I am so excited to blog this morning about The Books of
Elsewhere series by New York Times Bestselling author Jacqueline West!
I found the first book in this series, The Shadows, when it was
announced as one of the Sasquatch Award Nominees for 2013. This award is put
out by the Washington Library Media Association, and my son's class has a
challenge each year for the students to read all the books on this list. I
thought we would get started early this year and read a few over the summer. I
think my son is quite glad I brought The Shadows home from the library
for him, and he has continued with the other two books in the series, reading
the third in less than a day!
Summary: (from www.jacquelinewest.com)
Old Ms. McMartin is definitely dead, and her crumbling Victorian mansion lies
vacant. When eleven-year-old Olive and her dippy mathematician parents move in,
Olive is right to think there's something odd about the place – not least the
strange antique paintings hanging on its walls. But when she finds a pair of
old glasses in a dusty drawer, Olive discovers the most peculiar thing yet: she
can travel inside these paintings to Elsewhere, a place that's strangely
quiet...and eerily familiar. Olive soon finds herself ensnared in a plan darker
and more dangerous than she could have imagined, confronting a power that wants
to be rid of her by any means necessary. It's up to her to save the house from
the shadows, before the lights go out for good.
Why it is Marvelous: This book is part adventure, part mystery and part ghost story, complete
with the spooky old house. Even though the book takes place almost entirely in
the house, there are lots of unique settings, from the many paintings Olive
enters, to the basement and attic of the house itself. The story hidden in the
paintings is a mix of the present and the past that brings in a mystery for
Olive to solve. She is helped along by a trio of talking cats, that are as much
a part of the house as the paintings themselves, but Olive must figure out
whose side they are on before she can trust them. I love books that resonate with
both boys and girls and this one does just that. Both my son (age 10) and
daughter (age 8) have read and enjoyed this book, and I think most middle grade
readers will too!
Interview with Jacqueline West! I was so happy Jacqueline was willing to answer a few
questions for me. She recently had an excellent interview at Cracking the Cover
so if you want even more information about her background and writing head over
there.
1. I heard your agent
Chris Richman speak this year, and I remember two things... that he was mainly
interested in MG and YA with a focus on boys and that his first couple deals as
an agent went on to become New York Times Bestsellers. I didn't know about your
books at the time, but I guess one of the deals he was talking about was for
you and The Books of Elsewhere. Now that I look back at his bio, it also says
he was interested in "books with unforgettable characters and fantasy that
doesn't take itself too seriously." Between reading his wish list again
and having heard him speak, I can see that he is a great agent for these books!
Did you get other offers of representation and how did you know Chris was the
right agent for you?
There was a pretty
even mix of smart and stupid in my search for an agent. I had
published many poems and short stories by that point, so I knew submission
protocol. I slaved over my query letter. I researched agents and agencies very
carefully, using guidebooks, websites, authors’ acknowledgements pages—everything
I could find. And then I went about submitting my book in the shyest, most
passive, self-deprecating-Midwestern-girl way.
I never attended any
conventions. I didn’t join any writing groups—SCBWI, CLN, or any of the other
organizations that might have helped me. I didn’t have any personal or
professional connections in the children’s publishing world. I also sent only a
couple of query letters at a time, thinking that there was no point in rushing
to be inundated with rejections, which I was sure was all I would get. As it
turned out, there was some interest, and I got a couple of manuscript requests,
but nothing ever quite panned out—until Chris found my letter.
At the time, Chris was
a junior agent at a now-disbanded New York agency, and he picked me out of the
slush pile. After he’d read the whole manuscript and we talked on the phone, I
got the immediate sense that he really got my work. Because we were both
new to this—I was a brand new writer, he was a brand new agent—I think we were
especially open-minded, enthusiastic, and ready to take a chance on each other.
As our careers have grown together, Chris has been the perfect advocate for my
books. I got really, really lucky. It was the right book, at the right time,
finding its way to the right people.
2. What has changed for you (personally and as an author) since your first book, The Books of Elsewhere, Volume I: The Shadows, made the New York Times Bestsellers list?
Mostly it’s meant that
I get to have that little ‘A New York Times Bestseller!’ line on my
books’ covers.
It was thrilling, of
course (and totally astonishing), to find out that The Shadows had made
the list. The New York Times is still THE list; it’s a mark of success that
people in and out of the book world recognize, so it’s often the first thing
that gets mentioned when people talk about my work. In that way, it’s been a
really nice bit of validation.
But did that week on
the list truly change things for me? I’m not sure. I try not to think about
sales figures. Once a book is published, there is only so much that you, as the
author, can do about its success. You can promote it creatively, and be a savvy
social networker, and make lots of public appearances—and these are all
valuable—but your real job is the writing. I try not to get tangled up
in worrying about the books that are already published, because I can’t make
people like them, or buy them, or review them in glowing terms. All I can
do is keep writing, keep trying, and keep learning.
3. I see that there is a long list of awards for The Books of Elsewhere, Volume I: The Shadows. Do you actively pursue application for awards, and how important do you think they are in spreading the word about your work?
I’m extremely
fortunate here, because I’ve got the Penguin Young Readers Group publicity and
marketing teams on my side. If there is any applying to be done, they are the
ones who take care of it. Other awards that I’ve won or been nominated for,
like the Cybils, are completely reader/blogger driven, so they are out of the
writers’ hands as well. In fact, I often find out that my work is up for an
award long after the list has been announced, and other writers or readers are
talking about it. (For example, I learned about the Sasquatch Award nomination
thanks to your email, Julie!)
As for how important
they are in spreading the word about my work: Very. Some of the lists I’ve
made, like the master list for the Texas Bluebonnet Award, or the nominees list
for Florida’s Sunshine State Young Readers Award, are heavily promoted in
schools and libraries, actively encourage kids to read and vote for their
favorites, and have led to a big surge in readership in those areas. They are a
wonderful, reader-centered way to spread the word, and I'm honored to have been
included in so many of these programs.
4. Obviously The
Books of Elsewhere have a strong appeal for both boys and girls. Did you
make a conscious effort to write the books this way, and if so, how do you go
about doing that?
The Shadows was the first thing I had ever tried to write
for young readers. When I started it, I had no real hopes of it being
published; I just had a story that wouldn’t stop rattling around in my brain,
and I wanted to see what would happen when I put in on paper. My only real
goal, besides trying to finish the thing, was to write something that my
brothers and I would have liked when we were kids. I’m the oldest of three, and
I often read aloud to my younger brothers when we were all piled on the living
room couch or wedged in the back seat of the car. We loved the Bunnicula
series by James Howe, and A. A. Milne’s Winnie-the-Pooh books, and we
were utterly obsessed with Calvin and Hobbes. We liked stories that were
funny and creepy at the same time, or that had odd, impossible magic happening
in the real world. In that way, I guess I started writing The Books of
Elsewhere with two very specific boys and one specific girl in mind. Now,
knowing that my books are reaching other boys and girls who love creepy, funny,
magical stories is wonderful. I hope some of them are reading my books aloud to
each other, wedged in the backseats of their own families’ cars.
5. The illustrations
for The Books of Elsewhere are
amazing! I was wondering if you could touch a bit on the process of (and how
much involvement you had) finding the right artist for your books.
My illustrator, the
brilliant Poly Bernatene, was selected by my publisher. (This seems to be the
way it usually works, especially with newer authors.) As we were wrapping up
revisions on The Shadows, my editor told me that Dial/Penguin had found
an Argentinian artist who they thought would be the perfect illustrator for
these books. I went straight to his website, checked out his portfolio, and
started giggling ecstatically. You can see its beauties for yourself: http://www.polybernatene.com/
Poly has illustrated
dozens of books in all different styles, and I absolutely love the work he's
done for The Books of Elsewhere. I get to see his sketches during the
final editing stages, and if there are any little tweaks that need to be made,
I can ask for them at this point (like 'Olive is supposed to be wearing shorts,
not pants, in this scene,' etc.), but the changes I've wished for have been
minor. Seeing his sketches for the first time can be almost eerie, because some
of them come so close to the images I had in my own head that it feels like
he's reading my mind...but of course he's just reading my book. Because he
lives in Buenos Aires and speaks Spanish (and I live in Minnesota and don't),
we haven't gotten to meet in person or communicate directly--but he understands
my stories and settings and characters perfectly, and I'm so, so grateful.
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