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Girls’ books

Lan­don, from Pow­ell, Ohio asks, “Why do you tell some sto­ries from a girl’s per­spec­tive like in Char­lotte Doyle?”  Well, Lan­don, as I under­stand it, slight­ly more than half the world’s pop­u­la­tion is female. I do not think I want to ignore that many peo­ple. I have many good friends, boys, girls, men, and women.

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A fascination with maps

The sto­ry is that Robert Louis Stevenson’s step­son, Lloyd, asked for a map, a trea­sure map, such as pirates might use. Steven­son drew it, and then wrote a sto­ry to fit it. It was called The Sea Cook but lat­er the book was renamed Trea­sure Island, the title by which we know that book (and

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Love at first sight

A New York Times arti­cle, 3–26–14 “Lit­er­ary City, Book­store Desert,” describes the demise of book­stores in New York City. The cause, appar­ent­ly, is huge rental costs. A very sad sto­ry. The sto­ry, how­ev­er, remind­ed me of my days grow­ing up in NYC, and the many, many book­stores around town. Best of all was what I believe

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Dr. Johnson’s advice

Samuel John­son was the pre­em­i­nent 18th cen­tu­ry Eng­lish lit­er­ary lion, essay­ist, crit­ic, and cre­ator of the most impor­tant dic­tio­nary of the Eng­lish Lan­guage until the OED. When I sent in a new man­u­script to my edi­tor, I remem­bered his words: “When a man knows he is to be hanged in a fort­night, it con­cen­trates his

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It doesn’t work that way

One of the dif­fi­cul­ties that con­front new writ­ers is the myth that writ­ers work alone. I am sure you know the leg­end: the writer in his/her gar­ret, strug­gling through the night, cre­at­ing the per­fect bit of writ­ing. Done. Pub­lished. Fame and for­tune. Despite the fact that the author’s name stands alone on the book, it

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Restless

Every once in a while, my reg­u­lar writ­ing life comes to an abrupt halt. I am at such a moment: I have two books at pub­lish­ing hous­es, and must wait for copy­ed­i­tors to com­plete their work before I dive back into those texts. I have anoth­er book—not near­ly so far along—sitting with an edi­tor. I

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Knowing when to stop

Damon, from Bed­ford, Pa, asked, “You say you revise you books so many times. How do you know when to stop?” A fair ques­tion. Since I don’t believe there is such a thing as a per­fect book, there is always some­thing to revise. The ques­tion is, are you mak­ing the writ­ing bet­ter? The point is, changing

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“It stinks!”

As some of you know I do Skype vis­its with class­rooms around the coun­try on an almost week­ly basis. The impact, to be sure, varies, but here is a response from a teacher that sug­gests how well it can go. If you are inter­est­ed in set­ting up such a vis­it, please go to my website.

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Looking for the flow

One of my key tech­niques when I am approach­ing the com­ple­tion of a man­u­script is a one day read through and re-write. I did this yes­ter­day. It works like this. I got up early—you will see why—and bring up the com­plete text of my man­u­script (in this case 263 pages) on my com­put­er screen. Then

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Describing my main character

My next book, Catch You Lat­er, Trai­tor, will be pub­lished ear­ly next year. It is, as they say, in pro­duc­tion. I get the first copy-edit­ed pass this week. The sto­ry is told by Pete, in the first per­son. Today, I received this note from my editor’s assis­tant: “One more thing: Our art direc­tor has asked me

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