Publishers Weekly: This stunning near-future thriller from Divya (Runtime) tackles issues of economic inequality, workers’ rights, privacy, and the nature of intelligence…. Divya keeps the pace rapid, and her crack worldbuilding and vivid characters make for a memorable, page-turning adventure, while the thematic inquiries into human and AI labor rights offer plenty to chew on for fans of big idea sci-fi. Readers will be blown away.
Catalan rights to Nnedi Okorafor’s BINTI TRILOGY, to Raig Verd, in a three-book deal, by Amaiur Fernandez at International Editors’, on behalf of Katie Shea Boutillier for Donald Maass.
Czech rights to Micaiah Johnson’s THE SPACE BETWEEN WORLDS, to Albatros Media , by Milena Kaplarevic at Prava I Prevodi, on behalf of Katie Shea Boutillier for Cameron McClure.
French renewal rights to New York Times bestselling author Jim Butcher’s STORM FRONT, FOOL MOON, GRAVE PERIL, SUMMER KNIGHT, and DEATH MASKS, books 1-5 in the Dresden Files series, to Bragelonne, by Robin Batet at Anna Jarota Agency in association with Michael Curry for Jennifer Jackson.
Italian rights to New York Times Bestselling author Jim Butcher’s STORM FRONT, FULL MOON, and GRAVE PERIL, the first three books in the Dresden Files series, to Mondadori, by Stefania Fietta at Donzelli Fietta Agency in association with Michael Curry for Jennifer Jackson.
Italian rights to Annika Martin’s THE BILLIONAIRE’S FAKE FIANCE and RETURN BILLIONAIRE TO SENDER, to Triskell, by Stefania Fietta at Donzelli Fietta, on behalf of Katie Shea Boutillier for Cameron McClure.
Polish rights to New York Times bestselling author Anne Bishop’s SHADOWS AND LIGHT, the second book in the Tir Alainn trilogy, to Initium, by Milena Kaplarevic at Prava i Prevodi in association with Michael Curry for Jennifer Jackson.
Polish rights to Ada Palmer’s THE WILL TO BATTLE, to Mag Jacek Rodek, by Milena Kaplarevic at Prava I Prevodi on behalf of Katie Shea Boutillier for Cameron McClure.
Russian rights to Brent Weeks’s THE BLACK PRISM, to Eksmo, by Igor Korzhenevski at Alexander Korzhenevski Agency, on behalf of Katie Shea Boutillier for Donald Maass.
Turkish rights to Robert Jackson Bennett’s VIGILANCE, to Ithaki, by Merve Ongen at ONK Agency, on behalf of Katie Shea Boutillier, for Cameron McClure.
Turkish rights to Micaiah Johnson’s THE SPACE BETWEEN WORLDS, to Ithaki, by Merve Ongen at ONK Agency on behalf of Katie Shea Boutillier for Cameron McClure.
BEST FANTASY
Jim Butcher – PEACE TALKS
BEST SCIENCE FICTION
Tamsyn Muir – HARROW THE NINTH
Martha Wells – NETWORK EFFECT
Micaiah Johnson – THE SPACE BETWEEN WORLDS
Audio rights to Ronald Malfi’s COME WITH ME plus an untitled book, to Kim Budnick at Tantor Media by Katie Shea Boutillier for Cameron McClure.
French rights to Nnedi Okorafor’s THE GIRL WITH THE MAGIC HANDS, for a graphic novel, and French rights to THE BOOK OF PHOENIX to Actu SF, by Robin Batet at Anna Jarota Agency, on behalf of Katie Shea Boutillier for Donald Maass.
German rights to Annika Martin’s RETURN BILLIONAIRE TO SENDER, to Lyx, by Sarah Knofius at Thomas Schlueck Agency, on behalf of Katie Shea Boutillier for Cameron McClure.
Hungarian rights to New York Times bestselling author Tamsyn Muir’s HARROW THE NINTH, the second book in the Locked Tomb trilogy, to Fumax, by Milena Kaplarević at Prava i prevodi in association with Michael Curry for Jennifer Jackson.
Italian rights to Robert McCammon’s BOY’S LIFE and SWAN SONG, to Fanucci, by Stefania Fietta at Donzelli Fietta, on behalf of Katie Shea Boutillier, for Cameron McClure.
Serbian rights to New York Times bestselling author Tamsyn Muir’s The Locked Tomb trilogy (GIDEON THE NINTH, HARROW THE NINTH, ALECTO THE NINTH), to Urban Reads, by Milena Kaplarević at Prava i prevodi in association with Michael Curry for Jennifer Jackson.
Bram Stoker Finalist for FLOATING STAIRCASE, named as one of the 50 scariest novels by the New York Times, Ronald Malfi’s COME WITH ME, psychological suspense in the vein of Lauren Beukes and Paul Tremblay, about a man who after the sudden death of his wife learns that she had been secretly tracking a killer and vows to complete her work, even as every step forward takes him further away from the woman he thought he knew, to Sophie Robinson at Titan Books, in a two-book deal, for publication in July 2021, by Cameron McClure (world English).
Locus: The Space Between Worlds is fascinating, complicated, compelling, and far too aware of the costs of precarity to be able to end on a triumphant note. But its quiet, personal, hopeful conclusion is more satisfying, in a deep-rooted way, than any conclusion that turns on revolution. This is a jewel of a novel, all the more impressive for being Johnson’s debut.
New York Times: THE SPACE BETWEEN WORLDS is Micaiah Johnson’s debut, but that word is utterly insufficient for the blazing, relentless power of this book, suggesting ballroom manners where it should conjure comet tails.
The multiverse is real, and Adam Bosch has figured out how to move people among 382 versions of Earth; his company, Eldridge, extracts information and resources from those worlds. The only catch: You can’t travel to an Earth on which a version of you is still alive. The only people who can become “traversers,” then, are those whose existence is so precarious that they’ve survived in just a few worlds. “They needed trash people,” says Cara, our protagonist, gripping my heart and squeezing. In all the hundreds of Earths Eldridge can access, Cara’s alive in only eight.
Cara is a resident of Wiley City, a walled compound in a postapocalyptic world ground down by numerous wars. In the comfort of its controlled atmosphere and artificial sunlight, citizens and residents enjoy the benefits of a robust social contract, have access to housing and medicine, and enjoy a prosperity bolstered by resources stolen from alternate worlds. Cara’s originally from Ashtown, beyond Wiley City’s gates: a loosely knit community of laborers, scavengers, religious commune members and sex workers, leading hardscrabble lives in an unforgiving desert ruled by an onyx-toothed Blood Emperor and his runners. It takes 10 years of residency in Wiley City before one can apply for citizenship; Cara’s been there for six. But once Eldridge develops the technology to extract information across worlds remotely, traversers will be obsolete and Cara will be banished back to Ashtown. Unless she can make herself indispensable first.
As a metaphor for neoliberal imperialism, this tale is profoundly satisfying; as a work of art, it’s even better. Cara is so mesmerizing a character that I was helpless before every twist and turn of plot, riveted by her pain, love and secrets. The book remained two steps ahead of my imagination, rattling it out of complacency and flooding it with color and heat.
Everything is hard. The news vacillates between horror novel and undisciplined television drama from one hour to the next. But “The Space Between Worlds” and “Dance on Saturday” make me feel profoundly grateful to exist in the same world and at the same time as their authors — to bear witness to the furious compassion and generosity of their power.
Congratulations to Micaiah Johnson! THE SPACE BETWEEN WORLDS debuts at #3 on the Sunday Times bestseller list.
Israeli rights to Annika Martin’s Dangerous Royals Series, to Sifrut Shenogaat, in a three-book deal, by Beverley Levit at The Israeli Association Of Book Publishers Ltd., on behalf of Katie Shea Boutillier for Cameron McClure.
Slovak rights to Emily Wibberley and Austin Siegemund-Broka’s ALWAYS NEVER YOURS and TIME OF OUR LIVES, to Albatros Media, by Milena Kaplarevic at Prava i Prevodi on behalf of Katie Shea Boutillier.