how genre fiction (SF/Fantasy) has had to create its own series of awards here in Canada because otherwise such authors with international acclaim don't get recognised.

We see minority authors constantly struggling not only to be heard, but also to be considered worth being read as simply an author first, visible minority second (and yes, while I notice the lack in the article in the paper, I do also notice a lack in my own list, something which I will work hard to remedy). And the same of course goes for sexual diversity.

Now. I'm not saying there isn't support here in Canada for all these kinds of authors, as Lesley herself said in the comments section to that article, the Forest of Reading Awards is a marvelous way to bring authors to children, and Canadian Children's Book Centre sent me on a book tour to the other side of this country, so clearly there is support for children's fiction for example.

But perception matters. Visibility matters. On a much bigger scale, seeing what is happening in countries half way around the world compels us to action far more than just hearing about it. We need to SEE children's lit and genre and minority authors. We need to see them respected and not considered a sub-section of writing, but a worthy (and not needing a qualifier) form of writing. No "this is good . . . for a [insert kid's, fantasy etc ] book".

No.

We need "this is a good book". Full stop.

As a slight tangent to my point - we also need to stop defining Canadian literature as books set in Canada. Because even if Canadian authors set their work someplace else, they still bring their history of growing up Canadian, their unique perspective, to their writing. I consider myself a Canadian writer though and through and have only one identifiable Canadian character in my novels (so far). This doesn't mean I don't write with my Canadian upbringing informing every part of my work. Especially that whole Canadian sense of humour thing.



My point is . . . Canadian writing is seriously fantastic. And the diversity in the writing is seriously fantastic. And we need to change our reputation, not with the rest of the world, which is actually a pretty wonderful reputation. But with Canadians.

While we're at it . . . can we also change the reputation that a literary piece of fiction that might not be all happy go lucky can't still be highly entertaining and wonderful thing to read? Because I like a good literary work as much as the next person, and there is some beautiful stuff out there that shouldn't just be shoved to the side as "typical depressing Canadian lit fic".

Also . . . what's wrong with depressing Canadian lit fic? Sometimes that's exactly what you're in the mood to read.

Is all I'm saying.

Monday, February 14, 2011

Corsets & Clockwork Anthology ARC!

Now this is just the most perfect Valentine's Day gift ever. Today I opened my mailbox and found the ARC for Corsets & Clockwork, the YA Steampunk Romance anthology I contributed a story for!

It looks great, and is quite substantial. Added bonus, my good friend Lesley Livingston has her name on the cover!

So here's the ARC:




And here's the beginning of my story "The Clockwork Corset":

Photobucket



And of course because I know you're all as excited about this as I am, the link to buy it at Amazon :) .

Monday, February 07, 2011

The Genre Pigeon Hole

From @Charlesatan: Fear of getting typcasted/ghettoed in one genre.


So this is a question that I see often on writing forum boards, and asked at conferences etc. What do you do when you write many different genres?

It's a complicated question, and now that an author these days must become a brand in and of herself, has become even more so.

I suppose there once was a time an author could sit in her garret, write marvelous prose, send it to her publisher and there's an end. But that time has long passed for most of us (there are of course exceptions to every rule). We live in an age where authors have to be accessible, especially writing in the children's/teen market, where social networking is expected and an online presence is essential. And with it goes a persona. An easily identifiable, "Oh you know Jane Smith, she writes books about exotic birds."

In some cases, it's rather easy to create a brand. There are certain authors out there who have an interest in a particular genre, so much so that they are happy to continuously mine that genre for new and exciting material.

But considering the "question" at the beginning of this blog had the word "fear" in it, I suppose the author to address in this blog post is the one who enjoys writing in many different genres, in many different styles.

I consider myself one such author actually. Possibly it comes from the fact that I get easily distracted by shiny objects, and so constantly need to switch things up. Possibly it comes from being a fan of neat ideas, and neat ideas aren't the property of just one genre. Possibly too it comes from a game I used to play when I was younger, which was to emulate in a piece of writing an author I was reading at the moment, to see if I could write like that author, how closely I could mimic her. Not to copy, not to claim the style as my own, but just for the fun of trying.

Actually I can go on a bit of a tangent here . . . when I was writing ALEX the first thing I had to do was figure out voice. Being a bit of a chameleon as I've said I was, it was kind of hard to find what was the "real" me. Finally, after some false starts, I just took a step back and asked myself, "How would you just tell this story out loud to someone?" And that's where I started from, hence the breaking of the 4th wall etc that you'll find in ALEX.

Anyway . . .

I also really love almost all genres of fiction out there as a writer. Some I like more than others, but I can usually find merit and something to enjoy in most any of them. And so I never really had an affinity for one genre, one genre didn't get me through high school when times were tough, one genre didn't get me more excited than the other. I suppose the one thing I liked in general was a sense of humour and of the ridiculous, but even then . . .

So when it comes to my own writing, when it comes to that blank slate of: "So what are we going to write about today?" . . . well it can be rather intimidating. Because, for me, it could be ANYTHING.

I don't like talking about unsold projects but let me just say that the two on submission are nothing like ALEX and TIMOTHY, nor is THE FRIDAY SOCIETY like them. I think I always have an underlying theme of strong women in my work, so that does tie them all together (and hopefully a sense of humour), yet if you read my adult novel . . . it's almost all men.

In any event, sorry, rambling. This question wasn't about "what do you like to write" but about the fear of getting pigeon holed, and I will say that I do have that fear. Because I don't like the idea of having to just write one thing for the rest of my life.

But what do you do about one's brand?

This is where I believe you need to make some concessions. You need to pause when you are working on a particular project, and be the author of just that project. You need to understand that when it gets published you have to spend time building a fan base, writing sequels, focusing on one thing. You can't be too scattered, though of course you're allowed to work on other things in the background. But not every project can have equal weight at the same time. You have to trust that eventually you will move onto that second and third project. That life doesn't have a timeline and you don't have to rush. I really believe it's about taking and giving the time required for each new book.

I also think there's some strategy to choosing one project and making that a clear goal for now. The more successful you are as a brand, the more people buy your books, the more freedom you can have down the line. At this point, JK Rowling could write any genre and still be an instant bestseller.

But it still is a risk writing in different genres, you may never find your audience if you constantly confuse them and there are other ways to handle it. Publish under your name with one genre, under a pen name in another. Or maybe, if you're really lucky, foster a reputation of being an author who doesn't fit in one category. These days the latter is very difficult to accomplish, but not impossible.

I think too you need to make the choice to work possibly harder than some others might have to. It's likely harder to write in different genres, harder to get published, harder to become successful. It will probably take more work. But if you feel that passionately about it, it's probably worth the effort.

I once saw Helen Mirren interviewed on stage at the National Theatre in London. Someone in the audience asked her what her advice was to young actors, and she replied with, "Don't let yourself be pigeon holed." At the time I thought to myself, "Easy for you to say, you're Helen Mirren. You get your pick of scripts. We just have to take whatever is offered to us." And there is that sense when you're starting out at writing too. A sense of beggars can't be choosers.

But while we're in that early phase of little choice, we can still set a path for the future. So long as we take baby steps to get there. As I've already said, you must be focused. There's one thing to say you like writing many different genres, it's another to use it as an excuse as to why you can't finish writing a book. Once you choose the book you want to write/get published, that becomes the focus. As a business person you must think about what happens after it gets published, is this a single tome, or is it a series. Can you commit to doing a series at all? Make a game plan.

For me it's to be a writer of many different kinds of books, but to give focus to whatever book(s) take off. This means if a book of mine comes out that suddenly has this crazy upwards trajectory, well, I'll have to put other projects aside to make sure that book doesn't suddenly lose momentum and come crashing down to earth. I also concluded early on that while most of what I write has series potential, I wouldn't accept that as a standard truth. I didn't need to be the author of trilogies. I could write series of 4 or 5 or 6. I could write duologies. I could write standalone novels. But whatever I wrote it would get the full attention it deserved.

I guess what I'm trying to say in all this is you make the choice. But it can't come from a place of ego: "I'm super special, I write lots of different things, no one can tie me down to one genre!" Because invariably you will have to compromise. You might have to write a sequel to a book when you wanted to start a brand new one for example. Nor can it come from a place of indecision/boredom: "I don't know how to write this next bit so instead I think I'm going to write this other book!" Because most of the time (not all of the time, but most) this means you never actually finish writing a book.

It has to come from a place of: "I like to write many different things. But it's difficult to be such an author. So I am going to have a tough road ahead, and I am going to have to plan extra carefully, be extra professional, and probably put in even more work to keep juggling all those different genres."

I hope this sort of answers the question. It's not an easy one to answer, and to be honest, I'm still at the beginning of this road and I have no idea if my game plan will work for me. I also want to say that there is nothing wrong with finding a genre that you adore and sticking with it until the day you die. After all, think of all the different books by different authors that get published in just one genre. There is so much to mine on one topic alone, so many different exciting stories to tell.

It's up to you. But whatever you do, keep an open mind, and put in the work.

Friday, February 04, 2011

Some answers!

I got a lot of really good questions from my request in my previous blog entry (don't be confused by the solitary question on that one, my Twitter followers came up with a lot). Many I think will require a full blog post to answer each, which is awesome as that means I have several blogs now planned for the future!

But today I thought I'd answer the ones requiring slightly less space. So, here we go!



From @smiley_b: A question I like seeing authors answer is "what books have you read that made you say 'wish I'd written that!' (if any)" ?

It doesn't happen to me that often. But when I read the first book in the HUNGER GAMES series I definitely had that thought. For the most part though the books I love tend not to be the kind of books I'd write, so I never wish I could have. If that makes sense. So the Harry Potter series for example - I love so much about it, but at the same time I know I never would have written something like that. And anything by Douglas Adams, as much as he inspires so much of my writing, it's still very much him.

I think a part of it also comes from the fact that I am so happy I get to experience the book as a reader, and not as the writer, that I don't desire to be the writer of it. It's a whole other kind of experience being the creator of something as opposed to the consumer. It's the same thing with acting. There are so many films/plays I claim I wish I could have been a part of, but then when I think about it more I realise, "But then I wouldn't have got to watch them and appreciate them the way I do as an audience member."

Hopefully this makes sense.


From @charlesatan (who made numerous suggestions, and most of which I need to spend full blogs on): Current goals and how you plan to accomplish them.

My very current goal is to finish writing THE FRIDAY SOCIETY. It's due to my editor very very soon. I plan on accomplishing this by . . . writing it. On that note, I should mention that I am now being published with Dial, not Dutton - they are both imprints of Penguin but my editor recently moved to Dial. Just fyi.

When the first draft is done, I'm planning on returning to the project I was writing last summer while I wait for edits on TFS. And my agent and I recently had a chat about a submission game plan for some other already completed work of mine.

In the summer I'm acting in a Fringe show at the Toronto Fringe, and that requires me to also write a monologue that is due this month. Rehearsals I imagine will start up late spring for that. Really excited about it. Hopefully in general the acting work picks up, I do have an audition for a theatre company tomorrow as a matter of fact. Which means I need to dust of ye old comic monologue.

I also have two anthologies coming out (CORSETS & CLOCKWORK and THE GIRL WHO WAS ON FIRE), so I have some promotional stuff coming down the pipeline, giveaways, blog posts etc.

Conventions/Conferences are starting up again too, and I'll be attending at least two in April (Ad Astra and Canadian Steampunk Exhibition), probably some in the summer as well. And as always there are school visits (probably one of my favourite parts of being an author).

So . . . I'm pretty busy as you can see.



From @RoryHartshorne: Here's a writing topic for your blog, if this one floats your boat: is it Thomas's or Thomas' etc argument. That would help many of us in this pickle!

This is actually quite tricky, and both are technically correct. It depends which style guide you use. I've always been a Thomas's girl myself, but recently had such a choice corrected by an editor. I think Thomas' is becoming the more popular choice, but still, I guess I'm an old fashioned kind of girl.



From @FannishSunny: do you listen to music when you write? Does it influence the pacing, mood of a piece?

It depends. I know YA authors are known for having playlists etc for their novels, but I tend to find music extremely distracting. For some reason I really have to listen to it, it can't just be background for me, so I find myself not writing, just listening. But every once in a while, yes, I do listen to music. Especially if I am feeling particularly blocked. I like to choose music that reflects setting of my books more than mood. So music from the time period, or the country etc.



From Bethany Mattingly (in the blog post comments section): Favorite Adam Lambert song?

I actually really quite like "Whataya Want From Me?", and his music is fun in general. But my fav songs, I have to admit, would have to be his covers of "Mad World" and "Feeling Good" on American Idol.

Tuesday, February 01, 2011

Whataya Want From Me

Yes.

I did just name a blog post after an Adam Lambert song.*

But it seems to be appropriate. You see, I've hit a bit of a wall with my blog posts. Once in a while something topical comes up on which I can write (see post below), but really. I'm just plum out of ideas.

I was hoping that you all could help a girl out. I'd love to do a Q & A here on the blog, answer some of your questions, maybe even be inspired to write a whole blog post on a subject. So, if you have any questions, about me or writing/acting in general, please do leave them in the comments section of this post and yeah . . . Let the fun begin!




* There was this one time I was googling Adam Lambert, and Google suggested that maybe what I was really looking for was Adam Lumbert.

Yes, Google, that's exactly who I was looking for. Adam Lumbert. *eye roll*

Thursday, January 27, 2011

The Race for the Future

With news that ebooks are outselling paper books at Amazon.com comes the usual bevy of debates on the merit of each form and the future of publishing.

Not that this debate can't just happen because, you know, it's a Thursday. The publishing industry these days seems to want to discuss nothing else, and I suppose rightfully so. There's a brave new world on the horizon and no one, not the fervent supporters of paper books nor those who worship at the alter of new media, can really predict what that world will look like.

I, for one, definitely cannot predict. And I don't much like entering the debate because I really am not as well informed as the likes of J. A. Konrath and Cory Doctorow and any number of publishing industry insiders. I am just an author on days like today. And I ask myself:

Why does this debate provoke SUCH passion in publishing people?

It seems obvious I suppose, after all, our professional lives depend very much on where this is all going, and with the unknown comes fear for some, excitement for others. But a strong emotion either way.

But I think it might also break down into a more basic argument.

I asked people on Twitter to post what they liked best about paper books and what they liked best about ebooks. I also answered the questions. I asked it because I was a little sad to see the glee with which some authors greeted the news of ebooks outselling paper books online, almost as if it was a race to some kind of finish line and ebooks were now ahead. I didn't like the glee, because I didn't understand why one form of media had to be sacrificed for the sake of the other, and why that was considered a good thing.

So I thought we could be positive and discuss the merits of both.

But honestly, the answers I got. BORING.

lol, no. Not really. The answers themselves weren't boring, but the sameness of them all did get a little tedious.

And this is where I realised that the passion of the debate might just come down to a fundamental difference in philosophy between those people on the extreme sides.

The answer to "What do you like best about paper books" was one of the senses. Many tweeters said they liked the "tactile experience" of paper books. I myself went into further detail about how I like how a book can be its own work of art (not just as the words on the pages). The layout, the cover, the construction, the materials used, the inside pages. Embossed lettering or maybe not. Playing with the actual form of "book". Even just the smell of the pages. What we liked about paper books was the "book experience".

Now, the book experience isn't practical. It isn't even necessarily about the author's work. The book experience in fact can often have nothing whatsoever to do with an author as the publishing house is the one responsible for the aesthetic usually. But it's a pleasure. It's something that affects the senses and makes us happy. It's irrational.

On the other hand, the answer to "What do you like best about ebooks" was one of practicality. Pragmatism. It was about how new media made books easier to acquire and to transport. One could even argue that ebooks are more the author's medium whereas paper books are a publisher's medium. After all ebooks are about words on a "page" and that is it. It's about being able to read what you want when you want it. Traveling around the world with but an ereader in your purse and still having access to thousands of great literary works.

The ebook argument is in a way much easier to make because pragmatic arguments tend to be such. It's quantifiable, it's logical.

And this is what I think causes sometimes the rather passionate debates about ebooks vs paper books. You have two sides that are arguing from extremely different starting points. And to debate the emotional vs the pragmatic never works. Because neither side will ever agree. Because the nature of the side you've taken is to be completely the opposite of the other. The pragmatic will say, "But that doesn't make sense" and the emotional will say "it doesn't have to make sense, it's a feeling" and round and round and round she goes.

Now yes, there are other debates going on out there. There are authors who see the opportunity that ebooks afford to put themselves out there without a middle man as truly thrilling, and I see publishers concerned what their role is going to be in a future they can't really predict.

But at the heart of it I think it's more basic than that. An Ego vs Id kind of thing.

I don't know what the future holds. I don't offer any solutions, just thoughts, in this post. My hope is when the dust settles we'll live in a brave new world that embraces both. And maybe there will even be a third kind of magical book no one has yet thought of. I just know I'm getting a little tired of people taking sides. And of the glee when one takes a step ahead in the race over the other. The fact is, I think most people want both forms to exist. And I think both forms could not only co-exist, they could help support each other.

And I wonder if maybe it wouldn't make sense to try to work from that foundation. I feel so much of what publishing is looking at in the future is "who will win" and maybe it ought to double check that we're actually running a race in the first place. Maybe it's just two people jogging for exercise and having a bit of gossip. Maybe, after all this speculation, they aren't competitors.

Maybe, they're friends.

Monday, December 27, 2010

Answering My Own Questions

Thanks to those of you who answered the favourite book questions I posed a few posts ago. I figure it's probably only fair that I answer them myself. And of course if people still want to answer the questions in the comments section here, then please, I'd love to see the results!

But confession time.

The questions were actually a ruse. See, I wanted to get my agent and publisher special thank you gifts for being awesome and there's this amazing etsy.com site where the lovely Michelle makes purses out of books. Here's the site: http://www.etsy.com/people/spoonfulofchocolate

Now what would be a better gift for a literary agent and editor I ask you?

But I wanted them to be personal, so I sent the questions I am about to answer to my agent and editor saying I was doing a survey - when really I just wanted some book options to choose for their gifts. To make the ruse all the more ruse-y I then posted the questions on Twitter (my agent follows me you see) and here.

The cool thing was, that after starting the ruse, there was a wonderful side effect of delighting in the answers people were giving me. So in the end, not only did I get the titles of the books that wound up being the purses for my agent and editor, but I had a great time reading answers and even got some really great recommendations of what to read next.

All in all, a lovely experience.


And now, for my answers.

What is my favourite:

-adult book? It's a toss up between The Hitchhiker's Guide to the Galaxy and The Picture of Dorian Gray (I'd include the complete works of Shakespeare, but I'm disqualifying it because even though I said "book" I really meant "novel" and his stuff are "plays"). I'm also really getting into John Irving these days.


-children's book? This is a near impossible answer for me. I love so many, Harry Potter, The Phantom Tollbooth, the Adventure series by Enid Blyton. But I thought I'd put two books here that I'd never mentioned before in interviews etc, two books that I still read at least once a year.

The first is Starring Sally J Freedman as Herself by Judy Blume. I just LOVE this story, especially the way her make believe passages are actualised. As a kid I could so relate, despite this being a story set in the 40s. As an adult I marvel how well Blume can get into the imaginations of children.

And The Long Winter by Laura Ingalls Wilder. This just blew my mind as a kid - the blizzards! The snow! The lack of food! It was all so compelling and so exciting.


-most influential book? The Hitchhiker's Guide to the Galaxy. I've said it before, but up until my dad read me this book we'd been going through the classics, like Great Expectations and Lord of the Rings. When he read me this book, the game was totally changed. Adams broke so many "rules", wrote in such a different way from anything I'd encountered before. He totally changed how I looked a writing books.


-desert island book? Again, Hitchhiker's. (the original question made it clear anthologies weren't allowed as an answer otherwise I might say Shakespeare here - still, technically he still doesn't count, plays and all that)


-guilty pleasure? Anything by Michael Crichton. I don't know if he's a guilty pleasure really, not sure why I'd feel guilty about it, but I suppose he's not the kind of author usually listed as a favourite author by "serious" authors, despite I think his ability to write compelling work based on some cool premises. Still, feels like the right answer.


Oh, and in case you guys were curious, here are the books that were turned into purses for my agent and editor, The Neverending Story and Pride and Prejudice:



Wednesday, December 15, 2010

DUEL OF AGES trailer

Yeah, so that show I mentioned I'm in (Duel of Ages) is part of the reason my blogging's been meh - rehearsing a fair bit, so I thought I'd share with you the trailer for the show as way of apology and so you can see just how awesome it's going to be (I say "going to be" as despite the action in the trailer rocking, it's all rehearsal footage and things are only going to get better and better . . .)

You can see me briefly at the beginning being spun around, I'm in the long black skirt.

(Thanks to those of you who answered my questions about books in the last post, and in my next post I shall post what my answers are . . . I know, you're on tenterhooks now . . . )


Friday, December 03, 2010

Some Fun Questions For You Guys

It seems like I just can't blog on a regular basis. Probably because when I do blog I tend to want to take several hours to compose a very long essay on a subject that's meaningful to me. I even have a saved un-published blog post I've been working on for weeks now.

The time commitment makes it hard for me to post when I'm really busy - a novel to finish writing, and I'm in a show . . .

Oh hey! I'm in a show! I should probably advertise that. I'll do that in a moment.

Anyway, my point is, I do however tweet frequently. It takes all of a second to tweet. And I realised that in my tweeting lately I've been asking a lot of questions and having so much fun with the answers, and I thought I'd ask you guys the same questions! So. Yeah. Here we go:


Who is your favourite Harry Potter villain?

What is your favourite book cover?

What is your favourite:

-adult book?
-children's book?
-most influential book?
-desert island book?
-guilty pleasure?

So yeah! Can't wait to see the answers, and next post, maybe just maybe I'll post my answers to said questions. :)



Now onto self promotion:

I'm in a show at the beginning of January at the NEXT STAGE FESTIVAL. It's called Duel of Ages, and here's some info on it:



DUEL OF AGES
True Edge Productions

By Kristin Grundlack Levinson, Denis McGrath, Mike McPhaden, Michael Rubenfeld, Gregg Taylor, Rick Roberts, Daniel Levinson, Scott Leaver / Directed by: Todd Campbell

Wounds of the flesh, a surgeon’s skill may heal, But wounded honour is only cured with steel.


Duel of Ages invites you to explore the infamous legacy of personal combat through an anthology of short plays depicting various ages in the history of dueling. With choreography and performances by some of Toronto’s most talented fight directors and actor- combatants, Duel of Ages is a thrilling exploration of the cult of honour and personal combat. Rapiers for two… coffee for one.

“Unlike anything you’re likely to see at this or any other Fringe… Kicks major ass in the thrills department” —Glenn Sumi, NOW Magazine NNNN

“This kinetic, beautifully choreographed show is one truly dazzling spectacle.” —Tatiana Kachira, BlogTO.com

Factory Main / 90 Minutes / Anthology / General Audience / Violence / Gunshots
TrueEdge.Blogspot.com

Wednesday, November 10, 2010

The Girl Who Was On Fire

. . . no not me, though it does feel a bit like I am with all the good news coming fast and furious these days (and I'm not complaining, believe you me).

No, The Girl Who Was on Fire is the title of that Hunger Games essay anthology I told you guys I was also contributing to to be released next year (along with the YA Steampunk anthology: Corsets & Clockwork). Well actually the FULL title is:

The Girl Who Was on Fire: Your Favorite Authors on Suzanne Collins' Hunger Games Trilogy

Yup. I'm a "favorite author". Just saying.

Even cooler than the cool title is the very cool cover which is finally available to share - it's quite smartly designed to emulate the style of the covers of the series itself:



Also here's a list of contributors for your edification:

*Jennifer Lynn Barnes
*Mary Borsellino
*Sarah Rees Brennan
*Terri Clark
*Bree Despain
*Adrienne Kress aka the Queen of Fantabulous
*Cara Lockwood
*Mitali Perkins
*Diana Peterfreund
*Elizabeth M. Rees
*Carrie Ryan
*Linda Joy Singleton
*Ned Vizzini
*Lili Wilkinson

And a wee blurb:

Praised by writers from Stephen King to Stephenie Meyer, Suzanne Collins’ New York Times bestselling Hunger Games trilogy is dark, captivating, and deeply thought-provoking. Part straight-up survivalist adventure, part rich allegory, and part political thriller, the series has become a new YA favorite.

The Girl Who Was On Fire offers even more to think about for teen readers already engrossed by the Hunger Games. From the trilogy's darker themes of violence and social control to reality television, fashion, and weaponry, the collection's exploration of the Hunger Games by other YA writers reveals exactly how rich, and how perilous, protagonist Katniss’ world really is.

The Girl Who Was On Fire covers all three books in the Hunger Games trilogy.

And of course a link to the book's Amazon.com page so you can pre-order your copy this very moment.

So yeah. There you go! Sharing is fun.

Tuesday, November 02, 2010

The Friday Society



The who did what with the what now?

So remember back when I said I had some exciting news that I had to share but couldn't yet . . . well I can now! I'm going to be published again!! Yay! And in a slightly different genre, young adult (ALEX/TIMOTHY are technically what's known as middle grade).

This is the official announcement from Publishers Marketplace:

ALEX AND THE IRONIC GENTLEMAN author Adrienne Kress's Young Adult debut THE FRIDAY SOCIETY, in which the lives of three intelligent and very talented young women, all of whom are assistants to very powerful men, become inextricably linked by a chance encounter and a murder, to Nancy Conescu at Dutton, for publication in 2012, by Jessica Regel at Jean V. Naggar Literary Agency (world).


To beef up the description a bit - the story is Steampunk, set in Edwardian London (1900). I've been calling it a Steampunk Charlie's Angels without the Charlie :) . And like the description said, it's about three very clever assistants to very powerful men in London society: a personal assistant to an MP/Genius Inventor, a Magician's assistant, and a young Japanese samurai assistant to a self defense instructor. The three of them come together to form The Friday Society - which is my version of Charlie's Angels (again, without the Charlie - the book is all about girls realising that they have as many skills - if not more - than their male bosses, as assistants often do, so it's important that they are in charge of their own team, no one else). They also seriously kick ass. (the parrot at the top of the page will make sense in time)

As many of you know, at least those who have been following this blog know, I've been trying to sell several books over the last couple years. For the record, I'm still trying to sell those books (and have faith in the outcome :) ). It's been tough, I won't deny it. The publishing industry, like every industry since the economy went nutty, has been being extra careful these days in what books they choose to publish. I can't say for sure, I only have evidence that I have experienced, and my author friends have experienced, but it truly does seem like it's harder than ever to get published.

Not that you can't get published. I don't for a second want to imply that. It's just harder.

The genesis of the The Friday Society was very different from any other book I've written. I've written four novels now, two of which have been published, two that are still on submission. Where then does The Friday Society fit into this? The answer to this question, I think, is quite interesting.

I was working on a completely different novel (a novel which I won't go into detail about because it is my intention to return to it, and finish it, and hopefully send it out - and as such with my superstitions and all that, I can't talk about it), when I got a flash of inspiration that became the basic premise of The Friday Society. The idea was so complete, appearing in saturated colours in my brain, that I spent an evening fleshing out all the details and emailing my agent Jessica to see if she was free to chat the next morning. We chatted, and she also really loved the idea.

This is where things get interesting.

Jessica suggested I write a proposal. This proposal would consist of a synopsis, character bios and the first chapter of the story. The plan was then to send it all to editor Nancy Conescu at Dutton.

Why editor Nancy Conescu at Dutton you may ask?

Well. When ALEX went to auction in the States, Nancy was one of the editors who bid on it. At the time she worked at Little, Brown. So we knew that she liked my writing. Further Jessica knew that Nancy had just recently moved from Little, Brown to Dutton and was actively acquiring new work. She also happened to be very much looking for exactly what I was interested in writing.

Tangent - when people ask why have an agent . . . that's why. I wouldn't have known any of those things aside from the first thing about the auction, nor would I ever have thought to have attempted to sell a new work in a new genre on proposal. Or heck how to put together a proposal in the first place. I repeat my old mantra, agents are awesome. And they do so much more than you think they do.

But I digress.

I put together the proposal Jessica suggested. Let me tell you. I hate writing synopses. As an author my technique is to have a very basic outline, a sense of where I'm going, but all the who and how and what and where etc is very in the moment. I used to write without any sense of where I was going at all, but I'd write myself into a corner I couldn't get out of, so I compromised with creating a very basic map of where I was headed that still gave me room to play and see where things went. Anyway, my point is. . . I'm not so good at writing detailed synopses. But I did it. With some wonderful help from some friends.

The first chapter and character bios were way easier to do, and when the whole thing was together, and after a few rounds of edits with Jessica, the whole proposal was sent to Nancy. I should add here that while I was working on the proposal, Jessica had broached the subject with Nancy, pitched the idea to her, and she'd asked to see the proposal, so she knew it was on its way.

Nancy read it over and really liked it. But. We needed to work on the writing sample. She wanted to pitch it to the rest of the team at Dutton, but it had to be all kinds of awesome. This is where things got a little frustrating for yours truly. I've always thought I had a decent grasp of the concept of "voice". "Voice" is a strange thing, hard to describe, but it's how the book reads to a reader, it's tone and humour or lack thereof. It's personality. Like the book itself is an individual, if that makes sense. Anyway. I've written four books, like I said already, all of which have, to my mind, very unique and solid voices. These voices weren't too tricky for me to figure out, they seemed in the moment of writing these books just a natural choice.

But The Friday Society's voice? Oy. Let me tell you. Oy.

Nancy and I went back and forth, version after version, trying to find the right voice for this novel. It's period, but still very modern in sensibility. How to make it fast paced and fun, but still "stiff upper lip" and all that? It took a lot of playing around, but finally I hit on it. I remember when I did and sent a page to Nancy asking, "What do you think?" and the reply was an enthusiastic "You did it!!" It was a big accomplishment for both of us.

After that we agreed that what made the most sense was for me to write the first "act" of the book. In this case around 20 000 words worth. I worked on that for two weeks, using some of what I did in my initial first chapter, but pretty much starting from scratch. Then Nancy and I went back and forth on those edits several times to make it awesome. And then, suddenly, she felt it was time to share it with the rest of Dutton.

Now. You can probably imagine what this process is like to an author who very much would love to be published again. Here I am working extremely closely with this awesome editor who totally understands and embraces my vision and who's suggestions have made it all the better, with whom I've had several very long chats over the phone where we quite clearly get along, and with whom I am not working in any official capacity. The latter is a very important point. All of this was being done with the hope that it would all work out, but no guarantee it would. The prospect of being rejected after all this work we'd done together was terrifying. Sure what I had now was something amazing that I could, should it be rejected, take it out to other houses. But I didn't want to. I liked working with Nancy, I liked the vision. And yes, I liked the idea of having the same publisher as Winnie the Pooh.

It took two of the most anxious weeks of my life to hear back the good news. And when I did I just about thought I'd die from happiness.

Of course this is the first time I've ever sold a book on proposal so I still have to finish actually writing the thing. But there is a nice feeling about that, writing something that someone has already bought, versus writing something and then crossing your fingers that someone will want it. And you can bet I'll be nattering on about the process here yet again. It's been a while, I know, that I've done that with this blog because it's been a while since I've gone through the publication process. The fact is, so many things have been going on in my life in my career, but so much of it is the sort of thing you don't feel right to share. At least not yet. So it's a wonderful feeling being able to be open again. To hopefully inform and educate about a whole new process.

Plus I'm entering the world of YA which is a very different one from MG. Have no fear, I'm not leaving MG behind, I love it too much. But it's time to explore new worlds. However people should be aware that this book is older, darker, and definitely not MG. I hope it will still have all the usual Kress qualities, ie a sense of humour and some awesome action. And it definitely will have strong female characters - that's sort of becoming my calling card. It will also have some wonderful male characters too, no worries. But as trite as it sounds, I'm all about girl power.

So that's the story. About the story. It's hard to believe it won't be out until 2012 (I really hope the Mayans weren't right), but I also know the time is just going to fly by.

Thank you all so much for your support over the years, especially the last couple. I have the best blog readers out there. Also the most attractive and whimsical.

And now . . . the next phase begins . . . as Peter says: it will be "an awfully big adventure".

Saturday, October 23, 2010

TIMOTHY film option!



The deal happened a bit ago, but it's now up in Publishers Marketplace so I can officially share the news: TIMOTHY AND THE DRAGON'S GATE has been optioned for film! Here's the listing:


Adrienne Kress's TIMOTHY AND THE DRAGON'S GATE, optioned to Lanette M. Mastandrea at Where Monkeys Play, by Daniel Coplan at Coplan Law and by Jessica Regel at the Jean V. Naggar Literary Agency.


And. . . that's it . . . for now . . . I do have some rather big exciting news to share with you all hopefully very soon. Needless to say I've been hyper and happy all week about it. But . . . must wait for it all to be official. Le sigh.

Until then . . . here's another picture of my cat Atticus:


Tuesday, October 12, 2010

Corsets & Clockwork Anthology has a cover!

I am contributing a story to the YA Steampunk Romance anthology: CORSETS & CLOCKWORK (Running Press Kids, May 10, 2011).

I am super excited about it, and now I am even more super excited because . . . drum roll please . . . here's the beautiful cover for it!





Here's some more info on it courtesy of SciFiGuy.ca:


A stunning anthology of the very best of steampunk that's taking teen fiction by storm. Bestselling romance editor Trisha Telep brings an exciting new element to the fast-growing sub-genre of steampunk, which bends and blends the old and the new in increasingly popular dark urban fantasies. Young heroes and heroines battle evil, in various forms with the help of super-technological or supernatural powers, while falling in and out of love.


Contributors include:

* Ann Aguirre a bestselling author who writes urban fantasy (the Corine Solomon series from Roc), romantic science fiction (the Jax series from Ace), apocalyptic paranormal romance (as Ellen Connor, writing with Carrie Lofty, from Penguin), paranormal romantic suspense (as Ava Gray from Berkley), and post-apocalyptic dystopian young adult fiction (Razorland and Wireville coming in 2011 from Feiwel & Friends).

* Tessa Gratton, her debut novel Blood Magic arrives in 2011 from Random House Children's Books, followed by the companion Crow Magic in 2012.

* Jaclyn Dolamore is the debut author of Magic Under Glass from Bloomsbury USA.

* Lesley Livingston is the award-winning author of Wondrous Strange and Darklight, the first two books in the bestselling trilogy from HarperCollins.

* Caitlin Kittredge is the author of the Iron Codex trilogy, a Lovecraftian steampunk adventure.

* Dru Pagliassotti’s first novel Clockwork Heart was one of the first in the rising new genre of steampunk romance and was named by Library Journal as one of the five steampunk novels to read in 2009.

* Dia Reeves is the debut author of the critically acclaimed YA Bleeding Violet.

* Michael Scott is the Irish-born, New York Times bestselling author of the six part epic fantasy series, The Secrets of the Immortal Nicholas Flamel.

* Maria V. Snyder is the New York Times bestselling author of the Study series (Poison Study, Magic Study, and Fire Study) about a young woman forced to become a poison taster.

* Tiffany Trent the author of the acclaimed YA dark fantasy series Hallowmere, which was an IndieBound Children's Pick and a New York Public Library Book of the Teen Age 2008.

* Kiersten White is the debut author of Paranormalacy, the first book in a new trilogy, which was published by HarperTeen in August of 2010.

* Adrienne Kress, is the author of Alex and the Ironic Gentleman and Timothy and the Dragon's Gate.

Monday, September 20, 2010

A quick update.

Okay, so I have been remiss in blogging yet again. The fact is I am overwhelmed with work. But I have a little announcement that explains some of why I'm busy! Here we go:



Adrienne will be contributing her writing to two anthologies out next year:

"Corsets and Clockwork" (Running Press Kids, May 10, 2011), a Steampunk YA Romance short story anthology.

. . . and . . .

An essay anthology analysing the bestselling YA Dystopian series The Hunger Games, (Smart Pop, April 2011)



So you see, I am working to meet those two deadlines which are coming up very soon, along with working on my current WIP.

I am also dealing with an insane cat. Who thinks this is him being clever (if you listen closely you can hear him purring):

WORST. HIDING. EVER.

Friday, September 10, 2010

Friday Roundup

So after promising I was back to blogging, I promptly vanished. Life suddenly got very very busy again. And I went to the cottage. Sorry about that guys!

But I have time today to at least give you all your Friday Roundup!

As you guys know I'm pretty interested in women's issues in general, but in particular the publishing world (see previous blog entry "Gender in Publishing"). In my mind there is still a very evident bias against female authors despite women being the primary consumers of books. And even though the publishing industry is roughly 80% female, that 20% male seems to dominate the top positions in the industry. It fascinates me. And evidently not only me. Here are some recent articles on the subject of women and our fiction:

The Atlantic - All the Sad Young Literary Women

Women and Hollywood - If Women Like It, It Must Be Stupid

The Huffington Post - Jodi Picoult and Jennifer Weiner Speak Out On Franzen Feud


And now on a totally different note . . .

Here is a post by Lucienne Diver about how it takes a village to publish a book, and why that makes self publishing even a harder route to take. I like this article especially as it really defines well the roles of different people who work at a publishing house.


Here are two links to some fabulous covers that just get you all excited about writing again: Minimalist Covers and Typographic Covers.


Finally here is an awesome article on how to use Book Trailers effectively. Considering book trailers are still very new, people are still learning the ropes and I find the whole thing interesting to watch develop. Especially as I just happen to be starting a book trailer making company with a couple of friends (this wasn't just on a whim, we are involved in the film industry anyway, and thought this could be something very interesting to get on board with).

Here are two of our trailers, try to spot me in each :) :


WATCH - Robert J. Sawyer





DARKLIGHT - Lesley Livingston







Lastly, today is Atticus's 5 month birthday, so happy birthday little dude!


Friday, August 20, 2010

Friday Roundup

Here it is, your Friday roundup of what's going on around the net . . .


Author Adrienne Kress announces her return to blogging after a two and a half month hiatus with a GENIUS blog post about what it feels like to be in Limbo Land . . .

WriteOnCon was last week and here's a particularly interesting panel about Myths and Misconceptions regarding the publishing industry with agent Holly Root and editors Molly O'Neill and Martha Mihalick.

Agent Kristin Nelson shares with us her tale of an author behaving badly. I post this only to help make you feel superior in the knowledge that even if you are facing frustrating rejection from agents right now, at least you're not this guy. Unless of course you are. And in that case, dude, seriously, what were you thinking??

Agent Jessica Faust explains that while referrals can help get you through the door, in the end it's your work that matters most.

Agent Janet Reid explains why not all advice on the net is equal and that even good advice doesn't suit everyone.

Editor Reagan Arthur reminds us that editors can make mistakes.

SlushpileHell remains all kinds of awesome - check it out for your daily fix: http://slushpilehell.tumblr.com/

Agency Gatekeeper decries her love for books (as in printed and not e), and Ray Bradbury has strong opinions about the Kindle.

Finally -

The Huffington Post calls Toronto "The New Capital of Cool" (this has nothing to do with publishing, everything to do with my city).

And while I'm on the subject of my city, see Scott Pilgrim vs the World. It is a wonderful movie, absolutely ridiculous (and maybe a little short on depth), incredibly well made and hilarious. Please. See it. Let Hollywood know that we like original inventive clever film making. Otherwise they won't let us play with nice things . . .

Here's my Scott Pilgrim avatar: