Pub Rants

A Very Nice Literary Agent Indulges in Polite Rants About Queries, Writers, and the Publishing Industry

Category: Publishing/Publishers

Why I Can’t Tweet My Manuscript Wish List

If you’re a writer on Twitter, you probably know that #MSWL is a popular hashtag. It’s how lots of agents and editors broadcast their submission wish lists.

I love it! But I can say with complete certainty that I’ll never post a #MSWL list. Why? Simply because I honestly don’t know what I’m looking for until I start reading it.

Case in point: When I read Stacey Lee’s UNDER A PAINTED SKY in manuscript form, never in a million years would I have posted to #MSWL that I was looking for a young-adult novel set in the American West, with two female protagonists—one Chinese, one African American—on the run and cross-dressing as boys to disguise themselves.

Yeah. I don’t think that would have come up.

But the minute I started reading, I knew I had to have that book. And thank goodness Putnam Children’s agreed with me.

So here’s the plain, honest truth: I have no idea what I’m looking for until the voice of a story grabs hold of me and doesn’t let go.

Just recently, I sold two science-fiction novels—DARE MIGHTY THINGS and THE BLACK HOLE OF BROKEN THINGS. Both, oddly, feature a competition at the heart of the story.

Ha! If you’d asked me whether competition stories were on my wish list, I probably would have said no. Popularity of The Hunger Games and all.

But once Emmett got a hold of me in THE BLACK HOLE OF BROKEN THINGS, I was 100% in. And in DARE MIGHTY THINGS, once Cassie Dhatri convinced me that competing for the opportunity to be an astronaut was cooler than competing for a prince and a kingdom, my inner geek girl squealed with delight. I was in.

So keep that in mind when you ask an agent, “What are you looking for?” If they have a ready answer, take it with a grain of salt. Rarely do we find exactly what we are looking for.

As the Rolling Stones would say, “You can’t always get what you want, but if you try sometimes, you might find you get what you need.”

Photo Credit: Hey Paul Studios


Writer Conference Pitch Pro Tips

It’s springtime! That means the Writer Conference season is upon us. And you know what that means, pitch appoints with agents and editors.

I do think yoga breathing exercises are essential to do pre-pitch so you might want to brush up with some practice before you go.

And just in case you’d like a few more tips to help you through, I put together my quick and dirty list:

1. For a 10-minute pitch appointment, plan to spend about 2 minutes talking about your book and 8 minutes interacting with the agent.

2. Nail your pitch in two succinct sentences. Three at most. If you can’t do that, you’ll be in trouble during your pitch.

3. Include one thing about yourself that will make you memorable (but in a good way, LOL). Maybe you have an interesting job that plays a factor in what you write. A funny conference story that is safe to share. A hobby passion that is interesting.

4.. Be prepared to talk about what inspired you. What made you excited to write this book?

5. Come intending to pitch only one book. If, however, the agent asks what else you’ve written or what you’re working on, be prepared to answer that question.

6. Know that this pitch appointment is not a make or break it moment. Not for you as a writer, not for your career, and not for your book; it all comes down to the quality of your writing.

The pitch is simply one stepping stone to getting you read. And if it doesn’t go well, plenty of opportunities to simply query agents the old-fashion way through email. Plenty of authors landed their agent doing just that.

Last but not least, smile and breathe. Most agents and editors are lovely people and they want you to succeed in the pitch appointment.

Scout’s honor!

Pic Credit: Dan Govan


Your Writing Should Not Be Your Main Source of Validation For Who You Are as a Person

I think this can be the most debilitating mistake an aspiring writer can make. There be dragons if you start down this mental path.

I recently gave a talk to Regis University’s MFA in Creative Writing students. In the fifteen-minute Q&A, one participant asked why it was so hard to get a literary agent to even look at her project. I could hear the frustration in her voice. I didn’t have a ready reply because the truth is that there is no good answer.

Writing is personal business. And any response and/or rejection can definitely feel like a commentary on your talent and who you are as a person.

But here is the reason you need to start thinking like an agent and less like a writer when it comes to submitting your material. If someone passes on your work, that rejection is not a commentary on your qualities as a human being. In a lot of instances, it’s not even a commentary on your ability or talent as a writer!

Let me repeat that: A rejection is often not a commentary on your writing talent.

I can cite a bundle of different reasons why an agent or publisher may pass on your work, reasons that have absolutely nothing to do with your writing ability. Don’t believe me? Here are a few (and in no particular order):

  • The agent/publisher has seen two-dozen concepts just like that one in the last four weeks.
  • That concept trend was hot, so now the Publisher has bought too many similar projects for their list and will not be acquiring any more.
  • The agent has an aversion to that type of story. I know a well-respected literary agent who personally cannot handle any story in which a child is in danger, and so will pass on any submission containing such scenes.
  • The editor could not get support in-house from the sales/marketing team to acquire the novel.
  • An agent read the story and thought the writer was talented, but for whatever reason, just didn’t connect with it enough to offer representation.
  • Bad timing. The agent was on vacation or at a conference, or just back to the office, and is simply swamped. It’s hard to be excited about taking on someone new if you are buried in work that can’t be accomplished in a 40-hour work week. And, LOL, no good agent works only 40 hours. It’s more like 60+ a week.
  • There’s talent on the page, but the editor or agent might think a significant revision is necessary, and taking the hour to write up an editorial letter isn’t going to happen.
  • The novel just has an element the agent is never enthusiastic about. For example, some agents are never going to take on a fairy-tale retelling or superhero story. It’s just not his or her thing.

I could go on. There are so many reasons that when I spoke at Regis, the best advice I could offer is this: Do not use writing as a means of validating who you are as a person.

No matter what an industry person’s response is to your written work, your writing is only one facet of who you are as a human being. Don’t make it everything, or you may lose your joy of writing and find the whole business very depressing indeed.

Photo Credit: BK


A Digital Love Story of Survivability

The following would have been impossible even seven years ago:

This week I sold the film/tv rights for a memoir that a major publisher took out-of-print in 2013. But because of the indie-publishing revolution, the author had made her memoir available in the digital realm. Because of that, it was discoverable by a major Oscar-winning director and producer who not only took an interest, but also optioned the rights for television.

Sounds like fiction, doesn’t it? Back in 2005, I met Kim Reid at the Pikes Peak Writers Conference in Colorado Springs. Kim had made a pitch appointment, but she pitched me a novel that didn’t sound right for my list. However, in the course of our conversation, I learned about her extraordinary childhood as the daughter of one of the lead detectives who helped solve the Atlanta child murders, committed by Wayne Williams in the seventies and eighties.

I immediately told her, “You need to write that. I could definitely sell it!” So she did, and I signed her as a client. It took sixteen months of dogged determination, and Kim surviving a slew of rejections, but I finally sold No Place Safe in June 2006.

Kensington Publishing did a lovely job with it. Good packaging. Wonderful editing. And then the book was published, and bookstores shelved it, oddly, in African American Studies rather than in biography, where it truly belonged. I can honestly say that the shelving diminished the book’s discoverability, as well as its ability to sell.

Heartbreaking. By 2013, the work was out-of-print, and the rights reverted to Kim.

Luckily, the digital revolution happened. So Kim, in partnership with NLA Digital LLC, indie published the memoir to give it a second chance at life. Director/producer John Ridley found it. Bought a copy. Read and loved it so much that he convinced ABC Studios to buy it for him.

Suddenly, a memoir that would have dropped completely from sight was saved by publishing’s digital transformation. This title now has a ton of exciting new possibilities unfolding.

This is why I love agenting in the digital age. Authors have so many more options available now. And this particular terrific story happened to a very worthy book!

Photo Credit: Alyssa L. Miller


Debut Authors Pass On the Inspiration

After listening to an amazing series of keynote presentations at the 2015 National conference of the Society of Children’s Book Writers and Illustrators (SCBWI), during which authors wear their hearts on their sleeves, I feel the need to pass on the inspiration!

From the Success Stories Panel:

  • Ten years from first conference to first book published. And when editing with a critique partner, editor, or agent, recognize and acknowledge the issue, and then find the fix that works for you, as it’s your story. —Anna Shinoda (author of Learning Not to Drown)
  • When you decide you want to be an author, you need to try for real. —Mike Curato (author of Little Elliot, Big City and Worm Loves Worm)
  • You have to show up every day, and a lot of what you create will stink. Don’t wait for perfection. —Lori Nichols (author of Maple and Maple & Willow Together)
  • Torment your character. Give him/her a goal and spend the next 70,000 words thwarting it. —Stacey Lee (author of Under a Painted Sky)
  • You don’t need to win an award to acknowledge your talent or become a published or successful author. —Martha Brockenbrough (author of The Game of Love and Death)

Writers, keep writing! Keep the faith, and as Kwame Alexander reminded us in his SCBWI 2015 closing keynote speech (“Six Basketball Rules of Publishing”), “You’ll miss 100-percent of the time if you never take the shot.”

Creative Commons Photo Credit: @wewon31 #365


Because Agents Are Human Too – Article 2

 

August’s topic might be the most controversial. At the very least, I imagine opinions will vary widely, and I welcome any conversation this might spark.

For an agent to be successful, she has to build trust with editors. Editors have very little free time, so they have to trust that what an agent submits to them will be worth reading. To that end, agents build relationships with editors to create that trust. Publishing, in this sense, isn’t the same as selling widgets. It’s rather an intimate industry.

And there is a narrow balance beam an agent has to walk between creating a good relationship with the editor and advocating for the author client.

With this in mind: Good Agents are friendly with editors but not friends with editors.

This is a very important distinction. It’s OK to be friendly in a professional relationship, but being friends poses a potential conflict of interest that might affect the agent’s ability to represent a client.

Quite simply it comes down to this. If an agent has to address a complicated or difficult issue with an editor (an issue that might lead to a split between the author and the publisher), whose side does the agent need to be on? The client’s of course.

But if an agent is good friends with an editor, the agent might not be willing to jeopardize that friendship to be the author’s champion.

At the very least, the agent might hesitate, and that is a real concern. If your agent has committed to representing you, he or she should never put personal priorities over yours.

Even though 95% of the time, it’s peaches and cream with the publisher and author, and a chummy editor relationship won’t be an issue, there will always be that other 5% where a big issue arises. It’s inevitable during a writer’s career.

As a lot of agents and editors are based in New York, where professional functions provide many opportunities for socializing, the line can blur more often than not. That’s something to keep in mind, and one reason being based outside the Big Apple can actually work in an agent’s favor—geographic distance helps create the “friendly with” versus “friends with” dynamic.

Even if an agent strongly believes she can wear two hats and be in agent mode rather than friend mode when the situation calls for it, keep in mind that agents are humans too and, therefore, fallible when it comes to managing the many types of relationships they maintain in their professional and personal lives.

The best agents, even those in New York, are mindful and respect the boundary between “friendly” and “friends.”

******

Summary of article series: Just as the title suggests, because agents are also human beings, they are going to embody both good and bad traits found in human nature. No one is perfect. And as some authors have discovered, some agents are more imperfect than others!

Your job as an author is to objectively recognize those human attributes or failings in your agent and decide whether they impact your career. Hopefully they don’t. To this end, Karen Dionne of Backspace and I have put together a whole list of topics to tackle for “Because Agents Are Human Too.”

Photo Credit: Tinou Bao


Authors, Do You Know Where Your Money Is?

(Just a note, this post is from our archives. Some references and links may be from past years.)

Every six months, you get an envelope from your agent. You tear it open, take out the enclosed check and royalty statement, and glance at the numbers on both. You shrug and mutter, “Guess that looks about right.” Then you toss the statement on your to-be-filed pile at the back of your closet, endorse the check, and head to the bank.

Sound familiar?

I can’t even begin to tell you how many published authors I’ve talked to at conferences who don’t give their royalty statements much of a glance. Why? Because they don’t know what they’re looking at. “Dammit, Jim, I’m a writer, not an accountant,” they say (or something along those lines). “Besides, isn’t that what I pay my agent to manage for me?”

News flash! Like you, many agents consider themselves word people—not numbers people—and your royalty statements are just as baffling to them as they are to you.

This means that the buck, quite literally, stops with you. Have a conversation with your agent about the level of support he or she is providing when it comes to combing through your statements and making sure you’re getting paid everything you’re owed.

More importantly, educate yourself. Learn how to audit your own statements.

Every year, we at Nelson Literary Agency recover thousands—sometimes tens of thousands—of unpaid dollars on behalf of our clients, simply because we audit their royalty statements.

Does this mean that publishers are nefarious, knowingly cheating authors out of a few bucks here and there to improve their own bottom lines? In our experience, no. (In fact, not all errors we find are made in the publisher’s favor!) Every error we’ve called to a publisher’s attention has immediately resulted in the issuing of a corrected statement and, when called for, a check covering the difference.

Without naming names, here are some examples of errors we’ve recently found on our clients’ royalty statements:

1. Unpaid royalties of approximately $5,000 because the publisher had applied a $10,000 advance against the author’s earnings when the actual contracted and paid advance had been only $5,000. This means the author had actually earned out—though the statement said otherwise—and was now owed nearly $5,000 in earned royalties.

2. Unpaid royalties of approximately $4,200 because the publisher’s accounting department missed the fact the author’s contract contained a royalties escalator. What’s that? A royalties escalator increases the author’s royalty rate in steps, based on units sold. For instance, a contract might specify that the author will earn 10% for the first 5,000 copies sold, 12.5% for the next 5,000 copies sold, and 15% for all copies sold thereafter. In this case, the author had sold about 12,500 copies of a hardcover edition priced at $16.99, but she had earned only 10% for all of those copies. Not one, but two escalators had been missed.

3. Unpaid royalties of approximately $7,300 because the publisher sold nearly 6,500 copies of a $17.99 hardcover edition at “high discount,” even though Agent Kristin had ensured that the author’s contract limited the number of copies the publisher was allowed to sell at high discount. What does that mean? When publishers sell copies of your book at higher-than-usual discounts, it’s common that the author’s contract will specify that she will earn “one-half the prevailing royalty rate” on those copies. Because Agent Kristin had limited the publisher’s high-discount sales, this author should have earned 12.5% on those particular 6,500 copies, but she earned only 6.25%, and we were able to recover the difference. (By the way, does your agent understand this and negotiate your contract’s high-discount clause in your favor?)

Dear Authors, the only way to protect your assets is to do the math. Join me July 30, from 6:00 pm to 8:30 pm, for my Royalty Statements Auditing Workshop, a live webinar sponsored by Nelson Literary Agency. Hope to see you then!


Article 3: Fearless Negotiation: An Agent’s Most Important Role for an Author

 

Article #3: Fearless Negotiation: An Agent’s Most Important Role for an Author

Of all the skills a literary agent is required to have, the most important is the ability to negotiate well on behalf of the author client. Authors hire agents to protect their business interests in publishing. In my mind, and other folks may disagree with me, all other skills are kind of moot without this one.

This is why a literary agent has a job.

To say this another way, your agent might be a great communicator or team builder, give great marketing feedback, have good relationships with editors, have good taste in picking projects (all wonderful skills to have), but if they aren’t also a good negotiator, then just how valuable are these other skills to you and your career? A good agent will have the complete skill set.

All this begs the question: How do you know if your agent is a good negotiator? Here’s how:

1.) Good agents negotiate all deals. Sounds simple enough. Doesn’t that always happen? Not necessarily. 

Good agents don’t accept the initial offer from the editor. There is always something that can be negotiated. A higher advance, a better escalator in the royalty break, two books instead of one, restricting the rights, holding or giving audio. The list goes on and on. I share with my authors the original offer and then the final offer before accepting. Does your agent? They should.

Good agents negotiate the deal even if an author brings the publisher offer to the agent. Where the offer comes from doesn’t matter. Every deal and every contract is negotiable. Always. There are no exceptions.

Good agents are willing to walk away from an offer if the terms aren’t favorable enough for the author. If you are interviewing agents, ask if that person has ever walked away from an offer and why. Every good agent will have a story.

Here’s mine. There is a small but well-known publisher that doesn’t include an actual out-of-print clause in their contract. Instead, they include a clause that says the Publisher will hold a meeting once a year and determine, in good faith, whether the rights should revert to the author.

Well, isn’t that nice and vague? Why have a contract at all then? Why don’t we just shake hands on a deal and the whole publishing endeavor and go from there?

In my view, the contract exists so that crucial items like this are clearly spelled out. After much back and forth, during which the publisher asked why I thought I was so special when the editor could cite dozens of other agents who had allowed their clients to sign the contract with this vague language (uh, why?), I counseled the author to walk away. Ultimately the author makes the final choice. It was devastating and super hard for the client, but said client did walk away. That publishing entity is now defunct.

Talk about dodging a bullet in the long run…

2.) Good contract negotiation takes time. Literally. 

Even with a basic boilerplate for my agency in place, most contracts take 6 to 12 weeks to negotiate fully. Every author is unique. Every deal is unique. So every contract negotiation is unique. There are many rounds of back and forth for the requested changes, as publishers are always introducing new clauses or making tweaks to their house contracts. In addition, there may be unique elements negotiated for your specific deal that necessitate changes to several contract clauses that won’t be true for any other author at that particular house.

The contract belongs to the author, so the author has a right to know all the details about what was negotiated on his/her behalf. When I complete a negotiation, I send on the final contract to the author along with the master redline that shows all the incorporated changes. I also send along the requested changes documentation with all my notes and responses from the publisher so the author can read the entire communication chain. They see what was given, what was let go, and why.  In ad nauseam detail.

The contract is legally binding, and you, the author, are going to sign it. Don’t you want to know and understand what your agent has negotiated on your behalf? If I were an author, I certainly would! I don’t share this info just to “be nice.” It’s rightfully yours.

Does your agent share these details with you? If not, why? Ask for it. Read your contract in its entirety. If there’s anything you don’t understand (and it’s OK if that’s the entire contract!), schedule a phone call with your agent to discuss.

It wouldn’t surprise me if the number is around 50% for agents who don’t fully understand a publishing contract or have the ability to explain the meaning and importance of the clauses there in detail.

Do you really want that person representing you?

If a new boilerplate from a publishing house is introduced, then it can take 6 to 9 months to get a new agency boilerplate in place that is reasonable for an author to sign. In the last 6 years, both HarperCollins and Macmillan introduced entirely new contracts. Rumor has it that later this year Random House and Penguin will merge their contract forms into a new Penguin Random House contract boilerplate. I haven’t seen it yet but it’s probably coming in the not-so-distant future.

Contracts turned around quickly or that take less time than what I’ve mentioned above = the agent is not negotiating or is not standing firm on key items until a compromise is found. And compromise can always be struck so both publisher and author are happy. But that takes time and several rounds of negotiation.

You don’t want agents pushing through a contract quickly simply because they need the money, or can’t be bothered, or don’t understand the clauses.

By the way, most agents are not lawyers (although some are). I’m not, nor do I think it absolutely necessary for an agent to also be a lawyer. An agent just has to be good at publishing contracts—which often necessitates thinking like a lawyer. None of the publishers’ in-house contracts managers I work with are lawyers either, and yet they do the negotiation. However, lawyers are often consulted on points of intellectual-property law if necessary.

By the way, lots of smaller agencies work with freelance professional contract managers (who once worked in-house for the big publishers) to assist in contract negotiation. This is a good thing, and I highly recommend it so that the author benefits from the contract manager’s savvy and gets a level of protection if the agent sucks at negotiation.

But it’s still essential for an agent to be a good negotiator. Why? Because it’s the agent who negotiates the initial offer (that’s what you’re paying them for!), not some hired contract professional. And often that necessitates some savvy pre-negotiating skills during the offer stage—before a contract is even generated. For authors further along in their careers, this is a given; they know it needs to be done. It’s not a maybe. And if your agent is not a good negotiator, you can see pretty clearly how that is going to impact your level of success and your longterm writing career. Your agent might not know how to do this.

Next month, Karen and I will tackle The Negotiating Tactics of Good Agents.

*******

The genesis: In January 2015, Backspace co-founder Karen Dionne and I had a conversation in which she mentioned that writers sometimes want representation so badly they are willing to sign with an average or even a below-average agent. Trust me, not all agents are equal. I replied, “Well, writers don’t know what they don’t know.”

In that moment, a lightbulb went on for both of us. Writers don’t know what a good agent does. How could you if (1) you’ve never experienced it and (2) you’ve only ever had one agent and no way to assess just how strong he or she might be at the job?

Thus, this series of articles was born.

*******

Archive:

February 2015 Newsletter – Article #1: Agent As Savvy Business Manager

March 2015 Newsletter – Article #2: Commanding Authority: An Agent’s Negotiation Edge.


Article 3 – Good Agents Geek Out About Contracts by Karen Dionne

To prepare for this month’s topic, I watched a video from the 2011 Backspace Writers Conference in which Kristin, Scott Hoffman of Folio Literary Management, Suzie Townsend (then of Fineprint  Literary Management, now with New Leaf Literary), and Diana Fox of Fox Literary discussed the nuances of publishing contracts.

One of the things I learned is that publishers often change their contracts to give themselves more favorable terms. Agents who are paying attention pick up on the differences and understand the ramifications. Agents who aren’t, don’t.

As an example, the agents explained how a few year ago Simon & Schuster removed four sentences from the end of the rights reversion clause. These sentences defined the sales threshold, which states that rights will revert to the author if the number of sales drops under a specified amount. Removing these sentences meant that if the publisher also bought digital rights, the book would in effect never go out of print, and the publisher would own the rights to the work in perpetuity.

This created a furor among agents who were paying attention. But not every agent caught the change. Some even let their clients sign the contract, then had to negate that contract and start over again. And some didn’t catch the change at all, which left their authors with no possibility of ever getting the rights to these novels back.

I also learned that agents “geek out” over contracts, as one agent put it. It’s a good thing they do, because as I listened to these agents enthuse over the finer points of contract details, my eyes glazed over. Not that the panel wasn’t interesting and enlightening—it was. Rather, I quickly realized that the nuances of contracts were so not my thing—like signing up for a study course and finding out two weeks in that you have zero interest in the subject.

“I go over every contract with a fine-toothed comb,” Diana Fox said. She then writes a detailed memo and sends it to her contracts manager, who goes over the contract again. “If Random House puts a clause in their boilerplate, I’ll know it.”

I read my first contract carefully. All 11 legal-sized pages of fine print. Four times. I also asked my agent questions, because I wanted to be sure I understood what I was signing.

But agents drill down deeper. An author might not even see the earliest version of the contract their publisher offers. “There are very few things publishers aren’t willing to negotiate on,” Scott Hoffman told the audience. “Some are deal-breakers, and it’s up to the agent and author to decide if a contract clause is in the author’s interest.”

So thank God for agents who geek out over foreign rights, audio rights, boilerplate contracts, and out of print clauses. Good agents watch out for their clients in ways authors don’t even know.

********

Karen Dionne is an internationally published thriller author, co-founder of the online writers discussion forum Backspace, and organizer of the Salt Cay Writers Retreat and the Neverending Online Backspace Writers Conference.

She is represented by Jeff Kleinman of Folio Literary Management. This panel discussion along with the full Backspace Writers Conference video archives are available exclusively to Backspace subscribers and online conference registrants. 


Kristin’s Original Pitch Letter to Editors – Under A Painted Sky

 

And as further celebration, my original pitch letter to editors when this work was on submission. A couple of things to note:

1) As my letter reveals, UNDER A PAINTED SKY was not the original title. We have Stacey’s estimable editor Shauna to thank for that! It was a great suggestion and way more evocative than Golden Boys. LOL Titles can be tough. As an agent, I either come up with a terrific one right away for the submit or it doesn’t happen until after the book is sold etc. But editors trust me so I know they’ll read the manuscript even if the title isn’t 100% golden. Pun intended.

2) This novel has received a lot of accolades and two STARRED reviews from Publishers Weekly and Kirkus. Over the last two weeks,  several editors have reached out to me with congratulations and a request for me to keep them in mind for future stories like this. Given how wonderfully this title is coming out of the gate, it’s easy to assume this might have been a slam dunk of a sale when on submission.

It was not.

Putnam really took a chance and with Shauna’s (and Jen Besser’s) wonderful editorial guidance and vision, Stacey worked hard to perfect the story of Sammy and Andy for the novel you get to read today. My fingers are crossed that this is a sleeper hit in the making.

 

Hello EDITOR NAME REDACTED

It was so lovely to see you while I was in New York. As promised after BEA, I’m sending along GOLDEN BOYS by Stacey Lee, a  young adult historical western a la True Grit.

After I had offered rep and Stacey accepted, I dug in to do the slow read. I was worried that my lack of sleep caused by staying up to read the manuscript had impaired by judgment when offering rep. *grin*

Lucky for me, it was just as good, if not better, than the first time I read it! I love love love it! Get ready to hold on to your saddle because I think you are going to love it as much as I do.

After a suspicious fire burns down her father’s dry goods store with him in it, newly orphaned Young San-Li, who goes by Samantha Young, confronts the landlord she suspects of setting the fire. When she accidentally kills him in self-defense, her only option is to hit the Oregon Trail. She knows the law in 1849 will not side with the daughter of a Chinaman.

With a whip-smart runaway house slave at her side, “Sammy” and “Andy” disguise themselves as boys and join a band of young seasoned cowboys headed for the California gold rush. Sammy must evade bounty hunters and hunt down Mr. Trask, the man entrusted with her dead mother’s treasured jade bracelet. When she also falls for West Pepper, a cowboy with no tolerance for greenhorn boys let alone girls, Sammy is convinced that the trail poses more hazards than a demure violinist can handle. 

When the wild West doesn’t prove big enough to hide her, Sammy must choose–avenge her father, forsake the memory of her mother, or embrace a new identity forged in the frontier and forever lose her history. 

Stacey Lee wrote her debut novel GOLDEN BOYS because her great great grandfather was one of the first Chinese to come to California at the time of the gold rush. She wondered how a Chinese girl born in the U.S. during its expansion west would have fared.  This novel won the 2012 Golden Gate award at SCBWI Asilomar Conference. This work is also a finalist in the Chicago North Romance Writers of America Fire and Ice Contest.

Enjoy!

All Best,

Kristin


Denver Skyline Photo © Nathan Forget [Creative Commons] | Site built by Todd Jackson