The Search For WondLa (24 page)

T
HE
O
RBONIAN
A
LPHABET

A common alphabet
is used by the inhabitants of Orbona. The chart that follows is the key to unlocking their written language. The main alphabet consists of thirty-two characters (as opposed to the English alphabet, which comprises twenty-six), and many of these are derived from symbols of familiar objects, actions, or ideas. They are shown in alphabetical order with the compound letters at the end, although this is not the order Orbonians would use. Orbonians would align similar symbols alongside one another so that their youth could identify different characteristics more easily.

Orbonians write in a vertical manner and from left to right. Compound words are often broken up, with their individual parts written alongside one another as seen here in “the Wastelands”:

Capital letters are larger versions of the lower-case letters. Proper nouns use a large version of the letter with the remainder of the word written to the right of it, as can be seen here in the word “Lacus”:

There are many shortcut symbols for small words like “of” and “the,” both of which are included on the chart. However, the focus here is on the main alphabet so that readers may be able to decipher Orbonian writing in this and future books.

A
CKNOWLEDGMENTS

Every book has a journey
of its own—a quest the storyteller must take to find the purpose of his or her tale so that others may fully enjoy what he or she has to say. Despite there being only one name on the cover of this book, there were many friends along the way who helped me craft the story you have just read.

First there was my wonderful manager, Ellen Goldsmith-Vein, and her business partner, Julie Kane-Ritsch, who were enthusiastic about the notion of Eva’s story from the start. Along with Rick Richter and Kevin Lewis,
WondLa
secured its home at Simon & Schuster.

The team at Simon & Schuster Books for Young Readers has always been incredibly supportive of me, and I am proud to mark a decade of bookmaking with them with the publication of this story. From my editor, David Gale, and art director, Lizzy Bromley, to my copyeditor, Dorothy Gribbin, I thank you for helping me with the words and pictures. Chrissy Noh also inspired me with her tireless enthusiasm and innovative marketing ideas. To Jon Anderson, Justin Chanda, and Anne Zafian, I am humbled by the passion you and your staff have infused into Eva’s world.

As the story came into focus, I had feedback and support from family and peers, who helped me come to understand what this story was truly about. I had many fundamental conversations with my mom about what the point of this story was, and many more coffee chats with my old assistant Will Lisak about what the future of Earth may hold. My mother-in-law, Linda DeFrancis, and my good friends Donato Giancola and Holly Gibson also offered their thoughts and cheered me onward.

I had early supporters—writers whom I greatly admire—like Kate DiCamillo, Guillermo del Toro, and Holly Black, who gave me the encouragement to write this tale. There were two amazing writers who were my go-to readers—Ari Berk and Steve Berman. Your insight and challenges as I worked on the various drafts allowed me to become a better storyteller. I am indebted to you both.

A couple of other dear friends, who happen to be teachers, offered insight into the world of a twelve-year-old girl. Lauren Decker reminded me of what life is like when one is twelve, with one foot planted in childhood while the other steps into adulthood. Kim Pilla offered up several ideas for timeless pastimes, including making friendship bracelets. (Rovender is still wearing his.)

I also had some incredibly experienced bibliophiles come in at the end of the writing and share their vast reading experience with me. Lisa Von Drasek, Joan Kindig, Ed Masessa, and Heidi Stemple pointed out those last little story scuffs and scratches that allowed me to polish it to a brilliant luster.

Illustrating a book that harkens back to the spot-color processes at the turn of the century is no easy task. I received substantial inspiration and understanding of the richness of this style with help from Peter Glassman, who shared original Oz art from his collection and allowed me to pore over his treasured first editions. The creation of the art itself had help in the form of Bryant Paul Johnson and John DesRoches, both of whom aided me in creating the two-color plates. A tremendous thanks goes to John Lind, who was with me from the beginning in creating the art, as he helped with design, illustration, and constant suggestions to help me fully realize my vision. You were right, John, a logo designer would really make the title look outstanding, and Tom Kennedy did a fine job.

As I neared completion, words of excitement were spread through the amazing publicity of Maggie Begley and the team at Media Masters.

Lastly, there are the two most important people in my life who were with me every step on my journey to create this book. A big hug goes to my wife, Angela, and a kiss to my daughter, Sophia. Your love, support, and patience sustained me day in and day out. You are my WondLa.

N
ever abandon imagination.

T
ONY
D
I
T
ERLIZZI WOULD LIKE TO THANK
EVERYONE AT
S
IMON &
S
CHUSTER WHO
WORKED ON
The Search for WondLa:

President
J
ON
A
NDERSON

Publisher
J
USTIN
C
HANDA

Deputy Publisher
A
NNE
Z
AFIAN

Editorial
D
AVID
G
ALE
N
AVAH
W
OLFE

Design
L
IZZY
B
ROMLEY
T
OM
D
ALY

Managing Editorial/Copyediting
A
MY
B
ARTRAM
D
OROTHY
G
RIBBIN

Production
F
ELIX
G
REGORIO
C
HAVA
W
OLIN

Marketing
L
AURA
A
NTONACCI
C
HARLIE
C
ORTS
M
ICHELLE
F
ADLALLA
J
OHN
M
ERCUN
M
ICHELLE
M
ONTAGUE
H
OLLY
N
AGEL
C
HRISSY
N
OH
M
ATT
P
ANTOLIANO
L
UCILLE
R
ETTINO
C
ATHARINE
S
OTZING
E
LKE
V
ILLA

Publicity
P
AUL
C
RICHTON
A
NNA
M
C
K
EAN

Sales
T
ERESA
B
RUMM
J
IM
C
ONLIN
M
ARY
F
ARIA
V
ICTOR
I
ANNONE
B
RIAN
K
ELLEHER
L
ORELEI
K
ELLY
S
COTT
K
ERKIS
K
AREN
L
AHEY
M
ARY
M
AROTTA
C
HRISTINA
P
ECORALE
L
YNDA
W
OJCIK
J
ILL
Y
NGVE

Subsidiary Rights
B
ETH
S
UE
R
OSE
S
Y
S
UNG
S
TEPHANIE
V
OROS

Legal
V
ERONICA
J
ORDAN
E
MILY
K
EYES
K
ATHLEEN
N
OLAN
J
ESSICA
S
ANTIAGO
J
ENNIFER
W
EIDMAN

Supply Chain
B
RIDGET
C
OONEY
I
AN
R
EILLY

Audio
C
HRIS
L
YNCH
M
ICHAEL
N
OBLE
C
AROL
S
HAPIRO
E
LISA
S
HOKOFF
L
OUISA
S
OLOMON

T
ONY
D
I
T
ERLIZZI

is the visionary mind that conceived of the Spiderwick Chronicles. He has been creating books with Simon & Schuster for a decade. From fanciful picture books like
The Spider and the Fly
(a Caldecott Honor) to young chapter books like
Kenny and the Dragon
, Tony has always imbued his stories with a rich imagination. His series the Spiderwick Chronicles (with Holly Black) has sold millions of copies worldwide and was adapted into a feature film.

Inspired by stories by the likes of the Brothers Grimm, James M. Barrie, and L. Frank Baum,
The Search for WondLa
is a new fairy tale for the twenty-first century.