Counting Down to Landfall

Landfall cover smallEllen Urbani’s Landfall is being released to booksellers right this very moment! After a year of daily work on the editing, design, distribution, and marketing of this stunning mother-daughter novel set during Hurricane Katrina, we’re finally counting down to the Aug. 11 availability date.

Its release is timed for the tenth anniversary of the storm’s landfall. Publishers Weekly featured Landfall in its Katrina section last week, amid a group of nonfiction titles, which was very exciting.

We have phenomenal blurbs, an enthusiastic sales team courtesy of our new distributor (Legato Publishers Group, a division of The Perseus Books Group), and pre-sales galore. Landfall will be in a ton of wonderful indie bookstores all across the country; the novel takes place in the South (Tuscaloosa and New Orleans mostly) but it’s not regional. And in addition to those booksellers agreeing to stock our book, this will be our first Forest Ave title to appear widely in Barnes & Noble and Books-a-Million stores.

Ellen Urbani will be appearing at twenty-plus cities around the country (see her impressive events calendar here), with a focus on the South and the Mid-Atlantic, so if she’s coming your way, please go hear her, and tell her we know each other from this blog. Likely, she will hug you and shower you with gratitude and warmth. Most of you have been here since the beginning–my Seven Questions interview series–which morphed into the idea of publishing a collection of interviews, and three years later, we have this national, spectacular launch. I’m holding on to my hat as we approach this date when “forthcoming” will be replaced by “available now,” still pushing hard to get the word out, and enjoying everything that comes our way. Like this recent Kirkus review:

“Tracing the experiences of two smart, tough young women, Rose and Rosy, she lays down threads that knot their histories together. Each young woman is fatherless, each living with a difficult mother who clings to a romantic past while trying to prepare her daughter for the challenges of a female adulthood. Thrown into the maelstrom of Katrina and its aftermath, each sees her life change completely overnight, forcing her to face herself and the past that shaped her. Urbani boldly sets her story among some of the most disturbing events of that time, sensitively evoking the desperation of the survivors of the hurricane and its mishandled aftershocks. To her great credit, she never shies away from the realities of poverty, race, and racism, nor does she fail to give people, both white and black, individual characters, unique histories, and often warm hearts.”

And here are some of Ellen’s jaw-dropping blurbs:

“With her new novel Landfall, Ellen Urbani enters the world of American fiction with a bang and a flourish. She brings back the terrible Hurricane Katrina that tore some of the heart out of the matchless city of New Orleans, but did not lay a finger on its soul. It is the story of people caught in that storm and the lives both ruined and glorified in its passage. Her descriptions of the flooding of the Ninth Ward are Faulknerian in their powers. It’s a hell of a book and worthy of the storm and times it describes.”

– Pat Conroy, author of The Prince of Tides

“A gorgeous and raw rendering of a young woman’s struggle for redemption, for forgiveness, for salvation, in the aftermath of the devastating catastrophe of Katrina. Landfall is not about a storm; it is about the resiliency of the human spirit, and our ongoing need to make sense of the world around us, no matter the cost. Urbani has crafted a powerful novel that will resonate in your soul long after you have turned the final page. Outstanding!”

– Garth Stein, author of The Art of Racing in the Rain

“Ellen Urbani has written an amazing and original piece of literature. If you love Isabel Allende’s House of the Spirits you will love this book!”

– Fannie Flagg, author of Fried Green Tomatoes at the Whistle Stop Cafe

“From the first sentence, I was drawn into  the intricately wrought emotional lives of Urbani’s nuanced characters and didn’t put the book down until I’d found my way to the end. This novel is as delightful and compelling as it is necessary, broadening the cultural conversation around community, love, loss and inequity. It’s about making human connections, particularly during times of grief. Landfall, like the best literature, delivers an expansive, rich sense of humanity.”

– Monica Drake, author of The Stud Book

“A deeply soulful novel set during the chaos of Hurricane Katrina and the long, moody ebb of its aftermath, Landfall recalls Zora Neale Hurston’s Their Eyes Were Watching God for the strength of the women in its pages, and their resilience despite immeasurable loss. Urbani knows it’s only love that truly overcomes catastrophe, that even as we search for the answer to that most elusive question–Why?–everything in our lives can always change in an instant, sometimes even for the better.”

– Tony D’Souza, author of Mule

Landfall is a poignant, provocative, and utterly compelling story of two fatherless girls forced into adulthood too soon. Ellen Urbani has accomplished the nearly impossible: creating a fictional world so real you’ll revel in its beauty and flinch from its pain. I could not put this book down. And the ending is worth every page that precedes it.”

– Hope Edelman, author of Motherless Daughters

“Reading Ellen Urbani’s writing is like reading a painting, or a song. It’s that colorful and alive. Urbani sweeps you up into her world and carries you through this gripping story about two young women affected by similar tragedies.”

– Kerry Cohen, author of Loose Girl: A Memoir of Promiscuity

“Ellen Urbani’s story of Katrina and its aftermath is an important part of America’s modern mythology, a chronicle of one of our greatest national trials. But Urbani’s characters reach beyond mythology: two rich and complex young women, two troubled and heartbreaking older women, whose separate journeys and literal collision are unique yet timeless. Landfall is a mirror in the floodwaters, showing us our own distorted faces in the murk and mayhem of our recent past.”

– Samuel Snoek-Brown, author of Hagridden

If you’re part of a book club, consider taking part in our 50 in ’15 Challenge! We’re looking for 50 clubs–at least one in each state!–to pick Landfall as a selection by the end of 2015. No need to read the book this year; just put it on the club list, and in return, you’ll be eligible for a series of perks, including author participation in your event, personalized autographs for all book club members, and an unpublished, never-revealed prologue. Feel free to grab this handy image I designed and share it on social media!

50 in 15 social media

I’ve been quiet here, because I’ve been busy with the press, but you all are my roots. The online community that centered me, grounded me, fed me, gave me the heart and the courage to push forward with this crazy idea of starting a small press–and now look. Something big is about to hit, something national, something bigger than anything my press has done before, and bigger than anything I could have done on my own. I’m so grateful to all of you, all of our readers, our reviewers, our staff and contractors (especially publicist Mary Bisbee-Beek and graphic designer Gigi Little), and Ellen as well as all of our previous and future authors. You’re all at the heart of this.

Publishing can be disheartening, but dreams can come true. I want to prove that with this launch. I want Landfall to be what some are already calling a Cinderella story: a little-known author and an independent press coming together to create something extraordinary. 

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From the Publisher’s Desk : A Matter of Taste

I’ve disappeared into editorial tasks over the past weeks, working on galleys for our Spring 2016 release, doing a final edit on our next release, and reading submissions for Forest Avenue Press. We opened nationally, seeking novels, for the first time in January, and wow, have I been stunned by the quality and quantity of manuscripts. Each has been a gift, even if it’s not a gift meant for our particular press. Whenever someone takes the time to share a piece of work, it’s a gift, and I treat rejections as such. With kindness and appreciation.

When I can, if I feel strongly enough about a novel that’s not working, I offer specific feedback. Sometimes that includes what’s positive, and sometimes I get a little bossy (shh) and pinpoint what’s not working because I think the book could work really well–should work really well–if only these issues were corrected. Sometimes books begin in the wrong place. Sometimes the voice is so strong it overwhelms the plot, or the plot is strong, but once the big scene that’s been teasingly revealed happens, the rest falls apart. Sometimes it’s just not the right book at the right time because of other things in my catalog queue. That last one happens a lot, and I’ve had to let go of some great books this time because they were too similar to other books I’ve already published or will be publishing next year.

Liz Prato, editor of The Night, and the Rain, and the River, our short story collection that came out last May, said something about if only the writers knew how much we want them to succeed. It’s so true! We try not to let bad formatting or typos or a terrible query letter or the wrong opening stop us from seeing the potential in a manuscript, but the easier you can make it for us to fall in love, the better your chances.

It’s really fun to peek behind the scenes at the submissions to our supernatural short story collection, set in Portland, or rather an alternate Portland, forthcoming in fall 2016, edited by Gigi Little. The submissions period closed last week. The decisions are all Gigi’s, and seeing her make comments on each piece reminds me of how strong a vision she has for this book. That’s the most important thing about publishing, for me: finding the right pieces. Falling in love. I have to want to devote eighteen months or more of pre-publication hard work to a novel, and if it’s not exactly for me, then I won’t be the right advocate for it. I won’t enjoy those months of pre-release activity, or the ride we’ll go on when the book actually launches.

So think about this, novelists and short story authors who have received rejections and have wondered about them. You may have more edits to do, things you need to fix and sharpen, especially if an agent or editor or publisher takes the time and care to tell you so. But it’s also a matter of personal taste. And you can’t take any of it personally, especially the taste thing. You write what you write because it’s your taste, your subject matter, your story, your belief in the way the world works. But we publish what we love, and it has to be our taste, something that we can get behind not just in the pre-publication process, but for years to come.

My first author, Stevan Allred, is still doing events and promoting his 2013 book, and I still have his back. He likes to say A Simplified Map of the Real World is just a toddler now, getting its legs under itself. And I love that. As a small press with a small catalog, we do have the luxury of promoting our backlist titles for years; there’s no three-month shelf life here.

I’m sitting in the airport right now, flying to our first sales conference since we signed with Legato Publishers Group, a division of Perseus Books Group. I’ll meet the reps who have been reading Landfall, by Ellen Urbani, our next title, which is forthcoming in August to coincide with the tenth anniversary of Hurricane Katrina. I’ll share my enthusiasm for Ellen’s spectacular novel, and my vision for Forest Avenue Press, and I’ll share our backlist titles, too. The four books that launched my company. It feels important to be in the airport today, getting ready to meet a team of executives and reps who dedicate their time to helping books succeed. It feels big. Really great.

I can’t wait to board my plane and go meet everyone. Including an author whose novel appeared in my inbox earlier this year, a novel that grabbed my heart, a novel that I could totally spend years working on, a novel that, when I finished reading, already had me itching to go back to the beginning to start again.

Lucky me.

I’m bringing all the love we’ve gotten from our readers and authors with me in my carry-on bag. Because this is big, this moment, and without them, I wouldn’t be here in the airport, poised to go to sales conference, poised to fully launch this company on the national scene, poised to meet with a new author. Thank you.

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Sometimes It’s Best to Ask for Help

I’ve been stuck on my knitting recently. Too busy with other things, not making it a priority, and not having enough time to go to knitting group all contributed to my dropping that favorite (only?) non-literary hobby.

When I started again, it felt good… until I lost my mostly-done fingering weight shawl. Which means I lost the gorgeous yarn I had been saving for the right project, the needles, my prized little canvas drawstring project bag, and the hours and hours I had put into it.

So then I stopped knitting. Again.

Luckily, two knitting friends of mine work at the local yarn store, and I went in last week and begged for help. I told them I wanted to be told what to do. I needed a pattern, yarn, and needles. I wanted them to treat me like a beginner, like someone who had no idea what to buy.

“Surely you have needles!” they said.

“Surely you have stash yarn!” they said.

True. I also have a huge queue of patterns, including some I’ve purchased and never tried. But if left up to my own devices, I wouldn’t match those things up and get started again. The energy just wasn’t there to sort through my yarn, or look for the right needles, which are surely already embedded in an unfinished project from two years ago. These knitting friends suggested the right pattern, showed me suitable yarn, and grabbed a set of needles, and I walked out of the store with a new project, ready to go. Which is exactly what I needed.

Sometimes writing is like that too: we get stuck. We panic, or lose energy, or lose focus, or other things get in the way. Sometimes health gets in the way. Or family issues. Sometimes it’s things we can control, other times not. The reason I’m so focused on building literary community, and connecting with other writers, is that sometimes when we get stuck on a project, help from a friend is exactly what we need. That kind of reassurance, or guidance, or just a kind voice wanting you to get on with something you love, is priceless. So is the writer-friend who is willing to read your manuscript and give you comments. Tell you what’s missing or which darlings are getting in the way. Give you the tools–and the encouragement–to revise.

I try to be that person for authors in my community here in Portland, and also online; I’m not blogging, or commenting on others’ blogs, as much as I used to, because of the press, and nourishing existing relationships, but it’s all coming from the same place. Wanting to encourage and empower other writers, wanting to build a platform for their work with the press, and to share behind-the-scenes tips and thoughts to help others keep going.

Probably I would have started knitting again eventually, but my friends made it easier. I asked for help, and they helped me. I already had the tools, and the knowledge, but I didn’t feel ready to put those things together on my own. I didn’t feel motivated because I was so frustrated at losing those hours of shawl knitting when I lost that project.

I am now working on a bright pink single-ply Reversible Turkish Cowl by Sophie Bayard. It’s a two-line pattern, relaxing and lovely, and it’s exactly what I needed. This week, too, a writer friend of mine, whose work I edit regularly, read a piece of mine–a short story that I wasn’t really sure worked–and told me what was missing. I trust her instinct and totally agree, and we think a paragraph will fix it. Instead of letting that piece of writing go, or continuing to worry that it wasn’t story-like enough, I now have an action plan. I had the tools to fix it all along, but she reminded me that I have them, and pointed out specifically where the weak spot was.

Have you reached out for help from another writer recently? Or have you reached out to help someone else?

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Trends: WWII

I had the extreme reading pleasure of devouring Tony Doerr’s All the Light We Cannot See and The Nightingale by Kristin Hannah one after the other. They’re both epics about World War II. Nuanced, heartbreaking, gorgeous, suspenseful novels, both. Important, both.

The books themselves feature very different plots, and characters, but they’re both tales of resilience, enhanced with rich (and sometimes horrific) historical details.

All the Light We Cannot See tracks the lives of a young German orphan, who gets filtered into a privileged school for Nazi youth due to his skill with radios, and the sightless daughter of a museum lock-maker, who builds her scale models of neighborhoods so she can learn her way around by touch. Each is tested–and changed–by the world around them.

The Nightingale is about two French small-town sisters whose everyday lives are impacted by the arrival of the Nazis and the shift in the political currents. Kristin Hannah delivers a powerful message about how heroism comes in all forms, and the consequences of acting on principle in a time of war. I was surprised, and oddly grateful, for the horrors she put on the page amid this story of family bonds and community life.

There’s no sugarcoating in either of these novels.

Some pages were hard to read, certainly.

I don’t like intentionally shocking novels; I find that the shock, the horror, pulls me out of understanding the character, but if the shocks come after we know the characters, and love them, then my seatbelt is already on, and I’m along for the ride and can appreciate the bumps and unexpected turns. Moreover, I don’t want to get off the ride.

I think that’s part of the brilliance of All the Light We Cannot See: we know Werner as an orphan who wants to protect his sister. Where he goes, and how he becomes part of the Nazi engine, is perfectly rendered and in context. He has a good heart, and we know that from the beginning.

I’ve only read–and admired–one of Kristin Hannah’s novels, which didn’t prepare me at all for this gorgeous historical epic, newly released, which is full of terrible injustices and dangers and heartbreaks that she poured on to the page. What happened, what she allowed to happen to her characters, took me by surprise, the way the best fiction does, and in a way that felt totally true to the setting.

It was a pretty amazing experience reading both of these novels one after the other. However, it’s meant bad timing for World War II manuscripts that are coming through my submissions portal at Forest Avenue Press. They might be excellent novels, totally different from Doerr’s and Hannah’s, but those two made such an impression on me that I can’t pull myself far enough away from them. In several instances I’ve found myself comparing Nazi protagonists with Werner, and thinking about how even if a kind act is shown by a Nazi in the opening pages, that character is still a Nazi. It’s hard to be sympathetic. With Werner, Doerr avoided that issue by introducing us to him earlier in his life, and letting us see the inexorable machinations that pulled him into service by circumstance.

The bigger takeaway?

It’s all about taste, when it comes to finding the right editor or agent or publisher. And sometimes a manuscript hits at the wrong time for the person reading it. So take heart, and keep submitting, and keep researching where you’re submitting.

Across the board, authors who have taken the time to read one of our books or even look at our catalog have submitted novels that fit my taste; people who throw their books at us like spaghetti being thrown against the wall are most likely to earn form rejections. Sometimes, with all that preparation, and even hitting a person’s taste just right, you’ll run into an unforeseen circumstance; I’ve told our WWII submitters that I haven’t been able to get past my own reading, or see how at this point I could compete with those two novels in the literary fiction marketplace, but perhaps another agent or editor or publisher wouldn’t bring that same perspective, or would welcome a war novel.

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Ellen Urbani in The New York Times

ellen_retouch_04Ellen Urbani, whose novel Landfall is forthcoming from my press in August, has an essay being published in The New York Times on Sunday!

Read A Flower Delivery That Brought More Pain Than Pleasure.

Landfall is the one and only title Forest Avenue Press is publishing in 2015, and it’s set during Hurricane Katrina. We’re launching it on August 29, the tenth anniversary of the devastating storm’s landfall.

I’m so excited about the buzz we’re getting so far, including blurbs from Fannie Flagg, Tony D’Souza, Monica Drake, and Pat Conroy, who said this:

“With her new novel Landfall, Ellen Urbani enters the world of American fiction with a bang and a flourish. She brings back the terrible Hurricane Katrina that tore some of the heart out of the matchless city of New Orleans, but did not lay a finger on its soul. It is the story of people caught in that storm and the lives both ruined and glorified in its passage. Her descriptions of the flooding of the Ninth Ward are Faulknerian in their powers. It’s a hell of a book and worthy of the storm and times it describes.”

– Pat Conroy, author of The Prince of Tides

We have PDFs and epub review copies available now, with paperbacks coming soon. If you’re a book blogger, bookseller, reviewer, or book club member, and Landfall sounds like the type of novel you enjoy, contact me through the press to reserve your copy. Ellen is doing an extensive national tour, with particular focus on the south, so stay tuned for itinerary and whether she’s coming to your town!

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Notes from the Slush Pile

My press opened for its first national submission period on Jan. 1, and oh, how each fresh manuscript feels like a gift! Truly. Even the ones that don’t fit our mission or taste. It means so much when someone shares a novel with us, the product of many hours of hard work.

For years, I’ve been on the other side of the slush pile, revising novel after novel and trying to figure out query letters. While I learned a ton from submitting my own work over the years, I’ve learned even more from bloggers and authors and agents who have taken the time to pass on some notes and suggestions.

So I want to share a few things, while they’re fresh. They’re not necessarily related to any specific submission, mind you, but more a response to patterns and issues I’ve seen over the past three submission periods.

Please remember to address the correct agent/editor/publisher. This is a big one, folks! I’ve had queries asking for representation that clearly were supposed to go to an agent, and queries that are addressing a different press or editor or publisher. Mistakes happen, sure, but if you’re going to double check a submission, start with making sure you’re sending it to the right person. 

Research, research, research, and then submit to the people who have the best chance of loving your book. I’ve been most impressed by authors who are able to tell me why they think their manuscript is a good fit for Forest Avenue Press. Those who have taken the time to figure out what we do seem to be submitting the manuscripts that are piquing our attention. I expect it’s the same for other publishers. If your manuscript is not something we usually do, we’re not going to accept it, because we won’t be the best home for it. You may send me the very best short story collection in the world, or the very best sci-fi novel, but I’m seeking literary novels, and if you give me something else, no matter how brilliant, I will pass, so spend your time on a market that is looking for what you have to offer.

They’re literary novels, not literary fiction novels. Take care to avoid redundancy in your initial approach; after all your letter is showing us how you write, so revise until it’s as clean and convincing as possible.

Follow guidelines. My standard request is a query letter with 50 pages, which is why I’ve been quiet here on the blog so far this month–so much fun reading to do! I have no problem with people who send 45 or 55, based on when an arc ends, but I’m not ready to see a full manuscript until my committee decides to ask for it. If you give me fewer than 50, it’s uncomfortable to have to go back to the author and beg for more pages. I do tend to give authors the benefit of the doubt and read extra pages, even if I think the beginning is not quite right, so submitting the number I’ve asked for is in the author’s best interest.

Along those lines, if an editor or agent requests a certain format or font, do it! You don’t want to stand out for not following directions. I’m pretty flexible on format, myself, but a weird font, or a lack of a title page, definitely stands out when everyone else is following industry standards, and our suggestion of Times New Roman.

Check for typos. They’re hard to spot, I know, and really I mostly ignore them, but sometimes a word (or, worse, a character’s name) is spelled inconsistently on one page, and that erodes my confidence in the story. I would not use a typo as a reason for rejecting someone, because hey, we all make them, but lots of typos = red flag that the manuscript has not been carefully edited and is probably not ready for publication. Inconsistent character name spelling feels like it’s even more than a typo; I feel like the author hasn’t worked with that character enough to make the typing of his/her name automatic.

Happy querying!

And for those of you literary novelists who are curious about our open submission period, you can learn more here. We’re open through March 5!

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The Gods of Second Chances

Laura Stanfill:

Here’s a really lovely new review of one of the books I’ve published this year!

Originally posted on Shannon Fox's Isle of Books:

By Dan Berne

Family means everything to widowed Alaskan fisherman Ray Bancroft, raising his granddaughter while battling storms, invasive species, and lawsuit happy tourists. To navigate, and to catch enough crab to feed her college fund, Ray seeks help from a multitude of gods and goddesses – not to mention ad-libbed rituals performed at sea by his half-Tlingit best friend. But kitchen counter statues and otter bone ceremonies aren’t enough when his estranged daughter returns from prison, swearing she’s clean and sober. Her search for a safe harbor threatens everything Ray holds sacred. Set against a backdrop of ice and mud and loss, this debut novel explores the unpredictable fissures of memory, and how families can break apart, even in the midst of healing.

** Disclosure: I received a copy of this book from the publicist in exchange for an honest review **

When I first got the email about…

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