What was the most difficult element to cut/change during the revision process and why?
This book was a little bit different in that I was the editor. And I was the editor of a book on a very sensitive subject. It’s incredibly hard to ask people to write and change and cut things from a piece that is so close to the heart. A piece that takes a lot of bravery to put out there, anyway. And I was always worried about hurting the anthologists who had shown up for the job. Because of this, most of my editorial notes focused on things we could do to enhance narrative style, create cohesion and clarity. It was also important to me that people had power over their piece, especially in the question and answer component of the book, where we talk freely.
Tell us about how you sold this book.
A nonfiction book about sexual violence for teen readers? It was a hard sell when it was on submission in 2015. I do have an agent, Ammi-Joan Paquette, and she championed the project. We had a lot of very nice, very heartfelt, rejections. No one rejected us outright, everyone wished us the best. We had exhausted our list when Zest picked up the project.
How did attending VCFA affect your writing life?
During my time at VCFA, I was encouraged to write creatively and critically, and to experiment with genre. I’m so glad I did. I’m not afraid to explore with my writing. I have a few middle grades, a YA, a PB on submission and a nonfiction anthology out. I love the versatility that was encouraged and I’ve carried that with me.
What advice would you give to a prospective VCFA student?
Drink up the time you have at VCFA and try to explore all possible avenues of the creative process without worrying about publication process. There will be plenty of time to vex over the publication process later. Let it go for a while.
Agreed! Thanks so much for stopping by, Erin. And thank you for bringing this important project to life!