Alex Perry On Balancing Editing and Drafting Different Projects

Welcome to the SNOB - Second Novel Ominipresent Blues. Whether you’re under contract or trying to snag another deal, you’re a professional now, with the pressures of a published novelist compounded with the still-present nagging self-doubt of the noobie. How to deal?

Today’s guest is Alex Perry, whose debut, Pighearted, comes out in Fall of 2021 and will be published by Little Brown for Young Readers. Pighearted is about a boy with a heart condition. A genetically engineered pig is supposed to be his heart donor, but ends up becoming his best friend.

Is it hard to leave behind the first novel and focus on the second?

Switching my brain from one project to another is hard. It’s my baby. I’m invested. And now I’m letting my baby wander out into the world on her own. But much like letting my baby toddle into the wilderness with a bindle stick and good wishes; it’s ultimately a relief. I did what I meant to do. My first novel, Pighearted, was out of my hands. I was done. I could relax. Until I had to come up with another project.

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I was already working on a few different stories when my agent Melissa asked me to come up with a pitch for the next book so we could show my editor. I was in love the concept of Pighearted, so it was tough to try to present some half-baked idea with the enthusiasm I had for my first book. So I had to fake it.

I was in the emergency room with my mom as I typed out a handful of different pitches. When you’re in the middle of a medical catastrophe that takes the air out of any impostor syndrome. Self-doubt didn’t seem to matter as much because all I had to do was sit there next to the beeping machines and type. I got it done, but more importantly my mom got to go home and was okay. My wonderful agent helped me pick the best idea and I had to agree with her. That pitch flowed much more easily than the rest and I should have known that it was the one.

At what point do you start diverting your energies from promoting your debut and writing / polishing / editing your second?

As soon as Pighearted went on sub, I started trying to find the next thing. I knew that little piggy had gone off to market and was out of my hands for now. There were some false starts. I relied on my agent to rein in my more ridiculous impulses and pick a second story that would work for me. Now it’ll be a juggling act based on when I get editorial letters and revision deadlines. I’m planning to finish drafting my new novel in time to dive into edits. While I wait for feedback on those edits, I’ll revise my new novel, and switch back and forth like that until fall.

Your first book landed an agent and an editor, and hopefully some fans. Who are you writing the second one for? Them, or yourself?

I feel like the “correct” answer is should be that I always write for myself. But that’s a lie. I see writing as a business that I want to succeed in, so I’m trying to make something that’ll be marketable and appeal to the kids I want as my fans. Everything’s for them and I use agent and editor input to figure out what’s best for those hypothetical kids.

Is there a new balance of time management to address once you’re a professional author?

I really should figure out time management, but I haven’t gotten around to it. Maybe I will next week? I’m terrified of this new book. I drafted the first one in three weeks and have been plugging away at this one for about three months, if that tells you anything. I’m constantly wondering if it is funny enough, emotionally engaging enough, and if the characters resonate enough. With the first book, I didn’t have anything on the line. Just finishing that book was an accomplishment. This time could fail and actually disappoint professionals in the industry. That makes it tough to manage my time effectively.

What did you do differently the second time around, with the perspective of a published author?

I have a better perspective on the business end of things. I feel like I can see the market a little more clearly and hopefully use that to my advantage. I write because I really love it, but I want to be successful enough that I’m able to continue writing.

3 Tips for World-Building with Maram Taibah

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Today's guest is Maram Taibah, a fantasy writer born in Montreal, Canada. She was raised in Saudi Arabia, which at times was the most unimaginative place. This pushed her to escape into books at a very early age and from there into the craft of storytelling. Her most recent publication is the children's steam punk book, Weathernose. Maram is not only a fiction writer, but also a screenwriter and filmmaker. In 2014 she made her first short film Munkeer, and in 2016 Don't Go Too Far, both of which were screened at the Canne's short film corner. Maram joined me today to talk about how screenwriting can help you become a more concise novelist.

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Scottsdale 2008—The Great Recession roars across the country like an avenging angel on crack. As long as this statement fits with the tone / voice of the book, it's fine. But this is coming off as humorous and I don't know if that's where you want to go or not. The housing market crashes, businesses fail, and Fannie Mae and Freddie Mac go belly-up. And Interior Designer Soleil O'Connor faces foreclosure. Technically not a complete sentence. I'd smash it together with the one before. After surviving a hardscrabble childhood and soul-crushing marriage, she’ll do anything to save her house.<span data-preserve-html-node="true" style="color:blue> I'd cut the previous line. When she’s offered a job in Mexico, she jumps at the chance—even though the client, Viktor, is an arrogant bully. (She can handle him—this isn’t her first rodeo.); even though she has to fly to Mexico in two days. (Travel is fun.); even though the first designer died on the job. (People die every day.) After some serious arm-twisting, her BFF, Molly agrees to join her. I'm seeing that the voice probably does fit with the first line. I do think you can do some condensing though, get her into Mexico - and to his line about the first designer dying - in there sooner. That's the crux of the plot, and it's at the bottom of you explaining that the recession caused a problem for an interior designer, which is kind of an assumed.

Once in Mexico, Soleil learns Viktor founded the town’s orphanage twenty years ago and is revered as the Patron Saint of San Miguel. Surprised and impressed, she decides to cut him some slack. Until she discovers a cache of AK-47s stashed in the orphanage’s garage. The designers rush back to their casita to pack. But who can they trust to drive them ninety miles to the airport? Viktor owns the town and everyone in it. They guess wrong and land in the Inquisition Jail. You definitely need to give us something else here. Is the goal simply to get back home? Or are they trying to save the day? Or maybe the orphans? What's the gist of the plot other than save their own asses?

Five Days in San Miguel, a suspense novel of 71,000 words, will appeal to fans of Mary Higgins Clark, Romancing the Stone, and HGTV. Again, Romancing the Stone has a very strong thru-line of humor, as does this query. Make sure that fits the voice of the book, if that's what you're leading with.

I was an Interior Designer for thirty years and wrote design articles for The Chicago-Sun Times (Diana Manley Catlin). My publications include short stories: “The Favorite”, runner-up in the WOW (Women On Writing) Contest, published online; and “Checkmate”, included in the Desert Sleuths Sisters in Crime Anthology, How Not to Survive a Vacation. The Chicago Tribune printed two of my letters in their Letters to the Editor section. Great bio!

Overall I think you need to rearrange your elements here so that the first designer dying is your lead. Secondly, you spend so much time getting the MC to Mexico, that I'm not sure what her goal is once she's there, other than just to survive. You'll need more than that. Lastly, what's the point of Molly? In this query, she's serving almost no purpose, which will make agents wonder if the same is true of the book.