STEPPING STONES – A LOOK BACK (PART 2/3)

Stepping Stones - FinalIn anticipation of Stepping Stones’ release on August 25th, I’ve dug out my old manuscripts and, along with some amazing friends, torn them to shreds. I’ve been writing consistently for 6 or 7 years now, and I’ve come a long way. What you see below is progress. Sometimes (READ: ALWAYS) you don’t get it right on the first try. It takes multiple drafts, a lot of heartache, and tons of hair pulling to finish a manuscript. It’s worth it. Learning to write in a way that affects people has no comparison.  I’ll never forget when I read at Flint Area Writers and one of the other authors (who I respect immensely!) turned to me and said, “I hate you.” You can read the piece she loved. It’s in the inaugural issue of Ember: A Journal of Luminous Things. The point is, it took me YEARS to reach that point. And it made all the work worth it. (Getting published certainly helped, too.)

Joining me today are my partners in crime, Stephanie Keyes (of The Star Child fame) and Hannah R. Goodman (Founder and Editor of Sucker Literary and All the Way YA). These ladies have taken off their gloves and given me their honest opinions and suggestions. When you’re a new writer, you NEED people like this. Grow some thick skin and let’s get down to it.

STEPPING STONES VERSION TWO – 2010 (CATCH UP Read Version One HERE.)

KACEY: I will prequel Version Two by saying that I shared Version One with a few close friends who I love dearly. They, bless them, LOVED it! This bolstered my courage. “I am a writer,” I shouted. “Hear me roar!” Which essentially means I sought out some writers online. Writing groups. Writing websites. Things about *gasp* publishing.

Here’s what I learned between Version One and Version Two:

*Agents won’t look at a YA manuscript that has 125,000 words.

*As a writer, you can’t just ramble on and on for no reason.

*Self-editing sucks, and it’s not something you learn how to do overnight. (HANNAH: Toughest rookie lessons to learn but once you let go of taking anything personally, this is a game changer in a manuscript.)

The first bell rang forcing me into my final year of high school. The last two weeks of summer had passed quickly. My mother moved out and away without a backward glance. My dad and I still reeled from the shock of it. Even though she’d served the divorce papers I’d never really believed she would go through with it. She wasn’t my mother anymore—her entire personality had changed.

HANNAH: Aha! Yes! We are in the moment! Things are HAPPENING! And backstory is given with succinct, action-oriented language. “Moved out” and “still reeled” although simple, get the idea across with a feeling of movement in the wording. Much better!

I should’ve been excited to start the final year. I’d looked forward to it since fifth grade when I realized that school ended eventually. But instead, I thought about my mom and worried about my dad.

KACEY: BEHOLD! The condensed version of the INFO DUMP. At least it’s condensed, but it still doesn’t belong here. Slightly fewer HADS, still FAR TOO MANY.

STEPH: I like this better, but there’s still no emotion in this. Also, it needs to be more active for an opening paragraph. Everything’s still happening to her. Her mom ditched her entire family. How does she feel on the first day of school with that news weighing her down? That’s a big deal. We should feel the weight bearing down on her shoulders from this.

I slammed my locker door and wound my way through the familiar hallway flanked by red lockers. Halfway down the hall Hunter joined me, already talking a mile a minute about the new guy. I’d heard snippets from other students in the halls.

KACEY: Hot guy? What is this? Better yet, WHO is this? That’s right. I discovered that it’s important to introduce BOTH main characters in the first scene. This is a CATALYST. Something needs to happen to the character that gets her story going.

And let me warn you about all the adverbs coming. ADVERBS are like dialogue tags. They should occur rarely, if ever, and only if they’re super special. I have a friend who uses prettily to describe sighs and I’m down with it. I’m sure there are a few in my final version. But adverbs are not our friends. They’re distant relatives that you visited once when you were a kid but can’t really remember.

HANNAH: I will point out the words that improve this…slammed, flanked. Strong verbs that evoke immediate feelings and images. Cliché alert! “Mile a minute”.

STEPH: So what feels familiar about this hallway? How does she feel seeing it and knowing her mother isn’t around? That the last time she was there they were a family? Describe it more fully. What else is there besides red lockers. Are they freshly-painted, chipped, older than God? We need to see this. Also, what does Hunter look like? Can we have dialogue with Hunter talking about the new guy? Describing him?

“And, oh my gosh, Onna!! I cannot believe how hot he is.” She sighed longingly, “If only I wasn’t still with Brody. I would be all over that.” She pulled a tube of watermelon lip gloss from her newly acquired Coach purse and applied it liberally, smacking her lips. “I mean, I love Brody…” She smiled, “Of course I do.”

“Who are you trying to convince?” I asked. Hunter rolled her eyes.

I couldn’t comment on the supposed hot new guy. I hadn’t met him yet, but news traveled fast at Swartz Creek High School. I wondered how long it would take for everyone to know the details of my parents separation.

KACEY: INFO DUMP

STEPH: Most people don’t use one another’s names in casual conversation that often. Hunter is a girl? I missed this! It could just be me, but let’s be clear on Hunter’s gender. A good description of her above would help.

We passed the library. It was empty except for the frumpy librarian who was steadily stamping newly donated books, looking as menial as her job.

I was distracted, thinking about my mom again. She was going to miss my senior year, my senior prom, graduation, all of it. I hadn’t heard from her since the day she left nearly two weeks ago. I was beginning to think that she didn’t even care. The morning she left, I’d woken to pancakes. It was almost a normal day; her heading off to work at the salon, my dad was already gone for the day. We ate breakfast in oppressive silence—not that I’d worried about it. I went school shopping for a few hours and when I returned all of her stuff was gone. I hadn’t seen her pack. She left her wedding ring on the kitchen counter where Dad was sure to see it.

KACEY: So I moved on from HAD and developed a love for WAS. WAS is HAD’s illegitimate brother that always gets drunk at weddings and embarrasses the family. Almost always, WAS sits in front of what could be an awesome VERB. She was going to miss my senior year, my senior prom, graduation, all of it. WAS GOING…so ugly. Simple fix? Mom would miss my senior year… Better fix? Mom abandoned me. ABANDONED. Hits you right in the feels! Also, Onna’s inner monologue makes her sound super selfish, which she isn’t, I promise.

HANNAH: I just wonder if we could skip all the narrative and get to the immediate, present day action.

STEPH: So explain a little more clearly that they are still walking. Where are they going? What’s her goal. YES! I want these thoughts about her mom. I want them sooner. Again, we’re slipping into backstory here. Show this all to me as it’s happening. I’m getting everything after the fact.

“Um, hello. Are you in there?” I forced myself to meet Hunter’s insistent stare, her watermelon lip gloss shimmered on her pursed lips. Her summer blonde hair flounced around her shoulders as she nodded towards the door. “Are you going to go in, or are you just going to stand here looking dazed?”

KACEY: Oh gosh. That description of Hunter’s lip gloss and hair. Less is more, people. Less is more.

STEPH: If you spend that much time on the lip gloss, we’re gonna think it has magical properties. : ) Also, I’m not sure who’s speaking here. Just be clear.

Inside, I could see students milling about, chatting with friends and already looking bored at the prospect of a new school year. I could relate.

The sociology classroom was unusually full, which forced Hunter and I to sit on opposite ends of the room. She blew me a kiss and headed to an empty seat in the back. I had to take the last seat in the front of the room, directly facing the teacher’s desk. I wasn’t a bookworm, but sitting in front of the class wasn’t unusual for me. My grades were important because I wanted to go away to college—not just any college, either. Only a big university would do. But it was all just dreams, even though it was my senior year.

The second bell rang and the teacher bustled into the room. She was intimidating at six foot two. She had a short, no nonsense haircut that left brown strands fringing her face.

“Full house,” she joked, her voice sugary, more fitting to a preteen girl than a forty something woman. “Okay, this is Sociology 304, if this isn’t your class, get out your schedule and we’ll help you find it.” She smiled as five students, including the boy seated beside me, stood up, looking slightly embarrassed. I assumed they were freshman, as lost as an Alzheimer’s patient at Detroit Metro Airport.

KACEY: This is a lot of description for the teacher. She’s not even important to the story. Save your words for people and things that matter. Also, what’s happened so far in this scene? A whole lot of nothing. It’s Onna’s first day of school. There’s a new hot guy. This is normal, boring, everyday stuff. The reader is bored. I’m bored. Somebody please throw this manuscript in the trash.

Just kidding…

Kind of.

HANNAH: I hate to say this, but I agree. I keep waiting for the “something-big-to-happen” and I’m waiting too long as a reader.

STEPH: Inside what? I need more transition so I know their walking to Onna’s first class. Did they have their schedules before they came to school? Wouldn’t they swap schedules? Alzheimer’s patient at Detroit Metro Airport.—love this image.

As she assisted them in finding their respective classrooms, I stared blankly at the wall. I wondered what Mom was doing, and if she was happy. Should I pop in for a visit at the salon she worked at?

I thought better of it. If she wanted to see me, she would come home, or call, even.

Dad was taking it hard. He still went to work, but I’d noticed the dark circles forming under his eyes. When he came home he no longer wanted to watch television or play pool like we used to. He just went into his office and shut the door. We didn’t eat dinner together anymore either.

Though I was capable of taking care of myself, I worried about him. I’d cooked dinner since my mom left; though it used to be something my dad enjoyed doing. Now he wasn’t interested in anything. His portion of the food usually went uneaten, even if I wrapped it up and left it in the fridge. I was at a loss; I didn’t know how to make it easier for him. I cleaned the house, I did his laundry, but he wasn’t seeing anything anymore. He just went through the motions of living, but didn’t feel any of it, like a zombie or a robot.

I could only imagine what he was feeling because he refused to talk about it. He’d slammed his office door in my face one too many times, and I’d lost the will to pursue it. I wanted my dad to be happy, but I didn’t think he was ready to deal with his grief yet.

I didn’t know if I was ready to deal with his grief yet, let alone my own.

The teacher handed out papers about the course and the required project, and I forced myself to take notes. I refused to let my grades slip. I wanted to apply to Yale, and it was a stretch if I didn’t have perfect grades. So I settled into the mundane task of recording every word she said.

KACEY: We spend SO MUCH TIME in Onna’s yet when we’re not yet invested in her story. She thinking about her life, which is code for INFO DUMP. Are you sick of me saying that word? Because I am! There’s hardly any dialogue, nothing to move the scene along. Nothing happens! This makes the opening COMPETELY USELESS. Nobody cares about Onna. Nobody cares that her parents are getting divorced or that she wants to go to Yale. Nobody likes her best friend. INFO DUMPS don’t make friends.  

Moral of the story? ACTION! DIALOGUE! PLEASE GOD LET SOMETHING HAPPEN.

HANNAH: You said it all perfectly for me : )

STEPH: While this is interesting, it’s all told. We aren’t seeing any of this happen. If this is all important enough to mention then the book should start with the scene between Mom and Dad. If it’s so pivotal then show it to us, don’t cheat us. Inquiring minds want to know!

Version Two is in the books…well, sort of. What do you think? Is it better? Did I learn a thing or two those first couple years? Writing is a JOURNEY. It’s a lifelong learning experience. I get better at it every day.

Hang around. The final version is coming!

All the best,

Kacey

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STEPPING STONES – A LOOK BACK (PART 1/3)

Stepping Stones - FinalIn anticipation of Stepping Stones’ release this month, I dug into my archives and found the original manuscript that started it all. I’ll admit it: It’s terrible. I should be embarrassed to show you this, but in hindsight, it’s incredible to see how far I’ve come as a writer and what I’ve learned along the way. And because my opinion isn’t enough, I convinced the wonderful Stephanie Keyes (of The Star Child fame) and Hannah R. Goodman (Founder and Editor of Sucker Literary and All the Way YA) to give their opinions. What follows is a pretty accurate depiction of what it’s like to be a new writer, and some perfect examples of What. Not. To. Do.

There will be three versions of Stepping Stones, the one below, a rewrite, and then the final version that’ll publish later this month. (In reality, there are several more versions than this. For the sake of time, we’re only looking at three.) Just for sticking around and enduring, you’ll be rewarded with a sneak peek at the first scene of the book.

It’s my hope that showing Stepping Stones in various states of—how do I put it gently? Hot mess? Deconstruction? Editing?—will help other writers realize that we’ve all been there and sometimes it takes a village to make a manuscript what it should be. Feel free to chime in below and leave some comments or horror stories.

STEPPING STONES VERSION ONE – 2009

I had known this day would come, but I had tried to repress it. I had heard the hushed arguing, noticed my mother spending more and more time ‘at work’. I didn’t know if that was just an excuse, or if it was true, but at this point, it didn’t matter anymore. My bedroom was the only place that didn’t feel claustrophobic. The rest of the house seemed to have thick walls that pushed the agony back on you, so I spent a lot of time in my room.

Between my mom’s angry looks shot at my dad and his blatant refusal to acknowledge the situation, I was going crazy. I couldn’t figure out where it had all gone wrong, but my mom was very, very unhappy, and my dad, well he was just faking ambivalence.

KACEY: Wow. I don’t even know where to start with this opening. First of all, the HADS! Jeesh. So many of them. Cut as many HADS as you can. It’s a useless, clunky word that automatically makes your writing passive. Take the first sentence: I had known this day would come, but I had tried to repress it. Though I tried to repress it, I knew this day would come. <This is more immediate and eliminates all those ugly HADS.  

This is a terrible place to start a novel. There isn’t any action, it’s just a character sitting in her room whining about how terrible her life is. We don’t care about her at this point, so we don’t want to listen to her whine. We want to see something HAPPEN!

Onna’s narrative sounds likes a poorly done voiceover at the opening of a movie where they need to catch the viewer up quick.

HANNAH: My first thought is, where and when are we in time and space? I want to see stuff, hear stuff, and smell stuff and you already nailed the “HADS” piece : ) Also, are we in the claustrophobic-feeling room? What color are the walls? Are there windows? If so, are they tiny, crank-out ones? Setting details seem necessary, not too many, coupled with some action, even if it is small.  And…what is the situation? Not that you have to front load the opening, but maybe some kind of concrete object or gesture from a character to indicate the nature of the situation. Show the parents, maybe? Maybe she sees them, in the kitchen, through the crack of the door of her bedroom. Sitting across from one another at the kitchen table…her mom glaring and her dad staring at his drained glass of beer…the possibilities are endless : )

STEPH: Too many hads! It’s also completely told. Why not open with an exchange in the parents in real-time so we’re not experiencing things in backstory. What I would like to see is more description. Here are a few examples: Why doesn’t her bedroom feel claustrophobic? What’s different about it? So her parents are experiencing issues—how does this make her feel? I want more detail around the “crazy” feeling. What does that look like to the reader? Get me inside of her head.

My parents had sat me down and had the official talk, my father had cried, but my mother had been stone-faced, as though unaffected by the impending divorce. I wished that they would have just skipped it. Maybe they could have waited another year, for when I was away at college and oblivious to their inner marital turmoil. I knew that thinking that made me selfish because they were so unhappy. But how long had they been holding out, trying to stay together for me? If I was even a factor in their decisions.

KACEY: A better option for the argument instead of telling the reader it happened, would be for us to see it happening right now, which is “showing the reader” not “telling the reader.” Plus, making it happen RIGHT NOW would get rid of HADS. I hate HADS.

HANNAH: ALL tell and NO show. Should we see the talk? Should this be in “real time”? Or do we save this for another, separate scene? “Have been” and shortly after “would have just” are indications that the writer is struggling with whether or not this should be a moment in the present, actually happening, or if should be background information that trickles out later in this opening scene. 

STEPH: Show me this discussion happening. When something is portrayed in backstory, we lose the pace. I’d like to see the argument taking place, experience her feelings about it. Is she relieved? How about embarrassed that they may have tried to stay together for her? Fear for what her life will become? She’s too detached.

My only plans for the day were to sunbathe by the community pool and maybe read a good book, but now I wasn’t sure if I was up for any of it. I was instead lying across my bed, cell phone in hand wondering who I could call to make me feel better. Maybe someone to just distract me. There was a guy that I had been seeing on and off for the summer, but lately he had been blowing me off for his friends all the time. Not that I was really into him anyways. He had more brawn than brains, but could always scrounge up a good party to go to. I could call Hunter, my best friend, but it was Tuesday and she usually spent half the day at the gym, toning her already perfect body. Yuck…not my idea of fun.

KACEY: Now she’s telling us her plans, which are pretty dull. We don’t know anything about her so we don’t care either. She just talks and talks and talks and nobody is listening. Allow me to introduce you to the INFO DUMP. I’m telling you a lot about Onna’s history. Her parents, her best friend, her boyfriends. TELLING being the operative word here. Basically, an INFO DUMP is when the author drops a whole lot of boring info on the reader. A better way is to sneak in the back story when it feels natural, and usually in the middle of ACTION. We LOVE ACTION! Plus, we’re inside her head a little too much, so she sounds melodramatic, and since we don’t know or care about her, this will make the reader dislike her.

HANNAH: Tacking on to your comments, I would take this and revise it so that it has more punch and so that it also SHOWS the character’s personality and hints at her conflict. “Sprawled across my bed, I scrolled through my list of contacts, searching for the perfect person to make me feel better.”

STEPH: So I just missed something. She’s having the talk and now she’s at the pool, or talking about her plans as though none of the above happened. There’s a lot of passive voice going on. I’d like to see this eliminated so we have a more active paragraph. Also, does this information push the story forward? This seems like an info dump so we can meet her best friend.

 After the family HEART TO HEART, my Mom had STORMED OFF to ‘work’ and my Dad had locked himself in his office, his usual hiding place where he goes to brood and ignore the rest of us. It’s not like divorce was uncommon where I lived. I knew plenty of people whose parents were divorced. Some who acted perfectly normal and others who were questionable.

HANNAH: It’s not like divorce was uncommon where I lived. For some reason, this sounds like something a writer or author would have in a book from the 70s or 80s. I think it’s the phrasing of it, implying that divorce was actually an alien concept . Also, since you pretty much deconstruct this so nicely below and I agree with your comments, I will point out some of the wording that could be stronger and more unique or even deleted. These (BOLDED) are phrases that are clichés or have cliché overtones.

Would they want me to choose who to live with? I couldn’t even if they wanted me to. Maybe I could choose neither. I sighed, and looked at the still blank screen of my cell phone.

I gave up on calling a friend and instead decided to call Ethan, my older brother. He was nine years older than me, and somehow managed to escape before ALL THE CRAZINESS started around our house. I wished I could have been so lucky, but I was born late, and unexpectedly. He answered on the third ring sounding out of breath and in a hurry.

“Hey, Ethan, it’s me,” I said, happy that he answered but worried that I caught him at a BAD TIME.

KACEY: FINALLY! Our heroine is doing something. Even if it’s just calling her brother. Let’s examine the last sentence. “Hey, Ethan, it’s me,” I said, happy that he answered but worried that I caught him at a bad time. This is a clunky, useless sentence. She already commented on him being out of breath, so a simple “Hey Ethan, bad time?” could’ve saved the reader (and writer!) all those words. Dialogue is an excellent way to move the story along and convey emotion in a relatable way.

 STEPH: So her mother is really that cold that she goes to work after having this conversation? What a bitch! So what is Onna’s reaction to this? Is she so used to this is doesn’t even sting? How could it not? Also, why didn’t she ask these questions in the actual conversation? At this point I’m viewing the heroine as a whiner. Is that your intention?

“Onna!” He exclaimed. No matter when I called him, he always seemed happy to hear from me. I don’t know how I got so lucky to have a great older brother, but I was sure I didn’t deserve him. “What’s up kid?” I cringed. I hated when he called me kid, which he did, at every available opportunity.

“I got the talk today,” I told him, no explanation necessary, we talked frequently enough that he knew the SITUATION. Ethan was the one who talked me through most of my SITUATIONS, and sometimes I felt like he was more a best friend and confidant to me than anyone else, even Hunter.

HANNAH: Repeating words…and also a word used prior that is a little vague and not SHOW enough.

“Ouch, are you doing okay?”

“Yeah,” I shrugged, “I knew it was coming. Mom looked bored the whole time, but Dad was upset.” I had known, but it still hurt to think that two people who had pledged their love couldn’t hold up the bargain.

“Oh…well that’s Judith and Kurt for you,” He never called my parents Mom and Dad anymore, “Do you want me to come down later? We could go out to dinner or something,” he offered, willing to put off any of his plans for me, as usual. He didn’t even sound put out by it.

KACEY: ARG! Dialogue tags. Let me list all the awful ones in this section. He exclaimed. I told him. Oh? Only two really awful ones. Dialogue tags should be invisible to the reader. It’s true. They’re only necessary to root the reader in the story. If you have any sort of action going on around them that tells us which character is speaking, they are absolutely unnecessary. When and IF you need a tag, a simple he said or she said gets the job done. SAID is your friend. ASKED can be your friend, but only on Sundays. You can use other tags, such as he offered, or he promised, but SPARINGLY. The best option is to avoid the tags altogether, if possible.

HANNAH: I feel like this conversation is restating what we already know.

STEPH: Ethan isn’t going to greet her by her full first name unless he’s substantially older—maybe in his eighties. It’s going to be something like “Hey” or “What’s up, On.” Something fresher. Ethan’s reaction is pretty blasé for a brother. Wouldn’t he ask how she is? Or make an assumption about how she might be feeling if they know each other so well? Also, why wasn’t he a part of the conversation? Wouldn’t he have reached out to her? Maybe even known this was going to happen and been proactive? Also, some of the phrasing is a little old for high school. They might say “pissed off about it” instead of “put out by it.”

“Nah,” I said, though secretly wishing I was needy enough to say yes. “I can handle it. Just wanted to talk, you know?” I fingered the purple flowers on my bed spread. “So what are you up to today?” I heard him hesitate, so something was going on.

KACEY: She HEARD him hesitate. Why can’t he just hesitate? Filtering it through the main character makes this passive. A better way would be to stay Ethan hesitated. Bam. Short and sweet and gives the reader space to wonder WHY Ethan is hesitating.

STEPH: Hearing him hesitate is a point of view break. This needs to be shown. Example: He sucked in a breath and silence took over. Why is he hesitating? Also, how does she know something was going on? Is the pausing an indicator with him? Can she just read him so well that it’s obvious? We need to know.

“I’m meeting Cora later, we’re having lunch at my place,” his voice was higher than normal, excited. “I bought the ring last week. I even talked to her Dad, Onna.” He laughed a little, “I’m going to ask her today.”

I shrieked. “Oh my gosh, Ethan! I can’t believe it!”

He chuckled. “Yeah, finally.” He had been dating Cora for five years. They had met during his third year in college and had been inseparable since. Recently she had started bugging him about moving in together, but he had held her off because of his other plans, asking her to marry him, of course. I couldn’t believe he was holding out on me.

KACEY: The last paragraph is an example of how to sneak in backstory. Ethan announces he’s getting married, Onna reacts, and then gives the reader a little look into their history. It’s not perfect, but it’s a lot better than the doozy of an INFO DUMP at the beginning.

STEPH: So what is higher than normal? Does he have a bass voice maybe a higher pitched tenor? Does his voice crack when he talks? Let us know how he sounds. Would he really propose to his girlfriend on the same day his parents announced their divorce? Not only is that cold, but it’s kind of a bad omen, isn’t it? Wouldn’t he be skeptical about marriage? If he isn’t, then why not?

I felt a little guilty that he was willing to put off Cora and his proposal to come take care of me, but that was Ethan. I was so excited for him; he truly deserved to be happy. “Do Mom and Dad know?” Right now, I wasn’t sure if a marriage proposal would bode well with them, even if Ethan and Cora were so right for each other.

KACEY: Ouch. It was hard for me to read that. So much telling, hardly any action. Many, MANY writer no-nos.

STEPH: Why should she feel guilty? He should be there. He’s her older brother. This is a big deal. Although you’re trying to paint him as caring, he’s coming off as a little selfish here. Also, this is really bad timing.

So there you have it, my first failure attempt at writing a novel. Pretty terrible, right? Come back next week for Version Two of Stepping Stones and see what I learned (or didn’t learn) along the way.

All the best,

Kacey

HAPPY BOOK BIRTHDAY, SUCKER LITERARY VOLUME 3

Today is a very special day. Sucker Literary Volume 3 is now available! I am so excited to be part of this fantastic crew of writers and all around hard workers. This journey has been fantastic and I’m so proud to be with Sucker Literary! Spread the news!!

Bullied and alone, Ainsley seeks refuge in the arms of a strange boy. Time is slipping away for overachieving Sadie Lin, but reigniting an old flame might help. Scarred by a pressuring ex, Alexandra finally faces the rain. “Pasty and chubby” Charlotte makes a public play for the “Tan and Smooth” king. The beautiful girl in the black, lacy push-up bra says that it’s time for Brenn to stop lying . . . at least to herself. A halfway house is no home for Dawn—or is it? How will Dana survive knowing everyone at school thinks she’s a monster, when they just may be right? JJ and her crush finally get a moment alone—at his girlfriend’s hottest party of the year. Sixteen-year old Sarah prepares for her first day of school by chaining up her Mamí in her bedroom. Alyssa’s life is a well-rehearsed ballet until a tragedy sends her hurtling towards a fall. Loving a boy is as simple as chemistry . . . unless that boy is an unstable element.

Eleven stories that delve into the depths of our experience—driven by fierce and untouched love that makes us seek, lose, fear, desire, long, reflect, survive, steal, protect, fall, and confess.

Featuring –

Lilliam Rivera
Charity Tahmaseb
Claudia Classon
Evelyn Ehrlich
Hannah R. Goodman
Kacey Vanderkarr
Kimberly Kreines
Kristina Wojtaszek
Lina Branter
Mary Malhotra
Shelli Cornelison

Amazon

Goodreads

Sucker Website

BLOG HOP MONDAY

Today I have the distinct privilege of introducing you to some fantastic authors by way of a Blog Hop. Becoming a writer is an incredible journey. When I first started, I spent a lot of time alone, staring at my computer screen, which I still do, but now I’m surrounded by all these authors who spend a whole lot of their time helping other writers. I’ve grown so much as a person and a writer thanks to the wonderful people who’ve given me and my work a chance to shine. I’m so grateful, and I still have a long way to go!

First, we rewind to last week, where Hannah R. Goodman posted about me on her blog.

Hannah R. Goodman, Founding Editor of Sucker Literary, Writer Woman, and all around amazing person.

Hannah Goodman, M.Ed, MFA, is the author of YA novel, My Sister’s Wedding, which won the first place award for The Writer’s Digest International Self-Publishing Contest, 2004, children’s book division. She published the follow-up, My Summer Vacation, in May 2006, which went on to win a bronze IPPY in 2007. The third Maddie book, Fear of Falling was released in the fall of 2009 and was praised by teachers and readers for tackling subjects like homophobia and coming out. She’s published young adult short stories on Amazon’s Shorts, in an anthology entitled Bound Is The Bewitching Lilith, and in the journal Balancing The Tides. She also has written columns for The Jewish Voice & Herald. Her newest endeavor is SUCKER LITERARY MAGAZINE, featuring undiscovered and new YA authors.

A former high school English teacher, she now owns her own small company, The Write Touch, offering a variety of services for clients of all ages–from tutoring across the content areas in writing and reading for elementary through college students to resume writing and career counseling for adults. She assists in the college application process, from SAT prep to writing the college application essay. Additionally, she is a writing coach and consultant to authors and would-be authors. She teaches her homegrown writing course Releasing The Writer Within, as well. Hannah is a member of the  Editorial Freelancers Association and SCBWI as well as a graduate of Pine Manor College’s Solstice Program in Creative Writing. She resides in Bristol, RI with her husband, two daughters, and three cats: Lester, Maisey, and Judy.

Contact Hannah:

Twitter: @hannahrgoodman
Now, for the authors who will hop after me. (Haha…that sounds amazingly hilarious.)
Let me introduce Justine Manzano. Writer. Blogger. Twitterer. Justine didn’t give me much to go on, so I became a super sleuth, finding out all about her in my spare time. (Stalker style. That’s right.)
Justine Manzano is a writer of many genres who lives in Bronx, NY with her husband, son, and a cacophony of cats. Her short fiction appears in the anthology Things You Can Create and Sliver of Stone Magazine and will appear in the upcoming inaugural issue of The Greenwich Village Literary Review.  She maintains a semi-monthly blog at JustineManzano.com and works as a fiction reader for Sucker Literary Magazine.  Her twitter account is at @justine_manzano, where she shares all of her news and views on writing and life.
Check out Justine’s story “Tunneling” HERE.
Next, we have Shannon Alexander.

Shannon Lee Alexander is a wife, mother (of two kids and one yellow terrier named Harriet Potter). She is passionate about coffee, books, and cancer research. Math makes her break out in a sweat. Love and Other Unknown Variables is her debut novel being released October 7, 2014. She currently lives in Indianapolis with her family.

Contact Shannon:
Blog: Wandering through the Words http://www.wanderthewords.blogspot.com
Twitter @shanlalexander

And most exciting of all, here is Shannon’s cover for her debut novel.
Charlie Hanson has a clear vision of his future. A senior at Brighton School of Mathematics and Science, he knows he’ll graduate, go to MIT, and inevitably discover the solutions to the universe’s greatest unanswerable problems. He’s that smart.The future has never seemed very kind to Charlotte Finch, so she’s counting on the present. She would rather sketch with charcoal pencils, sing in her pitch-perfect voice, or read her favorite book than fill out a college application.

Charlie’s future blurs the moment he meets Charlotte. She’s not impressed by the strange boy until she learns he’s a student at Brighton where her sister has just taken a job. At Charlotte’s request, Charlie orchestrates the biggest prank campaign in Brighton history. But by the time Charlie learns Charlotte is ill and that the pranks were a way to distract her sister from Charlotte’s illness, Charlotte’s gravitational pull on him is too great to overcome. Soon he must choose between the familiar formulas he’s always relied on or the girl he’s falling for (at far more than 32 feet per second). 

Now, I’m supposed to introduce 3 authors, but sometimes things happen and people back out last minute. You know who you are. So I post their stuff anyway. You eat that slice of guilt pie.
LASTLY, I have my good friend and author, RLL.
Here is a picture of an ice cream cone. (It’s a long story…you should read it.)
I like to embarrass RLL. He’s a self-proclaimed curmudgeon, but he’s actually done a lot of things for me (the most prevalent of which is drive me crazy). He’s a smart guy. He teaches me things and forces me to see the world through Scottish tinged glasses. Plus, as you’ve probably already realized, I’m an excellent stalker.
RLL has published many a book, which he’s ridiculously modest about. I know that sounded sarcastic, but it wasn’t meant to. He’s seriously a nice guy. (I bet he’s blushing right now. He’s probably going to kill me. I should run…)
Contact RLL:
Twitter: @RLL_author
That’s all the blog hopping I have for today. I’ve promised myself that I will spend the day writing, and I fully intend to. Check out the above authors. Leave them some comments. Spread the love.
All the best,
Kacey

SUCKER LITERARY VOLUME 3 COVER REVEAL

Sucker 3 purpleBookCoverPreviewIt’s a cover reveal day! I’m very excited to present you with Sucker Literary Volume 3. As most of you know, the past year has been one of incredible growth for me in my writing career, including taking on the role of Social Media Director for Sucker Literary. Working with Hannah (the founding editor) who has such a passion for authors and writing, meeting new people, and attaining goals I never knew were possible, I’m so glad I found Sucker!

Let me tell you a little bit about the company before we get into the goodies that go along with the reveal. Sucker is a young adult literary anthology. It’s gritty, it has heart, it’s the kind of stories we all wanted to read in high school but never had access to. It’s the satisfaction you’re looking for from a well-written story. Hannah is serious about editing, but also fostering emerging authors to find their voice, and present the best possible version of their work. I swear, this woman has infinite patience, and I’ve learned so much from her in the short time we’ve worked together.

On the Sucker website, Hannah describes Sucker as this:

“Sucker Literary is a platform for established and emerging, hugely intelligent writers who have the grit and talent to create compelling, authentic young adult literature that both adults and teens can enjoy. We are a literary enterprise dedicated to showcasing and promoting undiscovered and established writers who write for young adults (this is not to be mistaken for young adult writers). We are not affiliated with any writer’s organization or program and welcome writers at any stage of their writing career/journey.”

Let’s get to the blurb for Volume 3!

Bullied and alone, Ainsley seeks refuge in the arms of a strange boy. Time is slipping away for overachieving Sadie Lin, but reigniting an old flame might help. Scarred by a pressuring ex, Alexandra finally faces the rain. “Pasty and chubby” Charlotte makes a public play for the “Tan and Smooth” king. The beautiful girl in the black, lacy push-up bra says that it’s time for Brenn to stop lying . . . at least to herself. A halfway house is no home for Dawn—or is it? How will Dana survive knowing everyone at school thinks she’s a monster, when they just may be right? JJ and her crush finally get a moment alone—at his girlfriend’s hottest party of the year. Sixteen-year old Sarah prepares for her first day of school by chaining up her Mamí in her bedroom. Alyssa’s life is a well-rehearsed ballet until a tragedy sends her hurtling towards a fall. Loving a boy is as simple as chemistry . . . unless that boy is an unstable element.

Eleven stories that delve into the depths of our experience—driven by fierce and untouched love that makes us seek, lose, fear, desire, long, reflect, survive, steal, protect, fall, and confess.

Sucker Literary Volume 3

Available April 15, 2014

And yeah, in case you’re wondering, I have a story in there. “How to Fall.” Alyssa’s life is a well-rehearsed ballet until a tragedy sends her hurtling towards a fall.

Everything about this anthology is beautiful, from the images, to the stories, to everyone who has put in so much time to make it happen. I love this “place”. Seriously.

www.suckerliterary.com

Twitter: @suckerlitmag

Add it on Goodreads!

Are you a reviewer interested in reviewing Sucker on your blog? Email me! suckerliterarymarketing (at) gmail (dot) com.

Below is the book trailer, designed by yours truly. Watch it, share it, let the world know that Sucker is bigger and better than ever, and we’re here to stay.

Here’s complete list of contributors for this volume. Show them some love!

The H8TE Lilliam Rivera

Valentine’s Day Claudia Classon 

Halfway From Shelli Cornelison

Her Tree Boy Blaze Lina Branter

How To Fall Kacey Vanderkarr 

If it Rains Kristina Wojtaszek

Black Lacy  Kimberly Kreines

Superpower Mary Malhotra 

The Chemistry of You and Me Evelyn Ehrlich

Just a Matter of Time Charity Tahmaseb

A Different Kind of Cute Hannah R. Goodman