Tag Archives: editing

Editor's Desk

From the Editor’s Desk: Kate Miciak, Vice President & Director of Editorial for Ballantine Bantam Dell on Susan Elia MacNeal’s Maggie Hope books

Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best.   It all started with a title on a manuscript submission I couldn’t get out of my brain: Mr. Churchill’s Secretary. OK, I admit to a certain obsession with the British icon–but his secretary? What must it have been like to work during Britain’s darkest hours with that flamboyant, irascible, outrageously complicated figure? Biographies and memoirs abound of Churchill’s generals, his family, his aides. We know all about his pets, his bathing habits, his socks, favorite drink and books. But his secretary? As I turned the manuscript pages, I was hooked. For this debut novel wasn’t merely about life in the shadow of Winston Churchill during those scary, dangerous days of what became known as the “false war”—it was the captivating story of a brilliant, college-educated, ambitious young woman with a flair for math and codes…who found that the only job opening for a woman in wartime UK government was typing and filing: Talk about a glass ceiling! And, she wasn’t even British.  She was an American. An American woman in the Blitz, working at the side of the seminal power makers of the period, forced to elbow her way into a man’s world
.And crimson lipstick and cocktails
. What’s not to love? Over the course of six award-winning novels, Susan and her marvelous creation, Maggie Hope, continue to enthrall me. In these gloriously researched capers, Susan has led Maggie and her spellbound readers down the bomb-torn alleyways of London, into the heart ‎of the UK’s spy network, parachuting into enemy headquarters, conspiring with Eleanor Roosevelt in the very corridors of the White House.  She’s crafted an intimate glimpse of young Princess Lisbeth and the Royal Family at Windsor; cavorted with Fala, FDR’s Scottie; and courageously shown us the suffering of those in the concentration camps.  More important, she’s stripped away the bald historical facts to inveigle us deep into the hearts of women during war:  women making tough choices and sacrifices, surviving, fighting back, courageously holding together their lives and their jobs and their families under unspeakable pressures. There was a real Mr. Churchill’s secretary, a woman named Elizabeth Nel who worked for the Prime Minister from 1941 to 1945 and even wrote a memoir of it, which begins: “It doesn’t really matter who I am or where I come from.  Without undue modesty, the only thing of real interest about me is that during World War II I worked for four and a half years as one of the Personal Secretaries to Sir Winston Churchill
.”  But Susan MacNeal has proven, time and time again in her marvelous, intriguing novels, that the women behind the scenes did matter.  And that’s the real triumph of the Maggie Hope novels. Learn more about the Maggie Hope books below!
Editor's Desk

From the Editor’s Desk: Stephanie Kelly, Associate Editor at Dutton Books, on The Dollhouse by Fiona Davis

Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. The concept isn’t novel, yet it’s still so often surprising—and always, always, important. The Dollhouse by Fiona Davis embodies this theme in many different ways. Firstly, there’s the title itself. “The Dollhouse” was the nickname for New York City’s iconic Barbizon Hotel for Women– called such because of all the pretty young things that lived there. But the Barbizon housed more than pretty faces: from 1927 to 1981, the Barbizon was a safe, respectable haven for young women looking to make their mark on the city as models, actresses, editors, secretaries, or wives. Many were successful, including Joan Crawford, Grace Kelly, Sylvia Plath, and Candace Bergen– all residents of the Upper East Side’s most coveted sorority. It’s a glamorous history, and what drew me to the novel in the first place. And in that regard, The Dollhouse delivered: I read it in one sitting, entranced by famous musicians in seedy jazz clubs, fashion shows in solariums, and the descriptions of delectable spice blends you can almost taste as you turn the pages. But looks can be deceiving, and The Dollhouse is so much more than glamorous. It’s a mystery; it’s an exploration of the changing rolls of women in the workplace, and what it means to be fulfilled as a woman; and it’s an ode to the many sides of New York City. And for these reasons, the Dollhouse is a novel that has stayed with me ever since I first read it over a year ago– and I know will continue to stay with me for a long time to come. The Dollhouse is a dual narrative, centering on three fictional women who are tied together not only by the Barbizon, but by a hidden tragedy that occurred there. There is shy Midwesterner Darby, who arrives at the famed hotel in 1952, determined to become a secretary and secure lifelong independence without a man. Instead (in scenes that highlight the power of female friendship), she befriends Esme, a Barbizon maid looking to become a star, in spite of prejudice against her as a Puerto Rican immigrant. Esme introduces her to another, darker side of the city— not to mention a boy who just might change Darby’s mind about remaining single. Fifty years later, the Barbizon, now gone condo, is home to journalist Rose, until she is unceremoniously dumped by her live-in boyfriend, leaving her homeless as well as heartbroken. She crosses ethical boundaries in her desperation to distract herself with a juicy story: the truth behind her elderly neighbor Darby’s rumored involvement in a deadly skirmish with a hotel maid back in 1952. The tension of the mystery simmers throughout the novel and kept me flipping the pages as Darby’s and Rose’s stories intertwine to reveal the shocking truth. Rose’s fascination with Darby opens her eyes to the rich history of the building, and her research into the elderly denizens of the Barbizon– like Darby, all single women who never left the former hotel, now in rent-controlled apartments on the fourth floor– inevitably causes her to look inward. Is this her future? Is she destined to be lonely and forgotten? Rose’s story is one that resonates in today’s world: What roles do relationship status, career, and autonomy play in living a fulfilling life as a woman? Can women “have it all” 
 and can they be happy if they don’t? As Rose digs deeper, including talking to Stella, another Barbizon resident (and one of my personal favorite characters in the novel!), she is treated to a wealth of insights on life, happiness, female agency, and empowerment
 from women she herself had dismissed for their age and single status, for how they appeared on the surface. And then there’s New York City. From the cloistered Barbizon (“God forbid we venture into the real world and buy something inap­propriate,” a character named Charlotte wryly observes to Darby while they attend a fashion show within the hotel) to the uninhibited jazz clubs, from the city’s charms to its dangers, from the 1950s to today, The Dollhouse truly captures the beautiful, fickle, and ever-changing heart of Manhattan. It’s not an easy task, but Fiona’s passion for research— she, too, is a journalist— and writing skill bring the city as alive as any one of her nuanced characters (another moment here to appreciate Stella, for it is not only the protagonists who are incredibly drawn in the novel. I could take the time here to tell you why Stella is so fabulous, but a character that wonderful is best experienced for yourself). When I first received The Dollhouse on submission, I knew it was something special. But looks can be deceiving, and I didn’t know just how special until I fell into its pages. I hope you too have a chance to read this glamorous, suspenseful, romantic, thoughtful, and affecting novel. Learn more about the book below!
Behind the Scenes, Blog

The Life of a Book: An interview with the editor of Gemina, Melanie Cecka-Nolan, Associate Publishing Director

We’re going deep inside the making of a book, with interviews from Penguin Random House employees in editorial, marketing, sales, and more.  If you’ve ever wondered about all the behind-the-scenes work that goes into making your favorite books, this is the series for you.  Take a look at the first post in this series here.  Today, we’re featuring an interview with the editor of Gemina, Melanie Cecka-Nolan. Read below for her inside scoop.  This book is part of a very non-traditional trilogy. How would you describe Gemina to someone who has never heard of it before? I would say Gemina is science fiction for people who don’t think they like science fiction, and I say that because I don’t think of myself as someone who likes science fiction. This is the series that really turned around my thinking about the genre. When The Illuminae Files was first pitched to me, the agents positioned it as Battle Star Galatica meets 10 Things I Hate About You. That did a really good job of setting up the story for me– action-based and stuck on a spaceship but with the intensity, the humor, the love and romance of a relationship story. When I read the manuscript for the first book, I felt like I’d ingested a drug. I was just bouncing off the walls. And I remember thinking, if I can have this kind of reaction to it as a non-sci-fi person, everybody would. For those who don’t know, an editor will have a relationship with an agent and the agent pitches manuscripts to the editor that they think they’ll like. So why do you think that this agent sent you this book? Knopf is known for being very literary, but also for taking chances with its books and authors. I think agents are always looking for someone who is going to respond with the right combination of vision and instantaneous love—especially with unusual projects.  So although The Illuminae Files may not have been my typical kind of book, I think the agents saw Knopf as the right publisher. What’s a book or a series that you’ve worked on that you think is more of your type or style? I tend to be drawn to books that are girl-centric. I have a little boy at home who has opened my eyes to a much broader range of reading, but I’m always a thirteen, fourteen-year-old girl at heart. Mouse Scouts is one of my favorites; it’s about a troop of little girl scouts who happen to be mice, that’s kind of me in a nutshell. There are some editors who excel at really gritty things, edgy teen fiction, male-centric narratives—and that’s not really my core strength. But the Illuminae Files was so immediately accessible and the female characters were so well-drawn and felt like friends – it broke though and worked, even for a “girl” editor. What was your favorite part about Gemina or something that surprised or interested you about this second book? Well it’s a trilogy, and I knew the second book was going to introduce a new set of characters and situations as well as advance the larger story. I think what has surprised me is the way the authors continue to one-up themselves. There’s are a couple of big plot twists in Illuminae and there are three or four twists in Gemina. As a reader I didn’t see them coming, and even as an editor who went into the story with a sense of how events were going to play out, I still didn’t see those things coming. That’s  a huge treat– to go into a book with a certain set of expectations and having them completely blown apart because what comes in is so much more entertaining.  InIlluminae the protagonists are sort of like the hometown sweethearts: They are great kids, very engaging, very personable. InGemina the “heroes” aren’t set up the same way. The female lead isn’t particularly likable. She’s spoiled, she’s very pampered, she very me-centric. The male lead is kind of the lovable anti-hero. He’s a gang member, he’s covered in tattoos that allude to a violent history, he deals drugs, so on the surface he’s not necessarily someone you see emerging as the hero. But you’re so swept up in who they are and how they change and grow over the course of the story that it completely changes your perception. People tend to think “editor” when they think of publishing, but many may not know the details of your job. So: when you get a manuscript what happens next? How do you start making a book? It starts with a lot of dry administrative things; we sign the book up, we go to a contract, and then I start by working backward from when we anticipate that we want the book to come out. We work with our internal production and design groups to mastermind a schedule. Because this is such a complex book visually, the design aspects require a lot more time than a typical book might, with its tidy lines of text on a page. For Illuminae and Gemina, literally every page is a different design. The authors were also heavily involved in the design inspiration for the book, so we had to factor them into the blueprint when we were setting up the schedules. Once we had a schedule down, it was easier to address the more straightforward editorial things with the authors. We communicate primarily through email because they’re in Australia, which is a fourteen-hour time difference. I went through the book with big-picture things in mind, like what could be improved and what did we have questions about. Once we feel like we’ve really gotten a story in the best possible shape, it goes over to the copy editor who knows how to do everything I don’t know how to do in terms of grammar and consistency. It’s really cleaning the text for things we might not have caught in the editorial process. Copyediting a book of this size takes about four to six weeks. The manuscript then goes back to the authors so they can address any queries that the copy editor has found. They generally have about a month with it and then we send it to our design group. And from there, the book needs a minimum of ten months to come together before finally going to the printer, with numerous passes and reviews by everybody in between. These are two original concepts we tried for the jacket: Given the non-traditional reading experience and the fact that the whole conceit of the book is based on  documentation, we wanted to find a way to present all of those documents visually. These ideas got dismissed very early on, but they ended up inspiring the case cover design, where designer Ray Shapell was able to let loose with the whole idea of redaction, leaking classified lines, and showing hand-written communications from the characters. Although abandoning the original jacket designs felt like a setback initially, the process brought us directly to final packaging. These cover concepts look a lot more like traditional sci-fi to me. They do. At the time the first book, Illuminae, was coming together, we hadn’t really seen sci-fi break though on a young adult level, so we were trying to arrive at a cover look that wouldn’t scare off readers who aren’t traditional fans of the genre.  But I think these books have really broken the mold. I think a lot of people wouldn’t realize an editor not only deals with the content of the book, but that you have a say in the cover design and you’re a big part of those discussions. Is there anything else that would surprise someone outside of publishing about your job? I don’t sit at my desk and edit. 99% of my editorial work takes place at my kitchen table or my couch on the weekends. Most of my editorial life in the office is spent at meetings or answering emails, and I need to disengage from the office in order to really get into a creative mind space. Photo Credit: Christopher Tovo Why do you think fans are responding so strongly to this series, outside of its non-traditional layout? I think anybody who has met the authors in person feels like they’ve met characters from the book. Their personalities inform every single character in the story; they’re funny, they’re intense, their rapport together just makes you want to sit back and watch them talk to each other. Their writing process involved sending each other blind chapters, and they wrote some passages by text messaging each other rather than sitting side by side, nursing every line in a common voice. So their individual writing personas feel intact and their living, breathing process gets contained in the book.  I think that’s something readers can sense when they read it – It’s just a very personal reading experience, and they make it super accessible. I remember saying to someone, “it may be 600 pages long, but you could easily give it to a reluctant reader,” because there are all these different visuals to break up the reading experience, and the humor and voices and the pace just sweep you along. Is there anything else people might like to know about the book? A slightly non-standard occurrence happened this summer when we sent the authors some pre-press pages to sign—4,000 pages, to be exact. UPS got the address wrong, and Jay was running around trying to locate the boxes. One thing you have to know about Jay is that he’s a big guy and he does a really amazing job of pulling off a badass author persona, but the truth is he’s a total sweetheart. So when he emailed to say that he had found the boxes and stole them off of someone’s porch, I just had to laugh. That’s the kind of stuff that happens working with these two: petty theft might be involved. There’s always something slightly unusual that comes together. Read more about Gemina and Illuminae below, and be sure to check back soon for more behind-the-scenes interviews! Follow along: #Gemina, #Illuminae, #IluminaeFiles Follow the authors on Twitter (@AmieKaufman, @misterkristoff) and Instagram (@amiekaufmanauthor, @misterkristoff) Visit the website here: illuminaefiles.com
Random Notes

The Life of a Book: Part 2 of an interview with the Digital Marketing team behind Gemina

We’re going deep inside the making of a book, with interviews from Penguin Random House employees in editorial, marketing, sales, and more.  If you’ve ever wondered about all the behind-the-scenes work that goes into making your favorite books, this is the series for you.  Take a look at the first post in this series here.  This is part 2 of our round-table discussion with the digital marketing team. For part 1, click here.  Describe Gemina in one sentence. Kate: “Fast-paced page-turner” Cayla: “I don’t know what’s faster –  whether it’s your heart racing when you’re reading it, or how fast you’re turning the pages” Stephanie, what was the best part of making the website? Stephanie: One of the interesting parts about this website project is that we weren’t coming to it with a clean slate; a website already existed for the first book in the series, Illuminae. Therefore, when planning the website for Gemina, we really had to look at the Illuminae Files website and see how we could update it to work for both books. We did a full redesign to incorporate the new blue elements from the Gemina book cover, and we developed a plan for exclusive content we can bring to the website. You really want to make sure that a website is an ongoing part of a campaign to ensure that users have a reason to come back to your site, and we’re really excited about all the great content we have planned for this site. Cayla: Yeah, the website is something you’re going to want to keep your eye on. A really cool sweeps we had a couple months ago let people enter for a chance to have their name on the casualty list in Gemina, and the excitement around that was really cool.
Did anything surprise you about this project? Was anything hard or especially fun? Cayla: I’ve never been a big sci-fi reader, but once I got going and realized it wasn’t anything I thought it would be, I started to have so much fun. I guess that’s also a hope for me: I want people to discover The Illuminae Files and Gemina and realize, “Oh, I’m enjoying this book and surprising myself”. It’s because of the style. That was an intial challenge that turned into something I truly loved. Stephanie: I can’t really say what the most fun part is going to be yet – because it’s going to be website updates that I can’t talk about yet! Kate: I was excited to make the site better and to become more strategic about how we were driving people there. That’s a big thing for digital marketing: we create a lot of beautiful things but if no one sees them, what’s the point? We wanted to make sure we were getting people to see all the content we make. It’s also always a pleasure when you work with authors that are willing to do anything and eager to participate. That makes the job a lot easier
 not just a good book! Any last words? Cayla: Well, every morning when I get my desk, I open a tool that aggregates the images people tag with #Gemina or #IluminaeFiles, and I push the new content to our website. The amount that comes in each day is so inspiring – it’s not just a US fan base, it’s international, and it’s real a thrill to see it. It’s a really great way to start the day, and it reminds me how passionate people are about this book. Read more about Gemina and Illuminae below, and be sure to check back soon for more behind-the-scenes interviews! Follow along: #Gemina, #Illuminae, #IluminaeFiles Follow the authors on Twitter (@AmieKaufman, @misterkristoff) and Instagram (@amiekaufmanauthor, @misterkristoff) Visit the website here: illuminaefiles.com
Behind the Scenes

The Life of a Book: Part 1 of an interview with the Digital Marketing team behind Gemina

We’re going deep inside the making of a book, with interviews from Penguin Random House employees in editorial, marketing, sales, and more.  If you’ve ever wondered about all the behind-the-scenes work that goes into making your favorite books, this is the series for you.  Take a look at the first post in this series here.  Gemina is a very unique book, so our employees need to be  big-thinking and creative. We sat down for a round-table discussion with the digital marketing team at Random House Kids to find out exactly what they do to support a book. Please introduce yourselves and explain your work in this group: I’m Stephanie McKinley, Technical Producer at Random House Children’s, which means that I handle all of the technical projects for the digital marketing team. Before I started, all technical projects—even a copy edit on a website—were completed by outside developers. Now that I am here, we’ve been able to bring a lot of these projects in-house. The Illuminae Files website is one of the projects that was initially created by an outside developer that I have since updated for Gemina. I’m Cayla Rasi, Senior Digital Marketing Manager. My job here is to dive into our digital projects – I work closely with Stephanie and our Director, Kate.  I do a lot of social: Facebook, Twitter, Instagram, you name it. We’re always thinking of really cool ways to reach our readers. I’m Kate Keating – director of Digital Marketing here at Random House Kids. I oversee the department, and we basically touch everything digital. Email marketing, websites, social media, we oversee all digital strategy for the department. What do you think is special or unique about this book? Why will readers want to get their hands on it? Stephanie: The book is just so different in the way that it’s written. With all the art elements inside,  it’s just a completely different reading experience than anything you’re used to. Cayla: Of course, it’s the format- It’s just so wild, it’s so cool. But from a social media perspective, the most special part about this book is the authors. They are so engaging, they love their fans, and they’re kind, generous people. Their social presence is magnificent, and they’re so fun! You can’t help but fall in love with them and their book. For people who aren’t following them on Instagram and Twitter – you’ve got to. Their personalities just shine. Kate:  Well, It’s not like any other book I’ve seen, especially for this audience, and people are so hungry for the second book after reading Illuminae. I love how into the characters everyone is
 they feel really connected to them. I love that the authors are willing to do anything and they understand social media
 they really get it. Everyone in-house is saying it’s the book for people who don’t necessarily know they like sci-fi. What are some of the steps you take when you first start working on a title? Cayla: I start by reading the book. I find inspiration from between the pages. Then, I love looking at the fans and what they’re saying online. The fans give me that fire in the belly, they get me excited to work on a project:  I love being able to see what they are talking about, what matters the most to them. Kate: Our marketing process starts with list launch meetings, when the editorial group presents all their titles for that season. Later on, we have meetings with publicity, editorial, sales, and marketing groups. We talk about comparative books in the marketplace, and how we felt about our readings of the book. Afterwards, we create slide presentations to flesh out ideas for a marketing campaign – at this stage, it’s still loose and flexible. The next round of big meetings is called pre-sales: that’s when we present our ideas to the field sales representatives and our president. They give us feedback, and we tweak our plans accordingly. We also have author meetings to figure out challenges they’ve faced in the past, or things that have worked well for them before. Next up is sales conference – at that point, everything need to be pretty finalized because editors have to send final concrete marketing/publicity/sales plans to the authors and agent. A big part of our team’s work is prioritizing tasks, because the digital landscape changes so quickly. Sometimes we may have a whole plan that we’re starting to execute, but will suddenly need to do finish is much faster than anticipated. We try to plan as much as possible, but we do have to react to things quickly. Cayla: Social changes all the time – so we make plans, but there’s also so much shifting and changing so we have to stay very creative and nimble. But really it’s a matter of being able to do both: plan in advance and also work in real time. Check back in the coming weeks for the inside scoop from the Gemina team! Follow along: #Gemina, #Illuminae, #IluminaeFiles Follow the authors on Twitter (@AmieKaufman, @misterkristoff) and Instagram (@amiekaufmanauthor, @misterkristoff) Visit the website here: illuminaefiles.com Read more about Gemina and Illuminae below.
Editor's Desk

From the Editor’s Desk: Berkley executive editor Anne Sowards on The Great Library series by Rachel Caine

Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. When I was young, the weekly trip to the library was the highlight of my existence. Probably because my greatest fear was running out of things to read! So I’ve always loved libraries and the access to books they offer to readers everywhere. I know there are a lot of you out there who agree. Now imagine a world where you can’t own books. Where knowledge is regulated and controlled. Where an all-powerful organization decides which discoveries and inventions we know about, and which are buried, never to see the light of day. This is the world of Rachel Caine’s Great Library series, and it’s by turns marvelous, fascinating, and utterly terrifying. When Rachel came to me with the idea for this Young Adult series, I was intrigued by this alternate world where the Great Library of Alexandria never fell—and now, through its control of knowledge, essentially rules the world. Through alchemy, the text of any book can be borrowed from the library and recreated on your own personal codex. But here’s the rub: how do you know if the Library has made any changes to that book? Or whether knowledge of something that might threaten the Library’s power has been suppressed? You don’t. You wouldn’t. And that’s why black market book smugglers, like Jess Brightwell and his family, exist. You see, some people HAVE to own books. Some are collectors, some desire knowledge, and some hunger for . . . well, I’ll let you find out about that for yourself. The Brightwell family business is dangerous, but more than that, Jess is troubled by what happens to some of the books they sell. Soon Jess’s father decides he would be better suited to entering the service of the Library—officially to train for a life as a Scholar, and unofficially, to spy. And the story’s just getting started! But I don’t want to spoil this utterly readable and engaging series for you. Ink and Bone and Paper and Fire are the ultimate “books about books”, a series for readers everywhere. A story that revolves around books and libraries, that blends alternate history with magic, adventure, and romance—about the power of knowledge and the power of friendship and love? Sign me up! Learn more about the books below!
Editor's Desk

From the Editor’s Desk: Meg Leder, Executive Editor for Penguin Books, on Johanna Basford and the Adult Coloring Book Craze

Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. Meg Leder, Executive Editor, Penguin Books, takes us inside the world of adult coloring books, one of the hottest segments in publishing.  She edits “The Queen of Coloring,”Johanna Basford, whose newest title, Magical Jungle, is published by Penguin Books on August 9. In your view, what accounts for the adult coloring book craze and what separates Johanna Basford from the adult coloring book artist pack? I think the adult coloring book craze has taken hold for several reasons: (1) It’s a welcome respite from the world of computer screens. Coloring is a distinctly physical activity, and there’s something imminently relaxing about putting marker or colored pencil to paper, instead of spending time with screens. (2) It’s an inherently democratic hobby. All you need is a book and a coloring tool—you don’t need to spend a lot of money on supplies or time learning skills. (3) And I think it speaks to something a lot of us did when we were kids—we loved it then, so it makes sense we’d love it now, especially with the more intricate designs! I think New York Magazine dubbed Johanna the “Queen of Coloring” for a number of reasons. She was one of the first people out there to invite adults into the coloring book realm. She’s got a marvelous artistic vision—she’s so exceptionally talented at creating intricate work that inspires colorists. And she’s also extremely generous, both as a person and as a creator. She’s said a number of times that she just starts the masterpieces, and her fans finish them. I think that generosity shows in her art and resonates with all her fans.  Watch Joanna Basford’s “Magical Jungle – An Inky Expedition & Coloring Book” video: How did you come to acquire and edit your first adult coloring book and how did the process compare with how you work with Johanna on her books? When I was at Perigee, I acquired my first two coloring books at roughly the same time: Outside the Lines by Souris Hong, and Color Me Girl Grush by Mel Elliott. Rather than the fact that they were coloring books, what drew me to both of these was the subject matter (street art and Ryan Gosling, respectively!) and the fact that they expanded notions of creativity. And then, luckily, they both really benefitted from the adult coloring book craze timing-wise. In the years since, the coloring book audience has become a lot more opinionated and sophisticated about what they want in a coloring book, so with Johanna’s titles, we’ve spent a lot of time with our amazing production team looking at paper weight, opacity, etc. When I worked on those first two books, I never imagined that several years down the line, I’d be spending as much time talking about the merits of white vs ivory paper as I do now. But we want to keep those colorists happy! In addition to adult coloring books, what are a couple of the upcoming books you are editing that are of most interest and what do you hope will distinguish them? I’m publishing a book called Carry This Book from Broad City’s Abbi Jacobson this fall. It’s a marvelous illustrated book detailing the contents of real people’s and fictional characters’ bags. It’s one of the most wonderfully weird and weirdly wonderful projects I’ve worked on since I started publishing, and I think readers will be really intrigued by this glimpse into the way Abbi’s mind and creative process work. Abbi’s a spectacularly creative and cool person, and it shows on the page. I’m also really excited about two other books I have coming out this fall:   Tree of Treasures: A Life in Ornaments and The Wasp That Brainwashed the Caterpillar. The former is a gift book that explores the way ornaments tell the stories of our lives, and the latter looks at all the strange animals that evolution has created, including the antechinus, whose males have so much sex during their three-week mating session that runaway testosterone levels make them bleed internally, go blind, and drop dead! I love that my list at Penguin has room for such a wide spectrum of books, and my hope is that readers will enjoy reading them as much as I loved editing them. Explore some adult coloring books here!
Behind the Scenes

The Life of a Book from Manuscript to Bookstore: Gemina

Ever wonder how a book makes it from the author’s mind to a reader’s shelf? Last time we delved deep into a book, we focused on the fascinating But What If We’re Wrong? by Chuck Klosterman. You can explore that series here. This time, we’re taking a sharp left turn with one of the most exciting and nontraditional series on the market. The second book in The Illuminae Files, Gemina by Amie Kaufman and Jay Kristoff, has been hotly anticipated by fans ever since Illuminae ripped onto the scene last fall. Full of spaceships, evil corporations, and deadly viruses, the plot is heart-pounding. However, it’s the format and design of this series that really makes it stand out – no one page is like the next. It’s a collection of files, announcements, data, memos, text messages, photos, and illustrations, all meshed together to give the reader an experience like no other. Gemina is set to be even more jaw-dropping, so follow along to discover the hard work and inspiration that goes into the making of this unique book. gem In the coming months, we’ll talk to the editor, marketing team, a sales representative, and other people who help make a book… a book. Read more about Gemina and Illuminae below.
Editor's Desk

From the Editor’s Desk: Vice President and Editorial Director Rebecca Saletan on I’m Supposed to Protect You from All This by Nadja Spiegelman

Editors get very passionate about books they work on – the Editor’s Desk series is his or her place to write in-depth about what makes a certain title special. Get the real inside-scoop on how books are shaped by the people who know them best. As Nadja Spiegelman describes early in her wonderful memoir, I’m Supposed to Protect You from All This, the book grew out of a series of conversations with her mother, Françoise Mouly. Throughout Nadja’s childhood, Françoise had steadfastly deflected questions about her past with “I’ll tell you when you’re older.” She kept her word. When Nadja emerged into adulthood, Françoise told her everything she could remember, not sparing herself the difficult emotions the recounting called up. Nadja would eventually cross the Atlantic to continue the conversation in France with her grandmother, adding JosĂ©e’s story and that of JosĂ©e’s mother to her ballooning research. For me, however, the book began in a different place, when Nadja was trying to wrestle a narrative out of this overwhelming, overlapping, contradictory array of stories – not to mention each figure’s conflicting interpretations and complicated responses. On her visits to New York, we’d meet for lunch, always somewhere quiet and with a large table, my apartment or the Korean place near my office, so that she could lay out her annotated transcripts and notes and the fantastically detailed storyboards she had assembled. Nadja Spiegelman At moments like these, editors can feel a little like the Wizard of Oz, struggling to muster godlike pronouncements from behind a threadbare curtain of authority. I confess I wondered at moments if we were both lost. But as Nadja began to send me draft chapters, working her way through the material, it became clear to me that my author, young and wide-eyed as she was, had incredibly well-developed impulses as a writer. She knew where she was going, and she returned to the material, draft after draft, until she got it there. Like many writers, Nadja is a creature of the night, but she took that to extremes. Sometimes when we’d Skype, well into the evening for me – editors tend to be creatures of the night too, at least when it comes to editing – she’d still be up, working, when dawn was already breaking in Paris. Sometimes we continued our conversations the next morning, though at her age, the punishing hours she was keeping did not show. But they paid off. Gradually a gorgeous, intricate narrative emerged, one that mimicked the layering and warping of memory, to powerful effect. I have daughters of my own, a decade younger than Nadja – more or less the age Nadja was when her mother first told her her story. I came to the book not only as editor but as mother and daughter. I wondered about all the things I had never asked my mother about her past, or her mother’s. I was in awe of Francoise’s courage in revealing everything, and doubted that I would have the same. The book made me appreciate that we do not understand any adult until we see him or her as someone’s child. I loved getting to be part of its coming into the world. Listen to an interview with Nadja on the Beaks and Geeks podcast:  
Blog, Writing Tips

The Great Grammar Debate: 5 Books on How to Write ‘Right’

This article was written by Jennie Yabroff and originally appeared on Signature Reads.

If, as Oliver Kamm writes in his new book Accidence Will Happen, “learning rules of language is part of what it is to be human,” then arguing over what those rules are, and if they matter, is most certainly another part. Can you start a sentence with ‘hopefully?’ Is confusing ‘it’s’ and ‘its’ an unpardonable offense, or no big deal? And is it ever OK to use the plural pronoun ‘their’ when you’re referring to a single person? (And what about starting a sentence with and?) Today, people who have strong opinions about the answers to these questions (a small but passionate minority) fall into two groups: pedants and permissives, or, as Kamm differentiates them, prescriptivists and descriptivists.

Kamm, who writes about grammar and usage for the London Times, calls himself a ‘recovering pedant’ who believes much of our insistence on set rules for English is really a cover for snobbery and exclusivism. Yet he is not above correcting others who have written similar books, especially the sticklers, who, he claims, “are confused about what grammar is,” (and who would probably suggest he rephrase his sentence so as not to end with the prepositional-sounding ‘is’). Grammar, he points out, refers to syntax, morphology (the way words are formed), and phonology (the way words sound). Sticklers, he writes, often confuse grammar for orthology (spelling and punctuation). Whenever one of these purists publishes a book, armchair grammarians (and orthologists) take great glee in pointing out the errors in the text (many of which, to be fair, are merely typos that slipped past the eye of wearied copyeditors). To figure out which side of the great debate you fall on (if you think that sentence should read, ‘to figure out upon which side you fall,’ you already know the answer), check out these other guides to the confounding, complicated, and fascinating language known as modern English. Eats, Shoots and Leaves by Lynne TrussEats, Shoots and Leaves by Lynne Truss Truss, the author of several guides to punctuation, comes down firmly on the side of the sticklers (and earns Kamm’s wrath for her punctiliousness). As the title of her book proves, a misplaced or missing comma (or apostrophe, or hyphen) radically alters the meaning of sentences, turning the dietary habits of a panda bear into a description of a gun-bearing mammal who dines, opens fire, then departs. Between You and Me Between You and Me by Mary Norris The New Yorker is as famous for its exacting copyediting process as it is for the peccadillos of certain editors such as William Shawn, who forbade words including ‘workaholic,’ ‘balding,’ and ‘urinal.’ This memoir by Norris, who has worked at the magazine since 1978, was an unlikely hit, and spawned an online video series where she reveals the grammar errors she’s found in writers’ drafts, and describes not just why they’re wrong, but how to fix them. The Elements of StyleElements of Style (Illustrated) by William Strunk, Jr., E.B. White, and Maira Kalman If grammar has a Bible, it is this book. First published in 1918, when the world was in need of some solid, straightforward guidance, this book remains beloved for its no-nonsense tone and unapologetic belief that the rules of grammar do exist, and are actually quite easy to follow, if you just pay attention when you speak and write. This edition, lovingly illustrated by Maira Kalman, injects the book with a playful visual guide to the etiquette of proper sentence construction. Yes, I Could Care LessYes, I Could Care Less by Bill Walsh The problem with the way most of us speak and write, the author of this book contends, is we forget to consult our brains. A longtime copyeditor for the Washington Post, Walsh is happy to hold the unpopular opinion that there is a right and wrong way to use words, and it actually matters if we say ‘literally’ when we mean ‘figuratively’ or claim we ‘could care less’ when in fact we mean the opposite. Walsh himself cares, quite a bit, and isn’t afraid to stand up for what he believes.
Image © flickr