Archive for Shaken

COVER REVEAL: You’ll Love the Paperback Version of “SHAKEN”

I am asked about book covers from time to time. People are generally curious about the author’s “say” in a cover. 

The answer varies from author to author, publisher to publisher. 

But first, this:

Making a cover is an art. An imprecise creative act. And in talking about these experiences honestly, I don’t mean to disparage anyone’s work. Everybody goes into it wanting to make a great cover. Or, if not great, at least a cover that fits the book. A cover that works.

If you are a big name author — someone who generates significant sales — you’ll will have clout in all regards. You’ll have, at the very least, serious input and veto power over any cover. The publisher wants you to be happy. They want to keep you in the fold.

However, if the author does not occupy that rare air (read: most of us), the publisher will have final word on the cover, which they take very seriously. They hold meetings. Explore options. Discuss covers with sales. Analyze marketing histories and receive input from booksellers. Some publishers even test covers and titles with focus groups. It’s a dificult, challenging, artistic in-house process. And usually after all that happens, after decisions have discussed and agonized over and finally made, that’s when the author will be brought into the process. Often that simply means: “This is the cover, hope you like it.”

After all, this is their business, their investment, their expertise. They want to sell the book (almost) as much as you do. 

I once read someone’s take on this — sorry, I forget who — which I’ve pretty much adopted: The cover is the publisher’s domain. Everything between the covers is the author’s. 

Since I’ve been directly involved in children’s publishing for 40 years, I’ve found it disappointing to be kept out of that creative process. I’ve seen some of my books get beautiful, effective covers. And others that I instantly knew had badly missed the mark. Covers that made little sense or were, in a word, unappealing. It’s a sinking feeling when I look at a cover that I know doesn’t work, because it typically spells doom for sales.

It happens. 

On a more subtle level, I believe that a cover signals to booksellers and reviewers (not just consumers) how a publisher views that particular title. Or where a book fits in the pecking order. There are budgets to consider, projected profit-and-loss statements to balance. A cover also, obviously, provides clues about what kind of story awaits inside. Sometimes for marketing purposes these clues are vague and even intentionally misleading. Sometimes we look at a cover and can’t wait to start reading. 

As a freelancer, I have another rule: Try not to be too very much of a pain in the neck. Nobody wants to hire the difficult writer. Life is full enough of headaches without actually paying for them. Moreover, my default is to genuinely honor and respect the different people involved, who are all doing their best. It’s a team effort and sometimes you’ve just got to step away and let those folks do their jobs. 

Which is to say: 

I love the new paperback cover to Shaken. It won’t be out until 2026, so you’ll need to wait, but for me this is a cover that I truly like. And that’s not always the case.

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“SHAKEN” Selected to the 2025 Kansas NEA Reading Circle List

It was one of those happy times when my editor, Liz Szabla, sends me an email that begins, “I am excited to tell you . . . .”

These days, or maybe since time immemorial, authors usually receive emails that begin with the words “unfortunately” or “sadly” or “regrettably.”

Then the message gets worse after that. 

But not so on this fine, sunny morning!

My middle-grade novel, Shaken, still less than half a year old, was selected to be on the 2025 Kansas NEA Reading Circle List. 

And no, I’m not exactly sure what any of that means. But I do know that these state lists are important for raising the profile of a book, and for getting those books into the hands of teachers and students.

Doing some quick research, I learned this: Since 1926, KNEA has published a list of recommended books by reading level as a service for school librarians and classroom teachers. 

MANY THANKS, KIND FOLKS IN KANSAS!

I’D LOVE TO VISIT YOUR SCHOOLS NEXT YEAR, GIVE ME A JINGLE!

 

On Writing: Body Language & Character

I want to talk about writing today. Let’s begin by looking at this famous image of John F. Kennedy, which I came across & posted yesterday in connection with a quote:

As writers, we need to try to see people and convey that in words. I’m not great at this by any means. It requires effort, a struggle, as it doesn’t often come naturally in my writing. But as writers, we must try to notice things, mannerisms, telling details. Why? To help the reader see. And also: as a way into character. 

Look around: People are everywhere. Ask yourself, how would I describe that posture? The woman in the coffee shop. The kid on the slide. How do it quickly, efficiently, in a sentence or two?

Back to the Kennedy image. It could be, simply:

He stands with arms crossed, neck bent, head down.

Or a little more:

He stands with arms criss-crossed, neck bent, head down. He is reflective, feeling deeply. 

Yuck, okay, the voice feels wrong — I might be trying to avoid the “lost in thought” cliche — or, say:

Arlo stands with arms criss-crossed, neck bent, head down. This is the Arlo I love. When he is quiet and reflective. I long to know what is in his heart. 

Or that last bit in the 3rd person: 

Esme longs to know what is in his heart.

Or inject more story into it:

Arlo stands with arms criss-crossed, neck bent, head down. This is classic Arlo. A performance. He is such a fraud. I can’t wait to hear what utter bullshit he’ll say next.

Or, okay:

He tucks his hands beneath his crossed arms, stands quietly, head down, considering. 

***

And on and on and on, endlessly. There are a million options, a million ways to get at it. Or to paint it, if you will. 

Try to do that today. Watch people closely. Notice how they hold themselves. At first, try to strictly describe only what you see: the ankles crossed, the fingers touching a necklace, the mouth a thin line of disapproval, etc. 

The truly amazing thing is how entire characters, entire world views, can grow out of this simple practice. The posture is a seed that flowers into a fully-formed, “living” character.

For example, say, this: 

The way Anna fidgets with the bracelet on her thin, right wrist. The bracelet was her mother’s, a gift before the cancer took her away. It was a year ago but feels like yesterday. Anna reaches for it when she feels nervous, or insecure, or just bored and lonely. A habit of the heart. It seems to help. She remembers the love that is gone and, almost magically, the love that persists.

I just made that up. Beginning with an image of a physical act.

Now it’s your turn. 

Go deeper, if you wish. But mostly, as an exercise, try to describe what you see. A sentence or two. The crossed ankles. The twirling of the hair. The setting of the shoulders. The forward-leaning walk, arms swinging. It all begins & ends with the seeing. 

Don’t miss my newest middle-grade novel, Shaken. Now also available on Audible, read by Caitlyn Davis. 

 

Video: James Preller Reads from SHAKEN

Thank you for your time. It’s only two minutes!

“Listen Up, People!” I’m Interviewed on The “Kidlit Love” Podcast!

How much is too much Jimmy? I think we’re about to find out. Just STOMP THIS LINK and listen to as much as you can stand.

Wait, what?
I was asked by the effervescent Stephanie Affinito to participate in her Kidlit Love Podcast. Stephanie is a lot of amazing things — a professor, a podcaster, a yoga enthusiast, a notebook-hoarding fanatic, a mother, a sharer, a bookaholic, a woman on a mission — but what I most appreciate is that she’s a sensitive, thoughtful reader.
A book person.
That is, Stephanie is my kind of people. 
I’m so grateful for Stephanie’s enthusiastic support and so glad to see my powerful little book receive such a sweet, sympathetic response.
That link again? This.