Romina Russell, author of ZODIAC, on the subjectiveness of art

by Alyssa Hamilton

What do you hope readers will take away from ZODIAC?

The most powerful insight the protagonist (Rho) gains on her journey—which I hope to impart to readers—is how integral our cultural differences are to our unity. As planet after planet is attacked and devastated, Rho learns that the more the Houses close themselves off to each other, the smaller their worlds grow—even their worldviews begin to shrink. She starts to understand that the reason the Zodiac has a dozen Houses isn’t so they can learn about each other, but from each other: Each sign brings a different strength to the galaxy because all twelve are meant to work together, not apart. I think the parallels to our world are easy to draw.

What advice would you most like to pass along to other writers?

Never stop writing. Even the best star readers can’t predict what’s going to get picked up. ZODIAC sold, but I have a book I’ve been working on for eight years that has yet to sell, and every few years I rewrite it and try again. Which brings me to my next thought—

Rejections do NOT mean your book sucks. Art is subjective—it can’t be right or wrong.

When you walk into a bookstore (or click into a virtual marketplace), you only leave with one or two (or a handful of) purchases. Even though you may not think of it this way, you’re effectively “rejecting” hundreds of thousands of texts—most you never even looked at, some you glimpsed at briefly, a few you sampled and didn’t love. The ones you skimmed and set back down weren’t bad books: They just weren’t right for you, or maybe they weren’t right for you right then, or maybe you just didn’t have time to read everything you wanted and were forced to be a tough judge.

Now think of the number of agents/editors you’ve queried with your manuscript—a number nowhere near the number of books you yourself have sampled and not loved in your lifetime—and keep querying!

What are you working on now?

Right now I’m getting to do more of something I love—world building. Since I’m working on the sequel to ZODIAC, I’m creating the new Houses that Rho visits on this journey. The chance to build new worlds has been the best part of working on this series.

ABOUT THE BOOK

Zodiac
by Romina Russell
Hardcover
Razorbill
Released 12/9/2014

At the dawn of time, there were 13 Houses in the Zodiac Galaxy. Now only 12 remain….

Rhoma Grace is a 16-year-old student from House Cancer with an unusual way of reading the stars. While her classmates use measurements to make accurate astrological predictions, Rho can’t solve for ‘x’ to save her life—so instead, she looks up at the night sky and makes up stories.

When a violent blast strikes the moons of Cancer, sending its ocean planet off-kilter and killing thousands of citizens—including its beloved Guardian—Rho is more surprised than anyone when she is named the House’s new leader. But, a true Cancrian who loves her home fiercely and will protect her people no matter what, Rho accepts.

Then, when more Houses fall victim to freak weather catastrophes, Rho starts seeing a pattern in the stars. She suspects Ophiuchus—the exiled 13th Guardian of Zodiac legend—has returned to exact his revenge across the Galaxy. Now Rho—along with Hysan Dax, a young envoy from House Libra, and Mathias, her guide and a member of her Royal Guard—must travel through the Zodiac to warn the other Guardians.

But who will believe anything this young novice says? Whom can Rho trust in a universe defined by differences? And how can she convince twelve worlds to unite as one Zodiac?

Embark on a dazzling journey with ZODIAC, the first novel in an epic sci-fi-meets-high-fantasy series set in a galaxy inspired by the astrological signs.

Purchase Zodiac at Amazon
Purchase Zodiac at IndieBound
View Zodiac on Goodreads

ABOUT THE AUTHOR

Romina Russell (aka Romina Garber) is a Los Angeles based author who originally hails from Buenos Aires, Argentina. As a teen, Romina landed her first writing gig—College She Wrote, a weekly Sunday column for the Miami Herald that was later picked up for national syndication—and she hasn’t stopped writing since. When she’s not working on ZODIAC, Romina can be found producing movie trailers, taking photographs, or daydreaming about buying a new drum set. She is a graduate of Harvard College and a Virgo to the core.

Alyssa Hamilton

Blogger and SFU English/Publishing grad + Publishing hopeful. Lover of all things fiction-historical, literary, romantic.

Post © Alyssa Hamilton and/or Adventures in YA Publishing. All rights reserved.

Posted: Dec 13, 2014

Category: Imported from AYAP

Tags: YA Author Interviews

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The first slide is an animation of a science/magic room in a castle. A cartoon character of a mad-scientist looking man in in the foreground says: “Hello! Dr. Frankenstein here to say, Well Done on kid lit zombie week! I’m an expert at reviving the dead, and let me assure you, with a little spark, you can bring dead projects to life. Especially if you dig up parts from other dead things. I’ll even let you have a sneak peek at my laboratory’s store room to consider potential parts for your dead project. If you see something with a yellow glow, that means you should click it. Have fun!”

He points to the right side of the screen and a new scene slides in of a castle science/magic storage room. There are various cartoon Frankenstein body parts scattered around. Some of them have a yellow glow. If you click on them, the images below appear (I’ve added alt text to them, so I hope it works).

The Heart of your story is the main character. The protagonist is the beating core that truly brings your story to life. If your MC doesn't make kids (and their grown-ups) care within the first few pages, your story will flatline. </p>
<p>Your main character needs to be:<br />
• Relatable enough for kids to see themselves<br />
• Unique enough to stand out in the slush pile<br />
• Active enough to drive the story<br />
• Memorable enough to survive multiple readings at bedtime</p>
<p>Where do you find this amazing donor heart? It might be the very thing you loved so much about the manuscript you want to revive. It might be the younger sister from your shelved YA novel. Or maybe it’s the hilarious kid you blogged about meeting at a school visit. Find a character beating with potential and place it in the center of your story.<br />

The Brain of your story is the theme or central message. The theme is the big idea that controls everything else. Picture books are more than stories - they're tiny life lessons disguised with humor and heart.</p>
<p>But your theme needs to be:<br />
• Subtle enough not to trigger the dreaded "didactic" rejection<br />
• Clear enough for a four-year-old to grasp<br />
• Universal enough to speak to both kids and adults<br />
• Fresh enough to prevent agents and editors from responding with "Not another sharing/bedtime/first-day story!"</p>
<p>Check your other dead manuscripts to see if there is a recurring theme, something that really seems to be speaking to you. Find the bit of poetry you scribbled on the back of a receipt to see what theme inspired it. Reread the pep talk you texted your critique partner at 1am. Pick the theme that will drive your story, giving it purpose, direction, and deeper meaning.<br />

The Legs of your story is the plot. Not to be confused with a grave plot.🤪 The plot is what keeps everything upright and moving, as well as providing support for all the other elements. You have very few words to use in a picture book, so you need to do a lot with each plot point.</p>
<p>In general, your plot should:<br />
• Hook readers fast<br />
• Build tension that a child can follow<br />
• Create page turns that feel natural<br />
• Wrap up in a way that satisfies</p>
<p>You can borrow a plot twist (a leg) from one manuscript and the opening (the other leg) from a different manuscript. Consider if the subplot of the middle grade novel you trunked would work better as a picture book. Or maybe your Facebook post about a disastrous camping trip could become a story for kids. Just keep putting one foot in front of the other until you have your storyline.

The Arms of your story are the side characters.

The Torso of your story is the setting. Setting helps a story breathe and connects all the elements of the story. It isn't just where your story lives, it's what makes your story ALIVE. It's the difference between "this happened in a park" and "this happened in that park, the one with the twisty slide that burns your legs and the creaky swing that sounds like a baby crying.”</p>
<p>Your setting should:<br />
• Make your character's world feel real<br />
• Contain your story in a way that makes sense to young readers<br />
• Connect different scenes and moments organically<br />
• Give your illustrator enough room to add visual subplots</p>
<p>Half-finished manuscripts are a great place to dig up settings, since you worked out the place details before the plot petered out. Or maybe you had to cut a second fantastic location from your chapter book. You can also revisit the detailed caption from your Instagram carousel documenting your tour of that delish candy shop. Disinter a robust setting that can house all of your story's vital organs.

After you press the Click When Done circle button, the lights flash with the sound of electricity buzzing. Then the screen goes black and lightning zaps across the screen with the sound of thunder.

The screen then lights up to show the storage room, and all the Frankenstein pieces have been assembled into the whole monster. An upbeat song plays in the background. Then a speech bubble pops up with the words, “I’m alive! I’M ALIVE!” Then the screen goes to black.

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