Corey Ann Haydu has had quite a career. Besides being an amazing advisor in VCFA’s Writing for Children and Young Adults MFA program (I had the pleasure of working with and learning from her prior to doing the program as well as in my fourth semester), the acclaimed author has tackled everything from young adult and middle grade novels to chapter books to great effect with a combination of incredible skill in craft and her big, big heart. Her latest YA title, Lawless Spaces—her first novel in verse—is no exception. Here’s a brief description of the work that’s earned stars from Kirkus Reviews and Publisher’s Weekly, and is a Junior Library Guild Selection:
Perfect for fans of Deb Caletti, this poignant coming-of-age novel in verse follows a teen girl who connects with the women of her maternal line through their journals and comes to better understand her fraught relationship with her mother.
Mimi’s relationship with her mother has always been difficult. But lately, her mother has been acting more withdrawn than usual, leaving Mimi to navigate the tricky world of turning sixteen alone. What she doesn’t expect is her mother’s advice to start journaling—just like all the woman in her family before her. It’s a tradition, she says. Expected.
But Mimi takes to poetry and with it, a way to write down the realities of growing into a woman, the pains of online bullying, and the new experiences of having a boyfriend. And all in the shadows of a sexual assault case that is everywhere on the news—a case that seems to specifically rattle her mother.
Trying to understand her place in the world, Mimi dives into the uncovered journals of her grandmother, great-grandmother, and beyond. She immerses herself in each of their lives, learns of their painful stories and their beautiful sprits. And as Mimi grows closer to each of these women, she starts to forge her own path. But it isn’t until her mother’s story comes to light that Mimi learns about the unyielding bonds of family and the relentless spirit of womanhood.
Poetry was a wonderful choice for Haydu’s poignant, heart-wrenching, and ultimately hopeful novel. It is raw, sometimes painful, and relatable to anyone who has ever felt trapped in their lives (such as during a pandemic), or trapped in/defined by their bodies, or powerless to speak out and make necessary change. Haydu explores mother/daughter relationships and all they entail (body image, power dynamics) across generations with courage and care, something that resonates with readers and reviewers alike.
Haydu’s love of craft, her insight, and the amazing questions about living and life that she explores through her work give readers and writers alike a lot to ponder. Read on for her thoughtful and inspiring answers to our recent email Q & A:
What made you make the foray to writing a verse novel, and how did you prepare for that?
I’ve honestly always wanted to write in verse! Back in college my dream was to be an actress who published poetry on the side, and though many things changed about that dream over the years, my connection to poetry and the way a poem can so succinctly capture a moment and a feeling and get to the heart of things has remained the same.
I’ve been reading novels in verse basically since I first started reading in YA, sort of keeping in my back pocket the idea of them, loving that they existed, wondering if maybe I would get to wander over and try them myself some day. So the preparation was mostly that– years of reading them, and being excited by them, and understanding what makes them work. When it was time to actually write one of my own, I took it very slowly, just letting myself play with the form, long hand, and without a concrete plan for many years. It really helped to let myself stay in that exploratory phase for a long time.
You now have various works published across so many genres (chapter books, middle grade and young adult novels (prose and verse). From creative and business standpoints, what have been the upsides of writing in so many different genres? Any challenges?
It’s hard to speak professionally, because I think that side of things is so unpredictable, and I tend to be a terrible judge of what will do well out in the world. But emotionally speaking, it has helped me a great deal to not have too much pressure on any one age category. My goal is always to get to focus on the writing– it’s the part of things I enjoy, and it’s the part I’m good at and suited for. And writing in multiple age categories lets me worry less about each individual book, once it’s out in the world. I worry about them a great deal when they’re in my hands, but once they come out, I’ve learned to let them go a bit, and focus on what’s next. There have been times my YA hasn’t been finding the readership I’d hoped for, and that’s why my middle grade started finding its space, and I’m so grateful I had that positive trajectory to focus on when certain books weren’t doing what I’d hoped.
Creatively, this is really just who I am. I like to try everything, writing-wise, I like to be challenged, and I’m inspired by every aspect of children’s publishing and storytelling generally. Feeling expansive and creative and out of my comfort zone really feeds me, and so far I have yet to get bored. I also have to say I’ve been incredibly lucky to have a supportive agent and supportive editors, who never told me I had to stay in one place. I’ve been encouraged to move around and explore other parts of my voice, and I don’t know why I’ve been given that chance, but i’m so glad I have, because it’s really how I work best.
How has the pandemic impacted your writing life in terms of finding time and being in the headspace to do your best work? You’re obviously prolific and productive despite it all, so what has been most helpful to you in terms of getting it done?
My number one current advice, especially for writers who also happen to be parents, but really for anyone who has a lot of demands on them in the home and is struggling to find their way creatively, is to get up early. I discovered 5am writing during the pandemic out of necessity– my toddler couldn’t handle me working while she was at home– and over the last two years every time I’m in a creative slump, I reintroduce that practice to myself. There’s something about writing before I have to be anyone else– a parent or a wife or a friend or a person in the world in any meaningful way– that really clarifies the work for me. I work faster, and better, and more enjoyably. I have found I need that, even though it can be tough. Once I’ve put on the parenting hat, it’s harder to transition into a creative space. So getting up very early is a gift I give myself as often as I can.
What was the spark for Lawless Spaces, and what do you hope readers glean from it?
I have long wanted to write a novel that follows mothers and daughters, that somehow tracks the things they are dealing with across generations. Maybe it all began with Gilmore Girls, and the incredible trifecta of Emilly, Lorelai, and Rory, and getting to see how baggage gets passed on and how it shifts and becomes something new. I have always wanted to understand that personally– and especially as I’ve become the mother of a daughter, those questions have gotten louder and more consuming for me. Once I started on that track, I realized it was time to write about a lot of things from my own life I hadn’t really addressed previously– specifically being a young girl in the entertainment industry, and living in a petite and curvy body, and how those things intersect with generational relationships and your own relationship with yourself. It was really an organic process, ultimately, where I found so much joy and healing.
As one of your former students who had the privilege to work with you, one of the things that most impresses me is your willingness to take risks in your writing, to wear your heart in so many of your gorgeous words, and your desire to keep pushing and keep learning. What books, films, music, craft resources etc. have influenced, helped, and inspired you most?
Honestly, poetry was a huge part of my teen years, when I was acting and writing, and also just struggling to put feelings into words and struggling to be understood. I was always deeply connected to the work of Sylvia Plath, as well as Pablo Neruda, Anne Sexton, and e.e. cummings. I loved their fearless and emotionally-forward approach to their work, and it not only resonated with me but helped me through really challenging times. Early on I was really blown away by Sandra Cisneros’ HOUSE ON MANGO STREET, which helped me understand the importance of small moments telling a bigger story. I’ve always been drawn to art that addresses difficult topics and challenging relationships. I was an actor, with a real affinity for the tragedy of THE GLASS MENAGERIE or the high-stakes ugliness of relationships in NO EXIT or the absurd takes on life of Christopher Durang’s work. I practically lived inside The Counting Crows’ first album, AUGUST AND EVERYTHING AFTER, which is a lyrically really heartbreaking and beautiful collection of songs– I loved how language and vulnerability combined to really make me feel understood in my pain.
I operate sort of heart-first, emotions-first with my work, and I certainly learned that from knowing what I connected with, and more than that probably what I needed. And that remains true– I like work that challenges me and stories that make me uncomfortable and language that makes me think about something anew. I’m also a collaborator, so I’ve been really influenced by the editors I’ve worked with, who have been really game to help me try new things and stretch into new spaces. I’ve found that caring more about learning than about being good at something is a real gift in a creative life. 🙂
Anything else you’d like to share?
Thanks so much for a such a smart, interesting collection of questions, and I hope the readers who are interested in the same things I’m interested in– bodies and mothers and daughters, and generational trauma, and how to push against the way the world sees you to be able to instead occupy the space that feels right for you– find LAWLESS SPACES. It was one of my favorite books to write, and I said so much I’ve been wanting to say, which always feels good.
To learn more about Corey Ann Haydu and her work, visit her website here. Lawless Spaces and her other books are available at Indiebound, Barnes & Noble, Amazon, or wherever books are sold.
Corey Ann Haydu is the author of many critically acclaimed middle grade and young adult novels, including EVENTOWN, RULES FOR STEALING STARS, EVER CURSED, and OCD LOVE STORY. She is also the author of the HAND-ME-DOWN MAGIC chapter book series. Corey is a graduate of NYU’s Tisch School of the Arts and The New School’s Writing for Children MFA program, and has been working in children’s publishing since 2009. In 2013, Corey was chosen as one of Publisher Weekly’s Flying Starts. Her books have been Amazon Book of the Month Selections, Junior Library Guild Selections, Indie Next Selections, and BCCB Blue Ribbon Selections. In 2020, she received an Edgar Award Nomination for her novel EVENTOWN. Corey is also a proud faculty member of the Vermont College of Fine Arts’ MFA in Writing for Children and Young Adults program. Corey lives in Brooklyn with her husband, her daughter, her dog, Oscar, and a wide variety of cheese.
Elisa Zied a writer for young people. She holds an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts and an advanced Graduate Certificate in Children’s Literature from Stony Brook Southampton. She also earned a BA in psychology from University of Pennsylvania and an MS in clinical nutrition from New York University. Before embarking on a fiction writing career, she garnered millions of media impressions as a nutrition expert, spokesperson, and freelance health and nutrition writer. She also authored four award-winning nutrition titles including YOUNGER NEXT WEEK (Harlequin Nonfiction, 2014) and NUTRITION AT YOUR FINGERTIPS (Alpha Books/Penguin, 2009). She lives in New York City with her husband and two sons and is an avid walker, music lover, and amateur photographer.
I recently read Liara Tamani’s All the Things We Never Knew (Greenwillow Books/HarperCollins Publishers)—a 2020 Kirkus Best YA Book of the Year that’s now out in paperback—and I couldn’t put it down. I laughed, cried, and swooned over the romantic, immersive, and layered story—a perfect YA novel. Here’s a brief description of the title from Tamani’s website:
The Sun is Also a Star meets “Love & Basketball” in a tumultuous, lyrical teen romance about two African American, high school basketball stars who fall in love hard and fast, but struggle while navigating their own tough family issues.
Carli feels completely lost. She secretly wants to quit basketball, but has no idea what dream she wants to replace it with. To make matters worse, her parents are getting divorced and she and her brother must decide who to live with. The only thing saving her is her belief that signs will ultimately reveal her destiny, and they all just pointed to Rex.
Rex craves love. He might be ESPN’s #1 high school basketball player of the year, but he’s terribly lonely. An only child, his mother died giving birth to him and he’s sure his father blames him for it. Plus, Rex has moved to a new school where all of his new teammates hate him. But meeting Carli changes everything. With her, he feels all the love he’s ever wanted to feel.
Set in Houston over the last few months of Rex and Carli’s junior year, ALL THE THINGS WE NEVER KNEW will make readers feel the all tenderness, messiness, and bliss of first love.
Cover art by Loveis Wise.
Before diving into Tamani’s gorgeous first novel, Calling My Name (Greenwillow Books/HarperCollins Publishers)—a 2018 PEN America Literary Award Finalist and an SCBWI Golden Kite Award Finalist—I had the pleasure of chatting with Tamani about her work and writing life. Here are the highlights:
EZ: We share something in common—we’re both graduates of Vermont College of Fine Arts. You received your MFA in Writing from VCFA in 2010. How was that experience for you?
LT: I loved the sense of community and still have good writing friends from the program. I loved getting different feedback every semester from different advisors. Each gave you something new to look at, and every semester a fresh set of eyes saw your work. Each advisor’s feedback resonated with me in different ways.
EZ: When did you first consider yourself a writer?
LT: I think all writers go through this thing where they’re afraid to call themselves a writer until they’re published. I’m sure it’s an insecurity many writers wish they could rid themselves of, and I definitely had it. I don’t know if I would have called myself a writer until I got a short story published. I had been writing for many years, and had definitely earned the title. But I didn’t want to say I’m a writer and then have to answer the inevitable question, Where have you been published? The fear in me never wanted to answer, Nowhere, to that question.
EZ: What inspired you to write specifically for children and young adults?
LT: Initially I didn’t have a specific plan for writing for children and young adults. At Vermont College of Fine Arts, I wasn’t even aware of the Writing for Children and Young Adults program. I did the adult program. I was also ignorant and naïve about all aspects of business and marketing, and where books fit in the market. When I was writing my first book, Calling My Name, I was just trying to write the best book that I could.
The girl who narrated the story had a young voice. So, during the first round of submissions, my agent pitched it as young adult. The plan for the second round was to pitch it as an adult novel. It ended up selling really quickly and then I got a two-book deal with the expectation that my second book would be written for the young adult market.
But I will say it’s been a huge blessing, and I’m so grateful that I get to write for kids. I always try to see the beauty in the world all day, every day, and to be aware of living a life in loving kindness. I try to do all of these things, and I love learning about the human experience because we are constantly evolving and growing. Just because we are adults, the learning never stops. Even when you learn things, you have to relearn them. Our learning takes place in a cyclical manner, just like everything else in life. We learn things and then we forget things, and then we learn them again. Writing for kids helps me remember.
Photo credit: Seneca Shahara Brand Photography
EZ: It’s kind of like revisions. We rewrite something, looking at one thing, then we rewrite again looking at something else. We can’t make all the changes, or tackle everything all at once.
LT: We have these daily experiences where we’re living in the minutia of it all, and sometimes we forget some of the larger guiding principles. Sometimes we forget all the things we’ve learned along the way. I always have to remind myself of things I’ve learned but forgotten.
EZ: How did your writing process differ between the first two novels? Did you write each of them very differently?
LT: The process of writing both books was very different. I’m not sure I could write any books in the same way. For Calling My Name, because it’s based on my childhood—it flowed for me very easily. I wrote short chapters and vignettes completely out of order and did so by accessing and creating fiction around things that had made an impression on me growing up. At first, I didn’t know it was going to be a book. I’d probably written twelve to fifteen chapters that could stand on their own. But when I found the voice, I was like, oh—I love this. I loved her so much and kept writing more and more.
EZ: I understand you’ll have a third and fourth novel come out. Congratulations on that! Where are you in that process, and how are you approaching them?
LT: Every time I write a book I feel like I don’t know how to write a book. For me, the hardest thing about writing a book is coming up with what I’m going to write about. I didn’t have that problem with Calling My Name because I didn’t even know it was going to be a book at first. It was very organic the way the pieces came together for that. For my next book I wanted to write something that was meaningful and I had to fall in love with the idea of the book before I started writing it. So, my process was filling up many notebooks with ideas. I get excited about an idea and then I start to write about it, and then I’m like, no that’s not it.
I wrote my second book, All the Things We Never Knew, so differently than my first. I wrote it chronologically and used a short outline (a one-page guide) to let me know where I was going. For my first book, I had zero outline and wrote out of order. The third book, the one I’m working on now, is the hardest. Maybe because of Covid, but it has been very hard for me to find my way inside the characters.
Even in All the Things We Never Knew, I was able to easily embody my characters. That’s what it takes for me to get going. Then I let them lead me–it’s their story. With the story I’m currently working on, I couldn’t get inside the main character for a long, long time. I find that the interaction with the world is necessary for me to write. My brain had been slow and sluggish and I was writing and writing, feeling like it was all going to waste. I kept writing about her, writing in different voices. I was trying to write her in every way I could, trying to find my way inside. Eventually I did—it just took me a long time. And now that I’m there I see that all the writing I did wasn’t wasted. I realize that I was figuring things out even when I didn’t know it. We struggle and struggle, and when we’re struggling we can’t often see the fruits of our labor–they’re invisible. We just feel the pain of the struggle. But afterwards, we can see there was fruit that came from that struggle, and I’m grateful for it.
Cover art by Vashti Harrison.
EZ: I love that. And I love how you said that nothing’s wasted. So many times, when you look back at your writing, you find a nugget of something that helps you figure something out. Or you use the nugget in some other way. Or you realize it led you to answers or to a voice or to something that gives you satisfaction or helps you feel like you’re making connections that you can then put on the page. I think that’s a good message for all writers, that nothing is wasted. Even if you cut something, it’s not wasted because you needed to go there to get to where you’re going. We’re all emotional, we all have feelings about our writing that sometimes get in the way, but we have to know that’s part of the process. And part of the beauty of it is finding your way through and realizing the struggle was leading you where you needed to go. You mentioned the pandemic—something you said that resonates with me is not being in the world and how that has affected our ideas and our ability to write and inhabit characters. So much of life is being out in the world, observing, being in nature—and with other people. Socializing, eavesdropping, listening and conversing–it’s all been so different. Have you found the light in that, or has it all just been very difficult, or both?
LT: After having that power outage [in Texas] and now that we are getting back out in the world, things are blooming and it’s spring and I’m feeling that energy—I’ve never felt spring so hard, things coming back to life and growing. I feel that growth in myself, and of course it’s all happening in conjunction with the world slowly opening up, and with people getting vaccinated. I feel that energy of people coming together. We’re all growing together. I definitely see the light, and I’m seeing it more and more. I’m grateful for that.
EZ: What are some things you need to have you when you write? Do you listen to music? Do you need silence? Is it different when you’re drafting versus revising? What helps you write your best and be productive?
LT: I’m not a writer who does a lot of drafting. I write line by line, and when I finish a book it’s mostly done. Of course, there are different things you need to go back and change, but I write line by line and revise as I go. I realize it’s less efficient, but it’s how I write. I love language and the rhythm of words and how they’re put together. I love the sound of writing and love it too much to neglect it at all. I have to love the way something sounds before moving on. I typically go back and read what I write every day to make sure that it all flows together. But what I need is silence. I have a young daughter, but I need to be by myself to write.
EZ: What would you consider the highs and the challenges of being a published author?
LT: Life after publishing becomes more complicated. It’s not just about the craft or about writing the most beautiful story you want—I still do that in terms of my work, don’t get me wrong. I’ll never sacrifice the work I do to try to write the most popular book. I have to write words I love and the stories I believe in. However, once you’re in the market, you do need to be concerned with marketing your work. A lot of the onus is on authors, especially if you don’t have a lead/chosen title where the publisher puts a lot of money behind your book. The money behind those books subsidizes other titles. The money is not spread out evenly. So, the vast majority of writers have to do their own marketing. That’s something I’ve found very difficult—just being out there selling yourself. I’m not good at that. It’s taken me awhile, but I’m working on getting a system down that’s intentional—where I’m offering something to my readers. It’s taken me three years and two books, and I still haven’t figured it out. But I’m excited to design a system moving forward that will work for me. Still, I prefer communicating with people in person—it feels more real.
EZ: A lot of times, interactions on social media feel transactional. You can have genuine relationships, but when you start promoting and marketing your work, it’s definitely a challenge. I’m like you and don’t really like selling myself or my work. But I love the way you present yourself in social media. Still, it’s a challenge to have genuine connections online.
LT: It’s a business where you’re helping people learn about books, but then you’re promoting your book and helping everyone promote their books. It’s a lot to bear. My mental health has taken a beating with social media, and I’ve had to step back. If I then sell fewer books, so be it. Sometimes I think about abandoning social media altogether. At the end of the day, writing the most books is going to be the most fulfilling. Not posting the most.
EZ: Social media can be dispiriting and taxing, and you do need to protect yourself and allow yourself to be in a certain headspace as a writer. Speaking of writers, who are the authors or books that have most influenced or inspired you or your writing?
LT: There are so many because I’m such a book lover. Toni Morrison is one of the big reasons I write. I read so many of her books when I was young. Entering the young adult space, I’m very inspired by the work of Renee Watson and Jason Reynolds. Also, Nicola Yoon’s books are beautiful and sweet but still manage to get teens to ask themselves the big questions.
EZ: If you could offer one piece of advice to writers—or share something that’s helped you—what would it be?
LT: Keep writing. Everyone has a story to tell. Only you can tell yours.
To learn more about Liara Tamani and her work (which includes being featured in the Black Enough anthology), visit her website. She has also been featured on NPR, and wrote this great piece for TIME.
Words Composed of Sea and Sky (Running Press Kids/Hachette, 5/25/21) by debut YA novelist Erica George had me at the gorgeous title, and stunning cover in hues of yellow and blue. But the novel itself more than lived up to my every expectation. George’s beautiful poetry and prose, the dual timelines, the evocative setting (Cape Cod), and the engaging and interwoven stories of two poets—Michaela Dunn and Leta Townsend—told in the current day and in the 1800s, respectively, make this a strong and worthwhile read. And if you’re a fan of layered characters and some swoon, this one’s for you.
I had the pleasure of doing a Q and A with George. Full disclosure: we first met when we shared a workshop at Vermont College of Fine Arts. I knew then of George’s talent and am thrilled for her debut and to share more about her novel and writing life.
EZ: Was there a moment in time you discovered you were a writer, or was it something you’ve always done without thinking much about it?
EG: Writing is something I’ve always done. There has never been a point in my life where I haven’t written (unless I wasn’t physically capable yet!), and there has never been a moment where I didn’t know that I was going to be an author.
EZ: What lured you to write fiction for children and young adults?
EG: I definitely think that being a teacher has made me gravitate toward writing for young people. I remember being a kid and trying to enjoy the books that were assigned to me in school, but also desperately wanting books that spoke to me (and were more interesting, let’s be honest!). Writing for young people is an honor I work hard to live up to.
EZ: How has your creative writing fit into your teaching life, and how has teaching/working with students informed your writing?
EG: They’re absolutely intertwined. I value student choice in reading and writing (as often as I can) in my classroom, so we’re always discussing what we’re reading or which author has a new book coming out. If I’m being honest, I would really have to think about the last adult book that I’ve read! There’s always a middle grade or young adult novel on my nightstand or in my bag.
EZ: You’re a candidate for an MFA at Vermont College of Fine Arts in the Writing for Children and Young Adults. What were your motivations for wanting to study at VCFA and how has the experience impacted your writing and career?
EG: Two of my critique partners actually have their MFAs from VCFA in Writing for Children and Young Adults, and they couldn’t say enough about the program. After doing my research, I knew that I wanted a degree that would not only benefit my writing career, but also instruct my teaching. There are so many topics we discuss at VCFA during workshops and seminars that I always jot down so that I remember to bring it up in a lesson or in conversation with my students.
EZ: What was the spark for, and trajectory of, your debut young adult novel, Words Composed of Sea and Sky?
EG: I think the initial spark began when I was thirteen (let’s not discuss how long ago that was!). I started writing about one of the characters in Words Composed of Sea and Sky, Captain Benjamin Churchill, when I was in middle school, and he hasn’t left me since then. He’s weaved his way in and out of books, trying to find which story belongs to him, and it didn’t all come together until the summer of 2018 when I decided I wanted to write a book about two female poets from two separate centuries, and suddenly he just belonged. He had an effect on both of my main characters (for better or for worse!)
EZ: What have been the best parts of being a debut author so far (being a 21der etc.), and what’s next for you?
EG: Being a part of the debut process with my fellow 21ders has been a dream. I’m so lucky to be a part of a group with so many talented, driven, and supportive authors. Currently, I’m in the middle of revisions for my second novel, a YA contemporary called The Edge of Summer, coming out with Little, Brown BFYR in summer of 2022. It’s about a girl named Coriander who spends her summer on Cape Cod completing a marine biology internship all while she copes with the unexpected loss of her best friend, first love, and rescuing a humpback whale from entanglement.
EZ: If you had to give advice to writers about craft, and the profession, what would it be? (Or what was the best advice for either you’ve received?)
EG: I think that the best advice that I’ve received and that I would pass on (and it works every time), is to make sure you always have something you could be working on. There is so much waiting in the publishing industry! So much. It’s a constant game of “hurry up and wait,” and sometimes the waiting can be absolutely painful. What makes it go by more quickly is working on something new—focusing your energy on something that’s within your control.
EZ: Who are some of your favorite authors? Any favorite recent reads/books on your nightstand that you’re excited to get to?
EG: Such a good question! I love Leigh Bardugo, Elizabeth Acevedo, Jennieke Cohen, Jeff Zentner, Laura Taylor Namey, Jason Reynolds, Gita Trelease, Joy McCullough, (and let’s not forget Jane Austen!). The list goes on and on. This is not at all exhaustive! Currently on my nightstand, I’m reading Don’t Call the Wolf by Aleksandra Ross.
EZ: Where do you do most of your writing/what are the conditions that are most ideal for you? And if you could write anywhere, where would you go—and what would that day look like?
EG: My typical writing conditions are in my office with soft music playing, a lit candle, and my dog snoozing next to me. These are not my ideal writing conditions, though! Inevitably when I write from home, I find something to distract me from getting my words down. I really enjoy writing in libraries or coffee shops, or even writing at a friend’s house. Anywhere really, as long as the only thing I have to focus on is writing.
EZ: What’s next for you, and how can readers/educators learn more about your work?
EG: Words Composed of Sea and Sky hits shelves with Running Press Kids/Hachette on 5/25/21, and you can preorder using this link.
You can find more information about Erica, my books, and upcoming events on my website, www.ericageorgewrites.com
Erica George is a writer of young adult fiction. She is a graduate of The College of New Jersey with degrees in both English and education, and is currently an MFA student at Vermont College of Fine Arts. She resides in scenic northern New Jersey, but spends her summers soaking up the salty sea air on Cape Cod.