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This epic clash of sand and sea will pit brother against brother–and there can only be one winner.
In two days, the race for the Sea Court throne will be over-but all the rules have changed.
The sea witch, Nieve, has kidnapped Layla and is raising an army of mutant sea creatures to overthrow the crown. Kurt, the one person Tristan could depend on in the battle for the Sea King’s throne, has betrayed him. Now Kurt wants the throne for himself.
Tristan has the Scepter of the Earth, but it’s not enough. He’ll have to travel to the mysterious, lost Isle of Tears and unleash the magic that first created the king’s powerful scepter.
It’s a brutal race to the finish, and there can only be one winner.
New Adult (books with protagonists ages 18-25) has swiftly become the hottest thing in both self-publishing and traditional publishing. New authors are making astonishing strides in this category and making great deals with the big traditional houses. Recent success stories include Molly McAdams, whose book Taking Chances has sold more than 200,000 copies so far.
The rise of New Adult has introduced questions, such as: Is it a genre? Does it need to have sex scenes? How do you define it? Should you self-publish it? How do you know if an agent wants NA? How is it different from YA? Despite all the questions, New Adult manuscripts have been selling remarkably well, no matter how it is published. The readers want it, it is here to stay, and we are among many agencies actively looking for it.
In this live 90-minute webinar — titled “How to Write and Sell New Adult” — Literary agent Gordon Warnock will help you understand New Adult fully from all aspects of the business, whether you need to know the rules of the category, how to pitch it to agents, or how authors are hitting the bestselling lists with modern marketing techniques. Plus, as a bonus, Warnock will critique 1,000 words of your manuscript! It all happens at 1 p.m., EST, Thursday, September 18, 2014, and lasts 90 minutes.
Gordon Warnock is a founding partner at Foreword Literary, serving as a literary agent and editorial director of the Fast Foreword digital publishing program. He brings years of experience as a senior agent, marketing director, editor for independent publishers, consultant, and author coach. He frequently teaches workshops and gives keynote speeches at conferences and MFA programs nationwide. His NA books include A Real Emotional Girl by Tanya Chernov and Dragon’s Breath and Other True Stories by MariNaomi. You can find him on Twitter @gordonwarnock.
All registrants are invited to submit the first 1,000 words of their manuscript for critique. All submissions will receive a written critique by Gordon Warnock. Gordon reserves the right to request more writing from attendees by e-mail following the event, if he deems the writing excellent.
Please Note: Even if you can’t attend the live webinar, registering for this live version will enable you to receive the On Demand webinar and a personal critique of your material. Purchasing the On Demand version after the live event will not include a critique.
Great news as we announce that the following retail outlets have begun to stock our products. If you live in the North West of England you can now purchase the Worlds End graphic novels from the following stores:
Travelling Man - Leeds
32 Central Road, LS1 6DE
Tel: 0113 243 6461
Mon - Fri: 10am - 6pm
Sat: 10am - 5:30pm
Sun: 11am - 5pm
Travelling Man - Manchester
4 Dale Street, M1 1JW
Tel: 0161 237 1877
Mon - Sat: 10am - 6pm
Sun: 11am - 4:30pm
Travelling Man - Newcastle
43 Grainger Street, NE1 5JE
Tel: 0191 261 4993
Mon - Sat: 10am - 6pm
Sun: 11am - 4:30pm
Travelling Man - York
Tel: 01904 628 787
Mon - Sat: 10am - 6pm
Sun: 11am - 5pm
19, Thornton’s Arcade
Tel: 0113 246 9366
Mon - Sat: 9am - 6pm
Sun: 11am - 4pm
3-5 Lower Cockcroft
Tel: 01254 667488
Mon - Sat: 10:30am - 5:30pm
One of the best things about all these shops – and there are lots of very positive things to say about each of them – is that as well as stocking the bigger publishers like Marvel, DC, Dark Horse and the like, they also support smaller publishers such as ourselves here at Wizards Keep Publishing.
I have been buying from these guys now for a good number of years and can’t tell you how excited we are to get this support.
Please drop in at any of the above stores whilst you are next out shopping in the area. All of them have excellent stock for all ages, are pleasant and easy to look around, and are run by knowledgeable and friendly staff.
And whilst you browse there, please remember to ask to look at our Worlds End books and if you like them, please make a discerning purchase for yourselves and/or for members of your family that like to read an exciting and interesting, visually stunning story… oh, and don’t forget to tell them who sent you.
Thanks in advance for your continued support guys and…
Jana Curll is an icon obsessed, color hungry illustrator working from the rainy Sunshine Coast of British Columbia. She loves to create quirky work that engages and delights both the young and the young at heart.
The American Booksellers Foundation for Free Expression will celebrate Banned Books Week from September 21st to September 27th.
The organization plans to shine a spotlight on graphic novels and comics. Judith Platt, chair of the Banned Books Week National Committee, had this statement in a press release: “This year we spotlight graphic novels because, despite their serious literary merit and popularity as a genre, they are often subject to censorship.”
One thing I learned right away is that the most common question someone asks you when you’ve published a book: “How many books have you sold?” Or, “How are your books selling?” And I quickly learned to answer in this way, “It’s doing pretty well…for poetry.”
I have sold quite a few books personally. I’ve received my first royalty check from my publisher. Neither are going to pay my mortgage, but there’s a great joy in being compensated for something I would be doing anyway for free: that is, writing poems.
2015 Poet’s Market
Publish Your Poetry!
Learn how to get your poetry published with the latest (and greatest) edition of Poet’s Market. The 2015 Poet’s Market is filled with articles on the craft, business, and promotion of poetry, in addition to poet interviews and original poetry by contemporary poets.
In fact, it has an entire section covering various poetic forms.
Plus, the book is filled with hundreds of listings for poetry book publishers, chapbook publishers, magazines, journals, contests, grants, conferences, and more!
However, I work in the publishing business, so I know relative book sales, and I can tell you that sales are usually not spectacular for debut authors in any genre–but they’re especially lean for poets. So it’s the first question often asked, but I prefer to get past talking numbers.
Solving the World’s Problems
Numbers aside, I learned quite a few lessons about selling poetry books. The first thing is handling how to get the word out about the book. In some ways, I have a very good platform for a poet.
I have a lot of followers on social media sites, edit the Poet’s Market book, write a poetry column for Writer’s Digest magazine, and well, there’s this Poetic Asides blog too. All of that helped, but not as much as one (namely me) might expect.
Here’s how I achieved the most sales:
E-mail list. I’ve long maintained a personal e-mail list of writing contacts, and this list has helped me sell out two limited edition self-published chapbooks in the past and get a good jump start on pre-order sales for this book. If you’re one of those folks, thank you!
Remix challenge. I made quite a few sales directly as a result of a little challenge I created for readers and writers: the Remixing the World’s Problems challenge. I challenged writers/readers to remix the words in my collection, and I’ll be announcing a winner for the best remix on October 15–with that winner receiving $500 from me.
Live events. Beyond e-mail and challenges, live events really helped me sell books. While I was featured at some larger events like the Kentucky Book Fair and Austin International Poetry Festival (making sales at both), the most profitable events were usually the more intimate ones in which I was one of two or three featured readers.
Lesson learned: A little creativity in promotion can work wonders, but also a more intimate approach. Look for local and regional reading series and see if you can be a featured reader. As a published author, you have an added level of authority.
There are a few (obvious) opportunities that I missed as a debut author that I don’t plan to let slip by again with the next book. They are:
Book launch party. I really didn’t know how to handle this a year ago. And really, I didn’t put aside the time and resources to make it happen. Big time missed opportunity to bring friends and family together to help get it off to a good start.
Author contests. I did enter the Pulitzer contest knowing full well that I had next to no shot of winning, but I did not take advantage of entering several other book contests, including the Georgia Writers Association (as a Georgia resident), Ohioana Book Prizes (where I was born and raised), or others. Not saying I would’ve won those, but I’ll never know now–and I surely had a better chance than with the Pulitzer, right? Don’t discount the power of winning a reputable contest.
More live events. I have been to plenty of live events over the past year to promote the book, but I think I could’ve done more. And as I mentioned above, these are great places to sell books and connect with new readers.
Here’s the thing: No matter how prepared you think you are there will be missed opportunities. Don’t beat yourself up about them. Rather, pay attention and try to do a better job next time. I’m sure I’ll have a whole new list of missed opportunities with the second book. As with writing, selling books is a process.
My son Ben holding my book.
What Am I Up To Now?
Most importantly, I’m writing. The work of a creative person is to create. It’s not to write a poem and call it a day. Or write a book and call it a day. Or two books. Or three. Creative people create, and that’s what I’m doing for the sake of creating.
These creative acts are important for other reasons too. For starters, I’ve had a few new poems published online here and there over the past year, and nearly every new publication has coincided with a few new book purchases on Amazon. I’m not able to track it directly, but I’m pretty sure each new publication leads to more books selling.
Plus, I know from other genres that authors tend to build book sales over time by writing more books. Someone reads and enjoys your new book and then hunts down your older title(s). This isn’t selling out; it’s building a readership.
The entire enterprise of being a creative person, regardless of medium, is a process. After more than two decades of writing poetry and one year as an author, I’m enjoying the process more than ever and focusing on the art and the craft…and hoping it doesn’t take another 20 years to get my next collection together.
Robert Lee Brewer is Senior Content Editor of the Writer’s Digest Writing Community and author of the poetry collection, Solving the World’s Problems (Press 53). He edits Poet’s Market, Writer’s Market, and Guide to Self-Publishing, in addition to writing a free weekly WritersMarket.com newsletter and poetry column for Writer’s Digest magazine.
He honestly believes writing has done more than he’s done for writing. Before and beyond getting published, poetry has helped him deal with the real problems in his life. Material things come and go, but sanity is priceless–and poetry has helped him in that regard time and time again.
What obligation do public or school libraries have to purchase materials that present a range of views on controversial subjects?
Must every controversy be treated the same way?
How do our personal biases affect our purchasing decisions?
Should libraries take the opinions of their patrons or the ethos of their communities into consideration when making these decisions?
If there are no materials that meet our selection criteria, should we add materials of poor quality simply to ensure that all viewpoints are available?
Should well-known titles on controversial topics be retained once better-written books are available?
Is there a difference between adding donated materials and spending taxpayers’ money to purchase them?
These are a few of the questions which occurred to me in response to the recent discussions about MY PARENTS OPEN CARRY by Brian Jeffs and Nathan Nephew (White Feather Press). The publisher kindly sent me a review copy of the book in response to my emailed request and it arrived yesterday, giving me time to examine it carefully and to share it with my coworkers.
Though formatted as a picture book, the character whose parents “open carry” is a 13-year-old girl named Brenna. And despite the title, she doesn’t narrate the text. As the authors indicate in their, “…note to home school teachers: This book is an excellent text to use as a starting point on the discussion of the 2nd Amendment,” which suggests that they are hoping to reach a market with a broad age-range.
I was hoping the book would be well-enough written that I would find it a plausible purchase for our collection, but my hopes have not come to fruition. The text is tedious, the conversations are repetitious and attempts at descriptive writing fail to convey information.
Here are some examples of the writing:
“One morning, Brenna was sleeping and dreaming dreams only a 13-year-old girl would dream.” (p. 1)
“All in all, Brenna had a great day with her mom and dad. She again realized how much they loved her and how lucky she was to have parents that open carry.” (p. 21)
And then there are the creepier moments: “To increase Brenna’s awareness, her dad often tries to sneak up on her to catch her off guard; it’s a game they play.” (p. 15)
In addition, the robotic figures depicted in the illustrations with their stiff postures and eerie, fixed smiles are rather discomfiting.
I confess that the level of paranoia Jeffs and Nephew express to justify their need to carry guns in plain sight whenever they go out in public disturbs me, but I won’t debate the Second Amendment here. Whatever our personal opinions on the matter may be, we librarians still must grapple with the sorts of questions I’ve framed above.
I feel honor-bound, however, to point out that Jeffs and Nephew espouse the consumption of canned spinach and this is a sentiment that any right-minded person would find abhorrent. Fresh spinach is delicious and frozen spinach is an acceptable substitute in recipes calling for cooked spinach, but canned spinach is an abomination. The only proper use for a can of spinach that I can think of would be to aim at it during target practice.
But spinach aside, if this book had received a starred review, would you add it to your collection?
Miriam Lang Budin, ALSC Intellectual Freedom Committee
The video embedded above features ten people watching a short clip with Jamie Dornan and Dakota Johnson starring as Christian Grey and Anastasia Steele. This film adaptation will hit theaters on February 14, 2015.
China has all but overtaken the United States based on GDP at newly-computed purchasing power parity (PPP) exchange rates, twenty years after Paul Krugman predicted: “Although China is still a very poor country, its population is so huge that it will become a major economic power if it achieves even a fraction of Western productivity levels.” But will it eclipse the United States, as Arvind Subramanian has claimed, with the yuan eventually vying with the dollar for international reserve currency status?
Not unless China battles three economic foes. One is well-known: diminishing marginal returns to capital. Two others have received less attention. The first is Carlos Diaz-Alejandro. Not the man, but the results uncovered by his research on the Southern Cone following the opening up of its capital account that culminated in a sovereign debt crisis and contributed to Latin America’s lost 1980s. If the capital account is liberalized before the domestic financial system is ready, the country sets itself up for a fall: goodbye financial repression, hello financial crash. The second is the “reality of transition”: rejuvenating growth requires hard budgets and competition to improve resource allocation and stimulate innovation, counterbalanced with a more competitive real exchange rate. This is the principal insight from the transition in Central and Eastern Europe (CEE), which was far simpler than anything China faces.
China was able to raise total factor productivity (TFP) growth as an offset to diminishing marginal returns to capital, especially after joining the World Trade Organization (WTO) in 2001, and faster growth was accompanied by a rising savings rate. But TFP growth is hard to sustain. Any developing country targeting growth above the steady state level given by the sum of human capital growth, TFP growth and population growth (the latter two falling rapidly in China) will find that its investment rates need to continually increase unless it can rejuvenate TFP growth. China’s investment rates have risen from around 42% of GDP over 2005-7 (prior to the global crisis) to 48% in recent years even as growth has dropped from the 12% to the 7.5% range. Savings rates have hovered around 50%, reducing current account surpluses (numbers drawn from IMF 2010 and 2014 Article IV reports).
This configuration has forced China to choose between either investing even more, or lowering growth targets. It has chosen the latter, with its leaders espousing anti-corruption, deleveraging, environmental improvement and structural reform to achieve higher quality growth. The central bank, People’s Bank of China (PBoC), has reaffirmed its goal of internationalizing the yuan and liberalizing the capital account.
China’s proposed antidote is to “rebalance” from investment and exports to domestic consumption. But growth arithmetic would require consumption to grow at unrealistic rates, given the relative shares of investment and private consumption in GDP, even to meet scaled-down growth targets. Besides, households need better social benefits and market interest rates on bank deposits to save less and consume more. Hukou reform alone, or placing social benefits received by rural migrants on a par with their urban counterparts, could easily cost 3% of GDP a year for the next seven years as some 150 million additional people gain access to such benefits—quite apart from the public investment needed to upgrade urban infrastructure, according to calculations shared by Xinxin Li of the Observatory Group. And the failure to liberalize bank deposit rates has led to the rise of “wealth management products” in the shadow banking system. These “WMPs” offer higher returns but are poorly regulated and more risky.
Indeed, total social financing, a broad measure of credit, has soared from 125% to 200% of GDP over the five years 2009-2013 (Figure 2 in the July 2014 IMF Article IV report, with Box 5 warning that such a rapid trajectory usually ends in tears). Local government debt was estimated at 32% of GDP in mid-2013, much of it short-term and used to fund infrastructure projects and social housing with long paybacks. Housing prices show the signs of a bubble, especially away from the four major cities. Corporate credit is 115% of GDP, about half of it collateralized by land or property. While the focus recently has been on risks from shadow banking, it is hard to separate the shadow from the core. Besides, WMPs have become intertwined with the booming real estate market, a major engine of growth yet the centre of a “web of vulnerabilities” (to quote the IMF) encompassing banks, shadow banks, and local government finances. A real estate shock would ripple through the system, lowering growth and forcing bailouts. The gross cost of the bank workout at the end of the 1990s was 15% of GDP in a much simpler world!
2014 began with fears of a hard landing and an impending default by a bankrupt coal mine on a $500 million WMP-funded loan intermediated by a mega-bank. The government eventually intervened rather than let investors take a hit and risk a confidence crisis. And starting in April, stimulus packages were launched to meet the 7.5% growth target, a tacit admission that rebalancing is not working. But concerns persist around real estate. Besides, stimulus will help only temporarily and China is likely to be facing the same questions about growth and financial vulnerability by the end of the year.
With rebalancing infeasible, and investing even more prohibitively costly, virtually the only remaining option is to spur total factor productivity growth: China is still far from the global technological frontier. This calls for a package that cleans up the financial sector and implements hard budgets and genuine competition, especially for the state-owned enterprises (SOEs), while keeping real exchange rates competitive. The real appreciation of the past few years may have been offset by rising productivity, but continued appreciation will make it harder for the domestic economy to restructure and create 12 million jobs a year to absorb new graduates and displaced SOE workers.
In sum, China must heed Diaz-Alejandro. No one knows what the non-performing loans ratio is in China and few believe the official rate of 1%. If the cornerstone of a financial system is confidence and transparency, China is severely deficient. This must first be fixed and market-determined interest rates adopted before entertaining hopes of internationalizing the currency. China must also accept the reality of transition; the formidable remaining agenda in the fiscal, financial, social, and SOE sectors reminds us that China is still in transition to a full-fledged market economy.
The combination of a financial clean up and the policy trio of hard budgets, competition, and a competitive real exchange rate will improve resource allocation and force innovation, boosting total factor productivity growth. But doing this is hard—that’s the essence of the “middle-income trap”. Huge vested interests will be encountered, evoking Raghuram Rajan’s description of the middle-income trap as one “where crony capitalism creates oligarchies that slow down growth”. Dealing with this agenda is the Chinese leadership’s biggest challenge.
The era of cheap China is ending, while the ability of the government to virtually decree the growth rate has fallen victim to diminishing returns to capital. Diaz-Alejandro and the reality of transition are no less important as China seeks a way forward.
Headline image credit: The Great Wall in fall, by Canary Wu. CC-BY-SA-2.0 via Wikimedia Commons.
The British government plans to give £1.5 million (approximately $2.4 million) to the Royal Shakespeare Company. The organization has agreed to translate all of William Shakespeare’s writings into Mandarin.
Here’s more from The New York Times: “The grant, announced by the Department of Culture, Media and Sport, will finance a company tour of China in 2016 and allow for select Chinese dramatic works to be translated into English. In bringing Shakespeare’s canon of plays to readers, directors and actors in China, the government hopes to forge ‘stronger links with China,’ according to a statement by Sajid Javid, the British culture secretary.”
Throughout the last four hundred years, Shakespeare’s works have been translated into more than 80 different languages. What do you think?
THE DATE: 18 September 2014, Fateful Day of Scotland’s Independence Referendum
THE PLACE: A Sceptred Isle
DRAMATIS PERSONAE: Alexander the Great, First Minister of Scotland
Daveheart, Prime Minister of the Britons
Assorted Other Ministers, Attendant Lords, Lordlings, Politicos, and Camp Followers
A Botnet of Midges
The Internet (A Sprite)
St George of Osborne
Boris de Balliol, Mayor of Londres
UKIP (An Acronym)
ACT I: A Blasted Heath.
Enter THREE WITCHES
When shall we three meet again,
In thunder, lightning, or in rain?
When the referendum’s done,
When the battle’s lost and won.
That will be when Salmond’s gone.
Where the place?
Better Together unto death!
Is that your phone?
Daveheart calls: anon! –
Fair is foul, and foul is fair:
Hover through the plebs and filthy air.
ACT II: The Scottish Camp (Voters at Dawn)
Enter a SMALL FOLKS’ CHORUS, Botnet Midges,
Who flap their wings, and then commence this chant:
See here assembled in the Scottish Camp
The Thane of Yes, Lord Naw-Naw, Doctor Spin.
Old folk forget; yet all shall be forgot,
But we’ll remember, with advantages,
This Referendum Day. Then shall that name
And date, familiar as our household words –
Alex the Great, the eighteenth of September –
And many, many here who cast their votes,
A true sorority, a band of brothers,
Long be remembered — long as “Auld Lang Syne” –
For she or he who votes along with me
Shall be my sibling; be they curt or harsh
This day shall gentle their condition:
Scots students down in England now a-bed
Shall think themselves accursed, they were not here,
Casting their votes in this our referendum.
ACT III: On Arthur’s Seat, a Mount Olympus
Near the Scots’ Parliament at Holyrood
Proud Edward Milibrand, Daveheart, Nicholas Clegg,
And Anthony a Blair perch on the crags
With English Exiles. Now Lord Devomax speaks:
Stands England where it did? Alas, poor country,
Almost afraid to know itself, a stateless
Nation, post-imperial, undevolved;
Still sadly lacking its own Parliament,
It commandeers to deal with its affairs
The British Parliament, whose time it wastes
With talk of what pertains to England only,
And so abuses that quaint institution
As if it were its own, not for these islands
Set in a silver sea from Sark to Shetland.
[Exit, pursued by A. Blair]
ACT IV: The Archipelago (High Noon)
Enter THE INTERNET, A Sprite, who sings:
Full fathom five Westminster lies;
Democracy begins to fade;
Stout, undevolved, John Bull still eyes
Imperial power so long mislaid;
England must suffer a sea-change
Into something small and strange,
MPs hourly clang Big Ben:
Come, John Bull, and toll Big Ben.
ACT V: South London: top floor of the Shard
Boris de Balliol, St George of Osborne,
Attendant Lords, and Chorus Bankerorum,
Et Nympharum Tamesis et Parliamentorum
Sheet lightnings flash offstage while clashing cymbals
Crescendo in a thunderous night’s farrage.
ST GEORGE: Blow, winds, and crack your cheeks! Rage! Blow!
Ye exit polls and hurricanoes spout!
Come, Boris, here’s the place. Stand still.
And dizzy ’tis, to cast one’s eyes so low!
The crows and choughs, that wing the midway air
Seem gross as bankers’ apps: here from this Shard
See floors of smug short-sellers, dreadful traders
Inside a giant gherkin, and the City
Fraternity of inegalite
Spread out around us while its denizens
Appear like lice.
ATTENDANT LORDS: Scotia and Boris, hail!
BORIS: O Bella, Bella Caledonia,
Hic Boris Maior, Londinii Imperator,
Fanfare of hautboys, bagpipes, and a tucket.
ST GEORGE: A tucket!
BORIS: Tempus fugit.
Pipers, desist! Your music from this height
Has calmed the storm, and, blithely, while we wait
For the result to come from Holyrood,
So charms the ear that, clad in English tartans –
The Hunting Cholmondesley, the Royal Agincourt,
And chic crisscrosses of the National Trust –
Our city here, ravished by this fair sound
Of tweeted pibroch, YouTubed from the Shard
To Wapping, Westminster, and Heathrow’s tarmac,
While gazing up from bingo and Big Macs,
Brooding upon our disunited kingdom,
Stands all agog to hear Dame Scotia speak.
Scotia descends, ex machina helecopteris
SCOTIA: O England, England, your tight cabinet’s
Sly Oxbridge public-schoolboy millionaires
Fight while your country sinks beneath their yoke;
It weeps, it bleeds; and each new day a gash
Is added to those wounds: new Europhiles
Repulsed, the world repelled; England whose riots
Failed to stop students’ fees for your own folk
Or to contain their escalating cost.
Sad, catastrophic, calculating drones
Miscalculating loans, kicking the arts,
England betrayed by Scoto-Anglish Blair
Into wrong wars and then to Gordon Brown,
Jowled lord of loss and light-touch regulation.
O England, England! Rise and be a nation
United under your own Parliament!
Methinks I am a prophet now inspired
And thus, inspiring, do foretell of you:
Your Europhobia must not endure,
For violent fires must soon burn out themselves;
Small showers last long, but sudden storms are short.
Learn from the Scots: plant windfarms, make yourself
A Saudi Arabia of tidal power,
Though not of gender; learn, too, from the French,
There is no need to stay a sceptred isle,
Scuffed other Eden, demi-paradise;
No fortress, built by UKIP for themselves,
Against infection in their Brussels wars;
Be happy as a nation on an island
That’s not England’s alone, a little world,
This precious stone set in a silver sea,
Which serves to link it now with all the globe,
Or as the front door to a happy home,
Be, still, the envy of less happier lands,
And set up soon an English Parliament,
Maybe in London, Britain’s other eye,
Maybe in Yorkshire, so you may become
A better friend to Scotland whose folk love
This blessed plot, this earth, and independence.
She zooms northwards.
Heading image: Macbeth by John Martin (1789–1854). Scottish National Gallery. Public domain via Wikimedia Commons.
#WhyIStayed and #WhyILeft are great steps toward an improved public response to domestic violence. There are many, many risks and obstacles that make “Why didn’t she just leave?” at best an ignorant question and at worst the beginning of a victim-blaming spiral that can be as traumatizing as the violence.
Sympathy is a good start and it is truly amazing to see the media and the general public open their eyes to some of the challenges women face when their relationships turn violent. However, there are still many other stereotypes and old ways of thinking that are getting repeated even today. Here are a few items on my wishlist for beyond #WhyIStayed:
(1) Starting asking what is going on with the perpetrators. Batterers create domestic violence and yet we still turn to the victims of domestic violence and ask what they can or should do. Where are the batterers? Where are the men? When a burglar breaks into a house, we do not spend all of our time trying to understand the homeowner. We do not expect an explanation about why they decided to stay in their home or need an analysis of why they purchased that flat-screen TV. We try to catch the burglar and understand that the victims are just going about their lives, trying to get their needs met like the rest of us.
(2) Do not stereotype anyone or any institution. In the last several days there have particularly been numerous negative comments about churches and other religious organizations. Yes, some religious leaders send bad, blaming messages about domestic violence and encourage victims to stay for the sake of the marriage. However, many religious leaders and religious institutions are important parts of the solution to domestic violence in many communities. Many religious leaders stand by victims with years of support, both tangible and intangible, often long after social service benefits are tapped out. We know that many family members sometimes pressure victims to stay too, but we do not start describing families in a negative light. Do not assume that every religious organization is part of the problem.
(3) Awareness is not enough. We need to follow up with better services. The first and most obvious step is to do a better job with safety planning and risk assessment. Risk assessment needs to include all of the reasons people have shared with #WhyIStayed. The Victim Inventory of Goals, Options, and Risks, called The VIGOR, offers a big-picture, holistic approach for risk assessment. The VIGOR allows victims to report all of the risks and obstacles they might be facing, including not only the violence to them, but also threats to loved ones, housing needs, financial needs, legal needs, and issues related to the rejection by family or community members. The VIGOR is also unique in that it asks victims to describe their strengths and resources and helps them brainstorm about their options.
Research with the VIGOR backs up this newly empowered view of victims of domestic violence. The women who participated came up with over 150 different coping strategies for domestic violence. This is far more than any existing safety plan. This can also be the legacy of #WhyIStayed—more comprehensive safety planning that recognizes the complexities and also the many strengths of battered women.
Headline image credit: Blue door by Ana_J. CC0 Public Domain via Pixabay.
World Water Monitoring Day is an annual celebration reaching out to the global community to build awareness and increase involvement in the protection of water resources around the world. The hope is that individuals will feel motivated and empowered to investigate basic water monitoring in their local area. Championed by the Water Environment Federation, a broader challenge has arisen out of the awareness day, celebrated on September 18th each year. Simple water testing kits are available, and individuals are encouraged to go out and test the quality of local waterways.
Water monitoring can refer to anything from the suitability for drinking from a particular water source, to taking more responsibility for our own consumption of water as an energy source, to the technology needed for alternative energies. Discover more about water issues from around the world using the map below.
Image credit: Ocean beach at low tide against the sun, by Brocken Inaglory. CC-BY-3.0 via Wikimedia Commons.
The National Book Foundation has revealed its Longlist for the 2014 National Book Award for Poetry for the National Book Award (NBA).
Below, we’ve collected free samples of all the books on the longlist for your reading pleasure. The finalists will be announced on October 15. Here’s more from the release:
The Longlisted books range in style and content: from a single elegiac narrative poem to a provocative examination of race relations told in an experimental fusion of lyric, prose poems, and image. Among the poets on this year’s Longlist are two former National Book Award Finalists, two former Poets Laureate of the United States, a Pulitzer Prize winner, two Bollingen recipients, a Los Angeles Times Book Award winner, and a Whiting Writers’ Award winner.
A Couple (or More) of My Favorite Things: A Highly Persuasive Article by Maggie B.
I love reading. I also love drawing. This makes graphic novels a combination of two favorites of mine. They are books, but the artwork within ensures that by reading any graphic novel, you are seeing the exact story an author imagined. Every character and event (fictional or otherwise) is portrayed in a way the graphic novelist wanted to show it to you.
Furthermore, art and words cannot always represent everything their creator wants them to. As a duo, however, they are unstoppable! One can give the general idea while the other elaborates, or both words and pictures can work together to become something they couldn’t be on their own, working in tandem to give an idea as well as the meaning behind it.
Most importantly, reading a graphic novel is lots of fun! I can be a reader and a viewer, given a window into someone’s mind. Graphic novels are different from any other type of book because there is a perfect graphic novel for everyone. There are graphic novel biographies, fantasies, romances, science fiction stories, and almost anything else you could think of. There may even be a graphic novel adaptation of your favorite book!
The click of the pistol’s hammer wakes you. A velvety voice lilts out of your vision, “Give me a good one liner and I just may let you live.” You can see two of your friends hiding outside the door, signaling to you that they are working on saving you. What do you tell the nice lady? Write this scene.
. The post below is refreshed and reprised from September 2013...the book giveaway of Barbara's picture book (about a slice of Golda Meir's childhood--and what an amazing leader she was even then) is NEW and ends September 26, 2014. Howdy, Campers!
It's not Saint Patrick's Day, but we're lucky, lucky, lucky to open our doors and welcome Guest TeachingAuthorBarbara Krasner, who I interviewed last Friday, and who offers us her NEW picture book, Goldie Takes a Stand! A Tale of Young Golda Meir, to give away and a dynamite Wednesday Writing Workout for the New Year.
Feeling lucky? Enter our latest book giveaway! Details on this post.
...and here'sthe Writing Workout she's cooked up for us:
Rosh Hashanah, the Jewish New Year, comes early this year and I’m glad. It gives me the opportunity to reflect on the past year and think about the coming year even before the leaves fall. I’m giving you a Rosh Hashanah challenge in three parts. Part One: Rosh Hashanah, literally translated as head of the year, is a perfect time to think about the beginning of your manuscript. How many times do we hear that if we can’t grab the agent/editor/reader within just a few seconds, he or she will just move on to something else? Ask yourself the following questions: • Do you have a compelling title? • Does your first line grab the reader? (My all-time favorites are from M.T. Anderson, “The woods were silent except for the screaming,” and from Kate DiCamillo, “My name is Opal Buloni, and last summer my daddy, the preacher, sent me to the store for a box of macaroni-and-cheese, some white rice, and two tomatoes and I came back with a dog.”) • Have you presented the main character on the first page? • Have you presented the problem within the first page, the first chapter? These questions apply to fiction and nonfiction alike. What are YOUR first lines?
My question to you: What writing sins will you cast off this year?
When I think about this for myself, I think about: • I will cast off my lack of organization – I will organize all those papers into folders with easy-to-read tabs and file the folders • I will cast off watching reality TV (TCM movies only) – I need more time to write • I will cast off working on a gazillion projects at once – I will focus on one genre at a time, and right now, that’s poetry, and okay, picture books • I will cast off reading several books at once – I commit to reading a book fully before moving on to another. You get the idea. What will you cast off?
Part Three: Here’s a prompt you can write to: Recall a Rosh Hashanah (or New Year) scene from your childhood and write about it. Who was there? Where were you? What action and dialogue took place?
Thank you so much for your three-part Rosh Hashanah writing challenge, Barbara, and for mentioning my book (blush)... shana tovah!
I admit that this book put me in a bit of a spin, when I'd finished it. I had no idea how to talk about it. Magical realism? Historical fiction? Problem novel? The line between what was, and what wasn't was... a little shaky. The pacing was very... Read the rest of this post
Hadrian’s Wall has been in the news again recently for all the wrong reasons. Occasional wits have pondered on its significance in the Scottish Referendum, neglecting the fact that it has never marked the Anglo-Scottish border, and was certainly not constructed to keep the Scots out. Others have mistakenly insinuated that it is closed for business, following the widely reported demise of the Hadrian’s Wall Trust. And then of course there is the Game of Thrones angle, best-selling writer George R R Martin has spoken of the Wall as an inspiration for the great wall of ice that features in his books.
Media coverage of both Hadrian’s Wall Trust’s demise and Game of Thrones’ rise has sometimes played upon and propagated the notion that the Hadrian’s Wall was manned by shivering Italian legionaries guarding the fringes civilisation – irrespective of the fact that the empire actually trusted the security of the frontier to its non-citizen soldiers, the auxilia rather than to its legionaries. The tendency to overemphasise the Italian aspect reflects confusion about what the Roman Empire and its British frontier was about. But Martin, who made no claims to be speaking as a historian when he spoke of how he took the idea of legionaries from Italy, North Africa, and Greece guarding the Wall as a source of inspiration, did at least get one thing right about the Romano-British frontier.
There were indeed Africans on the Wall during the Roman period. In fact, at times there were probably more North Africans than Italians and Greeks. While all these groups were outnumbered by north-west Europeans, who tend to get discussed more often, the North African community was substantial, and its stories warrant telling.
Perhaps the most remarkable tale to survive is an episode in the Historia Augusta (Life of Severus 22) concerning the inspection of the Wall by the emperor Septimius Severus. The emperor, who was himself born in Libya, was confronted by a black soldier, part of the Wall garrison and a noted practical joker. According to the account the notoriously superstitious emperor saw in the soldier’s black skin and his brandishing of a wreath of Cyprus branches, an omen of death. And his mood was not further improved when the soldier shouted the macabre double entendre iam deus esto victor (now victor/conqueror, become a god). For of course properly speaking a Roman emperor should first die before being divinized. The late Nigerian classicist, Lloyd Thompson, made a powerful point about this intriguing passage in his seminal work Romans and Blacks, ‘the whole anecdote attributes to this man a disposition to make fun of the superstitious beliefs about black strangers’. In fact we might go further, and note just how much cultural knowledge and confidence this frontier soldier needed to play the joke – he needed to be aware of Roman funerary practices, superstitions, and the indeed the practice of emperor worship itself.
Why is this illuminating episode not better known? Perhaps it is because there is something deeply uncomfortable about what could be termed Britain’s first ‘racist joke’, or perhaps the problem lies with the source itself, the notoriously unreliable Historia Augusta. And yet as a properly forensic reading of this part of the text by Professor Tony Birley has shown, the detail included around the encounter is utterly credible, and we can identify places alluded to in it at the western end of the Wall. So it is quite reasonable to believe that this encounter took place.
Not only this, but according to the restoration of the text preferred by Birley and myself, there is a reference to a third African in this passage. The restoration post Maurum apud vallum missum in Britannia indicates that this episode took place after Severus has granted discharge to a soldier of the Mauri (the term from which ‘Moors’ derives). And has Birley has noted, we know that there was a unit of Moors stationed at Burgh-by-Sands on the Solway at this time.
Sadly, Burgh is one of the least explored forts on Hadrian’s Wall, but some sense of what may one day await an extensive campaign of excavation there comes from Transylvania in Romania, where investigations at the home of another Moorish regiment of the Roman army have revealed a temple dedicated to the gods of their homelands. Perhaps too, evidence of different North African legacies would emerge. The late Vivian Swann, a leading expert in the pottery of the Wall has presented an attractive case that the appearance of new forms of ceramics indicates the introduction of North African cuisine in northern Britain in the second and third centuries AD.
What is clear is that the Mauri of Burgh-by-Sands were not the only North Africans on the Wall. We have an African legionary’s tombstone from Birdoswald, and from the East Coast the glorious funerary stela set up to commemorate Victor, a freedman (former slave) by his former master, a trooper in a Spanish cavalry regiment. Victor’s monument now stands on display in Arbeia Museum at South Shields next to the fine, and rather better known, memorial to the Catuvellunian Regina, freedwoman and wife of Barates from Palmyra in Syria. Together these individuals, and the many other ethnic groups commemorated on the Wall, remind us of just how cosmopolitan the people of Roman frontier society were, and of how a society that stretched from the Solway and the Tyne to the Euphrates was held together.
Scholastic has published a free eBook entitled Open a World of Possible: Real Stories About the Joy and Power of Reading to celebrate the launch of its new literacy initiative.
This anthology contains over 100 stories and essays written by literacy experts and authors. The dedication in this book honors the lateWalter Dean Myers and features his quote: “Once I began to read, I began to exist.”
Some of the contributors include bestselling author James Patterson, former National Ambassador of Young People’s Literature Jon Scieska, and education expert Karen L. Mapp. Follow this link to download the digital book.
Say you’re a new freelance writer. (Sound familiar?) You ask someone with more experience whether you should start a blog to help attract clients and let you use blog posts as clips.
Chances are, the other writer will tell you it’s absolutely, totally imperative that you have a blog. I even heard one freelance writer tell a poor newbie, “You only have a website? But that’s so STATIC!”
I’m here to tell you that if you’re asking whether you should start a blog, the answer is No.
And if you’re wondering what topic to start you blog on, the answer is that you shouldn’t.
If you start a blog, it need to be because you already have something you really, really want to say. Something you’re so passionate about that you can’t hold it back. Something that you can envision yourself writing about regularly for the indefinite future.
For example, Diana and I have written over 1,000 posts since 2006! That’s the kind of commitment you need. If you don’t feel inclined to write 1,000 posts on a particular topic, a blog may not be right for you.
Blogs are not an easy clip. If you start a blog, you will need to keep it updated, because nothing looks sadder to prospective clients than a blog that hasn’t been updated in six months.
Also, you’ll need to promote your blog if you want to get comments — so you don’t feel like you’re just writing to yourself all the time. Blogs are meant to be read.
And…what happens when you start getting some real published clips and no longer need the blog? Will you just let it die? Will all that work be for nothing?
It’s way easier to just start pitching clients based on your experience — for example, if you have a foodservice background you would pitch businesses in that industry — or to do a free assignment or two just to get the samples.
And don’t forget that your (static!) website works as a clip. If you have some kick-ass copy on there, prospects will be able to see you can write.
There is the issue that fresh content will push your website up in the search engine results, and blogs are of course perfect for that. But you can get a similar effect by updating your portfolio as you garner new clips.
If you have plans to monetize your blog and a topic you’re passionate about, go for it. And if you want to offer blogging as one of your services, you’ll want to show prospects that you can do that. But if you feel you need to blog just for the clip — there are better, easier ways to do that. Ways that won’t have you on the hook for the rest of your working career.
How about you: Have you wrestled with whether to start a blog? How did it end up? Or did you start a blog for the clips and later felt burdened with it? Let us know in the Comments below!
Next week is Banned Books Week and to help you celebrate, the Associate of American Publishers has put together a list of ways to participate in the celebration of censored book titles. AAP members Hachette, HarperCollins, Macmillan, Penguin Random House, Scholastic and Simon & Schuster have each created a way to help readers engage in the event, whose goal it is to promote the freedom to read.
Hachette is calling readers to share how a banned book has impacted their lives on the HBG Facebook page. HarperCollins is supporting online discussion forums on Epic Reads which will encourage discussions around banned books. Macmillan has created a website dedicated to The Book of Three by Lloyd Alexander and Annie on My Mind by Nancy Garden, two previously banned books. Penguin Young Readers Group is encouraging readers to share selfies of themselves holding up a sign that reads, “I celebrate #BannedBooksWeek because …” and will give away prizes to participants. The publisher will also join in several #BannedBooksWeekTwitter chats during the week. (more…)
Judy Platt is celebrating her 35th anniversary at The Association of American Publishers. The organization honored Platt with a lunch in DC today. As Director, Free Expression Advocacy, Platt heads up the AAP’s Freedom to Read Committee and the AAP’s International Freedom to Publish Committee.
In her tenure with the group, Platt has led the AAP’s advocacy work against book censorship since before Banned Books Week started 32 years ago. She has been the AAP’s liaison with Banned Books Weeks since the movement began. During that time, Platt has seen book censorship movements evolve.
“I’d say that in my early years at AAP the majority of censorship was focused on sexually explicit materials, or ‘pornography’ and efforts were made to keep such materials away from adults as well as minors on the questionable assumption that access to such materials resulted in anti-social behavior,” she told GalleyCat via email. (more…)
What is it about the alphabet that gives artists the license to get weird? Historically, the alphabet book is one of the earliest American children’s book forms. You know. “In Adam’s fall, we sinned all.” That kind of thing. I’m certain someone has already written, or is in the process of writing, the full-blooded history of American abecedarian outings for the young, so I won’t delve into such matters to any great length.
Now every year we get some wacky alphabet titles in the mix. The usual art books. Coffee table picture books, if you will. I’m used to seeing one of them, two max, in a given year. So you’ll forgive me for being so surprised when I saw not one, not two, but a whopping FIVE esoteric picture books come out in 2014 to varying degrees of artsy fartsyness. They’re also rather hugely enjoyable in their own odd little ways.
With that in mind we’ll begin with the most accessible and work our way out from there.
Once Upon an Alphabet by Oliver Jeffers
You may have heard me mention this Jeffers title in my recent Newbery/Caldecott prediction list for the fall. The book creates one short story per letter of the alphabet, making it a devilishly clever creation. Definitely falls into the older kid category of picture bookdom, but I’d argue that the stories and art are so much fun that it won’t have a hard time maintaining a child’s attention.
Take Away the A by Michaël Escoffier, illustrated by Kris Di Giacomo
And you thought they couldn’t come up with an original concept for a picture book anymore? Ha! Check this puppy out. In it the book goes through the alphabet, taking away a single letter from each word so as to produce a new one. The text reads:
“Without the A
the BEAST is BEST.
Without the B
the BRIDE goes for a RIDE.
Without the C
the CHAIR has HAIR.”
Back me up on this when I say no one’s ever done this before. They haven’t, right? Just brilliant.
Work: An Occupational Alphabet by Kellen Hatanaka
Now we’re getting a little more design-y. The book is ostensibly a listing of different jobs by letter (though, as my husband pointed out, just try and make a living as an “explorer” or “mountaineer” these days). Hatanaka has this smooth digital style that’s easy on the eyes. I did actually attempt this one with my three-year-old, thinking (for some reason) that the lure of the jobs would hold her attention. It didn’t but that could just mean it’s for older children. Certainly there are a lot of visual gags in here that will appeal primarily to them.
Alphabetics: An Aesthetically Awesome Alliterated Alphabet Anthology
by Patrick and Traci Concepcion, ill. Dawid Ryski
And here we go. Your first clue that kids may or may not be the primary audience for this book? Well, it contains a zombie smoking a cigarette (recall the recent cigar brouhaha with The Scarecrow’s Wedding?), a “sultry seafaring sailor” by the name of Stella, and a “hellacious Harley hog”. On the other hand it had an entry on “Gus the gregarious giant with geek-chic glasses” which definitely appeals to the Portlandia in me. This is sort of an Urban Outfitters alphabet book. Looks nice in a small studio apartment. Children need not necessarily apply.
Alphabetabum: An Album of Rare Photographs and Medium Verses by Chris Raschka and Vladimir Radunsky
Apparently these photos are from Radunsky’s personal collection with Raschka providing three line verses per letter. They primarily feature West European, white kids and Kirkus was down on the book because it found it too snarky. Not a problem I particularly had, though again I question whether or not an actual child would want to have anything to do with this book. Rather, I would hand this to teen fans of Edward Gorey that buy old photos in antique stores for fun (which is to say, myself circa age 15).
Any others I may have missed that are in the same vein? Surely there’s another one out there sporting a 2014 publication date. Surely.
Chris Cander happened upon a children’s story by way of her real life as a mom of two kids.
Below, Emma Kate Tsai interviews Chris about how she conceptualized The Word Burglar, illustrated by Katherine Tramonte (Bright Sky, 2013) and her perspective on children’s literature as a writer who’s also a mother of two. Can you tell the story of how The Word Burglar came to be?
My daughter, who is now eleven, was going to camp for the first time when I wrote it.
At the time, I would tell her a story that I made up on the fly every night. When she went away to camp, it was the first time she wasn’t going to have a story at night. But the camp allowed me to email a letter by 10 a.m. that they would then print and, by bedtime, give to her.
So I would get up and give myself forty-five minutes to write a story. I’d drink coffee while I was doing it and try to keep the baby occupied, then I’d email it.
I really didn’t know if she was liking them, but I started posting them on Facebook every morning. They amassed a bit of a following. People were downloading them and reading them to their kids.
There was some urgency behind it because I only gave myself forty-five minutes. That was how the story made its way to Bright Sky, because a good friend of mine had just published The Storm Wrangler (2011), and he introduced me to the publisher after seeing my stories on Facebook.
Did it come out of your head like that--that forty-five minute exercise—or did you go back and fine-tune after it became popular?
It was the forty-five minute draft. I’d wake up, and I would grab anything I could think of.
My son was trying to learn how to read.
Now, of course, he didn’t have fourteen brothers and sisters like The Word Burglar, or parents who didn’t know how to teach him. But I immediately thought: Sasha’s gone, he doesn’t have his role model here—she and he would read together in bed—and then it happened.
That was the kernel of the idea and, believe it or not, it’s freeing to have a constraint of time. I wasn’t trying to write for publication. I was trying to write for my eight year old, so she’d have a bedtime story. That internal voice that gets really critical and tells you to over-analyze? It wasn’t there because I had forty-five minutes.
It’s such a great technique if you haven’t tried it. Give yourself either a time constraint or give yourself permission to write the very worst thing that you’ve ever written.
There’s something very liberating about having permission to fail, having permission to do garbage work, because you might actually find something wonderful comes out.
That gatekeeper, that critic, has been turned away.
You used your own illustrator, is that right?
Was it difficult to convince the publisher to use own illustrator?
My illustrator, who is a very good friend of mine, will say that I strong-armed them, and I kind of did. I had two illustrators in mind, one who did the cover of a novel I author-published this year, 11 Stories. He was one of my top two choices, and he was a friend, too. We went to middle school together.
But his agent said he didn’t have time to do it. Kat is a good friend, and our kids are friends, so when I got the contract from Bright Sky, my contact there asked, “Do you have any kind of illustration style in mind?”
I said, “I’d just really like you to meet my friend.”
Kat had never done any children’s books before. So it was a risk on everybody’s part, but she had great samples and great enthusiasm.
Plus, it was a great story because of the fact that we’d been friends and our kids were the same ages, and so we were able to build the kids into the book. Mine were characters and hers became represented in it: Her son was the model for The Word Burglar, and her daughter’s bunny, Hop, is represented in the bunny on every page.
The publisher got excited about that story aspect. It’s a selling point when we’ve gone to festivals. We go as a pair, and people enjoy hearing the back-story of how we work together.
Most of the time, at the point of the contract being signed, the author has almost no input into the rest of the process, and yet I was able to chat with Kat at five in the morning about sample illustrations. “Do you like this direction?” she’d ask. That part of it was great. I’m glad they gave her a chance.
Could you share with us the story behind your blurb?