The year is 1867, and seventeen-year-old Verity Boone is excited to
return from Worcester, Massachusetts, to Catawissa, Pennsylvania, the
hometown she left when she was just a baby. Now she will finally meet
the fiancé she knows only through letters! Soon, however, she discovers
two strangely caged graves . . . and learns that one of them is her own
mother’s. Verity swears she’ll get to the bottom of why her mother was
buried in “unhallowed ground” in this suspenseful teen mystery that
swirls with rumors of witchcraft, buried gold from the days of the War
of Independence, and even more shocking family secrets.
***
As promised, author Dianne Salerni is back to answer a few more questions about her journey from writer to published author...
Tell us how you acquired your agent, Sara Crowe?
What did you do right?
I realized
shortly after signing a book contract un-agented that I needed someone looking
out for my interests. No matter how nice your editor or how small your
publisher, they have a business to run, and the author needs a representative.
I started
querying shortly before We Hear the Dead
was released. In spite of one self-pubbed author’s prediction that “With a book
contract and a film option in hand, all you have to do is wave at agents,” it
took months of rejection to find Sara. Agents aren’t interested in deals you’ve
already signed; they want to know what you have for them to work with.
What did I do
right? I kept revising my new manuscript throughout the querying process. I
give that advice over and over, and I know a lot of people don’t want to hear
it. With every rejection and every bit of feedback, no matter how tiny, I
tweaked and polished that manuscript before sending out more queries. I deleted
chapters. I took a really good scene that was planned for a proposed sequel and
moved it into this story.
By the time I
queried Sara, the manuscript was something worth reading. I admit, when I
queried her, I thought she was out of my league. But she responded to my query
with a full request within 24 hours and made an offer in under a week. If I’d
sent her the manuscript that I started
querying with, I’m positive she would have passed.
How long before you sold The Caged Graves? Tell us how it
happened. Did you scream? Cry? Celebrate?
The first book
Sara submitted for me didn’t sell. Yup, that one I worked so hard on. The Caged Graves was the second book I
sent to Sara. (Querying took so long that I almost had it finished by the time
I found Sara. I signed with her in December 2010 and sent her The Caged Graves at the end of February
2011 while the other book was out on sub.)
We went
through a couple rounds of revision with CG and waited for responses to the
first book before submitting this one. I think it went on sub in the beginning
of June 2011. In early August, Dinah Stevenson of Clarion/HMH expressed
interest, but wanted a R&R of the first few chapters due to reservations
she had. I spent three weeks on the revisions, and Dinah offered for the book
shortly after Sara passed my changes along to her.
Celebrate? You
bet I did! My husband took me out to dinner. There might have been champagne.
One of the things writers sometimes forget
is that once you – or your agent – has sold your book, there’s still work to be
done. What did you like best about working with an editor? Least?
A good editor
is very demanding. All those little details that you think aren’t important?
They are. In fact, what I’ve learned in conversation with other authors is that
the more revisions an editor demands of you, the more they’re invested in your
book. The time to worry is NOT when you receive a 20 page editorial letter. The
time to worry is if your editor’s notes come in a single paragraph in an email.
That said,
there’s always a small panic attack when opening the 20 page edit letter.
That’s the part I like least – not knowing what’s going to be in there.
What was the highlight of seeing The Caged Graves in print with that
gorgeous cover? (I must admit I might have squealed a little.)
I squealed too! I just couldn’t get over how pretty the book is. The gold
ornamentation around the title is textured and shiny. And when you take off the
dust jacket, the book inside is gorgeous, with purple end papers, a green
cover, and more gold decoration on the spine. With or without the jacket, it’s
a darn good-looking book to have on the shelf!
I must agree; it's a beautiful book and a fabulous read. Friday, I'll have the third and final part of my interview with Dianne, and we'll talk about her upcoming release, The Eighth Day, an MG book due out next April.