Leapfrog Press began in Wellfleet, Massachusetts, in 1993 as the brainchild of writers Marge Piercy and Ira Wood, whose initial goal was providing an outlet for literary fiction overlooked by the big New York houses. While Piercy has served as judge for Leapfrog’s annual fiction contest, the press currently is in the hands of Managing Editor Lisa Graziano and Acquisitions Editor Rebecca Schwab. Now based out of Fredonia, New York—in storied Chautauqua County on the shores of Lake Erie—Leapfrog’s list has moved on as well. In addition to literary fiction by both new and established writers, Leapfrog publishes a smattering of nonfiction and poetry and a diverse list of middle grade and YA fiction.
What makes Leapfrog stand out as an independent press is their refreshing lack of fear when it comes to compartmentalization. Despite publishing a small number of titles per year, they’ve put out everything from mysteries to memoir, science fiction to how-to, hardboiled exposé to tender and poignant story collections. When Leapfrog says they simply want “writing that expands our webs of connection with other humans and the natural world; books that illuminate our complexities,” they really mean it.
For Ploughshares, Lisa Graziano helps readers understand the why and how of their editorial decisions, provides details on Leapfrog’s annual fiction contest (deadline is May 1!) and gives the inside scoop on Leapfrog’s future.
KF: From Mary Malloy’s historical fiction/mysteries, starring adventurous academic Lizzie Manning, whose expertise and mettle could put even Indiana Jones to shame, to Michael Mirolla’s fascinating and frightening sci-fi tale The Facility, where the future is filled with Mussolini clones, to Li Miao Lovett’s powerful novel In the Lap of the Gods, set in China during the controversial construction of the Three Gorges Dam project, Leapfrog’s list is wonderfully quirky. What qualities do your divergent titles share? What marketing challenges does this wide range of titles bring you?
LG: Good storytelling first, and we do like quirky, as you put it. But our books share a few themes to which we are partial. Many have a grounding in science, sometimes subtle, sometimes not. Some are based in important cultural and/or historical questions, whether or not they are “historical.” We don’t perceive these themes as separate. They tend to run together in many our books.