A Quote by Adam Silvera
My first book was on the grittier side of life. A week before being published, I realized all of my main characters come from single households. That was something that, when I lived in South Bronx, that's what it was like.
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My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
Being Southern and being the guy I've been all my life, I've lived more on the lighter side of life. I have a dark side, but that's not where I come from. A lot of artists like to come from that.
In general, the main themes emerge early for each book, even before the storyline and characters, as I research the time and place I want to draw upon. Having said that, every single book so far has offered me surprises en route, and these include motifs that come forward as I am writing.
From the age of 17, I lived the life of a hermit and dedicated myself to gym life, first in the South Bronx and then back in England. I was in a bubble and I bypassed a lot of popular culture.
I was from a poor Jewish family in the South Bronx. My father was a plumber, but when I was 16, he got sick and I had to take over. Being a plumber in the South Bronx wasn't fun.
When I wrote the first Betsy book, 'Undead and Unwed,' I had no idea, none, that it would be a career-defining, genre-defining book, the first of over a dozen in the series, the first of over 70 published books, the first on my road to the best-seller list, the first on my road to being published in 15 countries.
About a year after (my stories began being published), magazine editor George Scithers, suggested to me that since I was so new at being published, I must be very close to what I had to learn to move from fooling around with writing to actually producing professional stories. There are a lot of aspiring writers out there who would like to know just that. Write that book.SFWW-I is that book. It's the book I was looking for when I first started writing fiction.
Make sure your characters are worth spending ten hours with. That’s how long it takes to read a book. Reading a book is like being trapped in a room for ten hours with those characters. Think of your main characters as dinner guests. Would your friends want to spend ten hours with the characters you’ve created? Your characters can be loveable, or they can be evil, but they’d better be compelling. If not, your reader will be bored and leave.
When I am teaching, I first give out Tolstoy's 'Childhood,' his first published book. It is so transparent. It gives you exactly what it was like to be on a Russian estate in 1830. You are there. And that is the hope when you sit down and write still, I think - that you can transmit something of what life is like now.
'The Practical Heart' was published one week before the World Trade towers collapsed. Book reviewing and all else in our culture stopped dead-still for half a year. I went on the book tour anyway. But I felt like the apostle Paul going unto the catacombs where scared believers hid and prayed.
I came to nonfiction through journalism. My first book was journalism, and it was so frustrating to me, while I was writing it, that I wasn't capturing the moments the way they were when I lived them; I was filtering and re-filtering. I had to come to terms with the fact that I couldn't and shouldn't claim authenticity. Then, when the book was published and I gave readings, I'd hear myself read and it was like I was eavesdropping on a dream - even with myself as the narrator. I knew that guy but couldn't exactly recognize him.
Moby Dick - that book is so amazing. I just realized that it starts with two characters meeting in bed; that's how my book begins, too, but I hadn't noticed the parallel before, two characters forced to share a bed, reluctantly.
If someone's going to publish a book about addiction, it has to say something new and different. It has to be something we haven't read before. A lot of these books are published because the writing is wonderful. The Frey book has superb writing, and that can be enough to sell a book.
After the first Olive Farm book was published, in 2001 I got a three-book deal with Orion for a large sum of money. Obviously it did not come all at once, but it made the difference to living here on a shoestring to being able to turn the whole place around.
Five years before 'Kitchen Confidential' - and before then, the 'New Yorker' essay that led to the book - Bourdain published 'A Bone in the Throat,' a crime novel set in the restaurant world he lived and breathed.
My first book was published without any editorial advice. Nobody said, 'You might do this or that,' or 'Why don't we see more of this.' I merely took the book and published it.
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