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In conjunction with Support Teen Literature Day, top young adult authors, editors, teen lit advocates, and readers will “Rock the Drop” by leaving their books in public places for new readers to discover and enjoy.
In recognition of the readergirlz’s seventh birthday of promoting literacy and a love of reading among young women, our fans and followers are also encouraged to donate YA books (or time, or even monetary contributions) to seven very worthy literacy philanthropies.
For this year’s Drop, we are also teaming up with Justine Magazine and I Heart Daily to help spread the world and build enthusiasm for this always-enjoyable kick off to spring reading season!
A nationwide effort of authors, publishers, librarians, educators, and readers
In its sixth year, Rock the Drop is part of a massive effort by librarians, young adult authors, educators, publishers, and avid readers to spur reading on a nationwide scale. The day aims to encourage teens to read for the fun of it.
In its sixth year, Support Teen Literature Day is April 17, 2014, and will be celebrated in conjunction with ALA’s National Library Week. Librarians across the country are encouraged to participate in Support Teen Literature Day by hosting events in their libraries. The celebration raises awareness that young adult literature is a vibrant, growing genre with much to offer today’s teens. Support Teen Literature Day also seeks to showcase award-winning authors and books in the genre, as well as highlight librarians’ expertise in connecting teens with books and other reading materials.
readergirlz is a literacy and social media project for teens, awarded the National Book Award for Innovations in Reading. The rgz blog serves as a depot for news and YA reviews from industry professionals and teens. As volunteers return full force to their own YA writing, the organization continues to hold one initiative a year to impact teen literacy.
"Debut character Kayla — level-headed, religious, but also quietly proud of her shifter nature — holds her own, nicely complementing Yoshi’s swagger, Wild Card shifter Clyde’s newfound confidence, and human Aimee’s resourcefulness. Witty banter peppered with pop-culture references keeps the tone light even as the stakes ramp up."
What a simple, true, and startling piece of advice. The idea that comparison is a thief, and it can steal your joy, take away your happiness.
My mother had a more delicate, loving way of putting it: "Appreciate what you have, Little Miss Smarty Pants."
This, in fact, seems to be my life lesson. I wish I could have told it to my younger self.
In this photo of me at five years old, I must have received a gift (what are those? pants? pajamas?) and so did my friend. I'm the one closer to the door. A picture is worth a thousand words, right? There I was, caught in the moment, looking at what she got, not what I got. Comparing.
And as you can see, I'm not smiling.
In high school, I compared my unruly, crazy curly hair to girls with seemingly carefree, straight locks (oh, their swinging ponytails!). In my early twenties, as I struggled to find a job, I compared myself to friends whose careers were taking off.
And later on, when I went after my dream of writing a book, I compared myself to authors who secured an agent and got published easily and quickly, while I stumbled and made endless mistakes.
Let's not even talk about those early query letters. Or those early manuscripts.
Don't get me wrong. I've had many happy, non-comparing moments. And I'm sure that comparison is somewhat human nature. Heck, I bet even cave women compared their hauls when they gathered herbs and berries.
But since authors live (and write) in a world of superlatives, comparison is all too easy to fall prey to. Scroll through your Facebook news feed or your Twitter timeline or the latest Publishers Weekly. It's all there for us comparison-junkies.
Six-figure deal! Auction! Trilogy sold in 44 countries. Starred reviews. Best-seller. Award-winning, must-read, most unbelievable book ever to be published in the history of time; plus it's being made into a movie! OMG!
While I readily and happily applaud my fellow authors' successes, I know I'm not the only writer out there who sometimes feels daunted. And intimidated. And like maybe it's a better idea to spend the day under the covers.
But then I look up.
COMPARISON IS THE THIEF OF JOY.
I have another quote taped next to that one: "I wish that I had duck feet."
That's the title of a favorite book I had when I was little, an early reader by Theo. LeSieg. It's the humorous and insightful story of a young boy who wishes he had various animal parts, like duck feet, a whale spout, and an elephant trunk. But as he imagines the pros and cons of life with these seemingly fun but ultimately troublesome additions, he decides that he's better off just being himself.
Good choice. That's probably my other life lesson. And perhaps, everyone's.
In Calli Be Gold, Calli, the youngest child in a super-achieving "golden" family, struggles with the fact that she's a regular kid and isn't talented at sports like her siblings. She finds out what she's good at when she bonds with an awkward second grade boy in a peer helper program at school. In her own quiet way, Calli stands up to her intense, overbearing dad and makes him understand that talent comes in many forms.
In The Summer I Saved the World...in 65 Days, the main character, Nina Ross, questions whether doing good really makes a difference. She gets inspired from her eighth-grade history teacher's parting words and spends a summer doing secret good deeds in her neighborhood and for her family, despite the fact that she knows her best friend won't understand. Nina is confused and somewhat insecure, unsure of her "group" and where she'll fit in to the overwhelming world of high school.
As the good deeds prompt events she wasn't expecting, Nina has to decide whether or not to stay true to her plan and herself.
Creating and getting to know the characters of Calli and Nina has taught me, as an author, to appreciate the satisfaction in small moments.
While glowing reviews and awards are certainly wonderful, I've come to realize that rewards arrive in many forms, and often the best are the most heartfelt, touching, and personal.
Perhaps it's connecting with a child at a school visit, like the boy who admitted he didn't want to read Calli Be Gold because there was a girl on the cover, but now it's one of his favorite books. Or the email I received from a girl who wrote that Calli "inspires me to be open and kind to everyone. She makes me want to be myself." And the boy who was too shy to come up and have me sign his book at a recent event, and sent his friend to my table instead. When I waved to the boy, his surprised, thankful, light-up-the-room smile was absolutely perfect.
It's these moments when I nod silently to myself and think: these are the real superlatives.
A fiery, action-packed installment in Mari Mancusi's heart-pounding Scorched trilogy Trinity, Connor, and Caleb are trying to stay under the radar, holed up in an abandoned West Texas farmhouse. Their only problem is Emmy: a baby dragon that's growing like crazy. When Emmy is caught on tape and the video goes viral, they find themselves on the run again. Their only hope comes from an old map leading to a man who has come from the future to help them. But with the government hot on their heels and Caleb's growing addiction to spending time in the Nether world, will they be able to reach him in time? And will keeping Emmy safe end up being too high a price for Trinity to pay?
See also Mari on Kids Don't Read Like They Used To (And That's a Good Thing). Peek: "These days, when a tween or teen finishes a book they enjoy, the first thing they do is Google the author or series title. They're looking for author websites with cool downloads, fan sites with forums they can chat on, videos on YouTube to watch, Facebook pages they can 'like,' and secret inside information about what's coming up next. In short, they're looking to become a part of the world in any way they can."
Love Every Word by Jeanne Kisacky from Writer Unboxed. Peek: "I am not thinking about word count, about cutting the work into a number of independently marketable parts, or about publishing rules/trends/standards. I am simply trying to make the work as long as it needs to be to tell the story. No more. No less."
I Am Not Accessible by Shannon Hale from Squeetus Blog. Peek: "A few years ago, I had a choice. I could 1. answer all my emails or 2. write more books. I chose books."
Q&A Simon & Schuster Editor Zareen Jaffery from Story and Chai. Peek: "Of the hundreds of submissions I receive, I only take on about ten new books each year, predominantly novels, and that number includes multiple works by the same writer or books by previously published writers. I signed two debut authors last year. (I edit about 20 original books a year.) What I’m getting at is that the competition to get published is fierce." Note: topics include the publication of books with Muslim characters and themes.
Writing Mental Illness: Stigma & Story by Erin E. Moulton from CBC Diversity. Peek: "I found that I had to cull from a variety of sources to make sure that I was creating an accurate, human and non-stereotypical portrayal of the Bipolar experience. I looked to both fiction and nonfiction for help on this subject."
Here's the Question of the Week (and from the major national media, no less): "Where the African-American Harry Potter or Mexican-American Katniss?" by Ashley Strickland from CNN. Note: I'm honored to be mentioned in such distinguished company. Peek: "Even though young adult literature is enjoying a golden age and authors are working to diversify their stories, lead characters of color or characters who are lesbian, gay, bisexual or transgender are still slow to appear in popular mainstream young adult fiction."
Skila Brown is the first-time author of Caminar (Candlewick, 2014). From the promotional copy:
Set in 1981 Guatemala, a lyrical debut novel tells the powerful tale of a boy who must decide what it means to be a man during a time of war.
Carlos knows that when the soldiers arrive with warnings about the Communist rebels, it is time to be a man and defend the village, keep everyone safe. But Mama tells him not yet — he’s still her quiet moonfaced boy.
The soldiers laugh at the villagers, and before they move on, a neighbor is found dangling from a tree, a sign on his neck: Communist.
Mama tells Carlos to run and hide, then try to find her. . . .
Numb and alone, he must join a band of guerillas as they trek to the top of the mountain where Carlos’s abuela lives. Will he be in time, and brave enough, to warn them about the soldiers? What will he do then?
A novel in verse inspired by actual events during Guatemala’s civil war, Caminar is the moving story of a boy who loses nearly everything before discovering who he really is.
When and where do you write? Why does that time and space work for you?
a mountain in Guatemala, much like the one Carlos must climb
I think I’m like a lot of people in that I write best without interruptions, with a beautiful view, a clear head, a well-rested and well-fed brain, in a comfortable chair, and whenever the muse visits me.
But if I waited for all that to happen, I’d never finish a book. I’d frankly never even start one.
Most writers wear a lot of different hats, juggling a lot of different lives, especially when we’re new writers.
The biggest hat I wear is Mom. I have three kids who are home with me all day, every day, as we’re a homeschooling family. So the answer to this question is: I write whenever I can. And sometimes when I really can’t.
I take advantage of the waiting moments, like music lessons and swim practice, and I hide over in the corner with my notebook or laptop, writing, instead of socializing with other parents or playing games on my phone. I write early in the morning and sometimes late at night. I write after lunch, when I force the kids into an hour of quiet. I stay home and write instead of attending all kinds of events like parties and concerts and whatever else goes on around me.
First draft, written out of order & by hand
I believe firmly that no one is going to give me time and space to write. I have to take it. I also believe I have to keep that in check and constantly remind myself that I’m more than just a writer. That I need to step away from the notepad or computer and turn that part of me off for periods of time.
What works best for me is a few hours a week that are carved out for writing, and anything else is a bonus.
But there are a lot more bonus opportunities out there than we realize. I think about my novels while I’m driving, in the shower, cooking, and falling asleep. I work out a lot of issues during this time that frees me up in my official writing hours.
I also write best by hand. My first drafts are better when I jot them out by hand. It takes longer and that’s a good thing. I’m more careful with my words.
I like to write with pencil, in a variety of notebooks, journals, even scrap pieces of paper. I write out of order, which is frustrating at times, but seems to work best for so I’m trying to embrace it.
Figuring out our writing process is so important, isn’t it? And it takes a few years to really see how and what brings out our best writing.
As a historical fiction writer, what drew you first--character, concept, or historical period? In whichever case, how did you go about building your world and integrating it into the story? What were the special challenges? Where did you turn for inspiration or support?
I was first drawn into the period of time and the events that were happening in Guatemala around this time. I’d been reading and learning about Guatemala’s history, and specifically the way the United States impacted that, and it was all troubling to say the least.
I read about villages that were massacred and how a few people, some children, would escape such an event and what their escape would be like. I started to imagine the story of a child who survives. What he must do, how he might feel, where he might go.
During the time that I was writing I continued doing research, reading a lot of journals and interview excerpts from people who lived in the middle of this violence. I watched documentaries. I sought out the help of friends who are a part of this culture. I felt challenged to make sure what I was saying was as authentic and accurate as it could be. I was very much aware of the fact that I was an outsider to this time and place, and that I had an important task to tell the story and to tell it right.
Shelley Tanaka, an editor, author and writing teacher, was inspirational to me in overcoming my angst about writing outside my culture.
She said to me that my worries about this would help me to be as diligent as I could to tell the story with respect and care.
I had the good fortune to be in a writing workshop in which Katherine Paterson was a guest speaker. Someone asked her, “You’ve written outside of your culture a lot. How do you come to terms with the fact that you’re an outsider, and that maybe you shouldn’t be writing about a culture that isn’t yours?”
Her answer was both humbling and reassuring because she made it clear that this is something she struggles with, too. I listened to her talk about this and realized the only hope for tackling this myself was to do it with humility. And that’s just what I’ve tried to do.
I recognize that it won’t be a perfect portrayal of what happened then and why. I see my own limitations as an outsider. But I also feel the story—the sadness and the hope—is an important one, and one that needs to be told.
At the end of the day, I hope I’ve done it in the most respectful manner I can.
Ever heard anyone say that? It’s a safe bet that you have if you’re a contemporary Native American. Or, as my friends in Canada put it, a member of a First Nation.
And those were the exact words that I heard this past Saturday. Standing in front of a group of fifty sixth and seventh graders at Henry Hudson Middle School (And no, I shall not go into a rant about its namesake right now) in the Bronx.
I’d just finished doing my presentation to that very polite audience. Great kids. The very fact that they were here spending a sunny Saturday morning in school spoke volumes about their motivation. I’d been introduced as an American Indian author.
And as I told a story and then talked a little about my two YA novels—Wolf Mark (Lee & Low, 2011) and Killer of Enemies (Lee & Low/Tu, 2013)--which had just been given to each of those young men and women, they’d listened attentively.
“So,” I said, “any questions?”
And that was when, in the second row, the young woman wearing a scarf had raised her hand and made that comment. “You don’t look like an Indian.”
Okay, time to explain--for anyone reading this who is not of aboriginal American ancestry—just why those six words went off in my brain like a shot from a starter’s pistol.
Native people have had to deal for decades with stereotyping. Thanks to mass media, it seems as if non-Native person from the 19th century to today has an idea of what a "real" Indian looks like.
It’s an image involving feathers, beads, tipis, bows and arrows, hunting buffalo on horseback, long black hair and a deeply tanned skin. Lacking those accouterments may result in one’s authenticity being questioned. Or lead to the question which frequently follows such an observation: “How much Indian blood do you have?”
(Alas, I had not brought along the dipstick I sometimes have thrust into my belt which enables me to respond to that latter query by pulling said dipstick out and saying “I seem to be down by a quart.”)
And the answer (despite her tanned face and long black hair), was usually “No.” Then she would reach into the trunk and pull out a necklace and put it on. “How about now?”
Following which she would extract more items of her regalia until she was finally clothed as a Native woman might be when going to a powwow, or enacting a past era. “And now?” she’d ask. And when the reply was “Yes, you look like an Indian,” she would ask them, “What was I before I was dressed this way?”
Any question, even one that seems to come from a place informed by misinformation, can provide a teachable moment.
So my reply to that young woman was careful and measured. I pointed out that Native Americans today often dress and look like other Americans of various ancestries. I talked about the cultural differences from one Native nation to another. I mentioned the fact that many of us are of mixed ancestry but are accepted by our tribal nations and identify ourselves first and foremost as members of that nation. Nationhood, in fact, is an important part of being Native, knowing our Native languages, practicing and honoring our cultures.
As I talked the image came to me of one of my favorite paintings. "Done" by Rick Hill, the Tuscarora artist and educator, I first saw it thirty years ago in the Akwesasne Cultural Center. It showed an Iroquois man from around the 17th century. Dressed in full regalia, his face was traditionally painted, his hair cut in the classic Mohawk roach. His yellow hair. The title was “The First Blonde-Haired Mohawk.”
“You can’t judge a person by their looks,” I said. “How a person appears on the outside doesn’t tell you what is in that person’s mind and heart.”
At that point one of the teachers sitting in the back chipped in. “People think I’m black,” she said. “But I belong to the Cherokee Nation. I’m listed with the tribe.”
Which led to a discussion of just how many African slaves who found their way to freedom in the American South were taken in by various Native nations, adopted, married in and lived out their lives as American Indians. Look at almost any African American whose ancestry on this continent goes back to the time of slavery and you’ll find there are American Indians in that person’s family tree. Strong roots woven together.
When I finished, that young woman had a smile on her face. Other eager hands were being raised. And I spent another half hour answering questions before moving on to signing everyone’s books. It was a great session. As I shook the hands of the students many of them asked if I’d be coming back again next year, including the young women who made that initial comment.
“I very much enjoyed all that you shared with us,” she said, adjusting her sari back over her shoulder as she spoke. “It was very interesting.”
Nice job, Bruchac. Well done. Right? Ah. . .
Rerun that comment. Consider the context. I was on the train halfway to Albany when it hit me like a dope slap.
A third of the young men and women in the class I’d just visited were typical of the demographic shift that is taking place in the American population. They were from South Asia. And that was why there was a mischievous twinkle in that young woman’s eye when she made that initial remark.
Dang you, Critoforo Colombo!
Yet another misunderstanding stemming from the Genoan navigator’s assumption that the girth of the earth was half its actual size. And that his first landfall in the Bahamas was the East Indies. What was then called India. And thus our many nations ended up being labeled as “Indians.”
That mistaken (some would say misbegotten) arrival of old Chris’s has caused a lot of confusion over the years. Which brings to mind a joke that I believe I first heard from Charlie Hill, the Oneida comedian. “It could have been worse. Columbus could have thought he’d arrived in Turkey.
Getting back to Henry Hudson Junior High and the remark that started this whole text. I really should have guessed the actual gist of her observation. After all, in the last decade I’d heard more and more often from Indian Americans, asking me what the deal was about indigenous Americans referring to themselves as Indians.
“Don’t you have any pride in your own culture?” a young man from Orissa asked me in an e-mail two years ago. The thing is, as I explained it to him, that the word “Indian” has been part of the common parlance for so long that it’s been accepted by Native Americans. “Indian” is written into the American Constitution and found in the language of all the treaties and the legal dealings with our various tribal nations.
And it is not just in the past. The most widely distributed Native American publication is called "Indian Country News." When the new museum reflecting the cultures or the indigenous peoples of the western hemisphere was created on the National Mall in Washington D.C. it was designated as the National Museum of the American Indian—a name chosen with the input of countless tribal advisers.
Should we prefer, nay, insist upon the term “Native American?” Consider the fact that it could (and once did) refer to anyone born in the United States. In fact there was a "Native American" movement a century ago or so that emphasized the legitimacy of "Native Americans" of white English and Northern European and demonized immigrants.
Plus, as with “American Indian,” the accepted etymology of “American” stems from the moniker of that other Italian dude, old Amerigo Vespucci. (The “feminized Latin version of his first name”—or so sayeth Wikipedia.)
(There are other theories, I must hasten to add. Such as that the name ‘Indian” came from an observation made by Columbus that the native people he encountered were living in such a state of blessedness that they were people who were In Deo, living “in God.” And that “America” stems from the supposedly native word—some say Carib—of Amerikkua, meaning something like “the Land of the Winds.” There used to be a publication named "AMERIKKUA".)
Canada, as I mentioned at the start, officially avoids both the “American Indian” and the “Native American” label. Our neighbors to the North go with First Nations, Aboriginal Nations, and so on. Though an awful lot of my First Nations friends seem comfortable with calling themselves Indian when they’re with a group of other Native people. (The name “Canada,” by the way, does come from a Native word. “Kenata” means “village” in one of the Iroquoian dialects of the St. Lawrence region.”)
What I usually suggest is to let folks tell you what they prefer in terms of the term that refers to their indigenous identity. Start first with one’s individual tribal nation before moving on to one of those blanket designations draped around the unwitting shoulders of all our nations. (Go back before going back to the blanket? Never mind.)
Anyhow, yet again, I have been reminded that there are there are so many ways one can be wrong about being right. And thus I must end this rambling discourse with the simple admission that insofar as resembling someone from the great subcontinent goes, my seventh grade friend was indeed correct when she said:
“You don’t look like an Indian.”
Joe originally published this essay to his facebook page. It is reproduced here with permission.
Embrace the Struggles of Writing by Elisa Ludwig from Adventures in YA Writing. Peek: "No one is ever going to come to me and say, 'Awesome. You did it. You can go home now.' Which means that as long as I stay with this, I’m going to have to wrestle with doubts."
10 Tips About Process by Brunonia Barry from Writer Unboxed. Peek: "As I work, I usually find that this initial, situational question leads to a deeper, more philosophical one, which becomes the theme of the novel. I don’t try to answer that deeper question."
What We Talk About When We Talk About Diversity in YA by Zoraida Córdova from Latin@s in Kidlit. Peek: "Let’s be friends. Reach out to someone who has a different experience as you. Read. I to this date have yet to read a YA about a teenage Ecuadorian girl. Not even a slice of life story about a girl who falls in love and there’s a nice cover of them at the beach, or lying down on a lawn. See also White with Envy by CBC Diversity and Diverse Poetry Novels from Rich in Color. Note: scroll for summaries.
Yes, Book Editors Edit by Barry Harbaugh from The New Yorker. Peek: "In a business as reliant on hope and potential as book publishing is—a business, in other words, reliant on the development of talent—the accumulation of exceptional anecdotes of perfect manuscripts does not tell the whole story."
My Take on John Green, the YA World and the New York Times Bestselling List from Laurie Halse Anderson. Peek: "He is not responsible for the sudden dudification of the NYT Bestseller list, nor is it his responsibility to somehow magically fix it. The social problems and pressures that have created this mess are much older and deeper than any one person can repair. However - we..."
On a related note, I'm pondering Keeping It Real by Soho Press editor Dan Ehrenhaft from CBC Diversity. Peek: "Yes! It’s true. Overseas, The Market welcomes realistic YA fiction, as well. There is one caveat: As long as that reality is pretty much confined to white people." Note: As someone who writes both realism and fantasy, I'm happy to see fantasy getting some love, but the fact that it's for certain heroes only does concern me.
The phrase ‘When Worlds Collide’ sounds dramatically epic – something that should come with its own background music. Maybe a YA dystopian. Or a tragically doomed romance. Or a tragically doomed romance in a YA dystopian.
But for my purposes, When Worlds Collide is the underpinning of character-driven humor.
Each sentence uttered by every person on this planet is a tiny Morse code flag signaling a complicated internal world that has been carefully built. Facts supporting the world are filed away, facts challenging the world are rationalized or discarded.
This is the nature of the beast, and the beast is us.
Humor writers create larger-than-life internal worlds and then crash them into each other.
Mangrove Bight House - where Lisa lived in the Caribbean.
I’m always surprised when somebody tells me they can’t write humor. I have heard this from some of the funniest people I know.
Mainly I’m surprised because it’s not true.
We all watch When Worlds Collide in our own lives every time we think something like:
When (person I know) did/said (bizarre thing), I couldn’t imagine what (person I know) was thinking.
You know you can fill in the blanks to that sentence.
As humor writers, we can imagine what (person I know) was thinking - we built the internal world that led to the thinking.
And because of that, we can construct future (bizarre thing) did/saids that will be consistent with the character’s internal world, while at the same time inconsistent with societal norms.
One of the most effective vehicles to collide worlds is dialogue in which it is clear that multiple characters are coming at a situation from entirely different directions.
No explaining, no describing, no setting up – just let the characters have at it.
In The Berenson Schemes first book, Jack the Castaway (Darby Creek, 2014), when Jack’s parents have done something particularly egregious in Jack’s eyes, they often conclude with something along the lines of, “Now don’t thank us, son. We were happy to do it.”
Place those larger-than-life internal worlds in a plot that lives in its own unique world by skewing or super-sizing a truth about the real world. The Berenson Schemes series idea occurred to me after I heard about “helicopter parents.”
I thought, what about a helicopter kid who is saddled with very un-helicoptery parents? They could lose him.
No, strike that. They could lose him in foreign countries.
No, strike that. They could lose him in the wilderness in foreign countries. There we go.
One last thing I should mention about preparing to collide some worlds - look fear of failure in the eye and make it blink first. If it doesn’t blink, hit it over the head with a mallet or kitchen appliance - whatever is handy.
Fear produces tepid and time-worn jokes. Fear causes writers to water down an original idea.
Readers can smell fear.
And anyway, there’s nothing to be afraid of. You would never be that (person other people know) that did/said (bizarre thing), that other people couldn’t imagine what (that person who may or may not be you) was thinking. Right? ‘Cause I’m pretty confident that I’m never that person.
Beach Roatan in front of Lisa's Caribbean's house.
Crystal Chan is the first-time author of Bird (Atheneum, 2014). From the promotional copy:
It’s only natural to have silence and secrets in your family when you’re born on the same day that your brother died. At least, that’s sure what it seems like for twelve-year old Jewel. Add to that the fact that you’re the only mixed-race family in your rural Iowan town, and well, life can get kind of lonely sometimes. But when a boy named John moves into her town, his courage and charisma immediately stand out and the two kids instantly click. John’s presence, however, has an unsettling effect on her family. As the thick layers of silence in her family begin to unravel, Jewel finds that her life is not as stable nor her family’s expectations as certain as she once thought. Suddenly, Jewel needs to choose whether to stay loyal to the person her family wants her to be or to claim her own identity, no matter the cost.
How did you approach the research process for your story? What resources did you turn to? What roadblocks did you run into? How did you overcome them? What was your greatest coup, and how did it inform your manuscript?
I needed to do tons of research for Bird. Jewel, the protagonist, is mixed race - Jamaican, Mexican, and white - and she wants to be a geologist when she grows up. Her sidekick, John, is a transracial adoptee (black adopted into a white family) and wants to be an astronaut when he grows up.
I'm mixed race (Chinese-White), but not Jewel's mix: I could speak to the mixed-race experience but needed to familiarize myself with the cultures she dealt with. I'm not an adoptee. And I'm awful at science. Clearly, a lot of work needed to be done.
I started off by learning as much as I could about Jamaica. I went onto Jamaican forums, news websites, and anything that gave me an "in" on Jamaican culture. I also picked up a college text on the various religions in Jamaica and paired that with online research.
The funny thing is, even though I live in Chicago and there are a lot of Jamaicans here, I didn't meet a lot of people who wanted to be interviewed. (I even called the Jamaican embassy in desperation!)
A friend of mine said he knew a lot of Haitians in the area; if I change her race, I'd have a big pool of interviewees. A generous offer, which I turned down - I just knew she was part Jamaican. I even went to a meetup group where I knew the leader was Jamaican-American and got my first interview by attending her meetup group.
It was hard. I did find one other person willing to be interviewed, and I had two Jamaican-Americans read the manuscript cover to cover to give their impressions. That made a big difference for me: I felt I could relax a little after that.
Being mixed race, I often find myself misrepresented, and I want to really make sure that what I create is the most respectful and authentic work I can make. No short cuts.
Dad from Hong Kong
Polish-American mom from Wisconsin
For the transracial adoptee part, I hopped onto a number of Korean adoptee blogs.
I was surprised at the level of anger I found among adoptees.
How did you go about identifying your editor? Did you meet him/her at a conference? Did you read an interview with him/her? Were you impressed by books he/she has edited?
I was invited to a private, full-manuscript critique at a writer's house: it was 10 or so of us, our manuscripts, and an editor, Namrata Tripathi, for a weekend. It was really cool, and we prepared/ate meals together, etc.
I was working on my second manuscript at the time but didn't have it finished, just 50 pages of a work in progress (WIP), but I submitted it anyway and hoped she liked it.
Well, a couple months later my agent and I were submitting my polished, fine-tuned manuscript (the original, not the WIP), and we decided to add Namrata to the submission list.
Crystal with Jia-You, also called Juanita
Well, imagine our surprise when she comes back and says: "Thanks, but no thanks - but I want to purchase that first 50 pages I read at that weekend some months ago - I can't stop thinking about it!"
So my agent and I had some pretty big conversations, decided to stop our submission with the first manuscript, and sold the partial as a debut.
I was a little scared - I mean, what if she doesn't like the ending? What if I choke?
Namrata was very clear that she didn't want to interfere with my writing process - unless something disastrous happened, she only wanted to see the manuscript. after the first full draft. Which she did.
And then she was with me for the subsequent drafts and through publication.
How I Got Into Publishing by Mark von Bargen from CBC Diversity. Note: Senior Director of Trade Sales for Children’s Books at Macmillan.
Building a Emotional Anticipation by Mary Kole from Kidlit.com. Peek: "In fiction, the emotional groundwork you’re building should lead to things that are a big deal. Plot points. Turning points. Shifts in relationship dynamics."
Mira Reisberg, Hummingbird Literary from The Whole Megillah. Peek: "I would love to find a hilarious Jewish writer who has really studied their craft and who writes non-religious, non-Holocaust related children’s books infused with Jewish culture and humor for a broad audience."
Is My Character "Black Enough"? Advice on Writing Cross-Culturally by Stacy Whitman from Lee and Low. Peek: "If your local writing group isn’t very diverse, you might need to branch out for beta readers who you can rely on to comment on that particular element of your story—perhaps through an online writing group, perhaps through the SCBWI."
Getting Quiet and Letting Go of Expectations by Alyssa Archer from Writers Helping Writers. Peek: "Consider developing a set of writing rituals that work much like your waking routine to propel you from the state of everyday being to that of creative master."
Faith in Writing Redux by Lindsey Lane from EMU's Debuts. Peek: "Faith is what gets me to sit down with the blank page. Faith gets me to leap with the smallest wing of an idea or character. Faith that what I have to say matters. Faith that the words will come. The story will come." See also Make the Music You Make by John Vorhaus from Writer Unboxed.
Revisions continue! I've finished my initial, deep character-plot sweep. Today, I'm going to write the author's note and work on an interview. This weekend, I'll reread to see if what I've done makes sense.
Lamar Giles is the first-time author of Fake ID (HarperCollins, 2014). From the promotional copy:
Nick Pearson is hiding in plain sight. In fact, his name isn't really Nick Pearson. He shouldn't tell you his real name, his real hometown, or why his family just moved to Stepton, Virginia.
And he definitely shouldn't tell you about his friend Eli Cruz and the major conspiracy Eli was uncovering when he died. About how Nick had to choose between solving Eli's murder with his hot sister, Reya, and "staying low-key" like the Program said to do. But he's going to tell you—unless he gets caught first....
In writing your story, did you ever find yourself concerned with how to best approach "edgy" behavior on the part of your characters? If so, what were your thoughts, and what did you conclude? Why do you think your decision was the right one?
I did have concerns. Fake ID is not the typical YA novel in a few ways.
First, the hero, Nick, is a 15-year-old African-American male. The percentage of YA books that feature an African-American male (or any person of color, male or female) as the main character is shockingly low. That alone presented an edge that I knew many publishers would shy away from.
Second, having the story be a contemporary murder mystery added another edge. Dealing with a modern, streetwise male in a town that is full of seedy figures, and trying to incorporate a noir sensibility into it all, meant themes of cynicism, violence, and for this story, sex.
All of these things can exist in the extreme in an adult novel, but in YA many folks have ideas of what you can’t do. So, it was tempting to pull punches.
However, I didn’t want to shy away from harsh language (used in moderation), or the flaws in Nick and his peers. There are plenty of books out there that soften language, or cut away from hard visuals, or give the hero an exaggerated sense of morality and social enlightenment. I’ve enjoyed many of those books, but I didn’t want Fake ID to be one of them.
There’s a reason why the first line in my book is, “This is how you get your ass kicked.” (A line that’s never changed over the course of five drafts) I wanted people to know what they were getting into. That way if a reader or a reader’s parent picked the book up, and took issue with the language in line 1, they could easily choose to go with something else without a lot of wasted time.
Now, was that decision the right one? Depends on how you’re judging. I have had a few readers reach out to me with concerns over the language, mainly the cursing, and some terms Nick uses that are considered sexist. I appreciate every single person who reads my work, so when I get emails about things like that I take them very seriously. It’s never my intent to demean or offend. But, I feel like I’ve been true to the character. The book’s told totally from Nick’s point of view. He’s a 15-year-old boy who uses language that feels realistic considering his culture, geography, and scene context. Unfortunately, that has the potential to draw ire.
But, I believe if you’re writing fiction with the goal of pleasing everyone who reads it, you’re writing bland fiction. Overall, the vast majority of readers have expressed appreciation for Fake ID. Even people who’ve taken issue with the language have pointed out things about the book and Nick’s character that they enjoyed. With that in mind, I think my decisions have been sound.
How have you approached the task of promoting your debut book? What online or real-space efforts are you making? Where did you get your ideas? To whom did you turn for support? Are you enjoying the process, or does it feel like a chore? What advice do you have on this front for your fellow debut authors and for those in the years to come?
I approached promotion with an eight-week plan (because I’d read somewhere that was the amount of time that was feasible to promote a book after its release…not sure how true that is, but it felt solid).
The planning for those eight post-release weeks started well before Fake ID debuted, with the heavy prep taking place about four months prior to release.
First, a budget. I set aside about $1,500.00 as a baseline for promotional costs.
A small portion of that involved printing costs (bookmarks, promotional giveaway items, wardrobe items for events) and larger chunks were dedicated to travel, and the rest for online advertising opportunities.
I got these ideas from other authors who’d published before me, trying to take note of what they felt was effective or ineffective.
I’ve been using Facebook’s advertising features a lot. I don’t know many authors who’ve used those tools (not to say authors aren’t doing it...I’m just not familiar with many who are). I like the idea of running short, low budget campaigns to increase awareness around what I’m doing. I have no clue how that’s translating to sales, but I’ve been to several events where people have shown up because they’ve seen the facebook ads, so I know it’s doing something.
Anyhow, during my eight weeks, I’ve pretty much had signings, conferences, or some other form of public interaction happening every weekend, which is about the only time I can do book events due to still having a day job. I’ve yet to have a poor turnout at any events, which is a plus.
As anyone who’s involved in publishing can attest, it’s a bit of a mystery just how well your book’s selling until you see a royalty statement, so seeing enthusiastic people when you go places helps subdue some of the “am I doing okay?” anxiety.
Lamar's work space
I’m enjoying doing promotional things, and I have several events scheduled beyond the end of my initial eight-week plan, but it can be fairly exhausting.
I attribute this to the fact that I do have a day job, so juggling that and my writing career has resulted in about four solid months of working seven days a week.
If I had any advice to give to anyone debuting in the near future, it’s that you should schedule some downtime. Build in a weekend (or two, or three) where you can completely step away from publishing duties.
Maintain your mental and physical health above all else. We all want successful careers, but we should also want to be around long enough to enjoy those careers.
No one is going to take better care of you than you.
For the celebration, the Barn was converted to the "Shimmy Shack." Jeff hosted a 1950's rockabilly costume contest (with art as the prize), and refreshments included musical mini cupcakes, moon pies, and floats!
Authors, illustrators & book event planners: this launch was a huge win with fans of all ages, a hit with the creative community, gatekeepers and families.
Take a look at how reading, art, music, and yes, livestock came together to make it such a success!
How I Got Into Publishing by Simon & Schuster Editor Zareen Jaffery from CBC Diversity. Peek: "What people don’t tell you about publishing is that more than half your job requires being social—this is an industry based on relationships. Those 'connections' I had been afraid of before I started my career were more about having people vouch for your work ethic than about nepotism."
Seasonal Writing Disorder by Lydia Sharp from Writer Unboxed. Peek: "I am a victim of the earth’s annual weather cycle in the region that I live. It’s called seasonal affective disorder, and it pretty much rules my writing process. Does this mean I am not a professional writer? No. It means I have a mental circumstance to work around."
Beyond Magenta: Transgender Teens Speak Out: An Interview with Susan Kuklin by E.M. Kokie from The Pirate Tree: Social Justice and Children's Literature. Peek: "...she’d tell her client about the book and about me. If they were interested, she gave them my contact information. From that point on the relationship was between the teenager and me. Everyone who called was included in the book. No one was rejected. This process – from the first queries to the first participant’s phone call – took close to a year." See also part two.
Conflict Resolution: Upside Down by Eileen Cook from Adventures in YA Publishing. Peek: "Common feedback from editors or agents is that the story is missing enough conflict. So how do you increase it? The same techniques I use for counseling can be used in fiction, only instead of reducing conflict, they can provide a springboard to take your conflict to the next level."
2014 Spur Awards
From the Western Writers of America: "given for works whose inspiration, image, and literary excellence best represent the reality and spirit of the American West."
My revision of Feral Pride (Book 3 in the Feral series) continues! It's going well, but time is short and I have events coming up. Though mid April or so, I will be re-posting some of the best articles from Cynsations' past, along with roundups and breaking news.
The SCBWI-OK Conference will be March 29 in Oklahoma City. Speakers are: Liza Kaplan, Editor, Philomel; Melissa Manlove, Editor, Chronicle; Andrew Harwell, Editor, HarperCollins; Colleen AF Venerable, Design Editor, First Second and author of Guinea PI series; Kristin Miller-Vincent, Agent, D4EO Literary Agency; Tricia Lawrence, Agent, Erin Murphy Literary. See more information and registration.
Lionel and Anisa are the best of friends and have seen each other through some pretty tough times--Anisa's dad died and Lionel's dad left, which is like a death for Lionel. They stick together no matter what.
So when Lionel suggests a detour through a local construction site on their way home, Anisa doesn't say no. And that's where Lionel and Anisa make a startling discovery--a baby abandoned in a port-o-potty. Anisa and Lionel spring into action. And in saving Baby Doe, they end up saving so much more. Danette Vigilante crafts an accessible, heartfelt and much needed story for the middle grade market featuring Latino characters.
We were all working on different stories in different genres, and so we planned a working retreat, not one where we would meet often to learn from a speaker, but one that would allow us the time we needed to dive deep into our stories and come up for air when we needed it.
As it turned out, we usually came up for air about 4 p.m. every day, meeting together to share not only what we had written, but also a few tears and a lot of laughter.
The time we spent alone writing and the time we spent together encouraging one another was important for the stories we were working on at the time and to prepare us for the stories we would work on after our retreat at Boyds Mills. It was so important for us that we want to provide the same opportunity for another writer. The Highlights Foundation is offering Unworkshops during various dates throughout 2014. Consider it time to get away and write what your heart most wants to work on. We can't work it out for any of us to go back right now, so we're sending one of you!
If you are a sincere and dedicated writer who could use this focused time, our retreat group is offering a five-night's stay at a Highlights Foundation Unworkshop, daily writing prompts/encouragement from the members of our retreat group (picture book, nonfiction, middle grade and young adult authors) for the length of your workshop and hopefully even a Skype gab session with one or more of us during your Unworkshop (depending on dates and availability.)
Highlights Foundation cabin
(You would be responsible for your own transportation to Boyds Mills.)
To qualify for consideration for this prize, send a statement by March 31 (to email@example.com) explaining why this retreat could be important to you as a writer/illustrator of children's literature. Share a little about the project you would plan to work on during the retreat and your experience writing or illustrating for children. We'll consider all entries and announce the recipient on April 15.
For the teens at The Haven, the outside world, just beyond the towering stone wall that surrounds the premises, is a dangerous unknown. It has always been this way, ever since the hospital was established in the year 2020.
But The Haven is more than just a hospital; it is their home. It is all they know. Everything is strictly monitored: education, exercise, food, and rest. The rules must be followed to keep the children healthy, to help control the Disease that has cast them as Terminals, the Disease that claims limbs and lungs—and memories. But Shiloh is different; she remembers everything. Gideon is different, too. He dreams of a cure, of rebellion against the status quo. What if everything they’ve been told is a lie? What if The Haven is not the safe place it claims to be? And what will happen if Shiloh starts asking dangerous questions? Powerful and emotional, The Haven takes us inside a treacherous world in which nothing is as it seems.
More News & Giveaways
How to Write YA by Seth Fishman from Publishers Weekly. Peek: "...how do adult writers, so far away from the source, successfully manage to create believable teen characters? ...I’ve written a couple YA novels now and have a few handy hints for those aspiring writers who want to give it a go."
Five Agents Share What Makes Them Stop Reading Sample Pages from Adventures in YA Publishing. Peek from Suzie Townsend: "This might sound harsh, but I stop reading when I'm not hooked. Which means: I read the first line. If I'm interested, I read the second line. If I'm still interested, I read the third line, and so on."
Ten Positive-Aging Picture Books for Pre-schoolers by Lindsey McDivitt from A is for Aging, B is for Books. Peek: "...internalizing positive images of getting older is more strongly linked to longevity than a low-fat diet or daily exercise, especially when we begin in childhood."
Giving Up Our Stories from Marion Dane Bauer. Peek: "My best stories aren’t the ones that give answers, the ones that support my most passionately held certainties. They are the stories that ask the hardest, most-difficult-to-entertain questions."
Do Great Work and the Rest Will Follow by Shadra Strickland from The Horn Book. Peek: "...interviewers would ask questions like, 'Why do you only paint black people?' To which I would reply: My choice of characters isn’t what defines my style; it’s how I paint them and the world around them. Would you ask a white male artist why he doesn’t paint black people?"
Surviving the Cancelled Contract by Nicole Maggi from The Writing Barn. Peek: "...I’d been asked to do endless (unnecessary) edits and my acquiring editor had left. I never felt like my new editor was on board. So it wasn’t a huge surprise to get that awful call from my agent. But it was devastating."
You Are Not Lazy from Elizabeth O. Dulemba. Peek: "They’ve said I'm not lazy...and I relish the declaration. But it’s only true when it comes to those things, because those are the things I care about. And for them, I will never have enough time and never put in enough effort. Whereas for somebody else, it might be drudgery."
How Manuscript Auctions Work by Deborah Halverson from DearEditor. Peek: "The agent contacts the chosen publishers, pitches the project, and explains the rules and timeline. It’s usually blind, with the editors knowing the number of houses involved but not the names."
Why Playing It Safe May Be the Most Dangerous Game of All by Emma D. Dryden from Dryden Books. Peek: "Where but in stories can we allow our youngest readers to not play it safe, to try new things, to explore, to roam, to make mistakes and make amends, to reach higher, deeper, and further than we ever thought possible? And where but in stories can we allow ourselves the very same?"
Connecting Science and Poetry by Sylvia Vardell from Poetry for Children. Peek:"Pairing science-themed nonfiction or informational books and poetry may seem to be an unlikely partnership at first, but these two different genres can complement one another by showing children how writers approach the same topic in very different and distinctive ways."
After the Call: a blog series from Caroline Richmond. Peek: "...chronicles what happens after you get an offer of representation from a literary agent. For instance, how do you choose between multiple offers? How do you communicate with your new agent? And what is the revision process like?"
Note: "The Golden Kite Awards and the Sid Fleischman Award for Humor will be presented to the winners at the Golden Kite Luncheon during the Society of Children's Book Authors & Illustrators’s Annual Conference on Writing and Illustrating for Children, taking place in Los Angeles, California. An Honor Book plaque is also awarded in each category."
Note: "This prestigious award is named for Lee Bennett Hopkins, the internationally renowned educator, poet, anthologist and passionate advocate of poetry for young people. Selected by a panel of teachers, librarians and scholars, the Lee Bennett Hopkins Poetry Award was the first award of its kind in the United States. The Pennsylvania Center for the Book, the Penn State University Libraries and Lee Bennett Hopkins share joint administration of the annual award." See more information.
Note: "Now in their twenty-sixth year, the Lambda Literary Awards celebrate achievement in lesbian, gay, bisexual, and transgender (LGBT) writing for books published in 2013. Winners will be announced during a ceremony on Monday evening, June 2, 2014, at The Great Hall at Cooper Union (7 East 7th Street, New York City 10003)."
Note: "Collectively CABA winners show that Africa is indeed a varied and multifaceted continent. CABA titles expand and enrich our perspectives of Africa beyond the stereotypical, a historical and exotic images that are emphasized in the West." See more information. Source: Monica Edinger.
From Scottish Book Trust: "A record breaking number of votes – over 38,000! – were cast to choose the winners, who took to the stage at Glasgow’s Mitchell Library on 5 March to present their books and receive their prizes." See more information. Source: Bookshelves of Doom.
Enter to win a signed and personalized copy of Robot Burp Head Smartypants! (Candlewick, 2014) and a set of alphabet-and-numbers foam stickers. Author sponsored. Eligibility: U.S. Enter here. Note: scroll through the photos to the entry form at the bottom of the post.
The SCBWI-OK Conference will be March 29 in Oklahoma City. Speakers are: Liza Kaplan, Editor, Philomel; Melissa Manlove, Editor, Chronicle; Andrew Harwell, Editor, HarperCollins; Colleen AF Venerable, Design Editor, First Second and author of Guinea PI series; Kristin Miller-Vincent, Agent, D4EO Literary Agency; Tricia Lawrence, Agent, Erin Murphy Literary. See more information and registration.
Blame it on the SCBWI (the Society of Children’s Book Writers & Illustrators).
When I joined SCBWI over two decades ago, I’d already sold a middle-grade and was interested in writing young adult books, too. Yet most of my writer friends wrote picture books.
Whenever I went to SCBWI conferences, I attended many presentations by talented picture book authors and illustrators. I listened to so many picture book talks that I joked I could teach a picture book writing class myself.
But write a picture book?
Nope. Not interested.
2009 was the year I sold my 37th book, Buried, a YA mystery (Flux)—and the year I wrote a picture book. This picture book idea struck with no warning—like summer rain or falling in love.
I was driving to a SCBWI retreat with authors Verla Kay, Danna K. Smith and Linda Whalen when my thoughts jumped to the childhood photo Verla had showed me of a snow dog.
A word storm of inspiration flooded my head. When we stopped for lunch, I grabbed a napkin and wrote a story that began:
More than anything, Ally wanted a dog—but dogs made her achoo. So Ally drew pictures of dogs….
37th Book by Linda Joy Singleton
Jump five years and that napkin-scribbled book is now my debut picture book, Snow Dog, Sand Dog, illustrated by Jess Golden (Albert Whitman). And my box of author copies arrived last month (Yay!). But it’s not like I stopped writing middle grade/YA. I still do that, too.
How did this age-market hopping happen?
Thinking it over, it’s more of a surprise that I resisted writing picture books for so long. Whether I’m writing for big or little kids, I love the rhythm of lyrical, active and funny words. Studying the art of picture book writing has actually strengthened my novel writing. Sentences roll and sway like songs from thoughts to finger-tips.
For example (from a middle grade work-in-progress):
I’m squashed like a human pretzel and struggling not to sneeze at dog hair or freak out as I imagine creepy crawlies creeping and crawling all over me.
This is a sentence from a middle-grade book, yet fun words like "sneeze," "creepy" and "crawling" create a rhythm like when I’m writing picture books.
From Snow Dog, Sand Dog:
They heated popcorn and played fetch with straw brooms. They napped with a scarecrow then danced to the music of wind chimes.
I love the craft of word play; molding words like clay until they’re shaped into sentences that make children smile. Writing words for children brings out the child in all of us—and it’s fun.
Snow Dog & Sand Dog
But it’s hard work, too. I consider picture books the hardest format to write. There’s no room for even one sloppy word. Every word counts, and the story arc should rise and fall with character growth like a novel.
It took five years for Snow Dog, Sand Dog to become a published book. It went through editors, agents, rejections and rewrites. I rode a roller coaster of disappointments and hopes.
The day it sold, my agent told me, “You’re now a picture book author.”
And this middle grade/YA author is very proud to be a picture book author.
Some call VisionCrest the pinnacle of religious enlightenment. Others call it a powerful cult. For seventeen years, Harlow Wintergreen has called it her life. As the adopted daughter of VisionCrest's patriarch, Harlow is expected to be perfect at all times. The other Ministry teens must see her as a paragon of integrity. The world must see her as a future leader. Despite the constant scrutiny, Harlow has managed to keep a dark and dangerous secret, even from her best friend and the boy she loves. She hears a voice in her head that seems to have a mind of its own, plaguing her with violent and bloody visions. It commands her to kill. And the urge to obey is getting harder and harder to control...
Could you describe both your pre-and-post contract revision process? What did you learn along the way? How did you feel at each stage? What advice do you have for other writers on the subject of revision?
The Violet Hour was the second novel I attempted to write, so I wasn't completely naive. I knew that a first draft was just the beginning of a very long process, but woah mama...did this book ever have it in for me!
In the beginning stages, I didn't really know what the book was about. I had this amazing main character (Harlow Wintergreen), this iconic cult-like religion (VisionCrest), and this edgy, pop-culture altiverse in which it all existed. But I didn't have a story just yet - details shmeetails.
At that time I never wrote with an outline so I meandered about the manuscript, surprised and delighted by every crazy left turn Harlow took. I've since learned my lesson on that front, but as I once said in an early draft of The Violet Hour to explain away a plot that made no sense, that is a story for another day. I would throw in wacky details because they sounded cool or seemed spooky - a mysterious necklace! a sinister voice! a Cambodian temple!
But then when I had to tie it all up with a bow at the end, I realized I had created a monster.
That puppy was going to require major revision....like, 10 drafts' worth before it went out for sale.
It was a process. One that could have been significantly shortened by a little bit of pre-planning. But I'm a hard-way learner, what can I say?
During the time that it was out on submission, I came to realize that the last third of the book just didn't feel right. At that point I had stripped the story down to the studs multiple times, torn it into shreds and put it back together until my fingers bled and my eyes crossed (okay, maybe I'm being melodramatic).
I was exhausted. I didn't even want to look at it anymore, much less tear it apart again. But once it sold (oh happy, happy day!) I knew I owed it to myself and my future readers to make the story the absolute best it could be.
So, I ripped it apart once again, this time with the expert guidance of my editor. I took things out, added new stuff in, and fixed all the things that I knew didn't work but hadn't wanted to admit before. And then I revised it, and revised it, and revised it some more.
I lost count, but I was finally finished around draft 17. And I was really proud of it. The story I wanted to tell was finally on the page, and I didn't give up before I got there.
So what did I learn from this and what advice would I give to other writers around revision?
Here it is:
Do a little pre-work. You don't have to have a detailed outline, if that doesn't work for you (it doesn't for me). But a one-page synopsis can help you think the story all the way through before you throw in a magical necklace that has no business being there.
Take breaks between drafts. My rule of thumb is at least two weeks, but more is better. Renew. Refresh. Get some perspective. Then dive back in.
If you have a lot to fix, break it down into bite-sized pieces. Do a pass through for a certain element (say, fixing a specific plot thread). Consider that a draft. Then, after a break, come back for something else. Thinking about it as a whole can be daunting - just take it one step at a time.
Give yourself the gift of time. This isn't a race. There's no prize for finishing fast, but there might be one for finishing strong.
Hang in there! Persevere! Commiserate! Most writers will tell you that revision is a big part of their process, and some will tell you they've even come to enjoy it.
Enjoy it. Seeing your manuscript improve, become even better than you imagined it could be, is one of the most gratifying parts of the process. The journey is the reward!
As a horror writer, going in, did you have a sense of how events/themes in your novel might parallel or speak to events/issues in our real world? Or did this evolve over the course of many drafts?
I didn't think about this consciously, like "I'm going to make this specific issue my real world parallel because that's what a horror book must do." That said, there are many social, political, and cultural parallels in the book - things that really intrigue me.
For example, I am curious about belief in all its forms. Religions. Cults. Science. Politics. The process of deciding that a certain thing or person holds the answers to the unanswerable is one I'll never tire of exploring.
As human beings, we are often willing to believe the most outlandish, unseeable things and simultaneously incapable of believing the clear and obvious (if there is any such thing).
What makes us think our perception is the only reality? What creates certainty in the absence of evidence? What happens when those things occur? These are the things that were always present in The Violet Hour, and became honed over the lengthy process of revision.
At a certain point I had to ask myself: okay, this is a cool story but what am I trying to say? That's when I really got down to the meat of it.
I hope the result is a rich subtext that both fascinates and frightens.
Recently I have been talking with several other women authors about how hard it is to be a female writer. Many stressed how ironic it was given the fact that there are more women in publishing, more women writers, and more women readers.
But why, many asked, does it feel like women authors are never treated at the same level as male writers?
This unleashed a huge firestorm of discussion where authors brought up numerous examples of sexism that they have encountered not only from men, but from other women. And this is what I want to focus on.
Why are women so hard on each other? Why do we criticize women authors and women characters so much? We can't be too strong. We can't be too weak. We can't be too girly. We can't be too tomboyish. So much criticism.
I think it is because we all have some level of internalized sexism that doesn't allow us to look objectively at other females. Before you rail against me that you are a proud feminist, let me explain.
I'm not criticizing you, I'm criticizing our society. We live in a world that bombards us with images and rhetoric of how women need to constantly improve. Feminist empowerment articles can be found in the pages of our magazines that are covered with photoshopped pictures of beautiful, unrealistically figured women and posts about how to catch and keep your man.
Take a look at this fantastic Pantene commercial:
Yes, I understand the irony of a commercial that uses feminist messages to push a beauty product. But the message of the commercial is so true. We are always labeled by the society we live in. Nothing we do can be as good as what a man does. But what is internalized sexism?
Cultural Bridges to Justice defines it as the "belief by girls and women that the lies, stereotypes and myths about girls and women that are delivered to everyone in a sexist society are true. Girls and women...hear that women are stupid, weak, passive, manipulative, with no capacity for intellectual pursuits or leadership. ...are taught to act out the lies and stereotypes, doubting themselves and other females...)."
What happens when we have internalized sexism is that we are more critical of other women than men. We have accepted the belief that society has pressed upon us that women are not as good, smart, capable, and strong as men, and we vilify those who step out of line."
Penny Rosenwasser, author and feminist, calls this a type of self-loathing. She says "Internalized oppression is an involuntary reaction to oppression which originates outside one's group and which results in group members loathing themselves, disliking others in their group, and blaming themselves for their oppression - rather than realizing that these beliefs are constructed in them by oppressive socio-economic political systems."
I don't know if I would go that far. After all, "self-loathing" is a strong term. But I think it is time for all women to take a good hard look at ourselves. No matter how feminist you are, you've internalized some sexism.
How could you not? It has been brainwashed into our heads since we were children. Our mainstream media consistently produces sexist and stereotypical portrayals of women.
A 2012 study by the Annenberg Public Policy Center "analyzed 855 top 30 box-office films from 1950 to 2006...women have been consistently underrepresented as main characters for at least six decades." Bleakley, the author of the paper states that "Movie-going youth...repeatedly exposed to portrayals of women as sexual and men as violent, may internalize these portrayals."
The Geena Davis Institute on Gender in Media researchers have found that "gender stereotyping is an inherent problem in today's entertainment landscape, and children are the most vulnerable recipients of depictions that send the message that girls are less valuable and capable than boys. ...female characters who are lucky enough to garner speaking roles tend to be highly stereotyped."
And this leads me back to my original point. Why are women so much harder on other women? Why are we so hard on female characters?
We need to understand that how we portray women in literature and film and television is a reflection of our role in society. The more we provide diversity of characters in these mediums, the more we show a fair view of who we are in the world. Because women come in all shapes, all sizes, all types, all races, all religious backgrounds, and a vast diversity of personalities.
We must recognize how society has played a part to keep us down. To brainwash us against one another. To find acceptable only one type of women over others.
So I challenge all women to recognize their own inherent sexism and to face it head on and step beyond it. For we can never be truly treated as equals if we don't take that first step within ourselves.
Kwame's irresistible combination of humor and charm, along with a call to action and a preview of the book to come.
Peek from the promotional copy:
"'With a bolt of lightning on my kicks . . .The court is sizzling. My sweat is drizzling. Stop all that quivering. Cuz tonight I'm delivering, ' announces dread-locked, 12-year old Josh Bell.
"He and his twin brother Jordan are awesome on the court. But Josh has more than basketball in his blood, he's got mad beats, too, that tell his family's story in verse, in this fast and furious middle grade novel of family and brotherhood from Kwame Alexander.
"Josh and Jordan must come to grips with growing up on and off the court to realize breaking the rules comes at a terrible price, as their story's heart-stopping climax proves a game-changer for the entire family."
On Neutral Characters and Relating to the Specific by Shannon Hale from squeetus blog. Peek: "Why can't someone like Maisie be worthy of a story too? I've encountered similar opinions over the years and began to come to an uncomfortable understanding, one that others before me have also discovered."
On Diversity Within Diversity by Ava Jae from Writability. Peek: "Sometimes we forget that the community of that one sect of people is just as beautifully diverse as the world as a whole. Diversity within diversity."
Why Talking About Girl Reading Matters by Kelly Jensen from Stacked. Peek: "Girls, on the other hand, are unlikable. They have girl problems. They have girl drama (drama, always drama). They are girls in crisis, rather than girls living through the challenges they have to confront in order to be their best selves. In so many of the books that tackle these challenges, girl is a qualifier."
Writing Emotions: Does Your Hero Shrug, Smile & Frown Too Much? by Angela Ackerman from Writers Helping Writers. Peek: "Are these types of descriptors all bad? Certainly not. The fact is, each of these is a real way people express their emotion. It’s only when we rely on a clichéd rendition of showing these cues or we turn to them again and again throughout the story that they hurt our writing."
Rejecting Rejection: With a Little Bit of Luck by Sarah Aronson from The Writing Barn. Peek: "Four years after reading the manuscript, she remembered some of the details. She asked me what had happened to the story. I almost fell over. As soon as I got home, I opened the file and read that manuscript. And you know what? I’m glad they rejected it."
Maybe You Could Do More from Jo Knowles. Peek: "Sometimes, opening my file, or putting on my sneakers, is actually the hardest part of getting back to the task at hand. It's the final commitment to starting again. Starting from what feels like the bottom of a very steep hill. So I told myself: Just write one sentence. It can be terrible."
Rejecting Rejection: With a Little Bit of Luck by Sarah Aronson from The Writing Barn. Peek: "Four years after reading the manuscript, she remembered some of the details. She asked me what had happened to the story. I almost fell over. As soon as I got home, I opened the file and read that manuscript. And you know what?"
2014 Illustrators Gallery at the SCBWI Bologna Book Fair from SCBWI. Peek: "There were 105 entries submitted and, from these...judges have chosen these 34 finalists. The overall winner and four runners-up will be announced on this page at the start of the fair."
Where Do Boys Belong in Women's History? by Jill Eisenberg from Lee & Low. Peek: "Alongside our girls, boys need the language of equality and a broader view of history. Women’s contributions advanced our society and continue to impact all of us. We need to teach that gender totally does matter and, at the same time, totally doesn’t matter."
Interview with Literary Agent Steven Malk of Writers House from Casey McCormick at Literary Rambles.Peek: "I do think that smaller publishers can be incredibly effective. There are pros and cons with just about any house, but there have been several instances over the last few years of smaller houses publishing books that have enjoyed phenomenal success."
What to Do When Your Story Feels Rushed by Deborah Halverson from DearEditor.com. Peek: "...work in setting details with language that conveys an atmosphere, have the characters act upon and react to props unique to the spirit of that place, and include smells and textures that engage readers’ senses."
Migas, Confetti and Martha Stewart by Diana López from Latin@as in Kidlit. Peek: "...'I hate when people tell me I should add more cultural interest to my books.' In other words, I don’t like these details to be forced. They have to feel natural, and as long as I’m not consciously adding them, they will be. Sure, my characters eat migas, but they eat pizza, too."
Call the Reading Police from Gwenda Bond. Peek: "Being really well-read in one genre or in all sorts of genres is a beautiful thing. Most of my favorite people on earth are. But...I have zero patience for reader shaming or for making people feel lesser or unwelcome or clueless because they haven't read the same things you have from some inevitably problematic canon checklist."
Enter to win a signed and personalized copy of Robot Burp Head Smartypants! by Annette Simon (Candlewick, 2014) and a set of alphabet-and-numbers foam stickers. Author sponsored. Eligibility: U.S. Enter here. Note: scroll through the photos to the entry form at the bottom of the post.
This week's highlight was hearing P.J. Hoover speak on world building at Austin SCBWI's monthly meeting at BookPeople. In addition to offering great information, P.J.'s presentation was a terrific example of an author presentation. She did a wonderful job with visuals, incorporating humor, and encouraging interaction in a kid- (and grown-up-) friendly way. P.J. is a top author speaker!
Hat & umbrella -- Austin in late winter/early spring.
My revision is going well. I thought I'd do a sweep to streamline the antagonists' construct and then revisit my alternating protagonists, but I'm finding that much of the character work is coming naturally along the way.
Everybody writes differently, but I encourage y'all not to cling to your process, especially when it's not conducive to productivity. Especially if you are transitioning from apprentice to published professional (with its industry demands), you may have to stretch in new ways. Or, if like me, you're an established pro with an ever-faster-moving schedule, then you may have to find a way to do that, too.
The SCBWI-OK Conference will be March 29 in Oklahoma City. Speakers are: Liza Kaplan, Editor, Philomel; Melissa Manlove, Editor, Chronicle; Andrew Harwell, Editor, HarperCollins; Colleen AF Venerable, Design Editor, First Second and author of Guinea PI series; Kristin Miller-Vincent, Agent, D4EO Literary Agency; Tricia Lawrence, Agent, Erin Murphy Literary. See more information and registration.
According to her family, she didn't want anyone to be sad at her passing. That embodies the kind of woman and giving author friend Cindy was to so many, and those that knew her could not help but be dazzled by her lovely smile and giving nature. Her determination and strength to beat cancer and continue writing never wavered.
She was a founding member of The KidLit Authors Club and always had a natural, friendly connection with readers she met at author appearances. She loved animals and writing, and the best way to honor this memory of this special author is to read her wonderful middle grade books Buck Fever and Dog Gone (Feiwel & Friends).
From My Central Jersey: "Cynthia Chapman Willis, 52, passed away on Monday, March 3, 2014. Born in Mount Vernon, NY, she resided in Whitehouse Station until moving to Neshanic Station nine years ago. Cynthia enjoyed yoga, swimming, and traveling. Her passion was horseback riding and riding competitions. Cynthia had a love for all animals, especially Siamese cats. She volunteered her time to organizations that helped animals."
"Cindy was the lightbulb before Edison invented it. She lit up any room she entered. Her writing reflected her warmth and the beauty of her soul." -Wiley Blevins
"Cindy joined the Chudney Agency way back in 2003, and I so enjoyed working with her. She was a terrific writer and was getting better and better with each novel.
"We had a really tough time placing her first novel, Dog Gone, but I loved it and we persevered and we were finally so pleased with it's publication with Liz Szabla at Feiwel & Friends/Macmillan, who also published her other novel, Buck Fever.
"Cindy was hard working, always open to listening to thoughts about her writing, and never shied away from revisions. She had a great sense of humor and we had many good laughs.
"It's an honor to have known Cynthia. She had an inner (and outer) spark and a special ability to truly to connect with others. She always encouraged me, through tough rejections and revisions, to keep doing the work. She will continue to inspire me." -Alison Ashley Formento
"I never met Cynthia, but in the few email exchanges we had, her grace and generosity of spirit shone through. As it does in her photographs, with that warm, beautiful smile of hers."-Kit Grindstaff
"Cindy was a wonderful critique partner, always generous with her knowledge, celebrating when I had success, and commiserating when I received rejections. My life and my writing are better for having known her." -Shannon Hitchcock
"Cynthia and I interacted mostly through our writer blogs. She always left warm, thoughtful, encouraging feedback--for me and for my guest bloggers." -Jennifer R. Hubbard
"The first time I met Cynthia, I was sitting next to her at a B&N signing. I was new to the game and feeling discouraged by the slow traffic through the store—also wondering if it was going to be a competitive scenario at this group event. But Cynthia quickly showed me that it was anything but.
"Warm and gentle, she was a reassuring presence as she very honestly shared her own experiences and encouraged me to be persistent and patient. Whenever I saw her after that, it was Pavlovian—I instantly felt a sense of calm and belonging. She pretty much epitomized everything that is lovely and wonderful in the kid lit world." -Elisa Ludwig