III. NOVEL GENRES AND TRENDS

What’s the outlook on youth novel trends? Is YA evolving past trends (such as first-person present POV) into a literary force defined not by page limits, age-ranges and content restrictions, but by quality of voice, complexity of story, and skillful use of language?

There will always be trends in novels. Either you want to follow them, or you want to create them. I would like to work with writers who achieve the latter.

In Writing for Young Adults, Sherry Garland notes a paradox: “The more unique and controversial your story and characters, the more likely the book will be acclaimed. Yet... the more difficult it will be to find a publisher, given the risk of censorship and resistance by schools.” Which kinds of controversial books, if any, will you represent?

I’m not sure that statement is true. I will represent any book that I fall in love with, no matter the topic.

How do you judge if a novel with a teen protagonist is best suited for the adult or YA market?

The main difference I’ve noted is this: adult novels featuring teen protagonists usually take place from a point of reflection, when the narrator is much older, looking back. Teen novels are—for the most part—in “the now,” with the story happening to the teenager when he or she actually is a teenager. Of course, there are always exceptions.

 IV. ON A PERSONAL NOTE

Name some of your favorite youth novels, both classic and contemporary.

I am a huge fan of E.B. White and many “classic” novels for young readers with warm, engaging voices. One of my favorites to read as a child, and still, is Ellen Raskin’s The Westing Game, a suspenseful mystery that is both well-written and quite moving. As far as contemporary novels go, I tend to lean toward teen novels with more mature topics. I am a huge fan of Suzanne Collins’ The Hunger Games (as is the rest of the country, I believe) and smart, romantic paranormal novels like Lauren Kate’s Fallen, which I had the pleasure of working on.

How does meeting writers at events impact you?

How can writers benefit most from your critiques at a workshop?

Be honest with yourself about why you are getting critiqued. If you come hoping I will instantly fall in love with your writing and sign you, you may be setting yourself up for disappointment.

Your goal should be to get feedback that will help you improve as a writer. If you are interested in a quick sale, as opposed to working and honing your craft, you won’t benefit as much from a critique as you will if you are open, ready, and willing to do whatever it takes to become a better novelist.

What would you like writers to know about you, the individual who scrutinizes (and sometimes rejects) their literary labors of love?

Agents are only people. They are doing a job because they love what they do, but it is also a job—not a lifestyle. That being said, I am reading (and yes, sometimes rejecting) your labors of love, and my opinion is only just that—an opinion. Do not let anything one person says discourage you. Dream big, and dream on.

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