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    • Audiobooks
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      • Get Genrefied
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50 Must-Read Young Adult Anthologies For Your TBR

October 29, 2018 |

At my very first library job, one of the school requests I got was specifically for Young Adult anthologies. The teacher used the stories as a means of getting teens interested in reading in a different way — something short, catchy, and with their reading in mind, young adult anthologies helped encourage new reading experiences and voices to those who might otherwise not be exposed to them outside the typical classroom canonical works.

Of course, young adult anthologies are something I care deeply about, having now edited two of my own. I’ve also curated a semi-regular series here called “Anatomy of a YA Anthology,” wherein editors of other YA anthologies have shared their inspirations, their processes, and talked about who their book is for.

Find below a round-up of 50 (actually 52, since two are forthcoming in 2019) young adult anthologies you should know about. These span topics and genres, with a wide range of voices and styles represented. While editorship of YA anthologies skews white and straight, there are more diverse titles in recent years and additionally, these collections themselves have gotten much stronger in representation in recent years, too. Not included on this list are short story collections by a single author; while they’re also anthologies, my focus here is on young adult anthologies which are edited works of numerous other authors.

Descriptions pulled from Goodreads/Amazon. Drop your favorite young adult anthologies into the comments if it’s not included; I can’t wait to hear about more and put them on other readers’ radars. I’ve included both young adult short story anthologies, as well as young adult anthologies with essays and nonfiction.

 

Must-Read YA Anthologies | YA Anthologies | book lists | anthologies to read | young adult anthologies | #YALit | #YABooks

 

Must-Read YA Anthologies

 

 

All Out: The No Longer Secret Stories of Queer Teens Through The Ages edited by Saundra Miller

Take a journey through time and genres and discover a past where queer figures live, love and shape the world around them. Seventeen of the best young adult authors across the queer spectrum have come together to create a collection of beautifully written diverse historical fiction for teens. 

From a retelling of Little Red Riding Hood set in war-torn 1870s Mexico featuring a transgender soldier, to two girls falling in love while mourning the death of Kurt Cobain, forbidden love in a sixteenth-century Spanish convent or an asexual girl discovering her identity amid the 1970s roller-disco scene, All Out tells a diverse range of stories across cultures, time periods and identities, shedding light on an area of history often ignored or forgotten.

 

 

 

Because You Love To Hate Me: 13 Tales of Villainy by Amerie

In this unique YA anthology, thirteen acclaimed, bestselling authors team up with thirteen influential BookTubers to reimagine fairy tales from the oft-misunderstood villains’ points of view.

These fractured, unconventional spins on classics like “Medusa,” Sherlock Holmes, and “Jack and the Beanstalk” provide a behind-the-curtain look at villains’ acts of vengeance, defiance, and rage–and the pain, heartbreak, and sorrow that spurned them on. No fairy tale will ever seem quite the same again!

 

 

 

 

 

Begin, End, Begin: A #LoveOzYA Anthology edited by Danielle Binks

The YA event of the year. Bestsellers. Award-winners. Superstars. This anthology has them all. With brilliantly entertaining short stories from beloved young adult authors Amie Kaufman, Melissa Keil, Will Kostakis, Ellie Marney, Jaclyn Moriarty, Michael Pryor, Alice Pung, Gabrielle Tozer, Lili Wilkinson and Danielle Binks, this all-new collection will show the world exactly how much there is to love about Aussie YA.

 

 

 

 

 

 

Behind The Song edited by KM Walton

A song to match everyone’s heartbeat.

A soaring melody, a pulse-pounding beat, a touching lyric: Music takes a moment and makes it a memory. It’s a universal language that can capture love, heartbreak, loss, soul searching, and wing spreading—all in the span of a few notes. In Behind the Song, fourteen acclaimed young adult authors and musicians share short stories and personal essays inspired by the songs, the albums, the musicians who move them.

So cue up the playlist and crank the volume. This is an anthology you’ll want to experience on repeat.

 

 

 

Black Enough: Stories of Being Black and Young in America edited by Ibi Zoboi

Black Enough is a star-studded anthology edited by National Book Award finalist Ibi Zoboi that will delve into the closeted thoughts, hidden experiences, and daily struggles of black teens across the country. From a spectrum of backgrounds—urban and rural, wealthy and poor, mixed race, immigrants, and more—Black Enough showcases diversity within diversity.

Whether it’s New York Times bestselling author Jason Reynolds writing about #blackboyjoy or Newbery Honor-winning author Renee Watson talking about black girls at camp in Portland, or emerging author Jay Coles’s story about two cowboys kissing in the south—Black Enough is an essential collection full of captivating coming-of-age stories about what it’s like to be young and black in America.

 

 

Cornered: 14 Stories of Bullying and Defiance edited by Rhoda Belleza

It does not necessarily take a fist to create a punch in the gut. This fourteen-story YA fiction anthology delves into the experience of being bullied—socially, emotionally, physically, psychologically, and sexually. The school hallways, walks home, and house walls are no longer the boundaries for intimidation and harassment. With the rapid-fire response time of social media and smartphones, bullying has lost all limits, and the lines among truth, lies, and real accountability have become blurred. Featuring some of the hottest voices in YA literature, both bestselling and on the rise, Cornered includes works from Kirsten Miller (New York Times bestseller The Eternal Ones), Jennifer Brown (Hate List), Elizabeth Miles (Fury), Jaime Adoff (The Death of Jayson Porter), Lish McBride (Morris Award finalist Hold Me Closer, Necromancer), Matthue Roth (Losers), Sheba Karim (Skunk Girl), Kate Ellison (Butterfly Clues), Zeta Elliot (A Wish After Midnight), Josh Berk (The Dark Days of Hamburger Halpin), and James Lecesne (Absolute Brightness and founder of the Trevor Project).

 

 

Dear Bully: Seventy Authors Tell Their Stories edited by Megan Kelley Hall and Carrie Jones

YOU ARE NOT ALONE.

Discover how Lauren Kate transformed the feeling of that one mean girl getting under her skin into her first novel, how Lauren Oliver learned to celebrate ambiguity in her classmates and in herself, and how R.L. Stine turned being the “funny guy” into the best defense against the bullies in his class.

Today’s top authors for teens come together to share their stories about bullying—as silent observers on the sidelines of high school, as victims, and as perpetrators—in a collection at turns moving and self-effacing, but always deeply personal.

 

Dear Teen Me: Authors Write Letters To Their Teen Selves edited by E. Kristin Anderson

Dear Teen Me includes advice from 70 YA authors (including Lauren Oliver, Ellen Hopkins, and Nancy Holder, to name a few) to their teenage selves. The letters cover a wide range of topics, including physical abuse, body issues, bullying, friendship, love, and enough insecurities to fill an auditorium. So pick a page, and find out which of your favorite authors had a really bad first kiss? Who found true love at 18? Who wishes he’d had more fun in high school instead of studying so hard? Some authors write diary entries, some write letters, and a few graphic novelists turn their stories into visual art. And whether you hang out with the theater kids, the band geeks, the bad boys, the loners, the class presidents, the delinquents, the jocks, or the nerds, you’ll find friends–and a lot of familiar faces–in the course of Dear Teen Me.

 

 

 

Dear Heartbreak: YA Authors and Teens on the Dark Side of Love edited by Heather Demetrios

This is a book about the dark side of love: the way it kicks your ass, tears out your heart, and then forces you to eat it, bite by bloody bite. If you’ve felt this way, you’re not alone…

In this powerful collection, YA authors answer real letters from teens all over the world about the dark side of love: dating violence, break-ups, cheating, betrayals, and loneliness. This book contains a no-holds-barred, raw outpouring of the wisdom these authors have culled from mining their own hearts for the fiction they write. Their responses are autobiographical, unflinching, and filled with love and hope for the anonymous teen letter writers.

Featuring Adi Alsaid, Becky Albertalli, Libba Bray, Heather Demetrios, Amy Ewing, Zach Fehst, Gayle Forman, Corey Ann Haydu, Varian Johnson, A.S. King, Nina LaCour, Kim Liggett, Kekla Magoon, Sarah McCarry, Sandhya Menon, Cristina Moracho, Jasmine Warga, and Ibi Zoboi.

 

 

Defy The Dark edited by Saundra Mitchell

The seventeen original stories in Defy the Dark, an eerie, mind-bending YA anthology, could only take place in darkness.

Open the pages and discover: A creepy guy who stares too long. The secrets of the core of the earth. Dreams of other people’s lives. A girl who goes mad in the darkness. Monsters in Bavaria. A generational spaceship where night doesn’t exist. And other mysteries and oddities.

The contributors to the enthralling collection are: Sarah Rees Brennan, Tessa Gratton, Rachel Hawkins, Christine Johnson, Valerie Kemp, Malinda Lo, Myra McEntire, Saundra Mitchell, Sarah Ockler, Jackson Pearce, Aprilynne Pike, Dia Reeves, Beth Revis, Carrie Ryan, Jon Skovron, Courtney Summers, and Kate Espy, winner of the Defy the Dark new author contest.

 

 

Diverse Energies edited by Tobias S. Buckell and Joe Monti

“No one can doubt that the wave of the future is not the conquest of the world by a single dogmatic creed but the liberation of the diverse energies of free nations and free men. No one can doubt that cooperation in the pursuit of knowledge must lead to freedom of the mind and freedom of the soul.”
—President John F. Kennedy, from a speech at University of California, March 23, 1962

In a world gone wrong, heroes and villains are not always easy to distinguish and every individual has the ability to contribute something powerful.

In this stunning collection of original and rediscovered stories of tragedy and hope, the stars are a diverse group of students, street kids, good girls, kidnappers, and child laborers pitted against their environments, their governments, differing cultures, and sometimes one another as they seek answers in their dystopian worlds. Take a journey through time from a nuclear nightmare of the past to society’s far future beyond Earth with these eleven stories by masters of speculative fiction. Includes stories by Paolo Bacigalupi, Ursula K. Le Guin, Malinda Lo, Cindy Pon, Daniel H. Wilson, and more.

 

(Don’t) Call Me Crazy edited by Kelly Jensen

Who’s Crazy?

What does it mean to be crazy? Is using the word crazy offensive? What happens when such a label gets attached to your everyday experiences?

In order to understand mental health, we need to talk openly about it. Because there’s no single definition of crazy, there’s no single experience that embodies it, and the word itself means different things—wild? extreme? disturbed? passionate?—to different people.

(Don’t) Call Me Crazy is a conversation starter and guide to better understanding how our mental health affects us every day. Thirty-three writers, athletes, and artists offer essays, lists, comics, and illustrations that explore their personal experiences with mental illness, how we do and do not talk about mental health, help for better understanding how every person’s brain is wired differently, and what, exactly, might make someone crazy.

If you’ve ever struggled with your mental health, or know someone who has, come on in, turn the pages, and let’s get talking.

 

Enthralled: Paranormal Diversions edited by Marissa Marr and Kelley Armstrong

A journey may take hundreds of miles, or it may cover the distance between duty and desire.

Sixteen of today’s hottest writers of paranormal tales weave stories on a common theme of journeying. Authors such as Kelley Armstrong, Rachel Caine, and Melissa Marr return to the beloved worlds of their bestselling series, while others, like Claudia Gray, Kami Garcia, and Margaret Stohl, create new land-scapes and characters. But whether they’re writing about vampires, faeries, angels, or other magical beings, each author explores the strength and resilience of the human heart.

Suspenseful, funny, or romantic, the stories in Enthralled will leave you moved.

 

 

Feral Youth edited by Shaun David Hutchinson

At Zeppelin Bend, an outdoor education program designed to teach troubled youth the value of hard work, cooperation, and compassion, ten teens are left alone in the wild. The teens are a diverse group who come from all walks of life, and they were all sent to Zeppelin Bend as a last chance to get them to turn their lives around. They’ve just spent nearly two weeks learning to survive in the wilderness, and now their instructors have dropped them off eighteen miles from camp with no food, no water, and only their packs, and they’ll have to struggle to overcome their vast differences if they hope to survive.

Inspired by The Canterbury Tales, Feral Youth features characters, each complex and damaged in their own ways, who are enticed to tell a story (or two) with the promise of a cash prize. The stories range from noir-inspired revenge tales to mythological stories of fierce heroines and angry gods. And while few of the stories are claimed to be based in truth, they ultimately reveal more about the teller than the truth ever could.

 

First Kiss (Then Tell) edited by Cylin Busby

Was it magical, momentous, and completely earth-shattering? Or was it sloppy and self-conscious? Cecil Castellucci realizes that bad boys can be good kissers. Lisa Papademetriou relives being a Texas girl at a Vermont summer camp-and one momentous night in the woods. Amy Kim Ganter draws her first kiss with her future husband in full comic-book form. And those are just a few of the many stories in First Kiss (Then Tell), a collection of anecdotes, poems, cartoons, and stories that are altogether hilarious, heartwarming, and memorable-just as a first kiss should be.

This unique collection features pieces from today’s hottest young-adult authors, and is packed with extras like kissing advice, trivia, and favorite quotes. First Kiss (Then Tell) will make readers want to relive their own magical moments all over again-or imagine what it might be like someday

 

 

 

Fresh Ink edited by Lamar Giles

In partnership with We Need Diverse Books, thirteen of the most recognizable, diverse authors come together in this remarkable YA anthology featuring ten short stories, a graphic short story, and a one-act play from Walter Dean Myers never before in-print.

Careful–you are holding fresh ink. And not hot-off-the-press, still-drying-in-your-hands ink. Instead, you are holding twelve stories with endings that are still being written–whose next chapters are up to you.

Because these stories are meant to be read. And shared.

Thirteen of the most accomplished YA authors deliver a label-defying anthology that includes ten short stories, a graphic novel, and a one-act play. This collection will inspire you to break conventions, bend the rules, and color outside the lines. All you need is fresh ink.

 

Geektastic: Stories From The Nerd Herd edited by Holly Black and Cecil Castellucci

Acclaimed authors Holly Black (Ironside) and Cecil Castellucci (Boy Proof) have united in geekdom to edit short stories from some of the best selling and most promising geeks in young adult literature: M.T. Anderson, Libba Bray, Cassandra Clare, John Green, Tracy Lynn, Cynthia and Greg Leitich Smith, David Levithan, Kelly Link, Barry Lyga, Wendy Mass, Garth Nix, Scott Westerfield, Lisa Yee, and Sara Zarr.

With illustrated interstitials from comic book artists Hope Larson and Bryan Lee O’Malley, Geektastic covers all things geeky, from Klingons and Jedi Knights to fan fiction, theater geeks, and cosplayers. Whether you’re a former, current, or future geek, or if you just want to get in touch with your inner geek, Geektastic will help you get your geek on!

 

 

 

Grim edited by Christine Johnson

Inspired by classic fairy tales, but with a dark and sinister twist, Grim contains short stories from some of the best voices in young adult literature today:

Ellen Hopkins
Amanda Hocking
Julie Kagawa
Claudia Gray
Rachel Hawkins
Kimberly Derting
Myra McEntire
Malinda Lo
Sarah Rees-Brennan
Jackson Pearce
Christine Johnson
Jeri Smith Ready
Shaun David Hutchinson
Saundra Mitchell
Sonia Gensler
Tessa Gratton
Jon Skrovon

 

Here We Are: Feminism For The Real World edited by Kelly Jensen

LET’S GET THE FEMINIST PARTY STARTED!

Have you ever wanted to be a superheroine? Join a fandom? Create the perfect empowering playlist? Understand exactly what it means to be a feminist in the twenty-first century? You’ve come to the right place.

Forty-four writers, dancers, actors, and artists contribute essays, lists, poems, comics, and illustrations about everything from body positivity to romance to gender identity to intersectionality to the greatest girl friendships in fiction. Together, they share diverse perspectives on and insights into what feminism means and what it looks like. Come on in, turn the pages, and be inspired to find your own path to feminism by the awesome individuals in Here We Are.

Welcome to one of the most life-changing parties around!

 

His Hideous Heart edited by Dahlia Adler (Fall 2019)

Dahlia Adler (ed.)’s HIS HIDEOUS HEART, a collection of Edgar Allan Poe’s most unsettling and surprising short stories reimagined by authors Kendare Blake, Rin Chupeco, Lamar Giles, Tessa Gratton, Tiffany Jackson, Stephanie Kuehn, Amanda Lovelace, Emily Lloyd-Jones, Hillary Monahan, Marieke Nijkamp, Caleb Roehrig, and Fran Wilde, with the original tales also included, to Sarah Barley at Flatiron Books, for publication in Fall 2019, by Victoria Marini at Irene Goodman Agency.

 

Hope Nation: YA Authors Share Personal Moments of Inspiration edited by Rose Brock

“The hope of a secure and livable world lies with disciplined nonconformists who are dedicated to justice, peace and brotherhood.”–Rev. Martin Luther King, Jr.

We all experience moments when we struggle to understand the state of the world, when we feel powerless and–in some cases–even hopeless. The teens of today are the caretakers of tomorrow, and yet it’s difficult for many to find joy or comfort in such a turbulent society. But in trying times, words are power.

Some of today’s most influential young adult authors come together in this highly personal nonfiction collection of essays, poems, and letters, each a first-hand account that ultimately strives to inspire hope.

Like a modern day Chicken Soup for the Teenage Soul or Don’t Sweat the Small Stuff for Teens, Hope Nation acknowledges the pain and shines a light on what comes after.

 

How Beautiful The Ordinary edited by Michael Cart

A girl thought to be a boy steals her sister’s skirt, while a boy thought to be a girl refuses to wear a cornflower blue dress. One boy’s love of a soldier leads to the death of a stranger. The present takes a bittersweet journey into the past when a man revisits the summer school where he had “an accidental romance.” And a forgotten mother writes a poignant letter to the teenage daughter she hasn’t seen for fourteen years.

Poised between the past and the future are the stories of now. In nontraditional narratives, short stories, and brief graphics, tales of anticipation and regret, eagerness and confusion present distinctively modern views of love, sexuality, and gender identification. Together, they reflect the vibrant possibilities available for young people learning to love others—and themselves—in today’s multifaceted and quickly changing world.

 

 

How I Resist: Activism and Hope for the Next Generation edited by Maureen Johnson

Now, more than ever, young people are motivated to make a difference in a world they’re bound to inherit. They’re ready to stand up and be heard – but with much to shout about, where they do they begin? What can I do? How can I help?

How I Resist is the response, and a way to start the conversation. To show readers that they are not helpless, and that anyone can be the change. A collection of essays, songs, illustrations, and interviews about activism and hope, How I Resist features an all-star group of contributors, including, John Paul Brammer, Libba Bray, Lauren Duca, Modern Family’s Jesse Tyler Ferguson and his husband Justin Mikita, Alex Gino, Hebh Jamal, Malinda Lo, Dylan Marron, Hamilton star Javier Muñoz, Rosie O’Donnell, Junauda Petrus, Jodi Picoult, Jason Reynolds, Karuna Riazi, Maya Rupert, Dana Schwartz, Dan Sinker, Ali Stroker, Jonny Sun (aka @jonnysun), Sabaa Tahir, Daniel Watts, Jennifer Weiner, Jacqueline Woodson, and more, all edited and compiled by New York Times bestselling author Maureen Johnson.

In How I Resist, readers will find hope and support through voices that are at turns personal, funny, irreverent, and instructive. Not just for a young adult audience, this incredibly impactful collection will appeal to readers of all ages who are feeling adrift and looking for guidance.

How I Resist is the kind of book people will be discussing for years to come and a staple on bookshelves for generations.

 

I See Reality: Twelve Short Stories About Real Life

Through prose and comics alike, these heart-pounding short stories ask hard questions about a range of topics from sexuality and addiction to violence and immigration. Here is the perfect tool for starting tough discussions or simply as an introduction to realistic literary fiction. In turns funny, thought-provoking, and heartbreaking, I See Reality will resonate with today’s teens long after the last page has been turned.

Contributing authors include Jay Clark, Kristin Clark, Heather Demetrios, Stephen Emond, Patrick Flores-Scott, Faith Hicks, Trisha Leaver, Kekla Magoon, Marcella Pixley, James Preller, Jason Schmidt, and Jordan Sonnenblick.

 

 

 

It’s a Whole Spiel edited by Katherine Locke (2019)

Knopf has acquired It’s a Whole Spiel, a YA anthology by Jewish writers, edited by Katherine Locke and Laura Silverman. With contributions from #ownvoices authors including David Levithan, Nova Ren Suma, and more, the anthology will contain contemporary stories with Jewish protagonists who are diverse in sexuality, ability, race, and level of religious observance. Publication is planned for fall 2019.

 

Kaleidoscope: Diverse YA Science Fiction and Fantasy Stories

What do a disabled superhero, a time-traveling Chinese-American figure skater, and a transgendered animal shifter have in common? They’re all stars of Kaleidoscope stories! Kaleidoscope collects fun, edgy, meditative, and hopeful YA science fiction and fantasy with diverse leads. These twenty original stories tell of scary futures, magical adventures, and the joys and heartbreaks of teenage life. Featuring New York Times bestselling and award winning authors along with newer voices: Garth Nix, Sofia Samatar, William Alexander, Karen Healey, E.C. Myers, Tansy Rayner Roberts, Ken Liu, Vylar Kaftan, Sean Williams, Amal El-Mohtar, Jim C. Hines, Faith Mudge, John Chu, Alena McNamara, Tim Susman, Gabriela Lee, Dirk Flinthart, Holly Kench, Sean Eads, and Shveta Thakrar.

 

 

Kisses From Hell

Truly, Madly, Undeadly

This irresistible collection features stories of love amid vampires by five of today’s hottest authors—Kristin Cast (Tempted), Richelle Mead (Vampire Academy), Alyson Noël (Evermore), Kelley Armstrong (The Summoning), and Francesca Lia Block (Pretty Dead).

From a fugitive vampire forced to trust a boy who might work for the group bent on destroying her to the legendary romance of two immortals whose love compels them to risk everything, this heart-pounding collection brings new meaning to the words “love you forever.” Whether you’re into romances that are dark and moody or light and fun, these stories will quench that insatiable thirst for enchanting tales of the beautiful undead.

 

 

The Letter Q: Queer Writers’ Notes To Their Younger Selves edited by Sarah Moon

If you received a letter from your older self, what do you think it would say? What do you wish it would say?

That the boy you were crushing on in History turns out to be gay too, and that you become boyfriends in college? That the bully who is making your life miserable will one day become so insignificant that you won’t remember his name until he shows up at your book signing?

In this anthology, sixty-three award-winning authors such as Michael Cunningham, Amy Bloom, Jacqueline Woodson, Gregory Maguire, David Levithan, and Armistead Maupin make imaginative journeys into their pasts, telling their younger selves what they would have liked to know then about their lives as Lesbian, Gay, Bisexual, or Transgendered people. Through stories, in pictures, with bracing honesty, these are words of love and understanding, reasons to hold on for the better future ahead. They will tell you things about your favorite authors that you never knew before. And they will tell you about yourself.

 

Life Inside My Mind edited by Jessica Burkhart

Your favorite YA authors including Kami Garcia, Ellen Hopkins, Maureen Johnson, and more recount their own experiences with mental illness in this raw, real, and powerful collection of essays that explores everything from ADD to PTSD.

Have you ever felt like you just couldn’t get out of bed? Not the occasional morning, but every single day? Do you find yourself listening to a voice in your head that says “you’re not good enough,” “not good-looking enough,” “not thin enough,” or “not smart enough?” Have you ever found yourself unable to do homework or pay attention in class unless everything is “just so” on your desk? Everyone has had days like that, but what if you have them every day?

You’re not alone. Millions of people are going through similar things. And many of them are people you know—you know them because they write the books that you’re reading.

Life Inside My Mind is an anthology of true-life events from writers of this generation, for this generation. It takes aim at ending the shame of mental illness. With the intention of providing hope to those who are suffering, awareness to those who are witnessing a friend or family member battle mental illness, and opening the floodgates to conversations about mental illness, Side Effects tackles the stigmas around mental illness in a new and refreshing way.

 

Love Is Hell

Sure, love is hell. But it,s totally worth it.

In these supernatural stories by five of today’s hottest writers—Melissa Marr (Wicked Lovely), Scott Westerfeld (Specials), Justine Larbalestier (Magic or Madness), Gabrielle Zevin (Elsewhere), and Laurie Faria Stolarz (Blue is for Nightmares)—love may be twisted and turned around, but it’s more potent than ever on its quest to conquer all.

From two students who let the power of attraction guide them to break the hard-and-fast rules of their world to the girl who falls hard for a good-looking ghost with a score to settle, the clever, quirky characters in this exciting collection will break your heart, then leave you believing in love more than ever.

 

 

Meet Cute: Some People Are Destined To Meet

Whether or not you believe in fate, or luck, or love at first sight, every romance has to start somewhere. MEET CUTE is an anthology of original short stories featuring tales of “how they first met” from some of today’s most popular YA authors.

Readers will experience Nina LaCour’s beautifully written piece about two Bay Area girls meeting via a cranky customer service Tweet, Sara Shepard’s glossy tale about a magazine intern and a young rock star, Nicola Yoon’s imaginative take on break-ups and make-ups, Katie Cotugno’s story of two teens hiding out from the police at a house party, and Huntley Fitzpatrick’s charming love story that begins over iced teas at a diner. There’s futuristic flirting from Kass Morgan and Katharine McGee, a riveting transgender heroine from Meredith Russo, a subway missed connection moment from Jocelyn Davies, and a girl determined to get out of her small town from Ibi Zoboi. Jennifer Armentrout writes a sweet story about finding love from a missing library book, Emery Lord has a heartwarming and funny tale of two girls stuck in an airport, Dhonielle Clayton takes a thoughtful, speculate approach to pre-destined love, and Julie Murphy dreams up a fun twist on reality dating show contestants.

This incredibly talented group of authors brings us a collection of stories that are at turns romantic and witty, epic and everyday, heartbreaking and real.

 

My True Love Gave To Me edited by Stephanie Perkins

If you love holiday stories, holiday movies, made-for-TV-holiday specials, holiday episodes of your favorite sitcoms and, especially, if you love holiday anthologies, you’re going to fall in love with My True Love Gave To Me: Twelve Holiday Stories by twelve bestselling young adult writers, edited by international bestselling author Stephanie Perkins. Whether you enjoy celebrating Christmas or Hanukkah, Winter Solstice or New Year’s there’s something here for everyone. So curl up by the fireplace and get cozy. You have twelve reasons this season to stay indoors and fall in love.

 

 

 

 

 

Open Mic: Riffs on Life Between Cultures in Ten Voices edited by Mitali Perkins

Using humor as the common denominator, a multicultural cast of YA authors steps up to the mic to share stories touching on race.

Listen in as ten YA authors — some familiar, some new — use their own brand of humor to share their stories about growing up between cultures. Henry Choi Lee discovers that pretending to be a tai chi master or a sought-after wiz at math wins him friends for a while — until it comically backfires. A biracial girl is amused when her dad clears seats for his family on a crowded subway in under a minute flat, simply by sitting quietly in between two uptight white women. Edited by acclaimed author and speaker Mitali Perkins, this collection of fiction and nonfiction uses a mix of styles as diverse as their authors, from laugh-out-loud funny to wry, ironic, or poingnant, in prose, poetry, and comic form.

 

 

Our Stories, Our Voices: 21 YA Authors Get Real About Injustice, Empowerment, and Growing Up Female in America edited by Amy Reed

From Amy Reed, Ellen Hopkins, Amber Smith, Sandhya Menon, and more of your favorite YA authors comes an anthology of essays that explore the diverse experiences of injustice, empowerment, and growing up female in America.

This collection of twenty-one essays from major YA authors—including award-winning and bestselling writers—touches on a powerful range of topics related to growing up female in today’s America, and the intersection with race, religion, and ethnicity. Sure to inspire hope and solidarity to anyone who reads it, Our Stories, Our Voices belongs on every young woman’s shelf.

This anthology features essays from Martha Brockenbrough, Jaye Robin Brown, Sona Charaipotra, Brandy Colbert, Somaiya Daud, Christine Day, Alexandra Duncan, Ilene Wong (I.W.) Gregorio, Maurene Goo, Ellen Hopkins, Stephanie Kuehnert, Nina LaCour, Anna-Marie McLemore, Sandhya Menon, Hannah Moskowitz, Julie Murphy, Aisha Saeed, Jenny Torres Sanchez, Amber Smith, and Tracy Walker.

 

Pick-Up Game: A Full Day of Full Court edited by Marc Aronson and Charles Smith, Jr.

Pass! Shoot! Swish! An all-star team of YA authors scores spectacularly with an action-packed anthology about street basketball.

It’s one steamy July day at the West 4th Street Court in NYC, otherwise known as The Cage. Hotshot ESPN is wooing the scouts, Boo is struggling to guard the weird new guy named Waco, a Spike Lee wannabe has video rolling, and virgin Irene is sizing up six-foot-eightand-a-half-inch Chester. Nine of YA literature’s top writers, including Walter Dean Myers, Rita Williams-Garcia, Adam Rapp, Joseph Bruchac, and Sharon Flake reveal how it all goes down in a searing collection of short stories, in which each one picks up where the previous one ends. Characters weave in and out of narratives, perspectives change, and emotions play out for a fluid and fast-paced ode to the game. Crackling with humor, grit, and streetball philosophy, and featuring poems and photographs by Charles R. Smith Jr., this anthology is a slam dunk.

 

The Radical Element edited by Jessica Spotswood

In an anthology of revolution and resistance, a sisterhood of YA writers shines a light on a century and a half of heroines on the margins and in the intersections.

To respect yourself, to love yourself—should not have to be a radical decision. And yet it remains as challenging for an American girl to make today as it was in 1927 on the steps of the Supreme Court. It’s a decision that must be faced whether you’re balancing on the tightrope of neurodivergence, finding your way as a second-generation immigrant, or facing down American racism even while loving America. And it’s the only decision when you’ve weighed society’s expectations and found them wanting. In The Radical Element, twelve of the most talented writers working in young adult literature today tell the stories of the girls of all colors and creeds standing up for themselves and their beliefs—whether that means secretly learning Hebrew in early Savannah, using the family magic to pass as white in 1920s Hollywood, or singing in a feminist punk band in 1980s Boston. And they’re asking you to join them.

 

Rags and Bones: New Twists On Timeless Tales edited by Melissa Marr and Tim Pratt

The best writers of our generation retell classic tales. From Sir Edmund Spenser’s “The Faerie Queene” to E. M. Forster’s “The Machine Stops”, literature is filled with sexy, deadly, and downright twisted tales. In this collection, today’s most acclaimed award-winning and bestselling authors reimagine their favorite classic stories and use their own unique styles to rebuild these timeless stories, the ones that have inspired, awed, and enraged them, the ones that have become ingrained in modern culture, and the ones that have been too long overlooked. They take these twelve stories and boil them down to their bones, and reassemble them for a new generation of readers. Written from a twenty-first century perspective and set within the realms of science fiction, dystopian fiction, fantasy, and realistic fiction, these short stories are as moving and thought provoking as their originators. They pay homage to groundbreaking literary achievements of the past while celebrating each author’s unique perception and innovative style.

 

 

Sixteen: Stories About That Sweet and Bitter Birthday edited by Megan McCafferty

An incredible anthology of 16 short-stories by award winning & critically acclaimed young-adult authors, inspired by all the angst, melodrama, and wonderment of being sixteen. These hilarious, poignant, and touching tales capture all the emotions and milestones of this age ranging from first love to establishing one’s own identity. A perfect read for anyone about to reach this pivotal age, or those who want reminisce about their “sweetest” year. 

Sarah Dessen’s “Infinity” is about a girl confronting two major milestones: getting her driver’s license and losing her virginity. The Dead Girls in Jacqueline Woodson’s “Nebraska 99” have already decided to “do it” and must now cope with being teenage mothers. And Carolyn Mackler’s “Mona Lisa, Jesus, Chad, and Me” explores whether friendship can survive when partying and prayer clash. Also included is a new Jessica Darling story by Megan McCafferty about the last fifteen minutes Jessica spends–or rather, doesn’t spend–with her best friend, Hope, who is leaving Pineville.

Featuring stories by Steve Almond, M. T. Anderson, Julianna Baggott, Cat Bauer, Emma Forrest, Tanuja Desai Hidier, David Levithan, Sarah Mlynowski, Sonya Sones, Zoe Trope, Ned Vizzini, and Joseph Weisberg.

 

Slasher Girls and Monster Boys edited by April Genevieve Tucholke

A host of the smartest young adult authors come together in this collection of scary stories and psychological thrillers curated by Between the Devil and the Deep Blue Sea’s April Genevieve Tucholke.

Each story draws from a classic tale or two—sometimes of the horror genre, sometimes not—to inspire something new and fresh and terrifying. There are no superficial scares here; these are stories that will make you think even as they keep you on the edge of your seat. From bloody horror to supernatural creatures to unsettling, all-too-possible realism, this collection has something for any reader looking for a thrill.

Fans of TV’s The Walking Dead, True Blood, and American Horror Story will tear through tales by these talented authors:

Stefan Bachmann
Leigh Bardugo
Kendare Blake
A. G. Howard
Jay Kristoff
Marie Lu
Jonathan Maberry
Danielle Paige
Carrie Ryan
Megan Shepherd
Nova Ren Suma
McCormick Templeman
April Genevieve Tucholke
Cat Winters

Summer Days and Summer Nights edited by Stephanie Perkins

Maybe it’s the long, lazy days, or maybe it’s the heat making everyone a little bit crazy. Whatever the reason, summer is the perfect time for love to bloom. Summer Days & Summer Nights: Twelve Love Stories, written by twelve bestselling young adult writers and edited by the international bestselling author Stephanie Perkins, will have you dreaming of sunset strolls by the lake. So set out your beach chair and grab your sunglasses. You have twelve reasons this summer to soak up the sun and fall in love.

Featuring stories by Leigh Bardugo, Francesca Lia Block, Libba Bray, Cassandra Clare, Brandy Colbert, Tim Federle, Lev Grossman, Nina LaCour, Stephanie Perkins, Veronica Roth, Jon Skovron, and Jennifer E. Smith.

 

 

 

Things I’ll Never Say: Stories About Our Secret Selves edited by Ann Angel

A baby no one knows about. A dangerous hidden identity. Off-limits hookups. A parent whose problems your friends won’t understand. Everyone keeps secrets—from themselves, from their families, from their friends—and secrets have a habit of shaping the lives around them. Acclaimed author Ann Angel brings together some of today’s most gifted YA authors to explore, in a variety of genres, the nature of secrets: Do they make you stronger or weaker? Do they alter your world when revealed? Do they divide your life into what you’ll tell and what you won’t? The one thing these diverse stories share is a glimpse into the secret self we all keep hidden.

With stories by:
Ann Angel
Kerry Cohen
Louise Hawes
Varian Johnson
erica l. kaufman
Ron Koertge
E. M. Kokie
Chris Lynch
Kekla Magoon
Zoë Marriott
Katy Moran
J. L. Powers
Mary Ann Rodman
Cynthia Leitich Smith
Ellen Wittlinger

 

Things We Haven’t Said: Sexual Violence Survivors Speak Out edited by Erin E Moulton

“There are days when I am less stardust than sawdust, less survivor than victim, but that does not mean that the reclamation of my own body is any less eternal.” –Jane Cochrane

“How to describe the feeling of not being believed? It is the feeling of disappearing.” –Stephanie Oakes

“I used to want to hurt you, to break you, to give you the sort of nightmares I still have so many years later.” –Melissa Marr

“It’s so easy to say you’ll fight when it’s not happening to you. But then it was happening to me. And I locked up. My bones had all linked together and I was still.” –Bryson McCrone

Things We Haven’t Said is a powerful collection of poems, essays, letters, vignettes and interviews written by a diverse group of impressive adults who survived sexual violence as children and adolescents. Structured to incorporate creative writing to engage the reader and informative interviews to dig for context, this anthology is a valuable resource of hope, grit and honest conversation that will help teens tackle the topic of sexual violence, upend stigma and maintain hope for a better future.

 

A Thousand Beginnings and Endings edited by Ellen Oh and Elsie Chapman

Star-crossed lovers, meddling immortals, feigned identities, battles of wits, and dire warnings. These are the stuff of fairy tale, myth, and folklore that have drawn us in for centuries.

Fifteen bestselling and acclaimed authors reimagine the folklore and mythology of East and South Asia in short stories that are by turns enchanting, heartbreaking, romantic, and passionate.

Compiled by We Need Diverse Books’s Ellen Oh and Elsie Chapman, the authors included in this exquisite collection are: Renee Ahdieh, Sona Charaipotra, Preeti Chhibber, Roshani Chokshi, Aliette de Bodard, Melissa de la Cruz, Julie Kagawa, Rahul Kanakia, Lori M. Lee, E. C. Myers, Cindy Pon, Aisha Saeed, Shveta Thakrar, and Alyssa Wong.

A mountain loses her heart. Two sisters transform into birds to escape captivity. A young man learns the true meaning of sacrifice. A young woman takes up her mother’s mantle and leads the dead to their final resting place. From fantasy to science fiction to contemporary, from romance to tales of revenge, these stories will beguile readers from start to finish. For fans of Neil Gaiman’s Unnatural Creatures and Ameriie’s New York Times–bestselling Because You Love to Hate Me.

 

Three Sides of a Heart: Stories About Love Triangles edited by Natalie C. Parker

You may think you know the love triangle, but you’ve never seen love triangles like these.

These top YA authors tackle the much-debated trope of the love triangle, and the result is sixteen fresh, diverse, and romantic stories you don’t want to miss.

This collection, edited by Natalie C. Parker, contains stories written by Renee Ahdieh, Rae Carson, Brandy Colbert, Katie Cotugno, Lamar Giles, Tessa Gratton, Bethany Hagan, Justina Ireland, Alaya Dawn Johnson, EK Johnston, Julie Murphy, Garth Nix, Natalie C. Parker, Veronica Roth, Sabaa Tahir, and Brenna Yovanoff.

A teen girl who offers kissing lessons. Zombies in the Civil War South. The girl next door, the boy who loves her, and the girl who loves them both. Vampires at a boarding school. Three teens fighting monsters in an abandoned video rental store. Literally the last three people on the planet.

What do all these stories have in common?

The love triangle.

 

Toil and Trouble: 15 Tales of Women and Witchcraft edited by Jessica Spotswood and Tess Sharpe

A young adult fiction anthology of 15 stories featuring contemporary, historical, and futuristic stories featuring witchy heroines who are diverse in race, class, sexuality, religion, geography, and era.

Are you a good witch or a bad witch?

Glinda the Good Witch. Elphaba the Wicked Witch. Willow. Sabrina. Gemma Doyle. The Mayfair Witches. Ursula the Sea Witch. Morgan le Fey. The three weird sisters from Macbeth.

History tells us women accused of witchcraft were often outsiders: educated, independent, unmarried, unwilling to fall in line with traditional societal expectations.

Bold. Powerful. Rebellious.

A bruja’s traditional love spell has unexpected results. A witch’s healing hands begin to take life instead of giving it when she ignores her attraction to a fellow witch. In a terrifying future, women are captured by a cabal of men crying witchcraft and the one true witch among them must fight to free them all. In a desolate past, three orphaned sisters prophesize for a murderous king. Somewhere in the present, a teen girl just wants to kiss a boy without causing a hurricane.

From good witches to bad witches, to witches who are a bit of both, this is an anthology of diverse witchy tales from a collection of diverse, feminist authors. The collective strength of women working together—magically or mundanely–has long frightened society, to the point that women’s rights are challenged, legislated against, and denied all over the world. Toil & Trouble delves deep into the truly diverse mythology of witchcraft from many cultures and feminist points of view, to create modern and unique tales of witchery that have yet to be explored.

 

Truth and Dare: 20 Tales of Heartbreak and Happiness edited by Liz Miles

Truth & Dare is a collection of short stories confirming the truth we all know– high school is painful–and written for those who dare to be different. These edgy short stories are told from the point of view of the quirky, cool, but not necessarily popular teens, who are dealing with all the pressures of growing up–school, friends, music, relationships, parents, and just plain fitting in.This collection features some of the hottest writers in the teen genre, including: Jennifer Boylan, Sarah Rees Brennan, Cecil Castellucci, Emma Donoghue, Courtney Gillette, A.M. Homes, Jennifer Hubbard, Heidi R. Kling, Jennifer Knight, Michael Lowenthal, Liz Miles, Saundra Mitchell, Luisa Plaja, Matthue Roth, Sherry Shahan, Gary Soto, Shelley Stoehr, Sara Wilkinson, Ellen Wittlinger, and Jill Wolfson.

 

 

 

A Tyranny of Petticoats edited by Jessica Spotswood

From an impressive sisterhood of YA writers comes an edge-of-your-seat anthology of historical fiction and fantasy featuring a diverse array of daring heroines.

Criss-cross America — on dogsleds and ships, stagecoaches and trains — from pirate ships off the coast of the Carolinas to the peace, love, and protests of 1960s Chicago. Join fifteen of today’s most talented writers of young adult literature on a thrill ride through history with American girls charting their own course. They are monsters and mediums, bodyguards and barkeeps, screenwriters and schoolteachers, heiresses and hobos. They’re making their own way in often-hostile lands, using every weapon in their arsenals, facing down murderers and marriage proposals. And they all have a story to tell.

 

Unbroken: 13 Stories Starring Disabled Teens edited by Marieke Nijkamp

This anthology explores disability in fictional tales told from the viewpoint of disabled characters, written by disabled creators. With stories in various genres about first loves, friendship, war, travel, and more, Unbroken will offer today’s teen readers a glimpse into the lives of disabled people in the past, present, and future.

The contributing authors are awardwinners, bestsellers, and newcomers including Kody Keplinger, Kristine Wyllys, Francisco X. Stork, William Alexander, Corinne Duyvis, Marieke Nijkamp, Dhonielle Clayton, Heidi Heilig, Katherine Locke, Karuna Riazi, Kayla Whaley, Keah Brown, and Fox Benwell. Each author identifies as disabled along a physical, mental, or neurodiverse axis—and their characters reflect this diversity.

The V-Word: True Stories About First Time Sex edited by Amber J. Keyser

HAVING SEX FOR THE FIRST TIME IS A BIG UNKNOWN. LOTS OF PEOPLE WILL TELL YOU WHAT TO DO, BUT IS ANYONE TELLING YOU WHAT IT’S REALLY LIKE?

The V-Word pulls back the sheets on sex. Queer and straight. Relished and regretted. Funny and exhilarating. The seventeen women in this book (including Christa Desir, Justina Ireland, Sara Ryan, Carrie Mesrobian, Erica Lorraine Scheidt, and Jamia Wilson) write about first-time sex—hot, meaningful, cringe-worthy, gross, forgettable, magnificent, empowering, and transformative.

Whether you’re diving in or whether you’re waiting, we hope these stories will help you chart your own course.

 

 

Vacations From Hell

Life’s a beach . . . and then you’re undead?

In this must-have collection, five of today’s hottest writers—Libba Bray (A Great and Terrible Beauty), Cassandra Clare (City of Bones), Claudia Gray (Evernight), Maureen Johnson (13 Little Blue Envelopes), and Sarah Mlynowski (Bras & Broomsticks)—tell supernatural tales of vacations gone awry. Lost luggage is only mildly unpleasant compared to bunking with a witch who holds a grudge. And a sunburn might be embarrassing and painful, but it doesn’t last as long as a curse. Of course, even in the most hellish of situations, love can thrive. . . .

From light and funny to dark and creepy, these stories have something for everyone. You definitely won’t want to leave this collection at home!

 

Violent Ends edited by Shaun David Hutchinson

In a one-of-a-kind collaboration, seventeen of the most recognizable YA writers—including Shaun David Hutchinson, Neal and Brendan Shusterman, and Beth Revis—come together to share the viewpoints of a group of students affected by a school shooting.

It took only twenty-two minutes for Kirby Matheson to exit his car, march onto the school grounds, enter the gymnasium, and open fire, killing six and injuring five others.

But this isn’t a story about the shooting itself. This isn’t about recounting that one unforgettable day.

This is about one boy—who had friends, enjoyed reading, playing saxophone in the band, and had never been in trouble before—became a monster capable of entering his school with a loaded gun and firing bullets at his classmates.

Each chapter is told from a different victim’s viewpoint, giving insight into who Kirby was and who he’d become. Some are sweet, some are dark; some are seemingly unrelated, about fights or first kisses or late-night parties. This is a book told from multiple perspectives—with one character and one event drawing them all together—by some of YA’s most recognizable names.

 

Welcome Home: An Anthology on Love and Adoption edited by Eric Smith

Welcome Home collects a number of adoption-themed fictional short stories, and brings them together in one anthology from a diverse range of celebrated Young Adult authors. The all-star roster includes Edgar-award winner Mindy McGinnis, New York Times bestselling authors C.J. Redwine (The Shadow Queen) and William Ritter (Jackaby), and acclaimed YA authors across all genres, like Adi Alsaid, Lauren Gibaldi, Sangu Mandanna, Karen Akins, and many more.

 

 

 

 

 

 

Zombies vs. Unicorns edited by Holly Black and Justine Larbalestier

It’s a question as old as time itself: which is better, the zombie or the unicorn? In this anthology, edited by Holly Black and Justine Larbalestier (unicorn and zombie, respectively), strong arguments are made for both sides in the form of short stories. Half of the stories portray the strengths–for good and evil–of unicorns and half show the good (and really, really bad-ass) side of zombies. Contributors include many bestselling teen authors, including Cassandra Clare, Libba Bray, Maureen Johnson, Meg Cabot, Scott Westerfeld, and Margo Lanagan. This anthology will have everyone asking: Team Zombie or Team Unicorn?

 

Filed Under: anatomy of an anthology, book lists, ya, ya fiction, Young Adult, young adult fiction, young adult non-fiction

Anatomy of a YA Anthology: THE RADICAL ELEMENT edited by Jessica Spotswood

March 13, 2018 |

 

Welcome to another edition of “Anatomy of a YA anthology.” I’m really excited to present this interview with Jessica Spotswood, in honor of the release of her new anthology The Radical Element, which hits shelves today. Spotswood’s first anthology, A Tyranny of Petticoats, was a fabulous romp through history and I’m eager to dive into the companion.

But without further ado, Jessica is here to talk about the work behind the creation of her anthology.

 


Your Name​: Jessica Spotswood​

 

Your Anthology’s Name​: THE RADICAL ELEMENT: 12 ​STORIES OF DAREDEVILS, DEBUTANTES, & OTHER DAUNTLESS GIRLS​

 

Anthology Description​: ​

 

Respect yourself. Love yourself. As radical a decision for an American girl to make today as it was in 1927, as radical for a student as for a spy, for a printer’s apprentice or a poker player. It’s a radical decision when you’re balancing on the tightrope of being a second-generation immigrant, of neurodivergence, of facing down American racism while loving America. It’s the only decision when you’ve weighed society’s expectations and found them wanting.

With respect and love, twelve of the most talented writers working in young adult literature today —an impressive sisterhood that includes Marieke Nijkamp, Meg Medina, and Anna-Marie McLemore — have created a century and a half of heroines on the margins and in the intersections, young women of all colors and creeds standing up for themselves and their beliefs. They are ignoring their mothers’ well-meant advice and forging their own paths — whether secretly learning Hebrew in early Savannah, using the family magic to pass as white in 1920s Hollywood, or singing in a feminist punk band in 1980s Boston. And they’re asking you to join them.

 

How did you get your idea/what was the initial spark?

​I had enjoyed the process of editing A TYRANNY OF PETTICOATS and the publishing team so much that I wanted to edit a second historical anthology with them. This time I wanted to focus on women who were outside the norm in their communities, whether by virtue of race, sexuality, religion, disability, or the profession they were pursuing. And I wanted to seek out more authors who shared marginalized identities with their characters. In A TYRANNY OF PETTICOATS, many of our heroines were brave in big, adventurous ways – robbing banks to feed their families during the Depression or running a saloon in the lawless Alaskan frontier. In THE RADICAL ELEMENT, they’re brave in quieter, more personal ways as they learn what it is they’re willing to fight for, whether they want to explode tradition or embrace it.

 

What steps did you take from idea to proposal?

​I was lucky in that I had a very positive pre-existing relationship with my Candlewick editors, so I proposed this in a very informal way. It was just a paragraph-length ​pitch and a list of authors I wanted to approach.

Did you use an agent? If you didn’t use an agent, how did you find a publisher?

​Yes, I have a fabulous agent, Jim McCarthy at Dystel, Goderich, and Bourret. He sent the proposal to our acquiring editors at Candlewick, Hilary Van Dusen and Miriam Newman.

​

How did you find your writers?

​All of my authors are folks whose work I’d admired. Some of them (Erin Bowman, Mackenzi Lee, Stacey Lee, Meg Medina, Megan Shepherd, Sarvenaz Tash) had written historical fiction I loved. Others had written primarily contemporary fiction (Dahlia Adler, Sara Farizan, Marieke Nijkamp) but I was an enormous fan of their work and was purposely seeking out more intersectional authors this time around. And then there were Dhonielle Clayton and Anna-Marie McLemore, whose work I love, and whose skill in fantasy world-building I suspected would translate beautifully to historical fiction.

 

How did writers pick their story or essay topic ideas? What process did you as editor use to vet them?

I asked each author to send me a brief, paragraph-length pitch. The parameters were as follows: the story needed to be ​​between 5000-7000 words and setting needed to play a strong role; each story needed to feel like it couldn’t take place anywhere or anywhen else. I used the pitches to ensure that we didn’t have five stories about girls cross-dressing as boys or four stories set during the 1920s. There was one conflict with two pitches that were too close in theme and would have appeared next to each other chronologically, so I asked the author who had turned in her pitch last to rethink it, and she came up with a fantastic, powerful new idea.

​

As an editor, were you responsible for contracts between you and your writers? Did your publisher or agent handle the administrative/legal side of things?

​​I am enormously grateful that Candlewick handled all of the contracts, payments, and tax paperwork for the authors. I know that is somewhat unusual.

 

How did the editing process work between you and your writers?

I sent each writer an edit letter, noting things I loved and thought were working well in each story, and asking questions about things I thought were unclear or could be strengthened. At this stage it’s about the big picture: setting, character motivations, conflict, stakes, pacing. I made suggestions, but tried to emphasize that it’s the author’s call which suggestions to implement and which suggestions to use as a starting point to find a different solution. The authors revised. Then I did a round or two of line edits, focusing in more on the prose and tweaking pacing and character as needed. The authors revised accordingly, and then we were off to copyedits!

Money talk: how did you get paid for your work? ​

I got an advance from the publisher. I was paid half of it after we signed the contract, and half when the manuscript was accepted (when it went to copyedits).

 

How did your writers get paid? ​

If the sum total that the publisher paid for the book was X, I received half of X and the writers got the other half of X, split twelve ways, paid directly from the publisher. (I also got paid for my story.)

 

What role did you take on as editor of the anthology? Were you hands on? Hands off?

I was hands on, but I was also lucky to have the support and guidance of our Candlewick editors. They sent me a paragraph or two of big-picture thoughts on each story, which I incorporated and extrapolated into my edit letters along with my own thoughts and questions.  They each did some light line-editing of the stories too, though I did the bulk of it. It’s fantastic to be able to compare notes and bounce ideas off them. Reading is so subjective; it makes me more confident knowing that I’m approaching our authors with a consensus of what is working and what isn’t yet.

How did you communicate with your writers? What sort of information did you share with them and how?

I email them. I’m definitely a fan of sharing information (like positive trade reviews) as they come in. I’m very aware that they’re all working on other projects, and many of them have families and day jobs too, so I try not to email too often, and I try to be very clear about what I need and when I need it by.

Where and how did you decide to include your own work in the collection?

I knew I’d include a story of my own, but I tend to decide what it will be once I’ve collected all of the pitches, so it can fill any gaps in chronology. We had a really big gap this time between 1863 and 1923, so I decided to set my story in 1905 Tulsa. Which worked out well for the heyday of the traveling circus.

Where and how did you come to “direct” the anthology? Did you have an idea of how you wanted pieces to progress early on or did you wait until all pieces were available to you to begin constructing the collection?

The clear choice for us was to organize the story chronologically; that’s how TYRANNY was organized as well. The stories start in 1838 Savannah with a Jewish girl seeking a religious education forbidden to women, and end in 1984 Boston with an Iranian American immigrant who joins a feminist punk band.


How involved was your editor/publisher throughout the creation process, prior to turning in a manuscript?

I went into this a little bit above, but basically: they weighed in with big-picture thoughts, did some light line-editing, answered my questions, and advised me through any hiccups with the contributors. They never emailed the authors directly; I served as the intermediary. I conveyed notes, reminded authors of upcoming deadlines, and kept the authors apprised of any news (cover, jacket copy, on-sale date, etc).

When it came to the package of your anthology, how much say did you have in the cover or design? How much were contributors involved in that part of the process? ​

I didn’t see a cover it was close to final – but when I did get to see it, I was wowed. I love the pink and yellow; I think it’ll really pop on shelves. I love the girl’s silhouette and the way her hair blows forward; to me it symbolizes progress and momentum, and looks a bit more modern than the silhouette for TYRANNY. So while I wasn’t involved in the design process, I had absolute trust in the team at Candlewick and that trust was totally rewarded. I did help write the jacket copy though! The contributors were not involved, but hopefully they are as pleased with the packaging as I am.

 

What was your favorite part of the anthology creation process?

​I​ love the editing process. I love being able to gauge the strengths and weaknesses of a piece and having a sense of what questions to ask the author to help make the story stronger. I love getting a revision that just nails it – especially when they address my questions in an unexpected but brilliant way.

What was your least favorite part? ​

Hitting “send” on edits! There really is almost as much nervousness in sending an edit letter as in receiving one. I know it can be tricky to get constructive criticism, especially from a colleague. Fortunately, all my authors are gracious and wonderful to work with. But I’m always nervous anyhow.​

 

What were some of the biggest lessons you as an editor learned in creating an anthology?

I didn’t want to assign any author a specific subject/setting, and I don’t want to assume that any author will only want to write characters that share their own marginalization. But I realized at the end of the editing process for THE RADICAL ELEMENT that despite having six authors who identify as queer, we don’t have any stories that feature a f/f romance. I’ve seen that some reviewers are disappointed about that, which is totally valid. Next time I would try to make sure during the pitch process that we didn’t have any obvious gaps in representation.

 

What were some of the biggest successes?

​I’ve been thrilled by our trade reviews so far. We got a starred review from Kirkus that said, “A needed collection to broaden understanding of the many different faces of history.” School Library Journal said, “This collection is extremely informative, intersectional, and inspirational, and will be sure to spark dialogue. Recommended for all young adult collections.”

​

If you are working on another anthology, what made you want to try your hand at it again? What, if any, parts of the process are/were different in the next project?

​My next anthology, TOIL & TROUBLE: 15 STORIES OF WOMEN & WITCHCRAFT, will be out August 28. I love editing, and I find the collaborative nature of anthologies super satisfying, so I knew I wanted to do a third (and now I’d love to do a fourth!). TOIL & TROUBLE was different because I had a co-editor, Tess Sharpe, and we were working with a different publisher (HarlequinTeen).

 

Anything else you’d like to add?

​I’m often asked what I hope readers will take away from THE RADICAL ELEMENT, and it is this: I hope that they will notice that the voices of women – especially women of color and queer women and disabled women – are often missing from our traditional history lessons, and they will ask themselves why, and then ask themselves how they can boost those voices now. And I hope my young readers especially will remember that their voices are important and that it’s vital to speak up.

____________________

 

Want more posts in the “Anatomy of a YA Anthology?” You can read the previous posts here.

Filed Under: anatomy of an anthology, ya, ya fiction, Young Adult, young adult fiction

Anatomy of a YA Anthology: On ALL OUT, edited by Saundra Mitchell

February 26, 2018 |

 

“Anatomy of a YA Anthology” is back with a brand new anthology to spotlight with an editor who has had experience with the process of anthology creation before, All Out edited by Saundra Mitchell. All Out hits shelves tomorrow, February 27, and the reviews of the collection have been nothing short of positive.

 

Your Name

Saundra Mitchell

 

Your Anthology’s Name

All Out: The Not-Longer-Secret Stories of Queer Teens Throughout the Ages

 

Anthology Description

From a retelling of Little Red Riding Hood set in war-torn 1870s Mexico featuring a transgender soldier, to two girls falling in love while mourning the death of Kurt Cobain, forbidden love in a sixteenth-century Spanish convent or an asexual girl discovering her identity amid the 1970s roller-disco scene, ALL OUT tells a diverse range of stories across cultures, time periods and identities, shedding light on an area of history often ignored or forgotten.

 

How did you get your idea/what was the initial spark?

I had edited an anthology before (Defy the Dark, Harper, 2013) and I was raring to go again. My agent (Jim McCarthy, Dystel, Goderich & Bourret) mentioned one day that he would love to do a queer historical anthology. I took that as an invitation and dropped a proposal in his inbox the next day.

 

Where did you begin researching your idea and/or developing the idea into a more clear, focused concept?

After the initial proposal, Jim and I hammered out specifically what ALL OUT should be. We’re both queer, and it was easy to figure out what we didn’t want: the moralistic, miserable stories that were available to US as teens. It was important from the start that ALL OUT be the anthology we wish *we’d* had at sixteen. You know, stories about queer characters having adventures, living in cursed towns, discovering magic, abandoning Hollywood…

The historical aspect was important to us as well– queer history isn’t taught in schools. It’s kept and carried on through universities, but also oral histories. So we wanted an anthology that reflected the fact that there have always been queer teens, even if they were made invisible in the history books. It’s a lighthouse for queer teens: you’re not alone, and you’ve never been alone.

 

How did you find your writers?

I asked all of my colleagues whom I knew were queer– because I love, love, love working with my friends. Then, I crept around like a creeper asking authors I love (but didn’t know) if they might possibly be queer, because I wanted to invite them to an antho. I really did that. I sent multiple messages on Twitter that started with, “This is the rudest question in the universe, and I apologize, but…”

I visited multiple Twitter chats, including #TransLitChat and #AceLitChat, because the few trans and ace authors I personally know were unavailable. The goal was to make sure that as many kids as possible could see themselves represented in this anthology. I’m delighted to say that I met the wonderful Nilah Magruder through #AceLitChat.

Finally, my agent told me he’d just signed a new author that he thought would be perfect for the project. I had had open calls for the final slot in DEFY THE DARK, because I love working with new, unpublished authors, so I was thrilled to take his suggestion. That’s how we got the extraordinary Tehlor Kay Meija!

 

How did writers pick their story or essay topic ideas?

I asked each of these authors to write the story they wish they could have read when they were wee queer teens. The only constraint is that it had to take place no later than 1999.

 

As an editor, were you responsible for contracts between you and your writers? Did your publisher or agent handle the administrative/legal side of things?

I control the vertical! I control the horizontal! All of my authors are contracted to me. My agent and I negotiated all contract changes with contributor agents. I contact the contributors and their agents with all business details, requests and information. I built my schedule based on the publisher’s delivery schedule, and then I held my authors to it. Normally, I would also process all payments and tax documents, but my agency was kind enough to remit checks for me this time. (My personal publishing schedule was so hectic that I was afraid I might miss something.) When it comes time for royalty statements, I’ll also be generating and sending those out, as well.

 

How did the editing process work between you and your writers?

I am a hands-on editor when it comes to anthologies. Some authors bounced ideas off of me; some went away to write their stories, and returned with them. No matter how I got the first drafts, I carefully read each one. I wrote revision letters and in-line notes on the first drafts.

This is the first point where I involved sensitivity readers. Many authors wrote their own representation, and many included others in their stories, as well. So we wanted to make sure that we got it as right as we possibly could. In addition to Sensitivity Readers, I also referenced a variety of inclusivity sites and guidelines like Disability in Kidlit and We Need Diverse Books.

I talked to a few authors on Skype, because they preferred to go over notes that way. I think I also did a couple of Google Chats with some authors, because real-time discussion is more organic than long e-mail chains. Basically, a pretty standard first draft/first letter situation, I think.

Once an author finished their revisions, I re-read. If there were any remaining major issues, I wrote another letter or more in-line notes. Mostly, at this point, though, it was line editing and minor suggestions. There was one author at this point who requested another sensitivity pass, because she was concerned about the trans representation in her story.

I am *so* glad she followed her instincts and spoke up on that. I sourced three more transgender readers for it, and they all zeroed in on a particular passage. I had missed it on multiple reads, but the trans readers found it instantly.

Once I had all the stories, I sent them on to TS Ferguson, my editor at HarlequinTEEN for his pass. He had very few notes (yay!) and returned them to me with copyediting. When it came to copyedits, I did most of them, but I passed them on to individual authors if there were rewriting queries, or queries where I felt the author might have strong feelings. (Do you want this to be a semi-colon, or a comma? Did you mean to use this word twice here? Is this the best word here?)

I gathered all the copyedited stories and sent them back to HarlequinTEEN, and off it went to become a book! When the typeset pages came back, I passed PDFs to each author so they could have one more look at their story. This is when we discovered that all of the primary-language, non-English words had been italicized. I asked TS to change those back, which was no problem! But it was a fun challenge, because one story, which is written in English with primary-Spanish speakers and Spanish words (not italicized) which also included secondary-French language (italicized!) I asked for a third-pass copyedit on that story, just to focus on the language.

(Seriously, y’all. This is how the sausage gets made!)

 

Money talk: how did you get paid for your work? How did your writers get paid?

HarlequinTEEN won the auction for ALL OUT, and they paid me a standard advance. Half on signing, and then the balance on Delivery & Acceptance.

I split the total amount of the advance in half. One half was mine, the other half was split among the contributors. I paid them on the same schedule that I got paid: half on signing, half on D&A. This is how royalties will be paid out, as well– the authors will be paid when I get paid.

 

What role did you take on as editor of the anthology? Were you hands on? Hands off?

I try to be the editor that the authors need. So if they want me down in the trenches with them, that’s where I’ll be. If they want to go away and hide, and come back with a story, I leave them alone. I try not to be intrusive; I try to time reminders and or requests carefully, so no one is overwhelmed. For me, the anthology is a big project. For the contributors, this is one story they’re writing, in the midst of their primary career.

 

How did you communicate changes and/or concerns between writer and your editor/publisher?

I have had such a great relationship with TS at HarlequinTEEN. He has treated me as the editor and helm of this project from the beginning. Any questions, problems or issues I had, I felt 100% comfortable taking directly to him as a peer. He put a lot of trust in me, and allowed me to steer this collection on my own, and I really appreciate that. (I do want to say that this was the same relationship I had with the editor on DEFY THE DARK, as well. Anne Hoppe is a dream of a collaborative editor!)

 

When it came to the package of your anthology, how much say did you have in the cover or design? How much were contributors involved in that part of the process?

The contributors weren’t involved in the package and design, except to the extent that I sent them comps so they could see where the cover was headed, and let them know what the final cover was. I feel like I had a lot of say in the cover design– TS and HarlequinTEEN took my and my agent’s suggestions seriously. We went through a lot of different covers, trying to get just the right one. (And if you’ve seen an advance copy of ALL OUT, you’ll note it has a different cover from the final. Everybody worked SO hard to get this cover right!)

 

What was your favorite part of the anthology creation process?

I love, love, love reading the stories. I really do. The magical thing about anthologies for me is that I get to ask my favorite authors to write stories *just for me*. It’s a book lover’s dream.

 

What was your least favorite part?

Ugh. I hate it when I have to ask an author to start over, or to radically change what’s on the page. It’s demoralizing as an author to get those requests, and I hate to give them. But, through two anthologies I’ve learned, sometimes those reboots turn into the most extraordinary stories in the collection.

 

What were some of the biggest lessons you as an editor learned in creating an anthology?

I’ve learned so much about how other authors work. How their language works, how they draft. What the difference between their initial idea and their final piece can be. I’ve also learned that the thing I think is the best fix sometimes isn’t. I encouraged one author here to just retool the ending of a story. They decided to start over… and their new story blew me away. It’s a good reminder that my job as editor is to help the author shine.

 

If you aren’t already working on another anthology, would you do another one? Why/why not?

Honestly, I’m an anthology maniac. If I could start another one today, I would. I have a concept and a wish-list of authors sitting on my hard drive right now. Alas, I must wait. ALL OUT comes out February 27, and I actually have several novels under contract that I need to work on as well. But I would do it again in a heartbeat. I love working with other authors. I love creating collections that I think teens will love. The process is frustrating and chaotic and infuriating and exhilarating and delicious. I hope there are so many more to come!

Filed Under: anatomy of an anthology, ya, ya fiction, Young Adult, young adult fiction

Anatomy of a YA Anthology: Natalie C. Parker on THREE SIDES OF A HEART

December 18, 2017 |

 

“Anatomy of a YA Anthology” is back again today with another interview. Today, Natalie C. Parker talks about the inspirations behind Three Sides of a Heart, which hits shelves tomorrow, December 19. I’ve had a copy of this sitting at the top of my to-read for a while and after reading Natalie’s piece, I am itching even more to dive in.

 

Your Name

Natalie C. Parker

Your Anthology’s Name

Three Sides of a Heart: Stories About Love Triangles

Anthology Description

You may think you know the love triangle, but you’ve never seen love triangles like these.

These top YA authors tackle the much-debated trope of the love triangle, and the result is sixteen fresh, diverse, and romantic stories you don’t want to miss.

This collection, edited by Natalie C. Parker, contains stories written by Renée Ahdieh, Rae Carson, Brandy Colbert, Katie Cotugno, Lamar Giles, Tessa Gratton, Bethany Hagen, Justina Ireland, Alaya Dawn Johnson, EK Johnston, Julie Murphy, Garth Nix, Natalie C. Parker, Veronica Roth, Sabaa Tahir, and Brenna Yovanoff.

A teen girl who offers kissing lessons. Zombies in the Civil War South. The girl next door, the boy who loves her, and the girl who loves them both. Vampires at a boarding school. Three teens fighting monsters in an abandoned video rental store. Literally the last three people on the planet.

What do all these stories have in common?

The love triangle.

How did you get your idea/what was the initial spark?

Keen irritation.

Once upon a time, I wasn’t the sort of person who had a strong opinion about the love triangle. In my experience some were effective and others weren’t, but that was the same with any trope. But one day I attended a panel during which the panelist were asked which trope in young adult fiction they wanted to see die in a fire. One panelist answer, “the love triangle” and I felt an unexpected rage in response.

As I listened to the discussion that followed, I realized that the ire toward the love triangle, specifically in young adult fiction, was centered around opinions of a single, well known love triangle. In other words, a single manifestation of a trope with a long and exciting history had fixed some readers so firmly against it that they’d written off all future iterations. I decided that the best way to engage with that conversation was by inviting others to explore the trope with me. An anthology seemed the best way to do that.


What steps did you take from idea to proposal?

Immediately after that panel, I shared my frustrations with a few friends. And at the end of my doubtlessly eloquent tirade I proclaimed my intentions to build an anthology filled to the brim with love triangles. When my passions cooled and I looked around the room, I found every single person nodding their heads. They were already on board, so my initial steps were a little shorter than they might have been. Essentially, I polished my thoughts about the love triangle and invited a collection of authors to join me in defending, exploding, and exploring the trope.
So the project proposal ended up as something of a problem statement and a list of authors willing to tackle it.

Did you use an agent?

I did and boy, oh boy, am I glad. Before bringing my list of contributors on board, I reached out to my agent and asked if they’d be willing to represent an anthology. We discussed what that might look like both creatively and administratively and when we were on the same page, she took the proposal out to market.


As an editor, were you responsible for contracts between you and your writers? Did your publisher or agent handle the administrative/legal side of things?

While my contract is with the publisher, all of the contributor contracts are with me. So this was a huge learning curve and plenty of paperwork on my end, but my agent managed all contract negotiations. BLESS AGENTS.


How did the editing process work between you and your writers?

I worked in concert with my editors at HarperTeen and we decided on our approach at the very beginning of the process. We would read the stories as they came in then hop on a conference call and discuss our notes. When we were all on the same page, we drafted notes together and I gave them a final review before sending them to the author.
From there, the authors primarily communicated with me via email.


Money talk: how did you get paid for your work?

The publisher paid me via my agency, and I sent payment to each of my authors. Sounds simple, but if anyone reading this is planning an anthology proposal, you should know that you’ll also be responsible for creating tax documents at year’s end*. There’s a fair bit of administrative cost that goes into managing an anthology, so make sure you pay yourself an editor’s fee!

Where and how did you come to “direct” the anthology? Did you have an idea of how you wanted pieces to progress early on or did you wait until all pieces were available to you to begin constructing the collection?

I was fairly hands off in the initial stages. In my invitation to contributors, I told them that I was interested in love triangles all every sort and stories in all genres, and that’s precisely what I got. As the stories began to roll in, I found that we had a fairly even distribution of genres, representation, and triangle outcomes. But we had a few notable gaps and I asked three authors if they would be willing to tackle those gaps. Having that flexibility a little later in the process allowed us to create a more complete collection.

What was your favorite part of the anthology creation process?

By far, my favorite part was working with each of the authors on their stories. It was such a challenge moving between them, bending my mind toward the author’s vision. I loved every moment of exercising my creative and editorial muscles in new ways.

What was your least favorite part?

The paperwork! Part of being a published author is also learning how to run a small business, but this took everything to a whole new level.

What were some of the biggest lessons you as an editor learned in creating an anthology? One of the more magical aspects of an anthology is how it comes together. An editor can begin to arrange the pieces, but the shape of the puzzle won’t become clear for a long, long while. I found that even though I’d invited a kickass team of authors to contribute, I had no idea what the project would end up looking like — no idea whose story would sit where, which would be in conversation with which. It was like trying to see a Magic Eye picture while the pixels were still sorting themselves out.

I learned that there’s a balance between directing an anthology and letting authors do whatever they like. I ended up with the opportunity to cover a few gaps later in the construction process, but that was mostly luck and definitely not by design. If I were to do this again, I would be slightly more active in the early stages offering a broad set of possibilities and parameters. I would also ask for story pitches up front so I could get a sense of the shape of the finished product early on.

What were some of the biggest successes? We received a starred review from School Library Journal in which they said: “The depiction of various identities and romantic choices make this collection an inclusive, relevant one that is likely to foster acceptance among high school readers.” If I’d had a mission statement for this collection, that would have been it. Receiving this review was an incredible moment in my career. I’m proud of it and of the authors who made it happen.


If you aren’t already working on another anthology, would you do another one? Why/why not?

I would absolutely do another one. The process was invigorating and rewarding and I have a trove of ideas waiting.

 

 

*Note from Kelly: this is true if you pay your contributors over $600 each. Under $600, and you don’t need to create the documents.

Filed Under: anatomy of an anthology, ya, ya fiction, Young Adult, young adult fiction

Anatomy of an Anthology: THE V WORD edited by Amber J Keyser

October 3, 2017 |

 

Today’s edition of “Anatomy of an Anthology” comes from Amber J. Keyser, editor of the nonfiction YA anthology The V-Word, published by Simon Pulse and available now.

 

Your Name

Amber J. Keyser

 

Your Anthology’s Name

The V-Word: True Stories of First-Time Sex

 

Anthology Description

A collection of personal essays by women about first-time sexual experiences.

 

How did you get your idea/what was the initial spark?

There were three inspirations for this book. The first was my children who were tweens at the time and who were asking lots of good questions about sex and sexuality. The second was an article written by Ferrett Steinmetz for The Good Men Project called Dear Daughter: I Hope You Have Awesome Sex. The third was an overheard conversation between two moms talking about how they didn’t even want to know if their kids were thinking about sex.

 

Where did you begin researching your idea and/or developing the idea into a more clear, focused concept?

I read every book about sex written for teens that I could get my hands on. Some were outdated. Some were very judge-y and proscriptive. Most were heteronormative and non-inclusive. Even the best books were focused on specifics like methods of birth control, types of STIs, how to masturbate, and various kinds of sexual behavior. None talked in depth about how you know you are ready for sex or what it’s actually like to have sex, physically and emotionally. That was the gap my anthology was going to fill.

 

What steps did you take from idea to proposal?

I did quite a bit more research into topics such as: the state of sex ed in the US, the efficacy (or lack there of) of abstinence-based approaches, the importance of sex-positivity, the role of pornography in the sex lives of teens, gender fluidity, the spectrum of sexual identity, and the influence of media (traditional and social) on teen sexuality. After that, I worked hard to refine the overview of the anthology relative to the gap I perceived in the market. I recruited an author friend to write a sample essay and found subject area experts willing to be interviewed.

 

What was included in your proposal to your publisher?

 

  • An overview of the concept that emphasized that I was doing a sex positive, diverse, and explicit anthology, which filled a significant gap in the market.
  • A detailed outline of the material I would include in addition to the essays that formed the core of the book.
  • An analysis of competing titles.
  • Two completed essays (one by me and one by Kiersi Burkhart).
  • Bios and writing samples from several experts that I planned to interview.
  • An initial list of the writers I planned to approach about contributing an essay.

 

 

Did you use an agent? If you didn’t use an agent, how did you find a publisher?

Funny story! I ran into Michelle McCann, an editor friend of mine on a soccer pitch. (Our boys were both playing.) She mentioned that she had recently started acquiring for Simon & Schuster and was looking for YA nonfiction on themes of body, mind, and spirit. I mentioned my anthology idea to her, and she pitched it to the acquisitions team based on our conversation. Once everyone was enthused, I hustled to get a proposal together. My agent, Fiona Kenshole, got involved at this point and was absolutely invaluable in getting us through the very difficult and protracted contract negotiation process.

 

How did you find your writers?

Since this was an anthology for teens, I started with YA authors who were already writing about sex in honest, realistic, and explicit ways. With these women, I had confidence that they knew the audience, knew the material, and were brave enough to share their own experiences. These writers helped me connect with others. When my author pool was still overwhelmingly white and straight, I put out a very targeted call for open submissions to several private Facebook groups, looking for women of color, transwomen, and queer women.

On reflection I really wish I had done this earlier. I feel good about the diversity in the collection (including three women of color, a transwoman, and six queer women), but it could have been better. Several women of color that had agreed to write for the collection had to back out at the last minute (two because of time constraints and one from nervousness about the topic). It was too late in the process for me to find alternatives. Also I really wish I had actively sought out disabled women writers. My advice for new anthologists is to start early and make finding diverse contributors a top priority.

 

How did writers pick their story or essay topic ideas? What process did you as editor use to vet them?

Other than the open submission call, I spoke with each potential contributor in advance and asked them to tell me their story. In this way, I could choose stories that expressed a range of experiences. I was also able to eliminate ones that definitely wouldn’t fit (usually because one of the sexual partners was under the legal age of consent or if the essay portrayed the sex as shameful). For most of the essays I did a lot of advance vetting because I didn’t want to commission an essay and then be forced to reject it.

 

As an editor, were you responsible for contracts between you and your writers? Did your publisher or agent handle the administrative/legal side of things?

All of the contributors entered into a contractual agreement with me. My literary agency helped write and execute those contracts. My publisher was responsible for registering the copyrights.

 

How did the editing process work between you and your writers?

Usually we began with a conversation and then did two to three pretty intensive rounds of revision. The most common revision comment that I gave was that the author needed to be more explicit in the descriptions of sex. Often the first drafts had detailed descriptions of the events and emotions that led up to the actual sex but then the essay would fade to black. For some authors it was incredibly hard to break that not-so-subtle taboo against talking about sex.

 

Money talk: how did you get paid for your work?

I received an advance on royalty contract.

 

How did your writers get paid?

I paid the writers out of my advance.

 

What role did you take on as editor of the anthology? Were you hands on? Hands off?

I was pretty much all grabby-hands. Honestly, my biggest mistake was being too hands on in the editorial progress. It was the first time I had ever edited other people’s work, and I was way too heavy-handed at first. My inexperience almost drove one contributor away. She was kind enough to allow me to start over with her piece. Another established author gently guided me toward a more effective editorial approach. It was hard to balance my vision for the overall collection with the needs of each contributor.

 

How did you communicate with your writers? What sort of information did you share with them and how?

After an initial phone call, we communicated via email and through track changes and comments within the manuscript. I shared some parts of the draft manuscript, specifically the introduction to the whole collection and the short intro for their essay. Otherwise, they didn’t see the other essays until post-publication.

 

Where and how did you decide to include your own work in the collection?

Well, someone had to go first! *GRIN* I don’t think I ever considered not including my work. I had something to say after all.

 

Where and how did you come to “direct” the anthology? Did you have an idea of how you wanted pieces to progress early on or did you wait until all pieces were available to you to begin constructing the collection?

I waited until I had all the pieces in place. Order was complicated. I must have rearranged the essays a dozen times. I tried to balance out the order of appearance for positive and negative as well as straight and queer. Sometimes essays were linked through common or opposing thematic elements so I ordered them to emphasize those similarities or differences. This is an area where my acquiring editor was incredibly helpful.

 

How involved was your editor/publisher throughout the creation process, prior to turning in a manuscript?

Since the acquiring editor was someone I know really well, we talked pretty frequently during the process. If there was a contribution I was on the fence about, we discussed it. If I had an editorial conundrum, she offered suggestions about how to handle it. She was crucial in figuring out how all the pieces of the collection fit together.

 

When the manuscript was a complete draft, what was the process when you passed it on to your editor/publisher?

My editor focused her efforts on the parts of the collection that I wrote rather than on the essays themselves. She had a few minor concerns (mostly legal ones), which I passed on to the contributors, but otherwise, the final form of the essays was the one that emerged from the author’s interaction with me.

 

How did you communicate changes and/or concerns between writer and your editor/publisher?

I was always the intermediary, sharing pertinent comments with each writer individually and personally. This was time consuming, but I never simply forwarded things on.

 

When it came to the package of your anthology, how much say did you have in the cover or design? How much were contributors involved in that part of the process?

I had a lot of input on the jacket copy (because I am pushy that way) but very little on the cover. The contributors weren’t involved in this part.

 

What was your favorite part of the anthology creation process?

My absolutely favorite thing was when a new essay from a contributor would show up in my inbox. It was magical to receive these intimate, profound, funny, delightful, and brilliant essays. I was blown away by the women who wrote for The V-Word.

 

What was your least favorite part?

There was behind-the-scenes, sausage making at the imprint, which was challenging. Anthologies have lots of moving parts, and in my case, there were quite a few people involved (including the publisher’s legal department). I had to be a very strong advocate for both my overall vision and for some of the more controversial essays.

 

What were some of the biggest lessons you as an editor learned in creating an anthology?

Editing other people’s writing, especially on tender topics, is very challenging. I wish I been a more sensitive and gentle editor. I came away with such appreciation for my own editors. The work they do is invaluable and also very hard. A brilliant editor is a gift to a writer.

 

What were some of the biggest successes?

I’m really proud of the book itself. It earned several starred reviews and was selected for lots of great end-of-year lists ( New York Public Library 50 Best Books for Teens 2016, Chicago Public Library Best Nonfiction for Teens 2016; ALA Rainbow List 2017, ALA Reluctant Reader List 2017, The Amelia Bloomer List 2017). I think it offers something to teen readers that they won’t find anywhere else. Its strength is in the honesty of each contributor. They are the superstars of this collection.

 

What, if any, anthologies did you read while putting together your own? What anthologies had you looked at to help you on your own work?

I read quite a few anthologies. For sexual content, I read Losing It. For structure, I read Zombies vs. Unicorns. For tone, I was going for Dear Sugar (not an anthology, but whatever).

 

If you aren’t already working on another anthology, would you do another one? Why/why not?

Honestly, the sales for The V-Word have been modest. Partially that’s content. Most schools won’t shelve it. Several public libraries have faced challenges (as in book banning challenges) for shelving it. But over and over again booksellers have commented that anthologies just don’t sell. Many bookstores struggle to know where to shelve anthologies. They are square pegs when it comes to typical YA categories.

I did this book because I believed (and still believe) that teens desperately needed it. I would definitely do the planned companion (essays by men about first-time sex) if the stars aligned, but I would go into the project with a more jaded eye. An anthology, in my opinion, is way more work than writing an entire book yourself, and if it is financially structured like mine (a fairly large advance out of which I paid contributors), it might never earn out. Anthologies just aren’t going to pay the rent.

 

Anything else you’d like to add?

I love this book. I love the women who contributed to it. They taught me many valuable lessons about life and writing and love and intimacy and being real. One of the best things to come out of my work on The V-Word is these enduring friendships with each of these super talented writer-humans. I’m very lucky.

 

 

Filed Under: anatomy of an anthology

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