Tag Archives: editor

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!

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!

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 FilesGemina 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.

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 Josée’s story and that of Josée’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:  

From the Editor’s Desk: Kate Seaver, Executive Editor at Berkley, on Sunshine Beach by Wendy Wax

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. All year a stack of books sits on my bedside tale. Books I’m reading and ones I can’t wait to start. In the summer my weekend bag replaces my bedside table and the book choices shift to include more beach reads, fun, uplifting stories that often take place in locations I’d love to visit. Wendy Wax’s Sunshine Beach is such a book. Set in Florida, it’s part of a series of books that feature three women whose lives were upended when they lost their life savings in a Ponzi scheme. To make a living they banded together to renovate old houses. Wendy first introduced these characters in her novel Ten Beach Road. Avery, Maddie, and Nikki were strangers who took on the challenge of restoring a ramshackle, beachfront house to recoup the money they’d been cheated out of. Avery’s marriage had ended, Maddie was trying to keep her family together and Nikki was a business woman who’d lost everything—each story captivated me and it was fascinating to watch the women become best friends and renovate an older house. Without actually having to lift a hammer, I learned how to refinish floors and refurbish a chandelier. Wendy’s gutsy, funny, and very real characters resonated strongly with readers and encouraged Wendy to return to that beloved world for two more novels, Ocean Beach and The House on Mermaid Point. In each book we learn more about the three friends as their lives evolve and they fix up a new property. In Sunshine Beach, the three friends gather in the house they renovated in Ten Beach Road and embark on the challenge of restoring an old seaside hotel just down the beach from them. They also face major life changes. Maddie’s second-chance romance with her all-too-famous new boyfriend gets complicated, Avery struggles with grief over the loss of her mother, and Nikki’s reluctance to commit to the man who loves her could lead her to face the biggest challenge of her life. Even the hotel seems to be against them, when their renovation uncovers a decades-old unsolved murder which might bring their lives tumbling down again… I love these women—their stories are compelling and their friendships inspiring. Each evening, no matter how hard the day has been, they gather on the beach with drinks and appetizers (including Avery’s beloved Cheez Doodles) to say the one good thing that happened that day. It’s an appealing ritual, and I invite you to add Sunshine Beach to your weekend bag and join Avery, Maddie and Nikki on the beach. It’ll prove to be the perfect summer escape. Learn more about Sunshine Beach below!

From the Editor’s Desk: Matt Inman, Senior Editor for Crown Trade on Every Frenchman Has One by Olivia de Havilland

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. On a recent Saturday morning, I glanced over at my iPhone and saw the words “O de Havilland” light up my screen. A new e-mail had arrived from Paris, where Olivia de Havilland was pondering a question I’d posed earlier that week (“In the past, you’ve referred to the guiding philosophy behind Parisian style as ‘the Paris principle;’ in your opinion, what are the key tenets of that principle?”) That I was discussing the timeless style of les parisiennes with the two-time Academy Award-winning actress who played Mellie Hamilton in Gone with the Wind (1939), while I, myself, was wearing sweaty tennis clothes and watching “Unbreakable Kimmy Schmidt,” now strikes me as a little, well, déclassé. But even if the details of this exchange are a little embarrassing, the story of how our paths crossed perfectly captures two aspects I love about my job: discovery and serendipity. About a year ago, I read a fascinating article about Olivia de Havilland’s groundbreaking 1944 lawsuit against Warner Bros. and found myself wanting to know more. I love reading about Hollywood’s Golden Age—and have always admired Miss de Havilland’s work—and I assumed that she’d already written about her extraordinary life and career. After a little searching, I was surprised to learn that while she had written a book, it was a 1962 memoir about falling in love with a Frenchman and moving to Paris. That book, Every Frenchman Has One, was long out of print and very expensive to buy online, so I went to the New York Public Library to check it out. As I read, I found myself laughing out loud at her witty, candid, and completely charming stories about her skirmishes with French customs, French maids, French salesladies, French holidays, French law, French doctors, and above all, the French language. A Francophile myself, I’d recently seen the Broadway staging of An American in Paris, and was surprised that such a wonderful book about Americans in Paris—and the lessons we can learn from the French—was so difficult to find. But as I read further, I realized that Every Frenchman Has One was about something much more profound. In her own way, Olivia de Havilland was quite brave, not only to drop everything; leave Hollywood behind; and take a chance on life, and love, in a new country, but to write so honestly about her bumpy ride as an expatriate. More than fifty years before Scarlett Johansson and Natalie Portman married Frenchmen and moved to Paris and long before celebrities revealed every detail of their lives to their followers via social media, de Havilland was sharing her gaffes and insecurities with her fans, saying, yes, even glamorous women can be embarrassed every once in a while; it’s the price one pays for trading comfort for change. More than anything, though, I was struck by Miss de Havilland’s wonderful writing. It exudes an effortless, timeless charm that makes it as appealing today as it was in 1962. Upon returning to the office, I learned Bennett Cerf himself had reverted the rights to Olivia in 1971, and so began my journey toward e-mailing with Olivia de Havilland about all things French on the eve of her 100th year. I’m thrilled that Crown Archetype will put Every Frenchman Has One back in print for the first time in decade—and publish it as an e-book for the first time—on June 28th. I’ve also had the great honor of corresponding with Olivia on a series of questions and answers that reflect on the book, and on her sixty-plus years as an American woman in Paris. They are delightful, and will appear as a postscript to this new edition. (Her answer to my original question about her philosophy of Parisian style, by the way: “1. Discretion, 2. Discretion, 3. Discretion.”). With this reissue, I’m excited to have even a small part in celebrating the centennial birthday of one of Hollywood’s greatest stars on July 1. I hope that anyone who loves Olivia de Havilland, Paris, or stories about Americans abroad will enjoy her book as much as I did. Learn more about Every Frenchman Has One below!

From the Editor’s Desk: Scott Moyer, VP & Publisher of the Penguin Press on The Way to the Spring by Ben Ehrenreich

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.

To publish a book about Palestinian lives in the West Bank is to take part in a fiercely contested debate, whether you like it or not.  It’s a debate that’s become a dialogue of the deaf, and it can seem too complicated and unpleasant to pay too much attention to.  I didn’t come to this book out of some sense of advocacy, in particular, nor frankly would I have wanted to: there are enough shrilly partisan books out there, for the most part preaching to the choir.  But what I did and do feel, stubbornly, is that nothing human should be alien to us, and that if a great journalist, which is to say a great observer and listener, someone with a great head and heart, really goes there and stays there, then we ought to pay attention.  And Ben Ehrenreich is a great journalist.  The contact high from his talent is exhilarating. 

He’s also very brave. Show us the extreme challenges of life in a public housing project in the South Bronx, or in a Mumbai slum, and it’s all good; you get roses thrown at your feet.  But the West Bank is under Israeli military occupation, of course, and has been for a very long time, and so if you write a clear and honest human account of life for ordinary Palestinians, then you can be accused of being “anti-Israel” , or worse, and you find yourself under assault, or at least greeted with uncomfortable silence.  In fact, Ben Ehrenreich is no more anti-Israel than someone writing about life in Northern Ireland under British occupation was by definition anti-English.  If you bring to light stories that depict inhumane situations, and thereby create pressure to improve them, are you “anti” the country in which the inhumane situations exist or “pro” that country? 

Anyway, I am making this book sound shrill itself, which is precisely what it is not.  Under the spell of the storytelling, we find ourselves in the shoes of a group of wonderfully vivid and disparate characters, united by the struggle to live decent lives.  What I think was most shocking to me was how openly the enemies of the Palestinian presence in the West Bank – the far right-wing Israeli settlers – admit to having an eliminationism agenda: their stated goal is to drive all Palestinians out of the West Bank and take it over completely – ethnic cleansing on the installment plan. And their means of achieving that is to make life unbearable for the Palestinians. 

Ben Ehrenreich is a powerful witness to all this; he spent several years in the West Bank, all told, and came to know these communities intimately.  There’s sadness and heartbreak in this book, but there’s also laughter and affirmation.  But there’s no escaping the fact that this shows us a situation that has become very extreme, even almost unimaginable, and so I think however uncomfortable it makes us, it’s worth our whole-hearted support.  This isn’t a dogged or prescriptive polemic, it is a work of art; by immersing us in these lives, these stories, it places us as readers right on the horns of the dilemma.  There’s no easy way out, for anyone, but the more we bring this world into our consciousness, the more human we will be – and the more honest we will be with each other about the consequences of our own inaction.

Learn more about The Way to the Spring below:

Listen: Chuck Klosterman and his editor on John Philip Sousa, Phantom Time, and more

Chuck Klosterman and his long-time editor, Brant Rumble, talk with Amy about the future, Moby Dick, high-school level physics, serial killers and much more. Follow the entire Life of the Book here: bit.ly/216fgsS Learn about the book here:

The Life of a Book: Publication day! An interview with Chuck Klosterman and editor Brant Rumble

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.   Today we’re celebrating the publication of the book with an interview with the author, Chuck Klosterman and his longtime editor, Brant Rumble. In this episode of Beaks & Geeks, we talk about serial killers, Moby Dick, the publishing industry, sharing music, phantom time, and much more.  Read first post in this series here, and find out more about But What If We’re Wrong here: 

From the Editor’s Desk: Peter Gethers, President, Random House Studio and Senior Vice President, Editor at Large Penguin Random House on Sweetbitter by Stephanie Danler

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. There are several things that are most thrilling to a book editor. First and foremost is the discovery of true talent. Everything else extends from that. Next on the list is when other people throughout the company respond to that talent positively and excitedly. When strong enough, that response not only becomes electric, it becomes unstoppable. At its most exciting it becomes a tidal wave of appreciation for a book or a writer. Next, of course, is the validation that comes from a wider audience – The bookstore buyers, managers and sales people and then, finally, actual real people who make the final judgment on the book. Over the course of my lengthy career, I have brought in a lot of great talent and some major stars. That is satisfying in its own right. But it does not compare to the discovery of a writer who is fresh, unknown, who is to be revealed. I have never seen a response to an unknown talent like the one I have seen for Stephanie Danler’s Sweetbitter. It started with my read where, after only 20 pages, I realized I was not just reading a well-written novel, I was reading something special, spectacular. Claudia Herr, who became the line editor and helped shape and refine the novel with Stephanie, was the next reader and the first person to come into my office. She was, literally, trembling and said she had never been so excited after reading a submission. We went about trying to build a consensus but we did not have to try very hard. The manuscript swept through Knopf, through all the layers and every department. Never before had I gotten emails or phone calls saying things such as, “You must buy this book,” or “We have to publish this!” We met with the author and Ms. Danler was at least as impressive as her wonderful prose. Although there are obvious autobiographical elements in her first novel it was immediately clear that she had many more books in her ­ she was an author, not just someone who had written a terrific first novel. The thrill has continued every step of the way. The wild enthusiasm within the Knopf group turned into equally strong support from reviewers and bookstores and consumers. Right from the beginning, we thought that Stephanie Danler had written a novel that had a chance to become iconic, to really be that over-used cliché: “the voice of a generation.” It is starting to look as if we all might be right. What did we see in this book from the moment the manuscript was submitted? We saw an elegant and eloquent use of language; the author’s descriptions of food made us hungry; her descriptions of sensual cravings stirred us; writing about the turmoil of being young brought us all back to our youth, or for those who were still young, it was like having their own lives being thrown back at them at the speed of light. The book made us all see ourselves in different ways, no matter our age or our sex. It also made us see outside of ourselves. It made us see the narrator’s very specific world as well as the world at large in new and startling ways. This is what talent does. This is what Sweetbitter is about to do to readers all over the world. Learn more about the book below!