Archive for the writing process

Celebrating Local Star for USA Women’s Soccer, Bethlehem’s Own Claire Hutton

This was cool news from the other day:

I don’t know Claire Hutton, a standout local soccer player, but I’ve long been aware of her ability on the field. I heard she was special. A kid to root for, a good family. I know some coaches and people involved in the sport, and they all have nothing but praise for her attitude, dedication, talent, kindness. A great kid. I heard that over and over. 

I think every town, sooner or later, has some young athlete who breaks through. The shortstop who gets drafted in the 11th round by the Washington Nationals, the kid who is skating in the Olympics, a running back who signs with a D-1 powerhouse. 

For me, here in Delmar, NY, one of those kids was Claire Hutton. She went to the same schools as my three children. 

I met Claire briefly, just once. I was walking my dog near Bethlehem high school early one morning. It must have been a weekend or the summer; no one else was around, not even on the nearby tennis courts. I spied a young woman — she must have been 16 — setting out orange cones near the track. She looked strong-legged. I guessed that it might be Claire Hutton and, curious, I wandered over to say hello. We chatted for a bit. Claire was articulate and friendly, comfortable talking, happy to take a short break, and she liked my dog. Claire told me how she was going to play on the Boys Team that coming season (I later got to watch her play). She explained her drills after I asked what in the world was she doing. I shared with her how my very athletic daughter, Maggie, about five years older, suffered from three ACL surgeries and had to give up soccer (and basketball!) after 7th grade. She had already made JV soccer that season. Claire understood what that loss might feel like. I wished her luck and good health, told her I was rooting for her, and went on my way.

A couple of years later, when I wrote a book called Shaken about a 7th-grade athlete who suffers from a severe concussion, derailing her soccer activities, I was largely inspired by Maggie’s experience. Loving something and having it taken away. Kurt Vonnegut’s notion of making awful things happen to your characters in order to reveal what they are made of. And I thought about Claire, too. Or more accurately, I imagined what someone like Claire would think. The drive and the talent and the huge ambition. That’s the writer’s job, after all. We make things up out of life’s raw material. I wanted my character to be like that. 

So I guess I put a little of Claire — the imaginary Claire — into the main character of my book, Kristy Barrett. But to be fully transparent, I don’t know anything about Claire and I doubt she would remember me. I know “of” her. I was just a benign dad type with a cool black-and-white rescue dog named Echo. We were alone on the edge of a football field, beside the track. And she was with her orange cones and workout gear, inching toward her big dreams. 

Today it is so gratifying to see Claire, off in the distance, realizing those same dreams. Scoring a goal for USA soccer! And crazy as this sounds, it’s not the least bit surprising.

Great kid, I thought.

I used that inspiration for the first few pages of Shaken, introducing the character of Kristy Barrett.

 

Kristy alone on a soccer field. The sun barely up above the trees. The turf damp from yesterday’s rain. It was cold. She went through her warm-up routine. 

High knees, side shuffles, Frankensteins, butt kicks, hip flexors, etc. No ball. Not yet. Fitness first, always. 

Today was a game day; she wouldn’t overdo it.

Kristy walked off the paces, set out small orange cones in different configurations. Soccer was a game of changing speeds, spurts, sharp cuts, quick accelerations, and periods of rest. This morning’s plan was designed to replicate a game situation. If it does not challenge you, it doesn’t change you. Kristy heard her mother say those words so many times she now thought of it as her own original idea. She jogged the shape once, then began working in a pattern of slow jogs and sprints. At the end of the first set, Kristy waited, winded, shook out her legs, counted to thirty. She began a second set. And so on. Fitness wasn’t the fun part of soccer. But it helped win games. It made her a better player. And, at thirteen, Kristy was determined to become the best in the state.

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This was her happy place. No matter what else was going on in the world, Kristy found peace and pleasure alone on the field. Even during a game, surrounded by teammates, crowded by opponents — pushed, knocked down, high-fived and cheered — Kristy felt gloriously alone. Bubbled, sheltered, secure. 

Here’s a quick one-minute interview with Claire.

But be warned: if you watch it, you’ll be rooting for her, too. It’s an affliction!

Addendum: Maybe Claire will see this someday. If she does, I hope she doesn’t mind that, in a circuitous way, I put something of her in a book. Or that I wrote this post.

A great kid, yeah. And an inspiring one, too.

 

SHAKEN was listed by Bank Street Center of Children’s Literature as one of the “Best Children’s Books for 2025.” Ages 10-up.

 

 

BEHIND THE SCENES: All This Work for One Joke!

Today I want to put a spotlight on all the effort that went into a single page from my upcoming beginning reader, Two Ballerinas . . . and a Moose. It took us a while to get it right and, amazingly, I think we did. Believe me, that’s not always the case. Sometimes the more we revise and tinker, the worse things get. Overcooked might be the word for that.

You be the judge.

To begin, a Ready-to-Read is typically 32 pages, not unlike the vast majority of picture books. After dispensing with the title page and copyright information, there are basically 29 pages left to tell our story. That means every word, every page, every illustration counts. 

We meet two ballerinas on the opening spread, pages 4-5.

 

Note the use of ovals. (I’m not sure whether to credit the book designer, Leslie Mechanic, or the illustrator, Abigail Burch.)

Store away that oval feature in your head. 

Next Moose enters our story and he wants to dance, too. But Moose is hardly a ballerina. Ho-ho! That’s the story’s engine, if you will.

For starters, Moose is not dressed properly. Not for ballet.

Hippo points out that Moose is not even wearing the proper footware. 

To which Moose replies . . . 

Now comes the payoff, the visual punchline.

Here’s Abigail’s initial sketch . . .

 

Crocs! I believe that was my original suggestion in the art notes in the manuscript. A humorous idea, but . . . um. 

For me, the crocs weren’t reading. The visual was too subtle, especially for young children. The joke wasn’t paying off. I conveyed that to Elizabeth Barton, the book’s editor, who consulted with Leslie, who then discussed it with Abigail. 

Abigail came back with a revised sketch . . . and new shoes!

 

 

Terrific, now we were getting somewhere! Elizabeth noted that for the final art, they wanted even bigger platforms on the shoes.

I was still troubled by the shrubbery, which I saw as visual clutter. So I wrote to Elizabeth — who sought my opinion — with a further suggestion:

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PLATFORM SHOES SPREAD: Much better.

BUT WHAT IF . . . the right hand spread is, like, an oval around a much tighter focus on the shoes. 

The next day, I explained in a follow-up email . . . 

This design, in my view, breaks a rule of mine. Early on, there’s a spread with Beaver and Hippo enclosed in ovals. I like that technique. But then it never returns for the rest of the book, and I think that’s a structural design flaw (that no one will notice, mind you!). It’s why I thought the shoes gave us an opportunity to bring back that shape. 

Once again, to her great credit, Elizabeth and Leslie met my comments with an open spirit of collaboration. It was time to move beyond sketches into final art. 

Here’s what Abigail came up with . . .

Nailed it!

Right?

Visually, yes. Now the joke works!

But I had one last minor worry.

I emailed Elizabeth . . .

I realize that a late change might be a hassle, but since it seems possible, I would like a change from “dancing” to “ballet” for this image.
Because obviously those are awesome shoes for dancing.
It’s a case of writing a text and then adjusting when the art comes in. 
If possible!
If not, the world will continue to spin.
Once again, Elizabeth agreed. 
For the record, Elizabeth does not always agree, nor should she. My goal is not to “get my way,” it’s to have a creative voice in the process. After all, I’ve been in children’s books for 40 years. I might have some worthwhile observations along the way. And I can also be massively wrong about things, too. It’s the editor’s job to navigate all of that while keeping on eye on the prize — making the best book possible — and protecting the illustrator’s creative freedom. A balancing act of concerns.
Anyway, that’s one page, one joke in a simple little story. We traveled a distance to get there. Many emails and conversations. To me, today, those shoes make me happy. It’s part of the pleasure of this job. I mean, we’re making a book for young children. It should be fun, right?
Not every creative partnership works this way. Publishing can be closed and many times “they” prefer to keep the writer out of the process. The message: Stay in your lane. Which I also respect, because the illustrator needs her agency, too. As much as I want to be respected, I must also give that same measure of respect to everyone involved. We all have opinions, thoughts, but no one knows. We’re all guessing. The last thing I want to be is a headstrong, interfering writer.
Nobody wants to work with a pain in the butt and I was dangerously close to becoming that guy.
But here’s another thing I’ve learned in this business: The only thing that matters is the final book. There’s not a reader in the world who cares how you got there.
I feel extremely fortunate to work with Elizabeth and Leslie and Abigail on these “. . . And a Moose!” books. And like any relationship, we are figuring each other out.
Next up: Two Astronauts . . . and a Moose!
Addendum: The “final” corrected page just came in:

True story: If it was just me, I’d bring down the word “for” to the next line, to avoid what we call the “widow” (a line with just one word) for ballet.
But I’ll stop for all concerned.
THANKS FOR STOPPING BY!

FAN MAIL WEDNESDAY #343: There Is an Exit After All

 

Here’s a recent email that touches on a painful subject. So I set aside for a couple of weeks before answering.

 

Dear Sir,

I hope you are doing well. I am a 13 year old and a huge fan of your EXIT 13 MOTEL series. I just simply love it. I have been waiting for books 3 and 4, but I didn’t see it out there. I just wanted to ask if it was coming soon, I would be waiting for it. I know you would get some hundreds of fan mail, but if you would be able to spare a few minutes, do reply back. It would mean the world to me. It’s my first time writing a fan mail so I would like to apologise for any mistakes I make.
Hoping to hear from you soon.
I replied . . .
Aakriti,
My apologies for taking nearly a month getting back to you.
I could say that I’m busy, that I’ve had things to do. And while that’s generally accurate, the truth is that you hit a nerve. A sore spot. A place of disappointment and pain.
As far as I know, there will not be another book in the EXIT 13 series. 

It just didn’t sell fast enough. And publishing has increasingly become a business of “instant” success or failure. If something doesn’t hit big, right away, then the publishing world moves on to the next thing.
There is always a next thing. 
At different times, a series like EXIT 13 might be considered a slow grower. A series that needs to find its audience. Three books, four books. Time for word of mouth to spread. Time to occupy shelf space in bookstores. 
That’s not the world we live in anymore.
R.L. Stine once said that his GOOSEBUMPS series didn’t take off until the 4th book. So even something as stunningly popular as GOOSEBUMPS took time to develop.
Oh well!
Here’s more of an explanation for you . . . 
Thank you so much for your letter. 
Starting the series, part of the challenge was to have enough “story” for it to go 4 books, 6 books, 8 books long. A deep, involved mystery. 
I wish I could have wrapped it up for readers with at least one final book. Got the McGinns out of the motel, at least. Explained some of the business with the animals and woods and the aliens. 
Thank you for reading the books and, most especially, for reaching out.
I appreciate you . . .
James Preller

FAN MAIL WEDNESDAY #341: My Pen Pal Jaquan (Plus Some Actual FREE Writing Advice!)

Back in February of 2018, I received a piece of fan mail from Jaquan. It was partly in braille, a first for me. And it would become the first of many, many missives we’ve passed along over the years. You see, Jaquan is a dedicated, passionate writer. He’s been sending me stories all this time. There have been lags and spurts, but I’ve tried to keep up. Mostly with encouragement and enthusiasm. And every once in a while I’ll stick in a Pro Tip!

That first envelope looked like this:

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A closer look . . .

For me, receiving a letter from a reader is a privilege, an honor, and an obligation. There was a time, when my Jigsaw Jones mystery series was at its peak, with new titles appearing on Scholastic Book Clubs four times a year, I got a lot of letters. It was almost a problem. I’d get overwhelmed. I tried creating a small brochure, and then postcards, but they made me feel like a robot. For the most part, I’ve made the effort to write authentic responses to each and every letter. That’s partly why I’ve been sharing a sampling of letters-and-responses on this blog since 2008.

Fortunately, I don’t get nearly as many letters as I used to.

Wait, fortunately?

Oh, well!

(Aside: I also suspect that “letters to an author” is not quite the thing it used to be in schools. Particularly snail mail. It’s too bad.)

The writing life has its ebbs and flows, and I’ve been doing it for the past 39 years. Still hanging in there.

And for the past 7+ years, I’ve been hearing from Jaquan. Recently, I received this one, which was a little different from the rest:

Dear Mr Preller, I hope your doing well i’m a huge fan of your jigsaw Jones series it inspired me to make A series of my own A little while ago I sent books of my  of my own for you to check out  like my dog detective series I really appreciate the influence you have on your writers like me Young writers like me I know you’re super busy and I just want to say thank you for the inspiration lots of good ideas and thank you again when you get a chance to read them, please give me your honest opinion on my work  warm regards Jaquan J, your author Friend ps, thank you again JJ 

Here’s my reply:

Jaquan,
What a kind letter, my friend, thank you.
As a writer — and sometimes as a writing teacher — I often come up against the limits of how much I can help any other writer. In the end, we are all alone and need to do it on our own. That quiet time with the blank page and the stirrings of our heart, our own talent, our own dedication.
I love that you love to write. That you love books and reading. If I’ve helped inspire you, and if I’ve encouraged you, then I’m satisfied with that. I don’t have many wise strategies to impart. We are all fumbling in the dark.
Follow your enthusiasms.
Keep going.
And most of all, enjoy it, have fun with it, let your reading & writing be a source of pride and pleasure in your life.
If we look to the outside world for our happiness, we will almost certainly be disappointed.
Maybe that’s the creative process in a nutshell? Why we make things out of nothing. Create your own happiness. Light your own candle in the dark & difficult world.
You’ve been working hard at this for a long time, Jaquan, and it shows. I’m glad you’ve kept me informed, sharing your stories over years. I see your growth. I’m grateful for you.
And, yes, you are right. I have a life, things to do, and can’t always give your letters a considered response. Don’t mistake a period of silence for indifference. I care about you, and your writing, and I’m right here, cheering you on.
By the way, I just looked it up. I first heard from you in February of 2018. So many letters and wonderful stories since. You had wanted to send me a letter in braille and a person at the Visions Center, Pamela, wrote to me. I later received your letter and still treasure it.
We’ve been writing back and forth for seven years now. Isn’t that something?!
It’s my turn to thank you, Jaquan. I’m so glad you reached out.
Your friend in books & letters,
James Preller

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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