Author Interview: Thomas Pendleton on Mason

Thomas Pendleton is the co-author (with Stefan Petrucha) of Wicked Dead (HarperTeen), a series of edgy horror novels for young adult readers.

His novel, Mason (HarperTeen), was released in July 2008, and the books Shimmer and The Calling (under the name Dallas Reed) are also forthcoming from HarperTeen.

Writing as Lee Thomas, he is the Bram Stoker Award- and Lambda Literary Award-winning author of Stained (Wildside Press, OP), Parish Damned (Telos, 2005) and The Dust of Wonderland (Alyson Publications, 2007).

He lives in Austin, Texas.

Could you tell us about your path to publication? Any sprints or stumbles along the way?

Writing was always a hobby of mine. While my friends were watching TV or playing video games, I wrote books.

I never gave much thought to publishing until I took a short fiction class in New York about seven years ago. The instructor, Terry Bisson, was encouraging and thought I might be able to sell my work.

Turns out, he was right. After selling a number of short stories, I worked up the courage to send out a novel. I’ve sold about fifteen books since then and have several more in the offing.

I know that makes it all sound very easy, but there were plenty of stumbles along the way.

You’re an established author of horror fiction for adults. What inspired you to take on YA fiction?

My co-writer on the Wicked Dead books, Stefan Petrucha, is to blame for my interest in YA.

We discussed the series for a long time before we ever thought of writing it down, and it struck me as a fresh approach to storytelling.

After reading some of the great books in the YA category, I was even more eager to try my hand at it, so when Stefan suggested we write the first Wicked Dead book, I was ready to go.

Congratulations on the publication of Mason (Harper, 2008)! Could you fill us in on the story?

Mason is the story of a developmentally-challenged youth, who is artistically brilliant. Mason’s skill at drawing is not limited to pencil, ink and paper, though. He can draw life-like pictures with his mind and put them into yours, so that you see fantastical creatures filling the skies or prowling the streets.

This talent takes a very dark turn when his best friend, Rene, is attacked by a group of drug dealers led by Mason’s abusive older brother.

What was your initial inspiration for writing this book?

Thematically, I was inspired by the idea that imagination and creativity are often the only escape (and sometimes the only defense) we have when the world turns nasty and spins out of control.

What was the timeline between spark and publication, and what were the major events along the way?

A long timeline. Ha. Mason was a minor character in a novel I wrote a dozen years ago, when I was just writing for fun. That book became The Dust of Wonderland, but Mason wasn’t in it.

In the end, he was just too interesting to be a minor part of a larger work, so I took him out. Then I published a variation on his story as a novelette in an online magazine, and that still didn’t give his story enough room to breathe, so I wrote the novel.

What were the challenges (literary, research, psychological, and logistical) in bringing it to life?

The only real challenge was emotional. I really liked this character and wanted to do him justice. The fact that he was developmentally challenged meant treating him with absolute respect and not writing him as some kind of helpless victim or raging monster.

Along with Stefan Petrucha, you’re also a co-author of the Wicked Dead series (HarperCollins). Could you tell us about that?

Wicked Dead is an anthology series, held together by a frame tale that features four ghost girls who gather in a deserted orphanage every night to tell stories.

These four girls have their own adventures in the orphanage, but the bulk of each book is a stand-alone tale of monsters and mayhem.

What are the challenges of working with a co-author?

The only challenges we really faced were points-of-reference issues, which is to say, we came to the work from very different places.

Stefan’s background is in graphic novels (The X-Files, Nancy Drew) and YA fiction (The Timetripper Series (Razorbill), Teen Inc. (Walker, 2007), The Rule of Won (Walker, 2008)).

My background was decidedly more adult and horror-centric with a literary sensibility, so we had to find the right balance for the series and the right voice.

The story arcs and characters came rather quickly because we were on the same page from day one with the concept. In the end, it comes down to respecting the other author enough to let some of your ideas–and ego–slide.

What advice do you have for those interested in writing a series?

I assume this is a given, but love your characters and the world(s) you build for them because you’ll be spending a lot of time in that place with those people.

What about the young adult audience appeals to you?

The young adult audience is in this wonderful place between childhood when anything was possible and the world was full of mysteries, miracles and monsters, and adulthood where many of the mysteries have been solved, many of the miracles have a price, and the monsters wear human faces.

They really get the themes in fantastic fiction, even if it’s only subconsciously because they are close enough to look behind them and see the magic or look ahead and see the reality. Most adults lack that amazing perspective.

How about writing horror?

Dark fiction is a terrific lens to use when attempting to make sense of the world. It’s not real, but it’s threatening and intense, so when characters come up against the dread, they are pushed to reveal things about themselves. Sometimes these things are heroic, other times, not so much.

Many tough issues–death, abandonment, estrangement, disease–can be examined in the safe zone fiction provides. Monsters are cool, and I certainly don’t shy away from violence in my work, but it’s really this exploration of characters and issues that interests me.

If you could go back and talk to yourself when you were beginning writer, what advice would you offer?

Send stories to editors right now! Though I had taken classes over the years and trained myself to write with a good amount of discipline, I was working in a bubble. I had no feedback on the work, so the mistakes I made never got corrected. Working with editors and receiving a lot of feedback from readers has helped improve the work tremendously.

I guess it was the fear of rejection that kept me from pursuing writing as a career, but you know, after a hundred or so rejections, they just don’t hurt anymore. I took my lumps (and some great advice from editors), and things are working out fine.

What do you do when you’re not writing?

I read and play with my dog. I have an Xbox 360, so many hours have been spent lost in those games–Bioshock remains my favorite. Watch movies and television, mostly the BBC sci fi hybrids like “Dr. Who,” “Torchwood” and “Primeval,” plus old episodes of “Buffy” and “Angel.”

I never really got into the whole reality-TV thing, so I rarely bother with network TV at this point.

How do you balance your life as a writer with the responsibilities (speaking, promotion, etc.) of being an author?

I’m trying to improve certain aspects of my professional life. I’ve never been great about promoting myself, and with so many books coming out, it’s tough to switch focus from the project I’m working on to one that was written a couple years ago, but is just seeing print.

Promotion is important, though. This is a tough business with a lot of books for people to choose from, so you have to make your presence known.

An added difficulty is that I’m basically managing two writing careers. The promotional avenues for my adult work can be quite different than those for my YA work. There is some overlap, but often enough Lee Thomas and Thomas Pendleton (and Dallas Reed) are all battling for my attention. Now that’s a bit of schizophrenia I never saw coming.

What can your fans look forward to next?

The final two books in the Wicked Dead series, Prey and Skin, will be out before the end of the year, and Shimmer will hit bookstores at the first of next year.

I’m currently writing a YA urban fantasy trilogy for HarperTeen. The first book is called Exiled, and that should be released in late 2009 or early 2010.

Agent Interview: Michael Stearns of Firebrand Literary

Michael Stearns from Firebrand Literary: “Michael Stearns brings nearly twenty years’ publishing experience to Firebrand Literary.

“Formerly editorial director and foreign acquisitions manager for HarperCollins Children’s Books, and Senior Editor, Director of Paperback Publishing for Harcourt Children’s Books, he has worked on hundreds of books for children and adults.” See more information.

What kind of young reader were you–avid, reluctant? What kinds of books did you love?

Unlike anyone else in my large family, I was an avid reader and always had a book to hand.

As a child, I remember loving Roald Dahl and Edward Eager and Beverly Cleary, and I read their books and tons of others voraciously until I was about ten or eleven and discovered science fiction and fantasy. (In those days there wasn’t really much in the way of teen fiction.)

When I was twelve, a friend and I read all of Heinlein’s “juveniles” and, realizing how formulaic they were, we mapped out the plot points on a chart and fit all the events into a single plot structure.

My career path probably should have been obvious at that point.

What led you to choose youth literature as a career focus?

I’m here purely by chance. I went to USC film school, but discovered there that I loved reading and writing more than I loved film production, mostly via a half-dozen workshops I took with T.C. Boyle. His workshops are some kind of brilliant and really taught me how to read closely, and how to see an author’s goals and tailor commentary toward those goals. Rather than, say, simply trying to make a story more like the kind of story a particular reader (me) preferred.

His classes made me into an editor.

Although you’re new to agenting, you’ve long been an industry pro as an editor. Could you tell us about your experience on this front?

I’ve had a long apprenticeship in the industry (I started in 1990!) and have been fortunate to work for a number of truly wonderful people——people who trusted my passions and let me run with them (to not always successful places).

When I started as a temporary editorial assistant, the picture book market was huge and fiction was a dead end. Nowadays the opposite is true.

Happily, I’ve been around long enough to see how the market changes, to trust that quality will out. Excellence will always find an audience; the challenge is in convincing others of that.

But more to the point, everyone knows that editors edit, obviously; few realize just how much of an editor’s job is to sell the book again and again–to an acquisitions team, to a marketing team, to a sales team, over and over and over again.

Learning how to do that sort of prepared me for what I’m doing here at Firebrand.

Looking back, what are your favorite three of the books you edited and why?

This is where I’m supposed to say that I love all of my children equally and similar such twaddle, right? Well, that’s true, but … the three books I’m most proud of are probably the ones in which the relationship between the editor and the author really grew over the course of the book.

A Northern Light by Jennifer Donnelly (Harcourt, 2003), which won all sorts of honors, but which I love because of how great it was to work with Jennifer.

Tangerine by Edward Bloor (Harcourt, 1997), which was rich and complex when I first received it, though I still asked for a deep revision——a scary revision, I think——and discovered an author who saw what I was asking for and exceeded my wildest hopes during revision.

And Fly By Night by Frances Hardinge (HarperCollins, 2006), which I didn’t edit but purchased for the U.S. market. A brilliant writer who is going places.

Oh, and anything by Bruce Coville. And Edith Pattou. And—, well, I could go on, couldn’t I? But shouldn’t. Right.

What will you bring from your editorial career to your new one as an agent?

The skills I bring to the table as an agent are the same I possessed as an editor, for the most part—which sounds like I’m doing nothing new here.

But…I still work with authors to shape their books. I know the industry from an insider’s perspective. I know most of the editors at most of the houses here and in the U.K., and, I hope, have some goodwill among them. (Maybe not all of them.)

I have a sense of contract terms from a few houses and so have a good sense of who is offering what and how certain new frontiers (e-books, digital audio, and so forth) are falling out in terms of rights.

All of these things come into play on this side of the business, as well——perhaps even more so, as we’re closer to the authors and their careers and need to get the best for them and from them to be sure or their success.

What inspired you to shift gears and become a literary agent?

Oh, what a question. Opportunity? Nadia asked me to come on board, and…while I loved what I was doing at HarperCollins, I also thought it might be time to shake things up for myself a bit. I’m unmarried, childless, debt-free, and this seemed like the one chance I’d have to try something sort of new. You know, change is good. Reinvigorates the soul.

Could you tell us about Firebrand Literary [see agent bios]? Who’re the players, what is the agency focus, what makes it unique?

There are four of us here at present: Myself, Nadia Cornier (who founded the agency three years ago), Ted Malawer, and a new junior agent, Chris Richman.

Our main focus is on teen and middle grade lit, though I have a few picture book clients I work for, and Nadia has some adult authors she is keen on.

Do you envision your approach as more manuscript by manuscript, or do you see yourself as a career builder?

I’m really on board for the long haul. I’m not interested in writers with only one book in them, good as it may be.

I’m interested in writers who are going to build their audience and their skills and talent over many books and many years. That’s the most fun, anyway, getting in on the ground floor with a writer and watching as he or she grows.

Why should unagented writers consider working with an agent?

A good agent actually knows and understands what makes for a good book.

He or she watches the market, meets with editors to find out what that editor is looking for at the moment (because that changes season by season), researches how the house is retooling its lists (because that, too, changes season by season in response to what happened to the previous season’s lists).

An author can’t do that. And shouldn’t be trying to do that. Instead, she should be sitting at her keyboard and writing her books. That’s where her energies should be focused.

Agents do something incredibly valuable. As an editor, I was plain grateful for the work done by Steven Malk and Barry Goldblatt and Gail Hochman and a dozen others who submitted books to me that were exactly what I was looking for at a particular time. They served their writers well, and they helped me do my job better.

And that’s the sort of agent I hope to be for the writers who work with me.

In terms of markets (children’s, YA, fiction, non-fiction, genres, chapter books, ER, picture books, etc.), what sorts of manuscripts appeal to you?

I don’t work on nonfiction, nor chapter books, nor emerging readers. I love novels—middle grade and teen—and a very few picture books.

I’m not much interested in issue novels per se; if the issue is wrapped up in a compelling plot, then fine. But plot and character and the writer’s control of voice always have to come first.

Many writers come to me telling me why they’ve written a particular story—to convey the importance of some moralistic bit of whatever—but I don’t care about that at first.

To quote Samuel Goldwyn: “If you have a message, send a telegram.”

Me, I want a story I can’t put down.

Are you accepting unsolicited submissions? What is the best way for a prospective client to get in touch with you?

Of course! Really, we have a website that allows for easy queries and submissions, and I hope any prospective author will check it out and try me via that route. Especially as Firebrand does not accept submissions through the mail. (Fewer trees cut down, fewer paper cuts; it’s easier all around.)

Are you interested in speaking at writers’ conferences?

Not only am I interested in speaking at conferences, I’ve got a whole slew of them lined up for next year. (They’re where we find new writers.) I’ll be speaking at the Whidby Island Writers Conference, the local chapter of the Los Angeles SCBWI, the Seattle chapter of the SCBWI, and the Orlando chapter of the SCBWI.

As well, Nadia and I dropped in at the Vermont College MFA summer residency. Would love to meet new writers and look forward to each of the speaking gigs.

Firebrand’s parent company has recently launched a separate packaging company called Tinderbox! First, what’s a packaging company?

Few people are aware of just how many successful novels they know came from what in the industry is called a packager. Gossip Girl. Sisterhood of the Traveling Pants. Goosebumps. Sweet Valley High. Nancy Drew and The Hardy Boys.

I could go on for a while, but memory is short and packaged work is long, and enough is enough. Suffice to say that packagers have always been around, and that many publishers have “in house” packaging teams that come up with stories and then seek out writers. It’s a part of the business that doesn’t get talked about much.

Interested people can read more about it here [see Book Packaging: Under-explored Terrain For Freelancers by Jenna Glatzer from Absolute Write].

For Tinderbox, we’re devoting one day a week (and weekends so far) to coming up with stories that hit holes in the market as we see it. (We could be wrong.)

We come up with concepts, titles, dramatis personae; we work up fully fleshed out outlines and series arcs; we do everything but write the actual pages.

And then, after we’ve kicked the outline back and forth between us and taken it as far as we can, we try to match it up with a writer who we think can pull it off.

What will be the relationship between the two?

Tinderbox does not employ Firebrand authors. We’d rather avoid any strange conflicts of interest (how can we advise our writers to write a packaged project that we’re putting together? short answer: we can’t in good faith).

So our writing roster is made up of talents from other agent’s lists—writers who are in between big projects and want someone to do some of the heavy lifting, concept-wise. Or writers who need a break into the industry and see a packaged project as a way in. Or what-have-you.

And I’m happy to say that thus far we’ve got a great bunch of interested writers—award-winners, bestsellers, and a number of great talents who see our projects as worthwhile.

As this business grows, we’ll hire dedicated staff. But at the moment, it’s a one-day-a-week-and-weekends thing, as most start-ups are.

What about this opportunity appealed to you?

There is something gloriously fun about creating stories in a group. An idea pops up that doesn’t work, but then someone else adds something to it and flips it over; then another person takes it and pulls it inside out—the idea keeps going around and around the table until it has morphed into something cool and exciting.

There’s a reason television is often written by teams (I’m thinking of good television here, mind you—Buck Henry and Mel Brooks et al), and that’s because a good idea can become a great idea in a short time. It’s a joy to create in a group.

Not what I always want to do, but for now, I love it.

And like so many of us, I take my joy where I can find it.

Author-Illustrator Interview: Cambria Evans on Bone Soup

Cambria Evans was born in Richmond, Virginia; and grew up in Provo, Utah. She studied graphic design at Rhode Island School of Design, and now works as a freelance illustrator, writer and designer in Brooklyn, New York. Cambria loves all things Halloween and celebrates every day by eating plenty of candy. She shares a studio with her husband Kari Christensen, who is also an illustrator.

How did you train as a writer? As an artist?

My formal education was in art and design. As the oldest girl of 29 cousins, I was informally trained as storyteller.

I was constantly making up and telling stories so the swarm of younger cousins would be somewhat still and quiet.

Could you update us on your backlist, highlighting as you see fit?

Martha Moth Makes Socks (Houghton Mifflin, 2006).

Congratulations on the release of Bone Soup (Houghton Mifflin, 2008)! Could you fill us in on the story?

Bone Soup is about Finnigin, a skeleton with a reputation for eating. When he comes to a town, everyone has hidden their food and locked their doors.

After the initial rejection, Finnigin comes up with a plan, lures the townscreatures with a song, and then tricks them into adding their favorite ingredients to his soup.

The whole town ends up with a wonderful feast of bone soup, wormy cheese, and bread.

What was your initial inspiration for creating this book?

I was in an outdoor market in Cuzco, Peru; when I saw a crazy looking stew with bones sticking out. I called my husband over, saying “Come look at this bone soup!” and immediately I thought, “what a great idea for a book.”

When I got back home, I checked the Library of Congress to see if anyone had already written it, and to my surprise no one had. So, I wrote the first draft of the manuscript that very day.

What was the timeline between spark and publication, and what were the major events along the way?

December 2005: came up with idea;

January-February 2006: wrote story in one day, and edited for the rest of the month;

March 2006: story and concept sketches were sent to and accepted by Houghton Mifflin;

November 2006: dummy and storyboards complete;

December 2006-April 2007: finalizing of line art and book layout.

April 2007: While freelancing at Martha Stewart I hurt my arm and was unable to hold a pen for five months.It was horrible not being able to work, and I didn’t think I could meet the deadline for publication.

September- October 2007 After much physical therapy and rest, I was able to work. For a month straight I literally worked day and night to get the final paintings done in time.

Sept. 2008- book available in stores.

What were the challenges (literary, artistic, research, psychological, and logistical) in bringing it to life?

The biggest challenge was making my line weight consistent throughout the book. I started using a very small Japanese pen.

Half way through the finishes, I ran out of ink, and the pens were completely sold out in America. There was a week I tried 18 different pens and none of them worked.

Luckily, after much searching, I found a tiny store in New York that had three pens left!

I especially appreciated the culinary aspects of Bone Soup! Where did you get your ideas for ingredients?

I absolutely love food and travel shows. I remember seeing a “Globe Trekker” with a Cambodian bat soup that has haunted me, hence the bat wings as ingredients. But for most of the ingredients I just thought of things that gross me out, and would therefore appeal to creatures and ghouls.

According to conventional wisdom, if you put food in a children’s book, someone will serve it to you. So, I’m wondering: have you eaten any bone soup?

Thankfully, no. Although I have eaten traditional bone soup that is made from a ham bone and vegetables.

If you could go back and talk to yourself when you were beginning writer, what advice would you offer?

1. Don’t try to write the perfect manuscript, just write. You can always edit later.

2. Get in the habit of writing every day and writing for pleasure instead of just for a deadline.

How about if you were talking to your beginning-illustrator self?

1. Develop multiple ideas around a concept instead of getting stuck in one direction, because sometimes a better character or idea is created by combining the best bits of different things.

2. Don’t take critiques too personally.

What do you do outside the world of youth literature?

I am a freelance graphic designer, product designer and illustrator. I also co-run a social stationary and accessories company called J.Bartyn Design + Manufacturing.

How do you balance your life as a writer with the responsibilities (speaking, promotion, etc.) of being an author-illustrator?

I haven’t found that balance yet. The great thing about freelancing is I can work from anywhere, so I can do a book reading somewhere and still get work done for my design clients.

But that is also the bad part of freelancing. No mater where I go, or what day of the week it is, I am always working on something.

What can your fans look forward to next?

I’m writing a few stories right now, but nothing has been sent off to publishers yet.

This fall, products (such as coloring books, cards, gift bags, and wrapping paper) with my illustrations will be available at Indigo Books and Music Inc.‘s eco-friendly retailer, Pistachio.

Tantalize Now Available from Walker Books UK

Tantalize is now available in paperback from Walker U.K.! The cover is almost the same except that it includes the “Predator or Prey” kicker.

Here’s the Walker U.K. version of the flap copy:

Terrific teenage gothic novel – vampires and werewolves abound!

Orphaned and in her uncle’s care, fiercely independent Quincie may be the most over-achieving high-school student around, but even she has her hands full with a hybrid-werewolf boyfriend and the opening of Sanguini’s, her hip vampire-themed restaurant, which turns out to have way more bite than she’d intended.

Cynsational Notes

Thank you to YA urban fantasy writer Karen Mahoney (Karen’s LJ) for sending the photo below of Tantalize live in the U.K.! This shot was taken at Borders on Oxford Street in London. Tantalize is also available in paperback from Walker Books Australia and New Zealand (2007).

10th Anniversary Feature: Nancy Garden

In celebration of the ten-year anniversary of, I asked some established authors–folks I’d featured early on–the following question:

Over the past decade, what are the most important lessons you’ve learned about your craft, the writing/artistic life, and/or publishing, and why?

Here’s the latest reply, this one from author Nancy Garden:

I think the most important lesson I’ve learned about my craft–or at least about myself as a writer–over the past decade is to slow down!

By that I don’t necessarily mean to write less, and I certainly don’t mean to take more time off (what’s that?), but what I do mean is to be sure to give each new book or story all the time it needs before sending it off to one’s editor or one’s agent.

Working on more than one book at the same time used to work for me, especially when each project was at a different stage of development and or when each was different from its companions–different age levels, for example, different genres, etc.

But recently, I found myself working on two or three things which were at roughly the same stage of development at more or less the same time–and that led to my impatiently releasing some before they were really ready.

Maybe that’s because I’m not as young as I once was, or maybe it’s because I’ve become less patient, but whatever the reason, it’s made me feel increasingly that it’s best as much as possible for me to stick to one project at a time–at least to try to make sure close-together projects are at different stages of development.

Artistic life? Well, when my first book was published–and actually my first two books were published very close together, after a long period when nothing of mine had published–I made the mistake of thinking the days of rejection letters were probably over.

But since then, both in the last ten years and earlier, I’ve found that, at least for me (and many, many other writers I know and admire!), there’s nothing sure but death, taxes, and rejection letters!

And–this is more important–I’ve also found that being aware of that is a good way to keep a sense of balance about one’s career.

That leads me to the third part of your question, the part about publishing, and this is tricky.

I’ve learned, especially in the last ten years, that it’s a good idea as much as possible to try keep abreast of the changes in publishing and in kid/teen culture.

I’m not saying that one should try to write whatever seems to be selling best or seems to be most popular, for I firmly believe that it’s important to write what one wants to write, what one is burning passionately to write, what one loves to write.

But it’s still helpful to have an idea of where and how one’s work and what one wants to say might fit within this rapidly changing world.

Don’t get me wrong on this, though. Even if it doesn’t fit, and there’s no way to make it fit, I think that’s okay, too–because it’s also true that good stuff that doesn’t fit often eventually gets published anyway.

I know this must sound as if I’m contradicting myself, and in a way I guess I am–because I do believe strongly that both are true: It’s important to try to be aware of what’s going on in the world for which one writes, but also to write what one wants to write anyway!

Read a Cynsations interview with Nancy.

Cynsational News

Tomorrow morning I leave for The Youth Literature Festival, sponsored by the College of Education at the University of Illinois at Urbana-Champaign, which takes place Oct. 4.

All events are free and open to the public and will be held at various locations across the Urbana-Champaign community.

Speakers will include: Ashley Bryan; Betsy Hearne; Dan Keding; W. Nikola-Lisa; Alice McGinty; Patricia Hruby Powell; Melodye Rosales; Marc Aronson; Susan Campbell Bartoletti; Chris Crutcher; Jan Spivey Gilchrist; Jennifer Holm; Paul Jancezko; Francisco Jimenez; M. E. Kerr; Robert Lipsyte; Robert San Souci; Cynthia Leitich Smith; Joyce Carol Thomas; Richard Van Camp; and Janet Wong. See more information.

Greg graduated with an electrical engineering degree from Illinois, and we’ve visited once before. I look forward to the event as well as to visiting Native America House and two local schools. Note: I will not be checking email until I return to Austin; Cynsations will resume posting on Monday.

Thank you to HipWriterMama for her cheers on the 10-year anniversary of! Follow the ongoing celebration here!

The winner of the autographed copy of Pilot Pups, by Michelle Meadows, illustrated by Dan Andreasen (Simon & Schuster, 2008)(excerpt) is Mila in California!

Congratulations, Mila, and thank you, Michelle! Read a Cynsations interview with Michelle!

Breaking News: Michelle reports that she has just finished working on revisions for the second book about these pup heroes with her Simon & Schuster editor Kevin Lewis. In Biker Pups (Pub Date TBA), the pups will zoom through town as motorcycle police officers.” Yay for pups!

I’m hard at work on Blessed, which will crossover the casts of Tantalize (Candlewick, 2007, 2008) and Eternal (Candlewick, March 2009).

The novel is set in September in Austin, and so I’ve been making particular note of the weather and mood of the city.

I’m also working steadily on a guide–for my own personal use–to my universe. I was able to hold it all in my head until now.

But with two previous novels and two previous short stories, my brain may be at its quick-recall capacity.

Diana Rodriguez Wallach, author of Amor and Summer Secrets (Kensington, September 2008) was kind enough to send in this photo of Tantalize, taken at a bookstore in Delaware.

Also identifiable in the picture are a couple of books from Ellen Shreiber‘s Vampire Kisses series (HarperCollins, ongoing) and Amanda Marrone’s Uninvited (Simon Pulse, 2007). Read a Cynsations interview with Amanda.

Congratulations to Diana on her new release! From the promotional copy: “Fifteen-year-old Mariana Ruiz has no desire to step foot outside her affluent Philadelphia suburb. But she may not have a choice.

“With total disregard to the high-glam Sweet 16 her best friend is hosting, Mariana’s father ships her off to a tiny mountain town in Puerto Rico to stay with family she’s never met.

“The heat is merciless, the food is spicy, and only one of her relatives—her distant cousin Lilly—speaks English. Her consolation prize is Lilly’s homespun Puerto Rican Quinceãnera.

“Only the riotously festive party exposes Mariana to more than just her culture. She uncovers new friends, her first love, and a family secret that’s been buried on the island for more than 30 years.”

Read the story behind the story, and watch the book trailer.

Visit Diana at MySpace.

Attention: LJ readers! I’m aware that the fashion is to use a cut line for longer posts of this nature, but after much playing with the command, I can’t seem to get it to work. I need to leave the interviews long because they’re back-up files for the main site. But please know this long links post is a function of my incompetence, not a lack of consideration. Note: any tips appreciated. I’m sadly clueless. Maybe it’s a Mozilla thing?

Attention: YA Librarians! Don’t miss the Cynsations Teen Read Week Books with Bite Giveaway!

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“READ” in Native Languages from Debbie Reese at American Indians in Children’s Literature. Peek: “For those of you who are preparing materials for November (Native American month), download the graphic. Put it on display, surrounded by books by Native writers.” Note: don’t miss the new Native Youth Lit widget, available now from JacketFlap!

Making a public confession by Barbara Caridad Ferrer at Abriendo Puertas: Opening Doors. Peek: “So She Dances, the YA I had scheduled to come out next summer that was the contemporary reinterpretation of Bizet’s ‘Carmen,’ has been canceled by the publisher. Why? Well, your guess is as good as mine.” Note: First, my condolences to the author. Beyond that…canceled contracts do happen and more frequently than many realize. My picture book Jingle Dancer was canceled when Lodestar was bought out and eliminated (it shortly afterward resold to Morrow, just before the Harper merger and survived that one). A short story collection to which I contributed also was canceled by two different houses. Source: Elizabeth Scott.

28 Days Later: A Black History Month Celebration of Children’s Literature: Submissions for the 2009 28 Days later spotlights are ongoing! Read a Cynsations interview with the founders of The Brown Bookshelf. Note: please support this important initiative through links and related announcements.

28 Days Later: 2009 from YA author Varian Johnson, co-founder of the The Brown Bookshelf, at They Call Me Mr. V. Varian echoes the launch of the 2009 call for nominations and discusses why the initiative is important. He highlights and responds to a new essay “Limited Options: The dearth of books written for African-American teens is glaring” by Denene Millner (Publishers Weekly, Sept. 8, 2008). Peek from Varian: “African-American authors are a dying breed, a breed which I fear may become extinct if we don’t do a better job of supporting both established and emerging talent.” Read a Cynsations interview with Varian.

Behind the Book: From the Desk Of…Laurie Halse Anderson from Simon & Schuster [on Why She Wrote Chains (Simon & Schuster, 2008)]. Peek: “I knew about the slaves of Jefferson and Washington, but Ben Franklin? I loved Franklin, I adored him. How could he own slaves?”

Dear Author, Don’t Be a Jerk. No, Really by Lauren Lise Baratz-Logsted at Red Room: Where the Writers Are. Peek: “Don’t Respond To Wholly Negative Reviews. It seems obvious, and yet how often do you see writers fighting their own battles in the Letters to the Editor section of the NYTBR?”

Check out pg. 41 of the Pottery Barn Kids Halloween catalog to see a young girl reading Annette Simon’s Mocking Birdies (Simply Read, 2005).

Reminder: The Book Transfusion by Devyn Burton – YA Author. Devyn is coordinating a “book raising” event for hospitals in lower east Michigan. Peek: “Being in the hospital so much I noticed a trend, teens in the hospital had two options–A) color and do crafts meant for a six year old or option B) ‘suck it up’ like an adult watch TV all day. That is unacceptable, we need something to occupy our minds as well—and even if you did partake in options A & B, you can only color and watch TV so much! A book is a wonderful tool for anyone in the hospital.” Note: YA authors, publishers, businesses, readers, there are ways that all of you can help! Just blogging the link will help!

They Tried to Ban This Book Today, or, There’s a Sticker on the Cover of This Book by Little Willow at Slayground. Peek: “They are going to keep this book in the library – and (partially, lightly, barely, noticeably) deface it.”

Sara Zarr on balancing the personal and the professional [in your blog]: a report by April Henry from the Kitlitosphere Conference. Peek: “Don’t be Debbie Downer with nothing but a string of posts about how publishing sucks.”

Neesha S. Meminger: an author interview at Fumbling with Fiction. Peek: “It was amazing to see that I knew the answers to my editor’s questions, but hadn’t put them on the page where they needed to be. And that answering those questions took me to greater depths in the plot, pacing, and character building of my novel. It was exhilarating to be working on the novel with someone who was as enthusiastic as I was about it.” See Neesha’s official author site.

Too Many Cooks Spoil the Broth, Jump Up and Down on Your Cake, and Reprogram All of Your Appliances from Editorial Anonymous. Peek: “…not one, not two, but five editors had worked on revising it. On the day of publication, not one word of the original manuscript remained. This was no longer the manuscript I’d submitted and no longer the manuscript I loved.”

Pondering Self-Publishing
: a podcast from Just One More Book. Peek: “Today we stray from our standard format for an unplanned and extremely rambly chat about our observations of and unqualified opinions about self-publishing children’s books.” Note: Cynsations has previously featured two unusually successful self-published authors, Debbie Leland and Jerry Wermund.

What Constitutes Good Sales for a Literary Novel? from Editorial Ass. Note: stipulates that she’s talking adult, not children’s/YA, but still interesting from our POV.

One on One with Author, Sara Ryan from Melody Simpson at Hollywood The Write Way. Peek: “I saw Battle’s brother being sort of a Puck character. As I wrote it I saw that even though it seemed like he was never phased by anything, (he just deceived people and moved on) there is some level that you can’t really see where all of the damage that he does really affects him.” Read a Cynsations interview with Sara.

Shadowed Summer: official site of the novel by Saundra Mitchell. Includes: summary, excerpt, press kit, author bio, secrets (inside scoop), soundtrack, printable bookmarks, widget, and classroom resources (vocabulary lists, writing prompts, reading list). Note: excellent example of book-specific site; authors/publishers should study as a model; readers should take advantage of this peek into Saundra’s world. Read Saundra’s LJ.

Think Early and Think Often from Editorial Anonymous. Peek: “Do editors ever Google an author, then decide not to work with them based on political beliefs?” See also a post from Editorial Anonymous on why picture book production takes so long.

“What I Know Now…”: post-publication insights from Lauren Barnholdt. Peek: “It’s kind of like if you ask out a guy, and he turns you down. Big deal, right? It might sting for a while, but you find a new guy. But if you’ve been dating that guy for a year and suddenly he breaks up with you, it’s kind of devastating. Being published does not make things easier, it makes things harder. Because of…” Note: smart, savvy, and spot on.

The Well-Read Child: “my mission is simple–get kids to read. I feature book reviews, reading tips, and learning activities you can use to help instill the joy of reading in your child.”

“Who’s It For?” musings and a first-rate link selection from author Liz Garton Scanlon. Read a Cynsations interview with Liz.

“Choices. Choices. Choices.” by Helen Hemphill at Through the Tollbooth. Peek: “What a character wants is something both psychological and moral. ” Read a Cynsations interview with Helen.

Has the Newbery Lost Its Way? Snubbed by kids, disappointing to librarians, the recent winners have few fans by Anita Silvey from School Library Journal. Peek: “I spent the last few months talking to more than 100 people—including media specialists, children’s librarians, teachers, and booksellers—in 15 states across the country. Although most spoke on the condition of anonymity, all of them were eager for me to share their insights. Here’s the gist of what I learned.” Source: Read Roger, “Going for the Gold,” which you also should check out.

Posts about the [Kidlitosphere] Conference
from Portland Kidlit. Note: wish I could’ve been there!

How Do You Define Success?
from Children’s Writing Web Journal. Peek: We may all daydream about becoming the next J.K. Rowling, about having throngs of kids line up at midnight to gobble up our new book, of gaining all the fame, fortune, love and respect that seemingly come with mega-stardom.”

Kidlit Blogging Session II: Blog Promotion from MotherReader. Peek: “Jen Robinson pulls together literacy news. Bookshelves of Doom is always on top of book challenges. It’s more than niche reporting.” Source: April Henry.

Congratulations to Tamara Smith on signing with agent Erin Murphy, and congratulations to Erin on signing Tam! Read a Cynsations interview with Erin.

Celebrate Banned Books Week. Source: Bookseller Chick.

How to Give a Successful School Visit and Survive to Tell About It by Don Tate from Crowe’s Nest. Peek: “…you can avoid misunderstandings — like not getting paid on the day of the visit — if you create a simple contract.” Read a Cynsations interview with Don.

Character Arcs or “Where Do You Think You’re Going?” by Stephanie Greene at Through the Tollbooth. Peek: “Why follow the character? What makes their plight/desire/need compelling and how does a writer create that?”

Surf over to nominate a book for a Cybils award! Read a Cynsations interview with Kelly Herold and Anne Boles Levy on The Cybils.

Children’s Picture Book Manuscript Critique Raffle from The Mischief Fights Cancer Raffle. Peek: “One winner will receive a free evaluation of their children’s picture book (manuscript only, between 400 and 1000 words) by Tracy Marchini of the Curtis Brown agency. Comments will be provided in the form of an editorial memo.” Tickets are $10. Note: Tracy is brilliant.

Movie Alert

“Nick & Norah’s Ultimate Playlist” (the movie) debuts tomorrow, Oct. 3, and don’t miss the novel by the same title by Rachel Cohn and David Levithan (Knopf, 2006) that started it all!

From the promotional copy: “It all starts when Nick asks Norah to be his girlfriend for five minutes. He only needs five minutes to avoid his ex-girlfriend, who’s just walked in to his band’s show. With a new guy. And then, with one kiss, Nick and Norah are off on an adventure set against the backdrop of New York City—and smack in the middle of all the joy, anxiety, confusion, and excitement of a first date.

“This he said/she said romance told by YA stars Rachel Cohn and David Levithan is a sexy, funny roller coaster of a story about one date over one very long night, with two teenagers, both recovering from broken hearts, who are just trying to figure out who they want to be—and where the next great band is playing.

“Told in alternating chapters, teeming with music references, humor, angst, and endearing side characters, this is a love story you’ll wish were your very own. Working together for the first time, Rachel Cohn and David Levithan have combined forces to create a book that is sure to grab readers of all ages and never let them go.”

Online Events

Reminder: I’ll be appearing twice to discuss Tantalize and related forthcoming books in October on the Eye4You Alliance Island at Second Life. From School Library Journal: “There will be two appearances, the first on the main grid of Second Life (for those 18 and over) on Oct. 14, and again on Oct. 28 on the teen grid of Teen Second.” See more information.

Real-Space Events

A Picture Book Primer: Writing and Illustrating Children’s Books with Keith Graves from The Writers’ League of Texas. Dates: Oct. 7; Oct. 30; Nov. 18. “Animator and picture book author and illustrator Keith Graves will guide students through the process of writing and illustrating a picture book. Students will bring in rough manuscripts or ideas, along with sketches or ideas, which will be developed over the course of three meetings into a book dummy for presentation. Students will receive one-on-one instruction, and participate in group critiques and discussions. This class will require some work to be done at home between classes.” See more information.

The first annual Hill Country Book Festival will be from 9 a.m. to 4 p.m. Oct. 11 at the Georgetown Public Library (Georgetown, Texas). Participating authors/illustrators include Liz Garton Scanlon, Cynthia and Greg Leitich Smith, Don Tate, P. J. Hoover, and Deborah Frontiera. The Biscuit Brothers also will be performing! See schedule.

Attention Ohio: Teen Read Week Author Visit: Rachel Caine. Vampires only come out at night – or do they? Find out at special appearances by Rachel Caine, author of the Morganville Vampires series. In keeping with this year’s Teen Read Week theme, “Books With Bite @ Your Library,” Caine will discuss the history of vampires, including fun facts. An open registration for grades 7-12 will begin Oct. 1 and is limited. To register, call 330-744-8636, ext. 149. Boardman, 9:30 a.m., Oct. 14; Poland, 12:30 p.m., Oct. 14. Read a Cynsations interview with Rachel.

Rick Guzman (Austin) will speak at the Oct. 18 meeting of the CenTex Chapter of the American Christian Fiction Writers in Round Rock, Texas. “Book Publishing Contracts: What You Need to Know” will discuss what to look for, what to avoid, and what it all means. “Guzman’s law practice includes publishing interests, and he writes biographies of famous Latinos, most recently George Lopez: Latino King of Comedy (Enslow, 2008).” Source: Writers’ League of Texas. Note: this event was rescheduled due to Hurricane Ike.

R. L. Stein’s Halloween Party will begin at 3 p.m. Oct. 31 at the Austin Children’s Museum (201 Colorado St.). R. L. Stein will read and tell a communal (audience-participation) ghost story at 3:30 p.m. and sign books from 4:30 p.m. to 5:30 p.m. The event is free, but space is limited to 350. Costumes welcome. Note: Barnes & Noble will be selling books; sponsored by the Texas Book Festival in cooperation with the museum.

“Connections & Craft: Writing for Children and Young Adults:” hosted by Brazos Valley (Texas) SCBWI Nov. 15 at A & M United Methodist Church in College Station, Texas. “Editor Joy Neaves, agent Emily Van Beek, editor Kim T. Griswell of Highlights, and author Cynthia Leitich Smith comprise our faculty for this day-long event. Published BV-SCBWI authors will also conduct a hands-on Writers’ Workshop.” Download the brochure. Read a Cynsations interview with Emily.

The Tenth Annual Jewish Children’s Book Writers’ Conference is scheduled from 9 a.m. to 5 p.m. Nov. 23 at the 92nd Street Y (1395 Lexington Avenue) in New York City. The fee is $95 before Nov. 1, $110 after Nov. 1 and includes kosher breakfast and lunch. Featured speakers are associate agent Michelle Andelman of Andrea Brown Literary Agency, publisher David E. Behrman of Behrman House, executive editor Michelle Frey of Alfred A. Knopf and Crown Books for Young Readers, editor Larry Rosler of Boyds Mills Press, director Joni Sussman of Kar-Ben Publishing, and illustrator’s agent Melissa Turk of Melissa Turk & The Artist Network. Award-winning author Johanna Hurwitz will give opening remarks, and the day will include sessions on publishing and writing in Israel, the Sydney Taylor Book Award and Manuscript Competitions, and individual consultations with editors and agents from past conferences. The registration form is available for download (PDF file). Call 212.415.5544 or e-mail for additional information or to request the form by mail. The final registration deadline is Nov. 17.

Assembly on Literature for Adolescents of NCTE (ALAN) Workshop in San Antonio Nov. 24 to Nov. 25. An event I utterly adore for the depth of discussions, sophistication and dedication of the attendees-leadership, and wonderful company of fellow YA authors. Note: NCTE stands for “National Council of Teachers of English,” which has a preceding conference. Details on my signing and speaking schedule to come.

Educational Opportunity

The Vermont College of Fine Arts MFA in Writing for Children and Young Adults program now offers a one-semester graduate-level picture book certificate program. Note: “The picture book certificate program is modeled after a regular MFA-WC&YA semester with a few additional components.”

Teen Read Week: Books with Bite Giveaway

YALSA’s Teen Read Week 2008 is Oct. 12 to Oct. 18, and the theme is “Books with Bite.”

In anticipation of the celebration, I’m giving away a super spooky prize package made up of the following to a YA librarian who has not previously won a Tantalize-related prize: a signed paperback copy of Tantalize (Candlewick, 2008); a signed copy of Immortal: Love Stories with Bite, edited by P. C. Cast (BenBella, 2008); a Sanguini’s T-shirt; and a set of 25 autographed bookmarks. Note: Sanguini’s is the fictional vampire restaurant in Tantalize.

To enter the giveaway, email me (scroll and click on the envelope) with your name and snail/street mail address by 10 p.m. CST Oct. 6!

OR, if you’re on MySpace or Facebook, you can message me on that network by 10 p.m. CST Oct. 6! But DON’T send in your contact information on MySpace or Facebook. I’ll contact you for it if you win.

Please indicate your library and type “Books with Bite” in the subject line!

Author Interview: Christopher Golden on Soulless

Christopher Golden on Christopher Golden: “I sold my first book–a non-fiction pop-culture project called Cut!: Horror Writers on Horror Film (Berkley, 1992) in 1990 or 1991–and it won the Bram Stoker Award in 1992.

“’92 was also the year I sold my first novel, at the age of 25, and that was it. I quit a fantastic job at Billboard magazine in New York, moved back to Massachusetts with my wife, and have been writing full time ever since.

“In that time, I’ve written adult, YA, and children’s fiction in the mystery, horror, thriller, and fantasy genres, as well as more non-fiction pop-culture books, video games, loads of comic books, an online animated series called Ghosts of Albion (which I co-created and co-wrote with Amber Benson) and the script for the movie adaptation of Baltimore, or, The Steadfast Tin Soldier and the Vampire (Bantam Spectra, 2007), a novel I wrote with Mike Mignola.

“There are several other film projects in development based on my work, but Baltimore is the only one I’ve scripted. My recent books include Poison Ink (Delacorte, 2008) and Soulless (MTV Books, 2008), both for teens, Mind the Gap (Bantam Spectra, 2008), which is a collaboration with Tim Lebbon, the afore-mentioned Baltimore, and The Lost Ones (Bantam Spectra, 2008), the final book in my Veil Trilogy. I’m currently working on a big fat supernatural thriller called The Ocean Dark (Bantam Spectra, 2009).

“My original novels have been published in fourteen languages around the world.”

What first inspired you to write for young readers?

The first time it happened, it was almost by accident. My agent suggested I give it a try, and though those two books (in the mid ’90s) were pretty formulaic, I found that I really enjoyed writing for teens. I’ve always had an excellent memory for my own junior high, high school, and college years, and I remember what it was like to be 13 or 15 or 19 very well.

Kids and teens are so much smarter and wiser than they’re often given credit for, and writing for that audience is a way for me to both communicate with younger people and to let them know that I don’t feel that way, that they have my respect.

There are days I wish I could trade places with them, to experience the vitality and intensity of being that age. But I wouldn’t want to trade places for long, (he said with a smile).

Could you tell us about your path to publication, any bumps or stumbles along the way?

I was very fortunate, actually. I’d written a handful of short stories and not had much luck with them. In 1989, I attended my first real writers’ convention, and I met a lot of writers, editors, agents, and artists. A great community of people who were making their living doing what I wanted to be doing.

At that convention, I met the woman who would be my agent for the next twelve years, and the woman who would buy both my first non-fiction book and my first novel (and many more after that). In 1992, my agent sent the editor, Ginjer Buchanan, the first 125 pages of the novel I was working on–which I had started in college in 1988–and on the strength of that material, Ginjer offered me a two-book deal at Berkley. That book, Of Saints and Shadows (Ace, 1994), was the first novel I had ever even attempted to write. I quit my job and never looked back.

What was most useful to you in developing your craft? What, if anything, do you wish you’d done differently?

I took many, many semesters of creative writing courses during college, and though they were very supportive, neither my professors nor my classmates ever really understood the appeal to me of horror and fantasy. I was the weird one.

I think that helped a great deal, in that I had to focus on the story first, rather than on genre trappings, because they were interested in story and character. They didn’t mind if the setting was bizarre or the events gruesome, as long as the story worked.

Credit is due to my former agent, Lori Perkins, who told me–not long after I graduated–that I’d been in school too long. She had me pick up a book on writing fiction and made me study Strunk & White’s The Elements of Style, which I think is vital to good writing.

A huge amount of credit is also due to the wonderful editors I’ve had over the years, most especially Anne Groell, my editor at Bantam, and Lisa Clancy, with whom I worked at Pocket for years. They, and other great editors, have taught me so much simply by doing their jobs.

A writer has to be willing to absorb those lessons. As for what I would have done differently…that’s an impossible question. I would have liked to have worked less, but circumstances and the urgency of ideas propel me forward.

I don’t think there’s anything I wish I had done differently, but there are probably a few things I wish I could have done differently. Still, I can’t complain. Such musings are counterproductive. You learn the lessons and hope to apply them as you go forward.

Could you please update us on your recent back YA list, highlighting as you see fit?

CG: Hmm. I’m not sure how you define recent. At Pocket, years ago, I did two series–Body of Evidence (10 books, 1999-2005, Pocket) and Prowlers (4 books, 2001-2002, Pocket). Nearly all of those are presently out of print. In that same period, Thomas E. Sniegoski and I did a novel called Force Majeure (Pocket, 2002).

After Lisa Clancy’s departure, Sniegoski and I did a younger-skewing quartet of books called Outcast (2004-2005), which are being developed for film by Universal.

My friend Ford Lytle Gilmore and I did a four book series for Razorbill called The Hollow (2005-2006). They didn’t perform very well in stores, which I chalk up to the totally lame, boring covers on the books.

Two great things came out of that experience, however. I got to work with a very talented editor named Liesa Abrams, who has since moved on to Aladdin, and The Hollow is currently in development as a TV series by Lionsgate, a project that is looking extremely promising at the moment.

Most recently, as I mentioned, Delacorte published my supernatural YA thriller Poison Ink. In October, MTV Books is putting out my novel Soulless. It’s extremely grim, but the whole idea when discussing it with the publisher to begin with was the push the envelope a little both in terms of content and commentary.

Congratulations on the publication of Soulless (MTV Books, 2008)! Could you tell us a bit about the book?

In Soulless, seven very different teenagers try to survive as zombies overrun the Northeast U.S., converging on New York City when they realize that the rising of the dead has its origins there…and that they may have to commit murder themselves if they want to stop it.

The novel is about mediums, spiritual beliefs, who we love, what we’re willing to do to save them, and the way the world changed after 9/11. The current generation of young teens are the first to live in a world where they cannot remember what things were like before 9/11.

I think that’s changed the world, but I also think that as they get older, it will change society. Once upon a time, something like 9/11 was unimaginable. So was the negligence of the U.S. government after Hurricane Katrina. But to today’s teens, these things are not at all unimaginable.

In fact, I believe that they live with the expectation that if something isn’t done, worse things are inevitable. And that’s a good thing. It gives them the first tools they’ll need to begin building a society that will be better equipped to prevent such things from happening.

What was your initial inspiration for the story?

I enjoy zombie stories and movies–some of them–but one of the things that always bothers me is the convenience of the mechanism. A comet goes by…boom, there are zombies.

These kinds of stories very frequently have no third act. The characters are introduced, they are put in terrible circumstances, and their circumstances worsen. The end.

I wanted a zombie story with a third act.

What were the challenges (literary, research, psychological, logistical) in bringing it to life?

First, I didn’t want it to be like every other zombie story. There are a lot of them out there, these days, and my intentions were slightly different.

Second, I had to remain constantly aware of just how far I could push not only the level of gruesomeness, but the darkness of the piece. By its very nature, it has to be dark.

It isn’t just about the dead rising, but the dead rising with a purpose. They want to find the loved ones they’ve left behind, but all the good has gone out of them, the kindness. They’re soulless.

What would happen if you took away all of the good qualities in a person, and left only their worst traits and instincts. They would say and do horrible things. Add to that the hunger of the undead…it’s very grim.

Interestingly enough, my editor first asked me to make the book more gruesome…but once I had done that, in her final edit, she scaled back some of the very things she asked me to put in, realizing, I think, that they weren’t necessary.

The situation is horrible enough without going too far overboard on the gore (though there’s plenty of that). I had to be in a dark place to make the story work, but it’s much more interesting to me than stories that are just about the visceral horror alone.

What is at the heart of the appeal of (or at least fascination with) zombies?

An excellent question. I don’t know the answer. In fact, I’m working on a project right now that explores that very question, but I can’t say more about it right now.

Of mediums?

That’s an easier one. People want mediums to be real.

If mediums are genuine, if at least some of them are not charlatans, then that means that: (A) there is life after death, and we would no longer need to rely on faith to believe that death is not the end for us; and (B) the people we’ve loved who have died are close at hand, and if we miss them powerfully enough, we might be able to speak to them, to take comfort in that contact.

Like many people, I don’t believe in mediums, but I desperately want to.

What advice do you have for beginning writers of speculative fiction?

Don’t be afraid to make up new rules for how familiar ideas should be executed.

If you do one thing well, don’t be afraid to try something else.

Read everything that interests you, and some things that don’t.

Write as often as you can.

Meet other writers, artists, agents, become a part of the community. Writing is a solitary life, but it helps when you have contact with other people who share your passions.

How about those building a career?

Shut up and write.

What do you do outside of the world of writing and publishing?

Spend time with my wife of 17 years and our three kids, read, and watch far too much television.

What can your readers expect from you next?

Soulless is out in October, along with Prince of Stories: The Many Worlds of Neil Gaiman (St. Martin’s, 2008), which I co-wrote with Hank Wagner and Stephen R. Bissette.

In early 2009, you can look for The Map of Moments (Bantam Spectra), my second collaboration with Tim Lebbon. Watch for more news at