Wednesday, July 1, 2015


Another great show! I always love my visits with Jessica at Crossroad Reviews. I got some great questions from readers for the chat--about when PLAY IT AGAIN will release, whether there will ever be a sequel to FERAL, and what my writing process is like. I even got a chance to provide a bit of a preview about SPARK, my forthcoming YA!

Grab a cup of coffee, settle into your favorite chair, and join me as I talk about my work from my own office:

You can also enter to win a copy of FERAL or PLAYING HURT; the giveaway will run for the next two weeks. Enter to win here.

Thursday, June 25, 2015


Come see me June 30, 3 pm EST via Google+ for an Author Chat with Crossroads Reviews. This will be my second appearance, and I can tell you from experience that Jessica's an incredible host. It's bound to be a fantastic talk, as we discuss all my work, including the indie release FIFTH AVENUE FIDOS and the forthcoming PLAY IT AGAIN, the sequel to my YA romance PLAYING HURT. You'll also have a chance to win a copy of FERAL (YA psychological thriller) and PLAYING HURT (to find out for yourself how Clint and Chelsea's love story began).

For more information on the show, visit Crossroad Reviews.

Can't be there but want to ask a question? Shoot me a question at hollyschindlerbooks (at) gmail (dot) com, and I'll be sure it gets on the air.

Monday, June 22, 2015


Every single time I get hit with a deadline (as I did last spring, for the rewrites of my next YA, SPARK), I'm invariably in the middle of another WIP. And I never want to leave that WIP. Every single time, without fail, I spend the day or so before my editorial notes arrive hitting social media, asking fellow writers for tips on how to balance to projects at once.

Last April, I finally came clean and admitted it to myself: I cannot work on two projects at once. I just can't. I'm a one-project-at-a-time woman. I'm good at remembering where I was with the WIP that has to be put aside, and picking it all back up once the deadline's been met. But if I try to divide a day between two different narrators, two different books? The quality of both projects suffer.

If there's one thing I've learned these past few months, it's that you're better off, as a writer, owning up to your own individual process. If you're a fast writer, fantastic. Write 6,000 words a day. If you're a daily writer, that's cool, too. If you can juggle multiple projects in a day, you have my undying admiration.

But if you write at a slower pace, who's to say that's not every bit as productive? Aren't 500 solid words better than 4,000 words that have to be completely reworked? (I'm not saying anyone who writes a ton of words a day always writes a bunch of crap that has to be fixed. But if you force yourself to write at a pace that's faster than is comfortable for you, I guarantee you will write a bunch of junk that you wind up trashing later on.) If you write three days a week, and manage to churn out a solid 10,000 words, isn't that better than spending most of your week staring at a blank screen because you're burned out?

In short, don't be distracted by the ways in which other writers work. Don't assume that someone else's process is better than yours. It's not. The process that works for you is the best one. Even if that's writing two days a week, to show tunes, while wearing a stocking cap. Whatever works. Do it. Own it. It's yours.

...And if you ever see me on social media, asking for advice on how to juggle two projects, tell me to shut up, put my WIP to the side for a few weeks, and get to work on meeting my deadline. Because that's what I know works best for me...

Thursday, June 11, 2015


Natasha sent me a copy of THE FIX in manuscript form, and I was delighted to blurb it:

"First shot out of the gate, Sinel bravely addresses tough topics, demonstrating that the weight of secrets can pull us underand their release can save us from drowning."

Holly Schindler, critically acclaimed author of A Blue So Dark and Feral
 About THE FIX:

One conversation is all it takes to break a world wide open.

Seventeen-year-old Macy Lyons has been through something no one should ever have to experience. And she’s dealt with it entirely alone.

On the outside, she’s got it pretty good. Her family’s well-off, she’s dating the cute boy next door, she has plenty of friends, and although she long ago wrote her mother off as a superficial gym rat, she’s thankful to have allies in her loving, laid-back dad and her younger brother.

But a conversation with a boy at a party one night shakes Macy out of the carefully maintained complacency that has defined her life so far. The boy is Sebastian Ruiz, a recovering addict who recognizes that Macy is hardened by dark secrets. And as Macy falls for Sebastian, she realizes that, while revealing her secret could ruin her seemingly perfect family, keeping silent might just destroy her.

The Fix follows two good-hearted teenagers coming to terms with the cards they were dealt. It’s also about the fixes we rely on to cope with our most shameful secrets and the hope and fear that comes with meeting someone who challenges us to come clean.

Wednesday, June 10, 2015


In BREAK YOUR HEART, Rhonda Helms offers a fresh look at an old dilemma: teacher / student attraction. Instantly accessible, insightful, and intriguing.


Fearless and flirtatious, Megan Porter isn't your typical math major. On the fast track to graduating with honors, a spot in her school's masters program is nearly guaranteed. But her senior year is quickly turned upside-down by her new thesis advisor, cryptography professor Dr. Nick Muramoto. Young, effortlessly good-looking, and intellectual, he's far more intriguing than the immature jocks Megan usually goes for. And as she decodes the hidden messages he leaves in the margins of her assignments and in their emails, she realizes this might be more than a schoolgirl crush--especially after they share a passionate kiss...

Soon Nick and Megan grow closer, and their different worlds begin to merge. But if their relationship is discovered, Nick's career could be over. With Megan's parents close to campus on business, hiding their love becomes an even greater challenge. Yet keeping secrets will lead Megan to discover hers is just one piece in a much larger puzzle--next to her mother's stash of painkillers--that may put her carefully laid plans for the future in jeopardy.

Grab a copy.

Tuesday, June 9, 2015


One unusual setting + 2 alternating POVs + Katcher’s distinctive humorous tone = 1 amazing book.

I always gravitate toward a Katcher read because I know I’m going to smile all the way through it. Katcher consistently manages to address serious topics and reveal his characters through humor. (I don’t think anything illustrates a character’s world view quite as vividly as their own personal sense of humor.) In ANA & ZAK, Katcher also keeps from relying on stereotypical differences between his male and female alternating narrators; the differences in narration are both subtle and smartly handled. Fun read with some great, realistic characters that teens will instantly recognize and identify with.



 The Improbable Theory of Ana and Zak is Stonewall Book Award-winning author Brian Katcher’s hilarious he said/she said romance about two teens recovering from heartbreak and discovering themselves on an out-of-this-world accidental first date.

It all begins when Ana Watson's little brother, Clayton, secretly ditches the quiz bowl semifinals to go to the Washingcon sci-fi convention on what should have been a normal, résumé-building school trip.

If slacker Zak Duquette hadn't talked up the geek fan fest so much, maybe Clayton wouldn't have broken nearly every school rule or jeopardized Ana’s last shot at freedom from her uptight parents.

Now, teaming up with Duquette is the only way for Ana to chase down Clayton in the sea of orcs, zombies, bikini-clad princesses, Trekkies, and Smurfs. After all, one does not simply walk into Washingcon.

But in spite of Zak's devil-may-care attitude, he has his own reasons for being as lost as Ana-and Ana may have more in common with him than she thinks. Ana and Zak certainly don’t expect the long crazy night, which begins as a nerdfighter manhunt, to transform into so much more…

Monday, June 8, 2015


Mark your calendars:

FIFTH AVENUE FIDOS will be .99 on Amazon this Thursday, June 11; you can snag a copy for 1.99 on Friday.


Thursday, June 4, 2015


THE GIRL IN THE TORCH - Robert Sharenow 

The Invention of Hugo Cabret meets True Grit in this heartfelt novel of resilience, hope, and discovering a family where you least expect it, from award-winning author Robert Sharenow.

At the dawn of the twentieth century, thousands of immigrants are arriving in the promised land of New York City. Twelve-year-old Sarah has always dreamed of America, a land of freedom and possibility. In her small village she stares at a postcard of the Statue of Liberty and imagines the Lady beckoning to her. When Sarah and her mother finally journey across the Atlantic, though, tragedy strikes—and Sarah finds herself being sent back before she even sets foot in the country.

Yet just as Sarah is ushered onto the boat that will send her away from the land of her dreams, she makes a life-or-death decision. She daringly jumps off the back of the boat and swims as hard as she can toward the Lady's island and a new life.

Her leap of faith leads her to an unbelievable hiding place: the Statue of Liberty itself. Now Sarah must find a way to Manhattan while avoiding the night watchman and scavenging enough food to survive. When a surprising ally helps bring her to the city, Sarah finds herself facing new dangers and a life on her own. Will she ever find a true home in America?


As someone who recently got hooked on digging into my own genealogy, I quickly devoured THE GIRL IN THE TORCH. I dare any young reader to experience Sarah’s tale, packed with drama and adventure, and running the gamut of emotions, and tell me they can’t get into history. 

Thursday, May 21, 2015


I absolutely adored Courtney McKinney-Whitaker's THE LAST SISTER.  So much so, I asked her to stop by to discuss historical fiction and working with a university press--two rarities in YA fiction:

Are you an avid reader of historical fiction? What were you reading as a teenager?

Of course! I'm an avid reader of most genres, but historical fiction has always been among my favorites. 

I was a teenager in the late '90s, shortly before the YA boom, so I read mostly adult books, including A LOT of classics. I would say I was in a real AP English phase: Dickens, Hardy, Austen, Alcott, Eliot. At one point, Tess of the D'Urbervilles was my favorite book. Today's YA has nothing on Hardy for melodrama. That was my era of "If it's old, I'll read it." It gave me     excellent background knowledge on the development of the novel.

I love that this book is your answer to a “challenge,” as you say in the Author’s Note. This story DOES have so many elements of popular YA fiction—love, violence; you make it clear in the first chapter you’ve also got a strong female protagonist. Why do you think young readers are drawn to futuristic (in recent years, dystopic) literature, rather than historical fiction? Why is past reality less interesting than purely imaginative works set in the future? 

I think a few factors play into this. First, historical fiction is immediately suspect because adults (teachers and parents) often want it to be "educational" (Whatever that means. I've learned something from every book I've ever read), so historical fiction ends up with a reputation as the vegetables of literature, and most people prefer dessert. There's that immediate resistance to whatever's being (even slightly) forced upon you. Second, our pop culture view of history is wrong. There's this idea that history is very straight-laced, that nobody cursed or had premarital sex or stepped out of line ever before 1960. The idea of squeaky clean history is laughable, but it has a very strong hold on the popular imagination. Finally, young readers are interested in the future—their own, in particular, and the past doesn't seem like the place to find it. For me, though, history is very much about people reaching for the future, and those are the stories I want to tell.

I’m a lifelong Ozarkian. Though I’ve based some of my works outside of my native area, I do find myself getting drawn back to writing about my own region repeatedly. Did your own native geography play into writing THE LAST SISTER at all? 

Oh, absolutely! I grew up in Catie's world, and I was outside almost every day of my childhood. The scene where Catie encounters the cougar is based on a creek bed where I used to play with my brother and our neighborhood friends.

I’m also a bit of a genealogy nut. (I was shocked to find I do have some Native American ancestry.) Did genealogical research factor into your drafting process?

Not at all. My family has lived in upstate South Carolina since before the American Revolution, so I do have some ancestors who would definitely recognize the setting, but aside from the general fact of the Scots-Irish migrations into the Carolina backcountry in the mid-eighteenth century, none of the characters or other elements are based on my own genealogy.

Your descriptions are so vivid. I can imagine that your research set your imagination spinning…For some, research is merely a bunch of dry dates; for others, historical texts play out in their minds like a movie. I imagine you’re the latter. Do you hit a point, though, where research can become a hindrance? How do you blend fact with imagination?

Yes, research always does get my imagination going, but to tell you the truth, some research texts do that more than others. Nonfiction is an art as much as fiction is. Research can become an excuse for not writing, which is one reason I tend to do the two simultaneously. I research to get a good feel for the setting, and then I write a first draft. I always let the story take the lead and figure out what kind of specific research I need to do to create the details that make the world feel like a real place. Sometime around the fourth or fifth draft, I do a "research draft" where my only goal is to go through and answer specific research questions. For example, with THE LAST SISTER, my initial research consisted of a lot of   general reading about the Anglo-Cherokee War and backcountry communities, and then after several drafts, I was looking at the contents of highland soldiers' haversacks and the quartermaster's logs from Fort Loudoun.

How long did it take to write THE LAST SISTER? What was your drafting process like? How is drafting historical fiction different than drafting contemporary work? What are the pitfalls drafting historical fiction? What’s your best piece of writing advice for anyone about to write the opening lines of their historical novel?

Wow, that's a lot of questions! I'll try to answer them one at a time.

THE LAST SISTER has a funny textual history. It was originally a dystopian novel that I converted into historical fiction after learning that the market was flooded with dystopian novels, which in retrospect, maybe I should have known in 2010-2011, but I was a beginner in the industry and just trying to find my voice. However, that practice novel was my route to THE LAST SISTER, which I never would have written without knowing that basic story, so I'd say it was worth it. Writing the first novel took me about a year, and writing THE LAST SISTER took another year beyond that.
I learned my drafting process over the course of working on those two novels. I started writing seriously in November 2010, for NaNoWriMo. I still start with a quick first draft, which at 2000 words a day, usually takes about a month. Then I start over with a clean document and draft it again. After that, I work with what I have, drafting many more times until I can't do anything else. I think I ended up with about 10-12 drafts of THE LAST SISTER. All this time, I'm outlining and re-outlining, and researching and reresearching.

I've never written contemporary fiction, so I don't really know how it's different from writing historical fiction. I can say that historical fiction has that world-building element in common with fantasy and science fiction, but I think that every good novel is a world unto itself. I admire writers of contemporary fiction. Given the amount of time it takes to write and publish a novel, I would be so afraid my work would be out of date. I feel like historical fiction gives me a little more freedom in terms of the publication timeline, though of course it needs to remain relevant to the time in which it's published.

One of the pitfalls of writing historical fiction may be that the research can last as long as you want, so it's always a good excuse not to write. I think you really have to be careful to let the story itself take the lead and not bog your reader down in historical detail that's irrelevant to the story and the characters. It's hard, because you uncover cool stuff and you want to tell everyone about it. I mean, the number of times I have LOL'ed at diary entries...because people are just funny, at any time.

To go along with that, my best advice is to focus on your story, not the HISTORY with a capital "H." Your story comes first, before the details, and definitely before any lessons readers are supposed to learn from it. I think some writers see historical fiction as a good way to get a message across, another potential pitfall. Don't try to teach, and definitely don't preach. If you have a message, write a billboard, not a novel. Story first, always.

I’m intrigued by the fact that this book was published by a university press. What was the process of working with a university press like? 

It's been great! The University of South Carolina Press is one of the first university presses to publish children's and young adult books. I ended up publishing THE LAST SISTER with the USC Press after receiving feedback that the book was too "regional" to sell to a national market. (Pet Peeve: Why are books so often tagged "regional" if they have strong settings outside major metropolitan areas? Two separate groups of students have asked me why books set in rural SC are "regional" but books set in New York City aren't. Good question. Young readers do notice these things.) I had published an academic work with the USC Press in 2006, and I contacted my former editor to ask if he could recommend any regional publishers. He told me about the Young Palmetto imprint, which I don't think was even publicly accepting submissions at the time.

First, the book was reviewed and recommended for publication by the Young Palmetto Books series editorial board. This was an awesome experience because the members of that board were mostly people I knew by reputation in the field of children's and young adult literary scholarship and earning their approval meant a lot to me. Next, the book went through the process (typical to scholarly publication) of being reviewed by two anonymous peer reviewers who provided feedback and recommended for publication. After that, it went to the USC Press Committee for final approval. This whole process, from initial contact to book contract, took from February to July of 2013, and then the book was given an October 2014 release date. It was a MUCH faster process than most commercial publishing. 

I've had such a great experience, so I always recommend authors seeking publication think beyond the commercial giants.

I can see this book having a long life in a high school history class; have you heard of any classrooms using your book? If so, what was that experience like?    

In January, I received a Facebook message from a history professor at Converse College in Spartanburg, SC who was teaching the book in her class on the American Revolution in the Southern Backcountry. We emailed back and forth, and I ended up speaking to two groups of students at Converse in April. They were interested in writing, history, and books for young readers, so we had wonderful conversations.

What can we expect next? Another historical read? A new genre? Any sneak peeks you can share?

After I completed THE LAST SISTER, I wanted to try something different, so I wrote a sort-of fantasy, fairy tale-ish book (still rather deeply steeped in history). It's finished, but I haven't found a publisher or representation for it yet.

Meanwhile, I've recovered from writing THE LAST SISTER and am working on a companion. It's set in South Carolina at the tail end of the American Revolution (1780-81) and features Catie's daughter, Bess, as the main character. While it will feature some of the same characters, it's intended to work as a standalone read, as well.

Catie’s such a compelling heroine. Who, for you, are the Caties of today?

It is so important to me that Catie doesn't save the whole world, that she doesn't entirely understand the geopolitical situation she's caught up in. I think that's the case for most people, in any time. I would be lying if I told you I had a complete understanding of the crises we're facing today, and really lying if I said I had the answers. So many things are comprehended only in retrospect. One aspect of popular literature I wanted to avoid was the "chosen one" character: that's not an attainable, or I would argue, a desirable goal for most young people. I think we're too quick to divide history into heroes, victims, and villains. Most people have a little of all three in them. Catie voices my own philosophy, developed over years of working with history: most people in any time are doing the best they can with the cards they've been dealt. Catie wrests good things from terrible situations. She decides what she wants and how high a price she's willing to pay for it. She doesn't save the world, but she builds a life she can live with. She saves a precious few people who are dear to her. She does the best she can. And if lots of people do the best they can, then we end up with a better world. That's how we reach for the future. 

Get your own: THE LAST SISTER.
Related Posts Plugin for WordPress, Blogger...