Jenn Bouchard on Debuting in the Pandemic, Short Stories and How to use Little Free Libraries For Marketing

Mindy:   Welcome to Writer Writer Pants on Fire, where authors talk about things that never happened to people who don't exist. We also cover craft, the agent hunt, query trenches, publishing, industry, marketing and more. I'm your host, Mindy McGinnis. You can check out my books and social media at mindymcginnis dot com and make sure to visit the Writer Writer Pants on Fire blog for additional interviews, query critiques and more as well as full transcriptions of each podcast episode at WriterWriterPants on Fire.com. And don’t forget to check out the Writer, Writer, Pants on Fire Facebook page. Give me feedback, suggest topics you’d like to hear discussed, and let me know if there is someone you’d love to see as a guest.

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Mindy: We are here with Jenn Bouchard, who is the author of First Course, which was published in 2021 by Touchpoint Press and has won 12 different awards. In addition, Jenn has published five short stories in literary journals, which I'm really looking forward to talking to her about because I personally find the short story market and literary journals to be one of the hardest things to crack. I actually spent quite a bit of time trying to do that in my mid-thirties and finally kind of gave up, but we can talk about that. Just to get started, why don't you tell us a little bit about your publishing journey?

Jenn: I did not seek this path at all. It sort of came out of nowhere when I was just finishing a major volunteer role. I had this big kind of gap in my life, this big hole. I was super busy. My kids were really young. I'm a full-time teacher, so I certainly had plenty to do, but I was looking for that thing for myself. And I think I want to try to write a novel. I really had no idea what I was doing. I started coming up with some ideas, but I started also going to a lot of author events. A lot of authors do come through the area. So First Course took me two and a half years to write a first draft. Gosh, I queried First Course for about ten months. I had a lot of really close calls with that. I had a number of agents who were like almost. It was so close I could kind of taste it. And so I noticed that there were a couple of small presses that were making a number of publishing deals with un-agented authors. And so I thought, "you know what? Maybe I'll just try and see if this is my path." So I noticed Touchpoint Press had been making a number of deals, and so I submitted to them in June of 2019. And within an hour, they asked for the full manuscript. And then four months later, I got a publishing offer from them. It's a journey I'm very grateful for.

Mindy: I love how you decided to go the route of going to author talks and author visits and author signings. I can say as someone that lives very rurally, I didn't have that option. I think that that is a really good way, especially if they're talking about their own journeys and how they got there. I think it can be very difficult to see someone that has quote unquote "made it" and realize that they used to be you, right? They used to be someone that didn't have an agent and didn't have a publishing deal or didn't even have a finished manuscript. I want everyone to realize that I don't forget that pain. No, I'm terrified every day. What if I can't write today? Or what if I don't have an idea? Or what if publishing tanks? What if AI starts writing all the books? There's always something to worry about. You had 14 awards. What are you winning out there? What are you out there doing?

Jenn: You know, there are a number of awards that are very much geared towards people like me. People who are with smaller presses.

Mindy: I'm going to share my experience. My book, A Madness So Discreet, won the Edgar Allan Poe Award in 2015. And that's a really big award. And that's a really big deal. And the people that love that book absolutely love that book. But the pie chart of people that love gothic historical fiction is small. That little wedge is very small. So people talk to me all the time about that book and they're like, "oh my God, I love that book." The people that love it, really love it. But it's like 15% of the reading population. So the sales aren't that great. People ask me all the time when there will be a sequel. They really want a sequel. It's set up for one. And I'm like, "you know, I would love to write one, but unfortunately I didn't sell well enough for my publisher to green light a sequel." And they're just like, "but it won the Edgar Allan Poe Award." And I'm like, "I know." And that was really cool. And it was super exciting for me, but awards don't necessarily drive sales. So did you find that there was any sort of like uptick in sales when you won these awards?

Jenn: I think it was more the feather in the cap. I think it helped me get a few book events, interviews, and things like that. I got accepted to a couple of book festivals. I would say I think it's helped with things like that. I think it also gave me the confidence to keep going. So you know, the book was published in June of 2021. I think the awards started coming in at a time when I needed a little bit of a push to show me that I was going down the right path. I think that helped a little bit with some of the imposter syndrome too.

Mindy: Those awards are really, really helpful to make you go, "oh yeah, I can do this." So tell me about being a teacher and a writer, because I know so many writers that are also teachers and teachers that are also writers.

Jenn: It is nice. I feel very fortunate to have something else. I don't talk about it much at school, but I did start the year just as, you know, telling them about myself. I did say, you know, I'm a published author. Every once in a while I'll have a student be like, "so you wrote a book, right?"

Mindy: I love working in schools, and I love working with kids. I like what you're saying too about having something else that you care about because writing is so solitary and it is so isolating and it is tough some days. So, talk to me a little bit about that balance. Not necessarily work and creative balance, but the balance of input versus output.

Jenn: If I've got a bunch of papers that I've got to get graded, the writing has to be put aside, you know, until I can get through that because I've got school deadlines. But I am getting a little bit better at looking at my time and being like, all right, I'm going to write for an hour and then I'm going to grade these papers for an hour. It used to be that the writing always got shoved to the side, and I'm really trying not to do that anymore. So I'm on a book a year plan. I know that for the next few weeks I have to work every day. You know, I have to really schedule the time. At least for me anyway, it's the first thing to get pushed to the side.

Mindy: I'm the same way, and it's my actual job. Just because it's hard. I end up in a "do as I say and not as I do" situation a lot because I will tell people, you know, you can't wait for inspiration. You can't wait to be in the mood to write. You can't wait for it to be the right time to write. You can't wait until you feel like writing. If you want to do this and you're serious about it, then you have to say, I am writing and I'm going to sit down. I'm going to put my butt in the chair, and I'm going to write. I say those things. Doing them is very different. I will do just about anything in order to avoid writing. I think too that other people give me a lot of energy. I am not currently working outside of the home. I haven't been for, I think, five or six years now. I don't get to pull energy from other people. You've got a family, and you're a mom. How do you balance any sense of guilt? As a female, we've got a lot of, if you're not putting your family first, what are you doing? How do you balance that?

Jenn: We bought the biggest calendar. It's this big glass calendar for the month, and everybody knows what everybody's up to. I think it helps that the kids are older now. They love the fact that mom's an author. That's super cool to them. So, they're old enough now that if I'm like I need to do this, they know that now. It was definitely a little bit tougher when they were younger, and I'd feel more guilt then. They've also seen mom get rejected. They've gotten to see that and they feel terrible for me, but they've also gotten to see me bounce back from it. So, I think it's been a really great way for them to grow up.

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Mindy: So talking about the short story market, and talking about the perseverance required there. I went through a period of time where I was like, "I'm going to try to use short stories as a way to supplement my income." Boy, was that fucking stupid. So...

Jenn: I've never made a dime.

Mindy: Okay. So tell me a little bit about that. Tell me about wanting to get yourself out there in short stories...

Jenn: Yeah.

Mindy: What your goal was, and if you do not see a monetary benefit from it, which I did not either, then what is the benefit, and why would you encourage someone to try it?

Jenn: So these are all fantastic questions. When I was waiting to see if First Course was going to get picked up anywhere by a publisher, I decided I was going to try to build a platform for myself. I was a complete unknown - a teacher. I'm a mom. I'm not the most interesting person. So I was like, well, if I could write some short stories and get them published, that will at least give me something. Because I was writing query letters. I had nothing to even say in the bio piece. And so I wrote a couple of short stories, and started sending them out there. I knew I probably wasn't going to get picked up by anywhere that paid anything. It was definitely more about building the platform. It took a while to get things accepted. Brat was the first story I had published and that was by Bookends Review. That got picked up at the very beginning of the pandemic. So I had started submitting that probably November of 2019. Another one that got accepted very quickly, like within five weeks. But the very first one I wrote took 11 months. I wanted to go with quality publications. That was really important to me. The places that I was published in were really lovely to work with. And I felt very proud to be with them.

Mindy: Would you kind of classify that in the same arena as winning the awards? Like, there's no monetary benefit, but it just kind of feels like an acceptance and maybe even a nod. Yes, you are a writer and you can do this.

Jenn: It's more validation, more things that are on my website now. So if someone enjoyed First Course and they're waiting for Palms on the Cape to be published next summer and they want to read something else I've written, they can read one of these stories. You've got a tremendous body of literary work. I don't have that yet, and so this is nice to be able to offer something else.

Mindy: It's kind of a weird place to be. I remember when my first book came out and people would reach out and be like, "oh my gosh, I loved your book," but you don't have anywhere else to point them yet.

Jenn: Right.

Mindy: How your marketing and how your approach to things changes a little bit too. You were talking about doing a Goodreads giveaway. I should still be doing those things. I am not utilizing all the tools that I used to, but I have hit a point with social media. I'm not sure it really works. And I am not interested in making TikToks, and I'm a writer because I'm a writer. I am not an actress. I don't mind being on camera. I like talking to people, speaking is part of what I do, but what I do is interact with people. That's what I do well. If you put a person in front of me, I can go. You put 800 people in front of me, I can go. You put a phone in front of me and you're like, pretend like you're talking to 800 people. Like I'm not good at it. Tell me about how you as an indie and as a debut author are using or not using social media.

Jenn: I launched in 2021. So I mean, it was a strange time. Most bookstores were not really having events. My launch was with a bookstore, but it was virtual. So I had to get very used to talking to a screen very quickly. I agree. I do much better when I can connect with people in person, but I ended up doing a lot of virtual events. I did have some, there were some outdoor events I was able to do in 2021, but it's really been combination of different things. Trying to collaborate with different authors. Number of authors from my debut year connected really well and because of the circumstances of debuting during a pandemic, we've had to be more creative in a lot of different ways. And so we've done some Instagram lives together. We're trying to build on all of that. But one of the things that I found, I don't know if it really drove that many sales, but I think it definitely got my name out there more, was that I started connecting with friends around the country and I placed copies of my book in little free libraries in every state. My friends or their friends, whoever I was able to find in all these different places would take a picture for me and send it to me. And then I would post it on my social media, and I would include the location. I would tag a local indie bookstore. So I was trying to make connections in these different geographic places. It was a way for me to make some inroads in some other locations. And so I do think it helped. I think my name is out there much more than if I hadn't done that.

Mindy: I love the idea of using little free libraries. For anybody that doesn't know little free libraries, you've probably seen them. They look like bird houses or little barns and they're usually just on posts and usually they'll be in the town square or the middle of a town or in front of a library. I actually put one up in my hometown here in Ohio, and I put it next to a coffee shop. I use little free libraries too as a way of promoting myself. It's wonderful. Every now and then I'll slip some books in there. Somebody will reach out to me over Facebook or Twitter and be like, "oh my gosh, your book was in here and it was signed. That's so cool." And I'm like, yeah. So whenever I have an event, if I'm in a town and I'm driving through and I spot a little free library, I will put one of my books in there. And whoever finds it, finds it. And it's a really cool little way to try to get yourself out there. I also recommend just if you're a person, like me, that has 30 to 50 books just sitting on top of their dresser, if you are reading something and you're not into it, or if you finished something and you know you're never going to read it again, take it to a little free library. Because I think they're so important. Like I said, I put one up in my hometown. I put it up at the beginning of the pandemic. Our library closed, and it's a really small, really rural town. That thing gets traffic.

Jenn: Yeah, they're awesome. They're creative. The stewards, the owners of them, they really put so much of themselves into the design and the upkeep in certain circumstances. And I really enjoyed connecting with those people too, the people who kind of manage those libraries.

Mindy: If you're interested, just check out Little Free Library, I think dot net? You can find locations for every little free library across the United States. And if you're interested in putting one up, you can buy a little free library from them so you don't have to make one if you don't want to. Little free libraries are fantastic. It's wonderful as a reader, but it is also great as a writer. Like you're saying, you can use them to kind of passively market yourself.

Jenn: I put bookmarks in them too. You know, talking about my next book. They're always gone whenever I check to see if the bookmarks are there. They're always gone.

Mindy: Oh yeah. Well, what better market for bookmarks than a place where people are going to pick up books? Everybody needs bookmarks. Yeah, that's perfect. So tell me a little bit about your second book. You've mentioned it a couple of times already, and then you had just informed me over email about some recent successes. 

Jenn: There is an audio book being made of First Course. Tantor Audio acquired the audio rights. So, that's really exciting. I always wanted it to be an audio book. So, hopefully early 2023 for that. And then Palms on the Cape will be published by Touchpoint Press, the same publisher that published First Course, in summer 2023. I don't have an exact date yet, but I'm really excited to work with them again. I got to work with my same editor again, which was fantastic. I'm super excited about it. It is about a owner of an upscale beach bar. She's on the verge of turning 40. She might be in love with her male best friend, but she won't admit that to herself yet. But everything's going fine, and then one day this group of people come into her beach bar and everything changes. It was an absolute blast to write. It was so much fun.

Mindy: I don't hear that often. So I'm really glad to hear that.

Jenn: I smiled the whole time I wrote the book.

Mindy: I was either tense or crying the whole time I was writing my 2024 release. But that's okay, because that's my brand. So tell me, is there anything that you are going to do differently this time around?

Jenn: You know, I'm really hoping that there will be more opportunities for events this time. And even if there aren't, I think I can make those opportunities because I know so many authors in so many places now, and we're just going to put together events ourselves. I think that that will be fun. So I feel more confident this time in my ability to make things happen. I'm excited that more book festivals will be in person and not virtual. And I've actually got a couple of things over the next few weeks. There are more opportunities now, which I'm excited about, but I think with the second book, there'll be more that I can do. I think that there are more possibilities.

Mindy: Last thing, why don't you let listeners know where they can find you online and where they can find your book First Course.

Jenn: I'm at JennBouchard.com. All my social links are easily available there. Instagram is where I spend most of my time, but I do have a presence on Facebook. First Course is available wherever books are sold, you can get it. It is available on all the major online retailers and then any bookstore. If it's not stocked there, they can order it for you.

Mindy:     Writer Writer Pants on Fire is produced by Mindy McGinnis. Music by Jack Korbel. Don't forget to check out the blog for additional interviews, writing advice and publication tips at Writer Writer Pants on Fire dot com. If the blog or podcast have been helpful to you or if you just enjoy listening, please consider donating. Visit Writer Writer Pants on Fire dot com and click “support the blog and podcast” in the sidebar.

Isabel Sterling on Changing Agents, Writer Burnout, and Avoiding Shame

Mindy: Welcome to Writer Writer Pants on Fire, where authors talk about things that never happened to people who don't exist. We also cover craft, the agent hunt, query trenches, publishing, industry, marketing and more. I'm your host, Mindy McGinnis. You can check out my books and social media at mindymcginnis dot com and make sure to visit the Writer Writer Pants on Fire blog for additional interviews, query critiques and more as well as full transcriptions of each podcast episode at WriterWriterPants on Fire.com. And don’t forget to check out the Writer, Writer, Pants on Fire Facebook page. Give me feedback, suggest topics you’d like to hear discussed, and let me know if there is someone you’d love to see as a guest.

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Mindy: We are here with Isabel Sterling who is a queer YA author. Her debut was called These Witches Don't Burn. Isabel is also a life coach for writers and the host of the Author Burnout Coach podcast, where she talks weekly about different facets of writer burnout and what we can do about it. So, one of the things that I'm really interested in talking to you about is burnout for sure. Let's start on a positive note, and let's talk a little bit just about writing in general - what you write, why you write what you write, your experience in the industry and how you got into the industry, and the whole publishing journey for you.

Isabel: So, I started writing back in 2012 so I'm at my 10-year of writing anniversary, which is really fun. Writing actually is how I figured out that I was queer. One thing I always love to share is I'm on agent number three, and so many people think you get your agent and then you're done and everything's fine and dandy. And that's very rare these days that somebody stays with an agent forever. Yeah, so I wrote These Witches Don't Burn. I got my first deal in 2017. It took a year on submission. So I signed my first agent. We went out on sub, and then that agent left the industry. So I had to get a new agent, and we actually were able to resub that same book, which is something that can be kind of rare. So it sold almost exactly a year from when it first went out. And then I've been lucky enough to stay with the same publisher since. So I had a sequel come out, This Coven Won't Break. I love writing about magical girls and mystery, and there's always murder. There has to be murder. And then I moved on from witches. I had a vampire book come out in '21, The Coldest Touch. Right now, I'm working on a ghost murder mystery kind of YA.

Mindy: I want to talk a little bit about the number four, because you said it was your fourth book that got you an agent. So I want to talk to you about the first three - where they are and if you have any plans for them, or if they are just part of the journey and you already passed those milestones.

Isabel: The very first book I wrote... At the time, it was exactly what I needed. I loved writing, but I was like, being a writer felt like something that wasn't for me. Like I'm from a small town. I didn't know any writers. I never got to go to bookish things. Like I just, it wasn't part of my worldview. So I wrote my very first book during NaNoWriMo in 2012. I learned how to finish a book, and I learned how to revise a book through that process. I learned about querying, and I queried it. And I learned how to get rejections because I got all of those. I tried one time a couple years after I'd written it to go back and like, maybe there's something here. I can pull some threads and try to redo it. And it just wasn't working. And I think part of it is as you grow as a writer, not only do you grow in your storytelling skills, but you also grow in the types of stories that you want to tell. It's just going to stay in the drawer, and sort of be the thing that taught me that I could be a writer. 

And I could sort of feel myself growing each time I wrote... Like my first dual point of view, and that one was also the first book I wrote with a lesbian main character. And this is before I knew I was queer. And I was like, "I don't know why I love this so much, but I love writing it." And I was like, "huh." It took two more books before I figured it out. But yeah, I was like, why do I love writing this? It's so weird. But I'm super straight. I don't know. And I think I've always had a really good mindset around like revision and critiques. So I actually went to music school. I was a composer, and so every week we would get critiqued on our work that we had written. Four years, every week I was getting feedback. So when I became a writer, I was like, oh, this is an old hat, like whatever. It's supposed to get critiqued. That's just the way it works. I realized I was trying to write a book that I thought would get an agent. Screw publishing. I'm just going to focus on what would be the most fun. And that's the book that ended up being These Witches Don't Burn.

Mindy: I also am from a small town. Knew no one. Had no idea how to go about the process of getting published. Had to learn everything. Had to learn the industry. All those things. Like you, you know, I had no one to go to. I had no one to say, "hey, you know, your best friend's uncle's wife is a writer. You can talk to her." No. My best friend uncle's wife is a farmer, and so is everybody else. So I did have four books that I wrote prior to my first one to get published. Interestingly enough, the very first book that I ever finished was The Female of The Species.

Isabel: Oh, wow.

Mindy: Don't be too impressed because that had nothing to do with the version that is published today. It was a completely different thing. Themes and ideas were the same, but absolutely none of the words have anything in common with the one that got published.

Isabel: I think that's common even just like from first draft to final draft. Maybe the first chapter stays the same, but that's about it.

Mindy: I love what you're saying about going back to one of your old books and being like, it doesn't fit in trad. There's a lot of reasons why this doesn't work, and I'm going to do it myself. So I just did this too. I think it would have been the second book, it might have been the third one, that I wrote. It was the very first time I tried to write YA. I had a wonderful time doing it. That book is so important to me, and it's a huge part of my writer identity in a lot of ways. I always say it's like if John Hughes directed an episode of the X-Files. There's no way that I could ever publish this book under my real name. I do write under a pen name. I've talked about this on the podcast before. I don't share my pen name because it would screw my branding so hard. But I just published that book, that urban fantasy, two days ago. I have made at this point in time, $4.08. And you're right. It's so lovely when you're not focusing on "what will my editor buy? What will my agent like? What fits the market?" And I'm glad it's there, and I'm working on the sequel now. And hey, we'll just keep going.

Isabel: It's funny too, you bring up pen names. Isabel Sterling is not my real name. My real name is Sam Adams. It's a beer. I was never going to be able to have Sam Adams dot com. So for me, when I did a pen name for indie, it's still me.

Mindy: One other thing I wanted to touch on about that you mentioned earlier was that you've been through three agents. So...

Isabel: Yes.

Mindy: I'm a little bit of an anomaly in that I am still with my very first agent. It's extremely rare. Adriann Ranta Zurhellen, she is currently with Folio Literary, is my agent. But she's been my agent for 12 years now, almost 13 years. I had been querying for 10 years - five books, 10 years - trying to get published, and I was working in a high school library. I made about $14,000 a year. I was barely making it. I watched the documentary all about the fact we may run out of water someday. I wrote Not a Drop to Drink, and dystopians were right on the curve of going out. But they were still in, and I queried. And for the first time, I actually had a lot of interest, and I ended up with two phone calls with two agents. One of them was Adriann. She only had one sale at the time. And then the other agent that I had a conversation with was a big name agent. She had sold 30 books that month. But she moved in the romance world, and that was where she was situated. And she really wanted my book to have a happy ending. And then I talked to Adriann, and Adriann was like, "I love that you kill the love interest." And then we had a long conversation about Dostoevsky. And I was just like, okay, so Adriann is the one that fits me as a writer and fits me for a career. She only has one sale, and she's with a really tiny agency. Then I have this mover and shaker that really wants it, but wants to change my tone and how I write. And I went with Adriann. It was the right choice anyway, even if she had remained in a small agency. So I don't know. I think you just, you have to go with the fit.

Isabel: Part of it for me, having switched so many times, is one, my needs have changed. Like I have changed as a writer in a lot of ways. So my first agent, she switched to like book scouting or something. So she left, and so I queried this new project signing with Kathleen Rushall, who is at Andrea Brown. We were together for... It was a number of years. So she was like perfect for me as a debut. She's exactly who I needed. And now I needed somebody a little bit different for where I wanted to go next. I think there are so many people who like, "Oh, I don't want to hurt anybody's feelings." And we still have those four books together. She's still the agent for those. We still talk every few months when we're talking about royalties or foreign stuff. We still have a great relationship. It's just that period of our time together is just over.

Mindy: And it's a business, and you got to remember that. I mean, I love what I do. And like I said earlier, I published something underneath a pen name just because I love it and I want to see it out there. And it's probably not going to make any money so that one is more of a sentimental decision. But when it comes to the business side of writing underneath my real name and the stuff that actually drives a career and how I make a living - yeah, those are business decisions. There are a lot of books that I would like to write that are just sitting because it's not their time right now according to the market and things that are trending. It's like that one is not going to go right now. This is going to sit. This is going to wait. You got to balance your art and your, your, I guess, checkbook.

Isabel: Yeah, I think part of it too is like when you are in it for a career, you understand that it's a long game and that publishing has cycles. So when I was first writing, everybody was like, "Don't you dare write vampires. Vampires won't sell." Now they're huge again. And you're like, eventually what I wanted to do would come back.

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Mindy: So I want to talk about burnout. I had an intimate experience with burnout this summer. I had never experienced it before, and I ended up in a situation where I had to write the vast majority of a book, probably I'm going to say 65-70,000 words in about three weeks. And I did it to myself, and it was my own fault. And that's where I ended up, and I had to do it. And I did it, and I've done that before, and I don't recommend it for anyone. It is not healthy, spiritually, physically, emotionally, creatively, psychically, sexually, like this is not a good idea, right? But I did it. So a couple of things came from that. Number one. I know that I can, and that is bad. Because I'll probably do it again. Number two. I was kind of non-functioning after that. That book was due September 15th. It's currently November 17th, and I just now started giving a shit about anything in the writing world again. And by that, I mean actually trying as far as being present on social media, being a literary citizen, reading even. I was just... I would love for you to talk a little bit about burnout because that was a new experience for me, and I really hated it.

Isabel: The way we talk about how we're showing up to our writing is hugely impactful of whether or not we burn out. There's a difference between being exhausted and being burnt out. You talked a little bit about how it sorta - it was your own fault that you had to write it this fast. I'm sure that does not feel good.

Mindy: I do write quickly, and I do tend to perform well under stress and I do well under stress. And I know these things about myself. When I say I did this to myself, I totally did. I'm sure that there are different avenues that I could have taken. In order to stay alive, I have five or six irons in the fire at all times. Obviously, I write underneath my real name. I have a pen name that is pretty involved, and I co-write with other authors. I have projects that are passion projects that may never go anywhere, but that I co-author with a buddy of mine. And then I also have an editorial business that I run myself. I have the blog and the podcast, which take up quite a bit of time. I also am hired out with a non-fiction book coaching editorial business underneath a different name yet that I work with. I had taken on too much editorial work both underneath my own shingle and then being hired out as a contractor with another company and I was being paid well. The editorial business pays well, and I needed money, right? Writing can pay well, but it also pays sporadically. And it's something that you can kindof put back. I don't think of it as my nine to five. My nine to five is keeping my little irons hot and burning, and then my big iron is something I just have to return to every now and turn it over. 

And so, I left that big iron alone for too long while I was monitoring all my little ones and trying to keep them right where they needed to be. Just putting my efforts, not necessarily in the wrong places - just not distributing them evenly. The other thing is I had 25,000 words on this book already done. I don't know how long the book's going to be. I don't know what's going to happen in the book. And when I started actually getting into it, it was a lot longer than I thought it was going to be. It's really dark. I mean, I write dark, and this one is dark. It's a tough one. I don't want to return to this today. I don't want to go back into this world because my main character is depressed, and I'm in her head, right? And it's not a good place to be. I didn't really want to go back in there that often. And then I ended up having to completely like full immersion dive in for three weeks, and it was not healthy. I have edits due on that book January 9th, and I haven't even fully read my edit letter yet. I don't know if I want to go back in there right now.

Isabel: This is why I have a whole podcast on author burnout because it's so many facets. But I see a lot of what's kind of in play here, with what happened this summer, is when you try to write a book or do really do anything when you're fueling yourself with shame and pressure and I shouldn't have done this to myself, that is purely a recipe for burnout. Shame is always going to sap your energy. So like writing a book takes a lot of energy. And if you're shaming yourself to the page, it's like 10 X is hard. Say, you decide like, "hey, book's due in three weeks, and I really do want to get it done" and it's not a "I fucked up. I should have done this sooner. I didn't manage my irons properly." This is where we are, and I'm committed to getting it done because it's important to me to hit this deadline. You will still be exhausted when you're done, but you're not going to have like the two months like I can't function after. And so I'm in a similar place with my '24 release. So I am going to be getting edits on... I think December 8th or something, and then I have four weeks to edit because we have to get to copy edits by middle of March to keep that season. And so I could be like, "I fucked up. This is my own fault." That narrative is very normal in publishing. Am I willing to do it from a place of I want to and not I have to or else I am a loser and my book is going to get pushed.

Mindy: I wish that I was able to make healthier decisions for myself. I am a person that does not have a spouse. I don't have a significant other. So if I get pushed back a year, I won't make it. I will add to that that I could have asked for an extension. I chose not to. This is where Gaelic pride comes in. This is where I'm Irish, and I'm like, "I got a deadline and I'm going to hit it and no one's going to stop me. And I've never missed a deadline before." And it's a point of pride. So I very well could have said, "Hey, guys, I need another month." And they would have given it to me.

Isabel: So I'm in that boat now where my spouse developed epilepsy as a 30 year old. I am the only income earner, and I don't have a day job. We have to pay out of pocket for insurance. So I totally get like, oh, fuck, what do we do? At the same time, you can say, I'm not missing this fucking deadline because I need to eat. But you can do that without shame. You can do that without being like, I've screwed up. I messed up. And it's not easy. I'm not saying like you... Those thoughts are still going to come. Your brain is still going to go like, here's all the reasons why I screwed up because that's how we're socialized. We're socialized. We always look for all of the reasons that we are wrong. There's so much perfectionism, in books in particular, because we have so much revision that we do, yet we still put so much pressure on early drafts to be perfect. As if that's possible. And for me, like when I did bump the book, we were early in having our foster kid. And also, the biggest thing was I needed to scrap the entire idea and figure it out because it wasn't working. And then my editor left, and then it took like six months to get a new editor. So nobody was waiting for this book. I didn't have a deadline. But now I'm like, I'm going to be doing these revisions over the course of like three-ish months, and it's going to be hard because we don't have daycare. We have a two and a half year old, but I'm willing to do it because I'm like, "we need to pay for this roof because all our shit's leaking." But I'm not going to be like, "well, I should have done this and I should have done that." Like, no, this is where we are. I can have so much love and compassion, which took a long time to get to, for the version of me who was trying to figure out how to be a mom with like two hours notice as a foster parent and you're just like, figure it out. Of course, I struggled. And now it's still going to be hard, but I'm willing to do it. And I know that I'm choosing it because I want to pay for the roof, not because if I don't, I'm an asshole.

Mindy: Definitely what I turned in for my first draft was nowhere near to perfect. Ben was like, "I know you had concerns about this one. I know that you were worried about it." I had also just weaned entirely off of my own depression medication at the time. And so like everything was a little fuzzy in my head, and he was like, "You did way better than you think you did." And so, I think that that is something that we should carry within ourselves too, is that we are our own worst critics all the time. You have to give yourself a little bit more grace. And I'm really good at telling other people you're doing fine. You're doing great. It's going to be okay. You can't be the best at everything. In fact, you don't even have to be the best at any one thing. Just show up, and do the best you can at everything you try. And hopefully you'll be able to, at the end of the day, always go to bed tired.

Isabel: One of the things I teach clients is setting a minimum enoughness measure. The minimum amount of something you can do and be like, I at least showed up for that. So like on a day when you have a bunch of shit lined up, you don't even plan to write 2K. Like maybe you plan to write 500. And if you write more, hell yes. But at least you're not setting yourself up for something that's going to be so hard. Because if your brain thinks it's hard, your brain doesn't want to do it. Your brain is designed to not do hard things.

Mindy: So why don't you tell listeners specifically what the name of your podcast is so that people can find you and find your podcast. And also just talking about being a life coach for writers, because obviously... Obviously, you know what you're talking about. What are the kinds of services you offer for that?

Isabel: So I run the Author Burnout Coach podcast. It drops every Tuesday. I just released recently - how do you answer all those awkward questions at family dinners about like, how's your book going and can I have a free copy? Also by the time this comes out, I think I'll also have my episode out about setting boundaries with the toxic people who ask those kinds of questions. And how do you keep proper boundaries so that you're not just feeling miserable. But yeah, so I work with both new writers, and with new writers I do a lot of some of the basic storytelling skills because I am also a book coach. And then we do a lot of just how do you get to the page, overcoming the perfectionism, like that kind of stuff. And then with the published authors, it's all really like, you don't need my help in your book. You know what the hell you're doing. It's the perfectionism. It's the burnout. It's the, you know, I'm afraid to say no to shit because I think that I'm going to lose opportunities, and then I'll never get them again. And then you take on too much stuff, and then you're burnt out. How do you make decisions about your career that you feel really good about? You're not just trying to constantly please everybody else to your own detriment. So sort of more of that kind of like being both a storyteller and an entrepreneur as a writer. But all that stuff's at my website, Isabel Sterling dot com, so they can see all of the different services I offer. And then yeah, the podcasts, they're typically pretty short. They're like 15 to 30 minutes typically. And each one is a very targeted, like here's a cause of burnout, and here's how you can work on dealing with it in your own life.

Mindy: Last thing, why don't you let listeners know where they can find your books and you online as an author.

Isabel: Yeah. So I am online. I actually recently deleted my Twitter because I haven't been on it really since 2020 and I'm just like, I'm done. So find me on Instagram, isa underscore sterling. And then my books are wherever books are sold. They're available in English and Spanish and Russian and Polish. If you're going to pick up any of my books, I would recommend starting with The Coldest Touch if you love vampires. It is about a girl named Elise who whenever she touches someone, she sees how they're going to die. And she meets a vampire who is there to recruit her to join a mysterious organization. But then a teacher is on the block to get murdered, and they have to try to stop it.

Mindy:     Writer Writer Pants on Fire is produced by Mindy McGinnis. Music by Jack Korbel. Don't forget to check out the blog for additional interviews, writing advice and publication tips at Writer Writer Pants on Fire dot com. If the blog or podcast have been helpful to you or if you just enjoy listening, please consider donating. Visit Writer Writer Pants on Fire dot com and click “support the blog and podcast” in the sidebar.

MarcyKate Connolly On The Differences Between Promoting Middle Grade & Young Adult

Mindy: Welcome to Writer Writer Pants on Fire, where authors talk about things that never happened to people who don't exist. We also cover craft, the agent hunt, query trenches, publishing, industry, marketing and more. I'm your host, Mindy McGinnis. You can check out my books and social media at mindymcginnis dot com and make sure to visit the Writer Writer Pants on Fire blog for additional interviews, query critiques and more as well as full transcriptions of each podcast episode. at WriterWriterPants on Fire.com. And don’t forget to check out the Writer, Writer, Pants on Fire Facebook page. Give me feedback, suggest topics you’d like to hear discussed, and let me know if there is someone you’d love to see a a guest.

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Mindy:       We're here today with MarcyKate Connolly, who is the author of multiple middle grade and young adult novels. And one of the things that I think is really interesting, and I stress it a lot whenever I am talking to new writers and up and coming writers is networking, networking, networking. With that in mind, why don't you talk a little bit about how we met in the first place?

MarcyKate: We met back in the day on AgentQuery Connect, and that was such a great place to meet other writers before we both were published. There was a whole bunch of us, and almost all of us have been published at this point, maybe a handful having not been. We got to reach each other's books and give feedback, and for me it was extremely helpful 'cause I really never got critique on my books before. It was like my friends and mostly they were like, This is so great, I love this! Which is great, but not as great for actually improving your novel and your craft, but having other writers working through this and learning how to critique and take critique. You can give critique, and we all kind of did that together, which is really fun. It's a good networking opportunity just to meet other writers and commiserate as well, especially when we're querying, that was like an absolute necessity to have someone to be like, Oh my God, it's been so long that they've been reading these pages or I just get another rejection.

Mindy:       I'm not sure if the boards are functioning anymore, it is still a database and a site that people can go to to get information about agents and what they accept. When we were there... Man, it was a lovely place to connect, like you were saying, and you're so right, you have to be able to share with other writers because the feedback that you get from friends, usually it'll be nice, but even if it's not entirely nice, it is usually their opinions. And are subjective, I didn't like this character, or this part wasn't funny, or something that is an opinion that a reader can have, but they aren't gonna be able to tell you exactly why. Usually they aren't able to pinpoint the word choices, whatever it was that they have this reaction. Sometimes they don't know why. And a writer, number one, knows that likeability isn't necessarily the most important aspect of character, but also number two, they can say why. Or they can give you ideas about how to fix it. And it doesn't necessarily mean that you are always taking the advice of another writer, but you have that in your tool box, you have the opinion of another writer, and I think when we talk about critique partners, it absolutely has to be another writer, if you really wanna get something out of it.

And a lot of us, I know I, for example, live rurally, there simply aren't any writing critique groups where I live. Every single one of us, when we met on AQC was working full-time, if not working more than one job, we couldn't necessarily do a writer's Brunch or, let's get together at noon on Wednesday. We were getting online after we got home from work in the evening and talking to each other, and operating that way. 

MarcyKate: It would have been nice to get together for brunch though, that would be awesome. But that was actually one of the best things about it really was members were from all over the country, so you wouldn't have met otherwise if you had a local group.

Mindy:       Absolutely, having that online access to so many people, I really don't think that I would have gotten an agent if I hadn't joined AQC because we were hard on each other, we made each other's queries improve, we were not hand-holding. I learned everything that I know about the industry from that site, there is no doubt in my mind, and people that were a little bit farther ahead of us, - like Sophie Perinot and she's also writing under the name Evie Hawtrey now, too. We were all operating under screen names at the time. Except for you, you actually had your real name out there. That was really cool, because some of us really did just know each other by our screen names. Interestingly enough, moving through the world now, I have run into people in the publishing industry that were on AQC at one point or another, and I'll share my screen name and they'll be like, Oh my gosh, that was you! That was me. 

MarcyKate: That's awesome. 

Mindy:       I'm sure that there are still sites like that now, I feel like I have no need for such a thing at this point, so I've moved away from that or even being aware of what's functioning, but I can say for sure that Query Tracker is always a reliable resource. Are there any others that you know of right now that we can point people towards? 

MarcyKate: Not off-hand. And the ones that I always use were AgentQuery dot com to track agents and Query Tracker  a combination of the two. Those are my go-tos. That's really what I used a lot.

Mindy:       And I think things have changed now where people are using Slack and Facebook groups and even Reddit subgroups. When I think about it, that was like 14, 15 years ago. The dynamic is still the same, that you can go online and you can meet these people and they're going to help you. So for example, there were two people in general that were really, really helpful to me, one of them who's actually gonna be a guest here on my next episode, who works in LA and is in the film industry, and so had different arenas, different ways to approach things, new areas of that angle of the business, but also kind of that more like slick LA style. Whereas Sophie Perinot who was operating there underneath a screen name who had an agent and was writing in a different arena, she was writing Adult Historical Fiction, but she was a rung up above the rest of us and was still hanging out every day and helping and so professional. She's just like, professional to a T.  She’d be like, This is how you interact with an agent, and this is the best practice. She knew best practices and etiquette.

MarcyKate: She was amazing. It was kind of a shock, I think, sometimes to some people who are brand new, and I think it always is, when they start to learn about what an agent is, how you get an agent, what they actually do. She was just full of information, which was really helpful to have that resource there. 

Mindy:       Like I said, when I moved through the industry now, some of the people that I run into are people that were on the boards and moving in the background, but also present, and we're just industry movers and shakers that were there. Being present and just even absorbing knowledge I probably lurked for five or six months before I had the nerve to post even just doing that, just lurking and just absorbing that information, I learned so much.

MarcyKate: I think I did a lot of lurking too. I don't remember exactly how long I lurked. Posting publicly is nerve wracking, you don't know what kind of feedback you're dealing with yet, 'cause you don't know the people.

 Mindy:           Well, that's part of what I did too, was I was just reading and listening and paying attention and seeing who was posting often, who was being helpful, who had the type of mindset that I wanted to interact with, that kind of thing.

MarcyKate: It was wonderful and I miss it. I think so fondly on those days, I miss it. It was really fun, especially during the pandemic too, where it's been very isolating. It was fun times, especially when we had the chat room. That was fun. 

Mindy:     Monday nights. Yeah, well, and it was my go-to when I got on the internet, it was like a Hotmail, and then AQC. That was my home.

MarcyKate: Same.

Mindy:     It built me. And then that's how I learned. You were just talking about the sheer number of people, and most of us are traditionally published now. In different arenas, but then also we have fellows who have gone on to start their own indie publishing company, there's a lot of different areas of success that I've seen. Jean Oram, who was the super moderator for a long time, I see her all the time moving in the Romance Indie world

MarcyKate:  Yeah she always has something going on.

Mindy:     It's different areas of success for everybody. And like I said, I think that's kind of unique. I think our success level, the percentage is higher than was to be expected.

MarcyKate:   I think so too. We became friends, there was that morale boost as well, we're obviously not pulling punches on critiquing our work. But to bounce ideas off, vent to, that I think really helped. That was helpful for me, and keeping me going and not being like another rejection - I'm done. That camaraderie really helped keep us going, at least it did for me.

Mindy:     I’d be like - So I got another rejection today, and then somebody is like, Well, I got my 300th rejection.

MarcyKate:   Perspective. 

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Mindy:     So I wanna talk about writing. Because you write both middle grade and YA with quite a bit of success.

MarcyKate:   I like to think so. I hope so. I started writing young adult books and then kinda fell into middle grade, then eventually my seventh book that was published was a young adult, so I took a lot to actually get published in young adult. I started writing my first published work Monstrous, I wrote it as a young adult. My agent took me on with it as young adult, and then we pushed to editors and my editor who ending up buying it was like, I wanna buy this as middle grade. Which kinda had us scratching our heads for a little bit, then we had a conversation with her, and it was really illuminating that the book really was middle grade, and I hadn't realized it was middle grade, except for this one part. And the last part of the book that we had to age down then it was middle grade. I kind of fell into it, but I love middle grade. It's a great age to be writing for, and I know for me when I was actually a middle grader, reading was just such a formative thing, it was so necessary. It was my escape. It was so important to me, so it's pretty cool writing for that age. It was also very important to me as a young adult, so I was excited to have some Young adult out there as well. So I actually write more young adult books and middle grade only they’re just still trying to get them out there published.

Mindy:     Yeah, young adult is super competitive. There's no doubt. I think the middle grade is actually edging that way too. Personally, I could never write it, it isn't my arena, it isn't my content, it isn't my subject matter, it isn't my age category, there's no world where I'm a middle grade writer.

MarcyKate:  Never say never, Mindy.

Mindy:     Can you imagine? It would be so bad.

MarcyKate:    I would love to read it.

Mindy:     I can do fart jokes. 

MarcyKate:   Yes! You’re funny! Like you are so funny, even though your books are dark, you could totally leverage your comedy skills in middle grade. This is an opportunity. You should absolutely do this.

Mindy:     Can you write a whole book about farts? 

MarcyKate:   You could try.

Mindy:     I don't know. farts are funny. That's true. Okay, ‘llI hang that on a peg in the back of my mind - write a Middle Grade fart book. This is one place where I hit the skids pretty hard when it comes to middle grade, and I was actually having a conversation in my last episode with Fred Koehler, he is an illustrator and a writer that lives in Florida, and he was saying... Especially during the pandemic, he's never interacting with his audience when he does a Zoom. You don't have 10-year-olds aren't excited about sitting down and meeting the writer on the computer, it's just not that interesting to them, the impact isn't there, and I think it's a really interesting dichotomy, because I know that for middle grade writers and children's writers, they can get into a school and they can absolutely mop it up and they can do amazing amount of sales and an amazing amount of work in one day going into a school visit. Teens are a harder sell. But I think that the online side of marketing and promotion for middle grade has to be super tricky, I assume that you're aiming it at the adults in their lives?

MarcyKate:    Exactly, it's definitely different from YA. You’re marketing to the gatekeepers. They're not buying their own books, people are buying them for them, and so you have to be able to find those people and make them sit up and take interest. So that means there's a lot of reaching out to libraries and teachers, getting reviewed in the School Library Journal and Kirkus and places like that, where they're looking for things and where they're tuned in. That's actually pretty important just to get that awareness out there that your book exists, 'cause they're not necessarily browsing the shelves at Barnes and Noble or looking on Amazon for books, they're looking at other places. And I've been very fortunate that my publisher, most of my middle grade books are with Sourcebooks, and they're fantastic. They have this wonderful school and library marketing team, and they've been really great at getting my books out there. Things like getting your book in Junior Library Guild Selection also really helps, 'cause they are buying those as packages. I've been very fortunate that I think most of my books have been JLG selections, which is awesome. It's definitely a very different animal than with a young adult, 'cause young adult, you can actually reach the teens 'cause they are more online, and there's still obviously a lot of adults reading young adult books as well, but you can access them more directly.

I actually had four books launched during the pandemic, so four, two duologies. As you can imagine, they have not done as well as we would have liked, which is unfortunate. The first book, it was like right as the pandemic was starting, so I launched that one in person, that worked out fine, but then the second, third and fourth books were all during the pandemic, and for the fourth book, I didn't even do a virtual launch party. Because the first one was my first YA novel, Twin Daggers, and we had four people show up, and I think I know all but one of them. Then for the second one, no one showed up, it was just me and the two people from the bookstore. So we were hanging out on Zoom, which was fun. It was great, we chatted for like an hour, and actually the one person who I know did show up briefly for a little bit of time, but her microphone was having issues, so she really didn’t get to talk, which is too bad.

I kinda switched gears for the fourth book that came out, which was Lost Island, which was a sequel to Hollow Dolls, which is the first book that came out during the pandemic times. We did this pre-order incentive through my local bookstore Porter Square Books, that if you order it through them, you get some swag. It’s definitely Been much more difficult to get people engaged, generally speaking, during the pandemic. At least that's what I found, and it's also been more like emotionally taxing to be engaging yourself or putting yourself out there, the whole situation is very demoralizing and there's burn out on a personal level that just makes doing anything hard, and I was pregnant for most of it as well, so that didn’t help.

Mindy:     I have felt the same way. Be Not Far From Me came out, I was on tour, and I came home and we were on shutdown, and we haven't really done a whole lot since. I do think that people are burned out, and I think that they're done with virtual. And I think that at the beginning of the pandemic, everybody was like, We're gonna make the best of this. And it was kind of a new and novel experience, and then it was like, This is bullshit. I've done things with festivals where it'll be like four or five authors and we'll have maybe 17, 18 people show up and that's not bad, really. I just did a Zoom this past weekend that was supposed to be for the release of The Last Laugh back in March, and then it just didn't happen for various reasons, and we had to reschedule for here in May. It was me and Maureen Johnson, who is a big freaking deal, and we had nine people show up. She was totally cool, she was absolutely wonderful. I was like, I am so sorry that there were only nine people, and she was like, Oh, it's fine, I don't care at all, I don't mind. This is the job, and I was like, Thank you, I really appreciate that. I've been handing out her books to kids for 20 years, I was just like, Oh my God, this is embarrassing. Yeah, nine showed up.

MarcyKate:     I think every author can pretty much understand, unless like they're super famous and it's gone to their head, they forget.

Mindy:     I don't think I will ever forget because I am 12 books in. I had one actual bookstore signing for release week, the rest were all library events in school events, and for the library events they were bussing in kids and school events, and so it was captive audience type of stuff, and they were supremely successful. But again, attendance is mandatory. Right. And man, I was feeling good because things were going well, and I was just like, Oh my gosh, if I spoke to 300 kids about 150 bought a book. I could get with my audience, man, I was high on life, and I was telling my boyfriend - I don't know if it's because people are so excited to be able to go out and do things now, I don't know if people are just excited and appreciating life more, or if I'm doing better, if I'm more well-known, or if I'm just selling better, I was like, But I don't know, I’m killing it. Things are really working. Things are going good, right? And then I had a bookstore signing just me, and it was a drop-in thing on a Saturday afternoon, and I had one person show up. I sat there for two hours and one person showed up, and then this past weekend did a signing with Natalie Richards, who is a fellow Ohio author, she's a Sourcebooks, author.

MarcyKate:   We share an agent, actually.

Mindy:     And she's like,  super famous. NYT. And she and I did a signing together this past weekend, literally zero people.

MarcyKate:    That's hard. You're so hit or miss. Sometimes you'll have a ton of people. Other times like absolute crickets, it's so hit or miss.

Mindy:     I think it's good to be humbled, but I don’t want to be humbled all the time. That’s  why I think that for middle grade and ya authors - school visits. School visit. School visits.

MarcyKate:    Yeah, if you can get them. Those are definitely the best. I found it has been more difficult during the pandemic to get those. There's so much going on in schools and they're like, at first they were so concerned about how are we going to do testing? And that was a real big challenge initially, but since then I've done a few online ones which have been decently well-received, but it's not as, definitely not the same as going in person and having a book there to sign for the kids and handing them a physical copy like that. That's definitely a different dynamic. That's for sure.

Mindy:     Yeah, I've just now, in the past two months, started getting these school visits again, it's been really nice and the energy is there and everything about it. They feed me, I feed them and it all feels really good. I don't get that over-Zoom. I don't feel it. I don't think the energy exchange is there.

MarcyKate:    There's nothing like being in person, and been talking to actual kids, that's just the best talking to kids about books.

Mindy:     I love talking to kids. It’s my favorite.

MarcyKate:    And it's even more fun when they've read your book and they love it, and they're like, I want to hear about this character. And are you gonna write a book about this? Or are gonna do this?

Mindy:     Yeah, it's why I write. It's not the only reason. Really, a paycheck is nice. But just because of the nature of what I write, it reaches some kids that otherwise aren't going to be reached by books and usually by the content, I get a lot of rougher kids and they're the kids that need to have some sort of escape or something to do in their lives that is healthy and man, it's like if you're able to reach them, God, that's everything.

MarcyKate:   That's amazing, absolutely.

Mindy:    I will say, I wanna go back real quick to the Zoom question. Being extraordinarily famous does make a huge difference, I was in a Zoom with R L. Stine, and we had like 325 people. 

MarcyKate:   That's amazing.  

Mindy: It was like me, R L. Stine and I think two other authors, 'cause R L. Stine’s actually from Ohio, originally. And so it was an Ohio-based thing. Have you ever met him? 

MarcyKate:   I have not.

Mindy: Oh, okay, so because he is originally from Ohio, I've actually crossed paths with him multiple times and, oh my gosh, he's so kind. 

MarcyKate:   These are the circles you’re moving in. With RL Stine. That's so cool. 

Mindy: I have occasionally been in the same room as RL Stine, let's put it that way. But he's very kind, and when you hit RL Stine levels, it doesn't matter. You get 300 people in the Zoom.

MarcyKate:   I think it's harder for people who are like midlist or new authors, and just being on sub in the pandemic has been very strange too.

Mindy: I’ve heard that from other people. Is it just like long wait lines?

MarcyKate:   Everybody is so burned out, I mean, especially editors, they're trying to push these published books. It’s hard, it's 10 times harder than it was, and then trying to read and get new submissions, it's just... It seems like it's so much more difficult. And I've been on sub with one book for a year and a half, and we just sold it like two weeks ago. And then I have another book that's been on sub for  a year now, a picture book. We'll see if that ever happens. It’s my weirdly dark picture book for baby Goths. It's actually Poe inspired. I'm not complaining by any means. I totally understand I've been burned out too, so I think it's just kind of this mass burn out. 

Mindy: I've been hitting it pretty hard myself. It's a beautiful day today, and I'm doing this interview with you and I've got people coming on next, and then I am going outside for the rest of the day because it's like, I can't sit in front of my laptop anymore. 

MarcyKate:  Nice, nice. I  have to sit in front my laptop 'cause I have to work, but that's okay

Mindy: Oh I have to work. I'm just not doing it.

MarcyKate:   Good for you, that's awesome.

Mindy: Last thing, why don't you let listeners know where they can find you online and where they can find your books?

MarcyKate:   You can find me online at Marcy Kate dot com, if you can spell my name, you can find me... It's M-A-R-C-Y K-A-T-E dot com. All my books are listed there along with buy links. You can get my books from Bookshop dot org, from your local bookstore, or you can also get them on Amazon, Barnes and Noble. Pretty much anywhere. If you contact me through my website, you can request a bookmark and I'd be happy to send them to you. I hope people like to read my books, I write weird, dark children's books and middle grade. That's kind of my brand. 

Mindy: Writer Writer Pants on Fire is produced by Mindy McGinnis. Music by Jack Korbel. Don't forget to check out the blog for additional interviews, writing advice and publication tips at Writer Writer Pants on Fire dot com. If the blog or podcast have been helpful to you or if you just enjoy listening, please consider donating. Visit Writer Writer Pants on Fire dot com and click “support the blog and podcast” in the sidebar.