But there’s a lot to consider when looking for that perfect internship, be it summer, spring, fall or winter. If I wasn’t such an anal organizer, I’d probably have had an aneurysm while trying to figure everything out. So here’s hoping I can save some of you from internal combustion.

When I officially decided I wanted to get involved in publishing during my sophomore year of college, I knew I was going to need an internship on my resume if I wanted to stand out to my potential employers. Some people will tell you an internship isn’t necessary, but I don’t really believe that. Let’s say a job for an editorial assistant is posted on Random House’s job board. Roughly three or four hundred people will apply. One person is going to get that position. One. And if you want to stand out amongst your competitors, you’re going to want that internship on your resume. If you can finagle it, maybe even two or three (though not at the same time! Trust me, you’ll go crazy). Like anything, you always want that extra edge that is going to make you more marketable. And that’s why an internship is so important.

I began my hunt for summer internships during the winter of 2009. I stalked industry people on twitter, and haunted bookjobs.com for listings. I checked the job boards of the big six (Hachette, HarperCollins, Macmillan, Penguin, Random House, and Simon & Schuster) every morning.

FYI:

• As of 2009, when I was applying, Random House no longer offers an internship program
• Penguin offers paid internships
• Macmillan (though it may only be Tor, I’m not positive) also pays their interns

In the end, I applied for a total of 51 internships and heard back from about eight or nine. You can expect silence from most of the places you apply to — unless they’re interested, most places will never get back to you. If you’re applying to be an assistant at an agency, it’s more likely that you’ll get a response, but not even that’s a guarantee. So be persistent and follow up with the places you’re most interested in. Just don’t be a creepy stalker who calls every day, sends an email every hour, and/or camps out in the Random House lobby hoping to spot someone who looks vaguely editorial.

After all of the applications I sent out, I wound up strongly considering positions in California, New Jersey, NYC, and Washington D.C. I should point out a few things you’ll want to consider before you accept any position:

1. Where are you going to live? 99% of internships don’t offer housing, so you’re going to have to find it on your own. I was lucky enough to stay with a friend for the summer, but if you’re going to be moving to a new city or state, and don’t know anyone, be aware of the costs. NYC and D.C. are not cheap places to live. Most big cities aren’t. Craigslist is a great resource, and while you’ll undoubtedly come across a creeper or two, there are some nice people out there who are willing to rent out their rooms. Know your budget ahead of time so you don’t wind up signing a lease on a place you can’t afford. Ask about utilities, cable, internet, etc.

• Helpful hint: If you’re looking for a summer internship in New York City, NYU rents out its dorms. They’re a little pricey, but the location is great, and the area itself offers a lot to do.
• Also consider the safety of the neighborhood you might be living in. Every city has bad areas, and no internship is worth risking your life over. (And trust me, there are definitely areas in New York, D.C., and Chicago you don’t want to be anywhere near.) Do your research so you know where not to live.

2. How are you going to pay for things? Most internships are not paid, though some will offer some kind of compensation (possibly travel costs) or stipend (usually given at the end). If it’s the case that you won’t be receiving a paycheck, are you going to be able to afford rent? Food? If you’re living in a big city, you’ll want to go exploring – will you have money for that? I made sure to take out extra loans for my spring semester, so I was able to use that over the summer months. Depending on how often you intern, you might want to consider getting a part-time job as well.

3. How are you going to get there, and how are you going to get around once you’re there? If you’re relocating to a city like NYC, D.C., Chicago, LA, or Boston, you may not want to bring your vehicle for the summer. Flying is usually the easiest way to get to wherever you’re going, and if you book your ticket well in advance, the price may not be too bad.

But what to do for transportation once you get there? I can personally vouch for the D.C. metro; it’ll get you where you need to go, and is incredibly easy to navigate. New York also has a great subway system, with lines that extend into every borough. It can seem a little daunting at first, but you’ll get the hang of things soon enough. All of the Big Six houses are easily accessible by train, and most agencies are too.

• Keep in mind how much transportation costs. The MTA in NY offers a variety of metro cards, from unlimited to pay-as-you-go (the most expensive being $104 for an unlimited monthly). D.C.’s WMATA also offers a variety of cards, although none of them are unlimited. But prices for your trip will depend on the time of day and where you get on and off. Rushhour is always going to cost you more.
• Also, consider how often public transportation runs. NYC is 24 hours, while D.C. is not. Other cities will have different schedules. So if you happen to miss the last train, know that cabs can be expensive, depending on the distance.

Any large city is probably going to have some kind of metro system you’ll be able to use, and be fairly reliable (though I’ve heard California may be less so. I guess most people drive, and the bus system isn’t always fantastic. Still, I’ve never been there, so don’t listen to me!). But do your research and make sure the internship you’re considering is one you’ll actually be able to get to. In D.C. I had to take a bus and two trains. In New York I take two trains. It’s all about location. If that literary agency that wants you is in the middle of nowhere, are you going to be able to get there?

4. Will you get college credit? A lot of colleges will help to insure that you receive credit for your internship. Make sure you ask about it ahead of time, if you’re interested. In most cases, you’ll need to fill out the appropriate paperwork before your internship actually starts.

• Something else to keep in mind while applying: there are a few internships that are for credit ONLY. Know ahead of time if you are specifically targeting those.

5. What kind of work does this particular place represent? If you’re applying for a job at a literary agency, check out their website. Look at the kind of projects they represent. If you hate reading non-fiction, don’t apply for internships at a place where that’s the bulk of what they do. If you hate romance, look for a place that maybe handles thrillers or mysteries. Beggars can’t always be choosers, but if you hate what you’re reading, you probably won’t learn nearly as much as you would somewhere else.

Then again, it never hurts to try new things. I didn’t read a lot of non-fiction until I got my job, and now I read it all the time. So keep an open mind and see where it takes you.

After you’ve done all the necessary research, it’s time to start applying. Don’t be afraid to send out a mass quantity of applications — you want as many options as possible. Like I said, I sent out 51. Most of the people I’ve talked to did the same thing, if not more. This isn’t querying, where you want to send letters out in rounds. Most of the deadlines are going to be around the same time, so you can’t afford to wait. And while it’s not first-come-first-served, you’re only going to look better if you send yours in early.

Now that all is said and done, it’s on to the fun part! Waiting. And waiting some more. Follow up with your first or second choice, and wait some more. Hopefully you’ll get a few offers, and once that happens, you have to debate all of the things I listed above. Which one is going to be the best fit for you? Take your time before giving people an answer. Just don’t take too long!

• Also, if you were offered more than one position, it never hurts to send a thank you note to the people you wind up turning down. And paper is always more personal than an email.

For me, I eventually decided to take the internship in Washington D.C., and I can say with complete certainty that it was the best decision I’ve ever made. It also proved to be the best summer of my life. I loved the city I was in, loved the people I stayed with, and finally began to find my place in the publishing industry. I spent my days reading partial and full manuscripts, then writing reader reports. I helped keep up the agency’s blog, and did side projects for the two agents I worked under. I became a veritable sponge, and soaked up every available piece of information.

And that’s the thing, really. You’re going to get as much out of your internship as you want. If you’re not afraid to ask questions, you’ll learn a lot. I’ve found that people in this business are more than happy to impart information on us eager young hopefuls. After all, someday we’ll be in their shoes and will need to know what we’re doing. So be sure to take in absolutely everything. If you don’t understand something, ask. I know it’s a cliche, but there really is no stupid question. You want to know this industry inside and out, and you can’t do that if you don’t put forth the effort.

Now, some of you are probably wondering what, exactly, an intern does. I can’t speak for everyone, since each internship is different, but if you work for a literary agency, you’ll most likely be doing the following:

Reading queries. I didn’t do much of this, but there were a few occasions where I would go through our backlog of paper queries and assess them. Also, most of the partials we received were accompanied by the author’s original query letter, so you’ll still be seeing a lot of them, even if your main task isn’t going through an agent’s inbox.

Reading submissions. This will probably take up the majority of your time. And be aware that sometimes you’ll be taking things home to read. Not always, and probably not often, but there are occasions where you’ll be bringing work home.

Writing reader reports. With every submission you read, you’ll need to write a report. Usually these are between one and two pages (one for a partial, and two for a full). Basically, you summarize the plot, then give reasons why you would or wouldn’t request a manuscript. It’s not difficult, and it will teach you to objectively evaluate a piece of fiction (or non-fiction).

Side projects. Sometimes an agent will ask you to research something for them, find editors for a particular project, edit a manuscript, or something similar (or not).

General office stuff. Sometimes you might be answering the phone, photocopying, emailing clients, taking care of database things, mailing rejection letters, running errands, or any other general administrative things.

There’s another perk to being a writer who’s an intern: you’ll get to improve your own writing. No, the people you work for probably aren’t going to sit down and read your manuscript and offer extensive feedback, but if you spend your days reading other people’s work, you’ll learn. Without question. A lot of different styles and genres pass through a literary agent’s hands, and by association, yours as well. You’ll get to see some really spectacular writing, and some not so spectacular writing, but no matter what, you can learn from these other writers. If you see many authors making the same mistake, you’ll file it away as something you yourself don’t want to do. You’ll come across a writer who has an incredible voice; pay attention and take note as to why it’s so effective.

Internships also weed people out. I’ve known people who took an internship with an agency, only to realize they’d rather be an editor. Someone who was a publicity intern realized she wanted to be more involved in marketing. Other people realize they don’t want to be a part of this industry at all. No matter what you decide, you’re going to learn something about yourself, and that information is going to be invaluable no matter what job you eventually wind up getting.

I first arrived in New York on a Friday night in June, around 10PM, completely drenched. I had to drag my suitcase through Penn Station (which, somehow, took forever for me to find), then navigate the subway based on my roommate’s shitty directions. (For the record, Hoyt-Shmermermermer, is not actually a station.) But as I threw myself into bed that night, she informed me that The New York Thing To Do was to go to brunch on the weekend.

And it’s a trend I’ve loved ever since. And while I’ve been to many a brunch, with many a lovely person, there’s one that stands out above the rest. Yesterday, my friend Miriam and I braved the snow to meet up at the General Greene at the corner of Dekalb and Clermont.

And let me just say, if you’re willing to pay a little more than usual, this place is beyond worth it. The interior is adorable, the staff is super friendly, and the food is to die for. So is their coffee. Brunch also offers 2-for-1 bloody marys, to which Miriam was vastly disappointed when I had zero interest in getting one. I settled for water and loads of coffee instead.

After catching up on work, social lives (or lack thereof), and other important things, we managed to narrow down our choices . (Miriam had been looking forward to the fried chicken and waffles, but in the end that option was taken away because the waffle machine was broken.) We both got the biscuit and two eggs, which wound up being a fantastic choice. It comes in a personal skillet with herb mayo, and as soon as they put our plates down, we each whipped out our phones to capture this identical picture.

Can I just say, I could eat that every day for breakfast and never get sick of it. It was amazing. And filling. (And yet I tortured myself and ordered a salted caramel sundae as well, which disappeared before I could think to get a picture.) The eggs were cooked to perfection, the biscuit was heavy (but in a good way), and I definitely didn’t feel the need to eat for the rest of the day. The rest of the menu also looks delicious, and at some point I’d love to come back to see how dinner measures up. But in the meantime, I’ll just suggest everyone go here for brunch. You won’t be disappointed.

*exterior photo from www.clintonhillfoodie.com/

Yet so many people are intimidated by it. I once spoke with some freshmen at my college who were considering majoring in Creative Writing. The reason they had yet to declare? Fear of workshops. Before my first one, I felt like I was walking headfirst into the zombie apocalypse, so I can understand their anxiety. However, I will tell you what I told them: don’t let your fears hold you back.

So, for those of you still on the fence, or who may be dreading your first workshop, I’m here to give you the 411 on how things work. Keep in mind each school runs them differently, but I think the basics are all pretty much the same.

1. Class sizes are small. My school capped a workshop at 15, and I’ve had one as small as 10. This is good news for you because the smaller the class, the more opportunities you have to share your writing. The more you share, the more you learn. It also means that, yes, you will have to speak.

2. Participation, as I mentioned, is kind of mandatory. On the weeks people critique your work, you may not be allowed to speak for the entire period (I’ve heard a few people say this), or you may be invited to ask questions of your peers based on their comments. Conversely, when it’s someone else’s week, you’ll have to give them feedback. A lot of times this will come in the form of marking up the pages they gave you, or turning in a critique. But don’t plan on just sitting back and doing absolutely nothing for two hours.

Critiques themselves can be a bit tricky. Sometimes you’re going to come across a piece you don’t like, makes no sense, or was obviously thrown together the night before (trust me, it happens). And while you need to be honest, be nice about it. Constructive criticism is what people look for in workshops. Be sure to tell your classmates what you did like! Even if it’s just the character’s name, or the title, you can always find something nice to say. I had a professor whose rule was to write a paragraph talking about the things you enjoyed, and then a second detailing what you thought could be improved upon. This way the writer didn’t go home feeling craptastic at the end of the day. The one guy in my class who never once said anything nice about anyone’s work? Well, he never got nice comments in return. Give and take, people.

3. Know that you’re not always going to agree with what people say about your work. Workshop is essentially a giant group of beta readers and you’re not always going to be on the same page. And that’s okay. Keep an open mind. I learned some really valuable techniques and advice from people who gave me some tough love. I also learned when to pick out and toss aside comments that didn’t matter. At the end of the day, it’s still you’re story. Never forget that.

4. Writing styles vary, so be prepared. One of the things I enjoyed most about workshops were the varied writing styles I came across. My favorite class had a mix of horror writers, a satirical writer, one girl who loved to imitate gothic literature, and a taxi driver whose stories stemmed from wacky conversations she overheard in her backseat. I read some really fantastic things that semester, but there were also a few experimental writers whose pieces I could never understand. It’s okay when you don’t get something; chances are someone else didn’t either. But it’s still a learning opportunity.

5. Be prepared to do some reading. Not only will you be reading work by your classmates, but you’ll probably be reading some short stories or novel excerpts as well. Hemingway, Joyce, Poe, Updike, and Oates are all names I’ve come across when reading for class. Read from the best, learn from the best.

6. Expect to see people of all ages. I’ve been in classes with freshmen as well as middle-aged and old men. The varying ages mean varying life experiences, and some really interesting stories and life lessons. Discussions don’t always wind up revolving around the written word, so you might pick up some valuable tips along the way. Take note!

7. You don’t always have to write short stories. I was petrified when I joined my first workshop because I am a terrible short story writer. My first one was torn to bits, and I went home feeling totally defeated. Then I found out I could submit chapters from my novel instead, and my love of workshops increased ten-fold. I can’t guarantee that your school follows this rule, but I’ve talked to a fair number of people where this is allowed. So if writing short stories is what’s scaring you off, just ask!

8. Sometimes there’s food. And free food is always a good reason to go somewhere. I had one summer workshop where we’d occasionally meet at the campus bar. That, my friends, was a good time.

9. Like any class, you can’t always pick your teacher. You might wind up with a lousy instructor, in which case you might feel as if you’re not learning anything. But if the instructor isn’t fantastic, just pay attention to the other kids in class.  You can always learn something from them.

On the other hand, you might wind up with a fabulous instructor. I’ve studied under some really fantastic people, and I wouldn’t trade my time with them for anything. Because of the small class size, you get to know your professors pretty well and they can be invaluable resources when you need letters of recommendation, or even just advice.

So hopefully that’s taken the scare out of the dreaded workshop. I can promise you you’ll learn an insane amount if you pay attention, and your writing’s definitely going to improve. If you’re considering signing up for one, I encourage you to do it. Having your work critiqued is never an easy thing, but you can’t really improve until someone tells you what you’re doing wrong. So take a chance. Live a little. Learn a lot.

The first time I came to New York was after my freshman year of high school, about a decade ago. (God, I feel so old when I say that.) I have some fond memories of that trip, like running through Toys ‘R Us, haggling over the price of my sweatshirt, black market purse shopping in Chinatown, and sitting front and center at Phantom of the Opera. The weather was great the entire time we were there, we ate good food, and saw great shows.

Obligatory childhood photos:

There are also some memories that, while they weren’t so funny at the time, are now hilarious. Like our shitty hotel, when I thought one of the street vendors had charged me $20 for a Snapple (another instance of my failed math skills), our flight being delayed to the point that we almost had to spend the night in the airport, and spending the last of my money on edible lip gloss when I should’ve used it on actual food.

The thing is, I also remember being petrified of the crowds. It was the first time I’d been on a plane, the first time I’d been to a Legitimate City, the first time I’d gone on vacation without my parents. I was but a wee teenager in one of the most densely populated cities in the world. So while I had fun, I was absolutely petrified to get separated from the group, and I was thrilled when the plane touched back down on Wisconsin soil.

Since then, I’ve really grown up. D.C. was a great stepping stone for New York. I realized I was no longer afraid of the crowds, or the funky smells one inevitably finds in a large city or coming from the bums on the train. It also helped that I had to learn to handle using public transportation to get around. Don’t get me wrong, I was terrified to use the subway on my own when I first moved to New York because I was afraid I was going to wind up on the wrong train and get out at the wrong stop, somewhere in the middle of the ghetto. Turns out I wound up living there, so I didn’t need to worry about that!

Having April visit helped me realize how familiar I’d become with the city since I first moved here. I take the subway for granted these days, and forget that it’s confusing for lots of other people. I don’t even blink at the people who come through the cars, singing off-key, asking for money. It took me a while to properly figure out the grid of streets in Manhattan, but now I don’t have to think twice about it. I can walk down Avenue B and point at places I’ve been and make recommendations for restaurants and coffee shops. Now, if you give me a set of cross streets, I can figure out exactly where I’m going without looking at a map. (Which is a huge step up from those first few weeks where I had to pull my iPhone out every time I got off the subway.) Nowadays people ask me for directions. I also realized that I’ve totally adjusted to the speed of life here. People are constantly moving, and now I have issues sitting still. I don’t really think about the amount of time I spend commuting, or how many things I have to get done in a day. Time moves faster here, but I guess I just don’t notice anymore.

Funnily enough, I did more sightseeing in the last week than I’ve done in the last six months.

I’ve been lukewarm about New York for a decade. I moved here in the hopes that I’d misjudged it the first time, and that I’d immediately fall in love. And while that didn’t happen, the city is slowly growing on me. I don’t think I’ll ever enjoy it as much as D.C., but beggars can’t be choosers. Publishing is centered in New York, so New York is where I’ll stay. And after the last week, that prospect doesn’t bother me nearly as much. I’ve lived in places I didn’t like before, and in at least half the cases, ran back home. But I made a plan to move to New York. I made a plan to stay. And now that I have a job, and I’m starting to realize how much I’ve actually settled in here, it makes me think I really did misjudge it back in high school. And that’s a good feeling.

PUB(lishing) CRAWL!

Today is our grand opening, so please stop by and check out the new blog. We’ve got our own fancy domain, new contributors, a new look, and a month of giveaways to kick off our new site.

LTWF was my home for a year and a half, and is really what helped to get me started in publishing. I hope it’s been a great resource for you guys, and we all hope that Pub Crawl continues that tradition. You’ve always been there for us, and now we want to be there for you.

Much love!

THIRTEEN REASONS WHY by Jay Asher
Published 10/18/2007 by Razorbill
288 Pages
Debut

You know a book’s good when it gives you nightmares.

Imagine you come home one day to find a package on your doorstep. Inside it are a bunch of tape recordings detailing the last words of someone who recently committed suicide. And you’re apparently one of the reasons.

I mean, come on. That alone would give a person nightmares. But Jay Asher does such an incredible job getting inside Clay and Hannah’s heads that you feel as if you know them both. And that you, the reader, are one of the reasons Hannah died, not a fictional character.

The book’s written as a kind of thriller, which works really well. The format itself is a little strange in that it’s constantly shifting between Clay and Hannah’s narratives, but after a few pages you get used to it. And in the end, I can’t imagine the book being written any other way. Nothing would’ve been as effective.

The premise of the book is actually not unique, considering the unfortunate amount of teenage suicides each year, but that’s part of why the subject matter is so important. Jay Asher highlights a major problem kids face today, and hopefully makes the reader think twice about the way they treat people. Everyday problems like gossip, friendship, relationships, doubt, rape and suicide are all covered in here, and then some. And the way the book is written really elevates the subject and makes the story unique. I loved the way Hannah used the tapes, and how she wove all the stories together. It was clever, and it makes me excited for anything else Jay Asher may write in the future.

I absolutely loved this book. I devoured it in under two days, and with the amount of reading I have to do for work, that’s saying something! There was just no way I could put it down. With such vibrant characters placed in such terrible circumstances, you just want to reach out and help. For those of you who enjoy the dark and gritty side of YA, this one should be right up your alley.

But what does fashion have to do with writing, you wonder. Besides the obvious fact that your characters wear clothes (or maybe they don’t. Maybe you’re writing about a nudist colony, in which case, this post may not be relevant).

As writers, we’re told to infuse our characters with personality. No one wants to read an entire novel where the main character is as bland as a piece of burnt, unbuttered toast. We’re told to give them quirks, a distinct voice, and maybe a few defining physical features. Clothing, I think, falls into the same category. Maybe it’s just me, but I pay close attention when an author takes the time to describe what a person is wearing, even if it’s only a passing sentence. Suzanne Collins doesn’t really waste a lot of words on Katniss’s dress for the opening ceremony. In fact, this is all we get:

“I am dressed in what will either be the most sensational or the deadliest costume in the opening ceremonies. I’m in a simple black unitard that covers me from ankle to neck. Shiny leather boots lace up to my knees. But it’s the fluttering cape made of streams of orange, yellow, and red and the matching headpiece that define this costume.”

“My face is relatively clear of makeup, just a bit of highlighting here and there. My hair has been brushed out and then braided down my back in my usual style.”

It’s pretty vague, if we’re being honest. We have absolutely no idea what the headpiece even looks like. But that’s okay, because we’re given an impression. In our minds, we’re able to understand that the dress is, in a lot of ways, like Katniss herself: simple yet powerful.

Period pieces require a little more effort than a contemporary novel. Instead of saying a character’s wearing jeans and a t-shirt, you’ve got to worry about historical accuracy. I took a class on the history of fashion in college, just so I’d have the basic information if I decided I ever wanted to write in that genre. The text book is actually a really great reference for anyone who’s looking for one: Survey of Historic Costume. There’s also a great website (the KCI Digital Archives) that has a lot of fantastic images compiled for your perusal. If you’ve read any historical romance novels, you’ll know that fashion plays a bigger role than it does in contemporary stories, if only because a person had to change so often, and a specific garment meant a specific thing in a specific situation. These days we don’t really have that problem; at least, not to such a degree.

Taking characterization into consideration, I think clothing is a totally legit way to help your readers understand them. I mentioned once how black clothing doesn’t make your leading man a bad boy, but it’s still making a statement. Same goes for that girl who’s always wearing frumpy clothes inspired by Laura Ingalls Wilder. Maybe she’s poor and can’t afford nice things. Maybe she doesn’t believe in wearing pants. Maybe she thinks she’s stuck in the 1800s. Whatever the reason, it speaks to her character as a whole.

Lately I’ve been trying to pay more attention to my physical portrayal of people and places. I’ve made a conscious effort to include some sort of clothing description where it’s necessary, and one of my CPs mentioned the interior of my main setting seemed a bit lackluster. Needless to say, I took the time to spruce it up. I realized she was right — initially, it was just a standard house. There was nothing defining about it. Now, as I go back and edit, it’s begun to take on a personality of its own. Which goes to say that clothing doesn’t just belong on people — you can dress up a setting, too!

If you’re anything like me and prefer a visual to help you with your descriptions, the above websites should be pretty helpful. Also, take a look at polyvore.com. Not only can you create visual representations of outfits, but interiors as well! I’ve definitely found it to be a very helpful tool in certain situations.

What about you guys? Do you think clothing can be an important aspect of characterization?