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About Anne Greenwood Brown

Anne Greenwood Brown (@AnneGBrown) writes Young Adult ("YA") fiction. She is represented by Jacqueline Flynn of Joelle Delbourgo Associates. She is the author of the LIES BENEATH trilogy (Random House/Delacorte Press), GIRL LAST SEEN (co-author/ Albert Whitman & Co.), and COLD HARD TRUTH (Albert Whitman, April 2018). Anne was a proud contributor to Writer Unboxed's AUTHOR IN PROGRESS as well as a presenter at the 2016 UnConference. She also writes adult romance under the pen name "A. S. Green."

Recent Posts by this author:

  • Do I Need a Platform and If So, How High?
  • Planning Your Own Weekend Writers’ Retreat
  • How to Write Emotional Scenes When You’d Really Rather Not
  • Visual Thinking
  • Cleaning the Lens
  • In Memoriam
  • *Pinch* Are You Awake?
  • Character Connections
  • Untitled
  • Fun With Literary Allusions
  • Collaboration
  • Plotting, Pacing, and Crossing Over

    • Do I Need a Platform and If So, How High?

    By 8 Comments

    In 2010, when I first dipped my toe into the publishing world, the biggest mystery to me was—besides figuring out the difference between a query and a synopsis—this thing called a “platform.”

    At the time, I was writing about killer mermaids. I didn’t know how I was going to go about becoming enough of an expert on the subject that a potential editor would take me seriously. Imagine my utter relief when I learned that it was only the non-fiction writers who required a platform. All we fiction writers had to prove was that we had an imagination, a way with words, and that we understood the shape of a story.

    That blissful world is no more.

    These days, even debut fiction writers are being asked by would-be editors about their platforms. What they’re really asking is: [Read more…]

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    Planning Your Own Weekend Writers’ Retreat

    By 3 Comments

    Photo Cred: Alex Robert With the WU Uncon just around the corner, many of us are getting excited for a writing retreat. There is the anticipation of seeing old friends and meeting new ones, the expectation of learning something new, and the chance to gain insight and inspiration for the current WIP. And while big […]

    How to Write Emotional Scenes When You’d Really Rather Not

    By

    This book gave me “all the feels.” We all strive to write the quintessential delivery system for “feels,” whether we know it or not, whether we’re consciously striving to deliver, or not. We do this because that’s what drives us to tell stories in the first place. Somewhere along the line—whether it was Vonnegut or […]

    Visual Thinking

    By

    A month or so ago, I was deep into first-pass editing. This is the stage after you receive an editorial letter that poses questions about character development, suggests adding scenes (or removing them), and encourages other “big picture” thinking. I posted a photo of what my editing process looked like for that morning, and Therese Walsh […]

    Cleaning the Lens

    By

    I have a daughter. She’s seventeen. She’s a fantastic writer (truly), and a big-time reader (no surprise). She’s also totally blind. And this is where things get interesting. A few weeks ago, we were driving down the road. She was reading aloud to me from her work in progress—a fantasy that featured a blind person […]

    *Pinch* Are You Awake?

    By

    Photo by alq666 We all have an inherent sense of story. There is an expected rhythm to it, like breathing, and we notice when that rhythm gets interrupted. This is why we give up on a novel we’re reading because it’s moving too slowly, or why we are dissatisfied with an ending because it felt […]

    Character Connections

    By

    (Photo by Alexis Mire) I’ve been thinking a lot about empathy lately. It’s been an obvious subject of conversation in the wake of the Orlando massacre and high profile sexual assaults. Violence is often the result of one person’s inability to connect with and appreciate the value and integrity of another person. In that regard, […]

    Untitled

    By

    Once upon a time (because that’s how all good stories start), the title of my work in progress was: LATEST BOOK. I considered submitting it that way. It was ironic. Poignant. It begged a deeper question of philosophical importance. Maybe. Or maybe the truth was: While I am rarely a victim of traditional writer’s block, […]

    Fun With Literary Allusions

    By

    Let’s talk about literary allusion. For some of you, it may be a literary device you haven’t thought much about since tenth grade English, but it is a technique that I love as a reader and turn to often in my own writing to inform a character, to enrich a scene, or to evoke emotion. […]

    Collaboration

    By

    In April of this year, I got a call from my agent that went something like this: She:“I’ve been hearing from several editors that they’re looking for a book like X. They were wondering if I had anything to submit that would fit the bill. I don’t, but I do have an author who could […]

    Plotting, Pacing, and Crossing Over

    By

    Awhile back, I attended the three-day Story Masters Workshop, given by James Scott Bell, Donald Maass, and Christopher Vogler. I highly recommend it, and you can check out more information about their workshops here. Vogler’s expertise is movie scripts. One of the things that I found most interesting about his presentation was his 12-stage hero’s […]

     

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