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I’ve not been blogging much because I’m accompanying Scott on his Afterworlds tour. So far we’ve been to Raleigh, Lexington, Louisville, Philadelphia, Washington DC, St Louis, Chicago and Milwaukee. And there’s much more to come. Check out the rest of the tour here. I’d be delighted to sign anything you want signed but mostly I’m just happy to say hi and chat.
We’ve had many adventures so far including staying in what I swear was a haunted hotel. Uncannily cold temperatures? Check. Eerie cold winds that came rushing out of the elevators/lifts? Check. Strange rustling sounds in the hotel room in the middle of the night? Check.
If you haven’t read Afterworlds yet you should. It’s definitely Scott’s best book so far.
Hope to see some of you soon!
I’m super excited to reveal what Razorhurst will look like when Soho Teen publish it in the USA next March. Quite a contrast to the Australian cover, eh? Yet at the same time they both have that gorgeous, strong font treatment.
I adore that font and those colours. I hope you do too. Everyone who’s seen this cover has been wildly enthusiastic uttering comments like, “I would buy that in a heartbeat.” “Utterly beautiful.” “Wow, that’s so commercial.” All of it music to my ears.
Soho’s edition will have a bonus glossary. Yes, you US readers are going to be spoiled. It also means the USA Razorhurst will be my first novel to have both a glossary and a map. That’s right, Soho are keeping the beautiful map used in the Allen and Unwin edition. Still gorgeous, isn’t it?
Map designed by Hannah Janzen
Map plus glossary? What could be cooler? Nothing. I can’t wait until all my US readers can get their hands on Razorhurst. March is so soon, youse guys!
By: Justine Larbalestier
Blog: Justine Larbalestier
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On Twitter ages ago N. K. Jemisin asked “*do* white writers want only white readers?”
The immediate, obvious answer for me is: No, I don’t want only white readers. And I’m really glad I don’t have only white readers.
But I’ve not been able to stop thinking about that question. And the shadow question which is “do white writers only write for white readers” regardless of what kind of audience they might want?
In order to respond I need to break it down:
I’m white. That fact has shaped everything about me. I know the moment when I first realised I was white. I was three or four and had just returned from living on an Aboriginal settlement in the Northern Territory. My parents were anthropologists. I was on a bus with my mum in inner-city Sydney when I pointed to a man of possibly Indian heritage and said loudly, “Mummy, look it’s a black man.” My mother was embarrassed, apologised to the man, who was very gracious, and later tried to talk to me about race and racism in terms a littlie could understand.
What happened in that moment was me realising that some people were black and some people were white and that it made a difference to the lives they lived. I’d just spent many months living in the Northern Territory as the only white kid. The fact that I wasn’t black had not been made an issue. We played and fought and did all the things that kids do despite my difference. So much so that tiny me had not noticed there was a difference. Despite seeing many instances of that difference being a great deal I wasn’t able to make sense of it till I was living somewhere that was majority white, majority people with my skin colour, and then the penny dropped.
Many white Australians never have a moment of realising that they’re white. That makes sense. Whiteness is everywhere. White Australians see themselves everywhere. Our media is overwhelmingly white, our books are overwhelmingly white. In Australia whiteness is not other; it just is. Whiteness doesn’t have to be explained because it is assumed.
Because whiteness just is, like many other white people, I don’t identify as white. For me whiteness is the box I have to tick off when I fill out certain forms. While it shapes every single day of my life it doesn’t feel like it does. Because what whiteness gives me is largely positive, not negative. My whiteness is not borne home on me every single day. I don’t need to identify as white because, yes, whiteness is a privilege.
When I see a white person talking about “their people” and they mean “white people” I assume they are white supremacists. Anyone talking about saving the white race from extinction is not my people.
For many different reasons I do not think of white people as my people. As a white writer I do not write for white people.
I admit that I have used the phrase “my people.” I’ve used it jokingly to refer to other Australians. Particularly when homesick. Or when someone Australian has done something awesome like Jessica Mauboy singing at Eurovision at which point I will yell: “I love my people!” Or an Australian has done something embarrassing on the world stage: “Oh, my people, why do you fill me with such shame?”
I’ve used “my people” to refer to other passionate readers, to YA writers, to fans of women’s basketball, to Australian cricket fans who like to mock the Australian men’s cricket team and care about women’s cricket, to people who hate chocolate and coffee as much as I do etc.
All of that comes from a place of privilege. I can’t think of a single time in my life when I have been referred to as “you people.” I’ve gotten “you women” or “you feminists” or “you commies” or “you wankers” but never “you people.”
White people are rarely asked to speak for their entire race. N. K. Jemisin’s question about white writers writing for white readers is not something that gets asked very often. Meanwhile writers of colour are asked questions like that all the time. They are always assumed to have a people that they’re writing for.
When I sold my first novel I was not thinking about who would read those books. I wasn’t thinking about it when I wrote those books either. Frankly I was still over-the-moon ecstatic that they’d sold, that there were going to be novels out there that I wrote! I didn’t get as far as imagining who would read them.
I’ve written stories ever since I was able to write and before then I would tell them to whoever would listen. My first audience was my sister. And, yes, I tailored some of those stories to suit her tastes, adding lots of poo jokes. But, come on, I like(d) poo jokes too. It’s more that I got lucky that my sister liked what I liked.
All my novels are books that, if I hadn’t written them, I would want to read them. I write for myself. I am my main audience.
That all changed when I was published, when my stories found distribution beyond my sister, my parents, friends, teachers.
When I, at last, had an audience and that audience was responding to my novels is when I started thinking about that audience.
When members of my audience started writing to me and I met members of my audience is when I really started thinking about who my audience was and how they would respond to what I had written.
That’s how I know my audience isn’t all white. It’s how I know my audience isn’t all teens. How I know they’re not all women. Not all straight. Not all middle class.
As my books started to be translated I found myself with an audience that isn’t all English speaking.
Discovering how diverse my audience was changed the way I wrote which I have discussed here.
Addressing a White Audience
There is one place where I am addressing a mostly white audience. And that’s on this blog and on Twitter when I’m trying to explain these kinds of complex issues of race to people who haven’t thought much about them before. White people tend to be the people who think the least about race because it affects them the least. So sometimes that’s who I’m consciously addressing.
Writing to an Audience
But white people who are ignorant about racism is never whom I’m consciously addressing when I write my novels.
Even now when I have a better idea of who my audience is I don’t consciously write for them. When I’m writing the first draft of a novel all I’m thinking about is the characters and the story and getting it to work. If I start thinking about what other people will think of it I come to a grinding halt. So I have learned not to do that.
It is only in rewriting that I start thinking about how other people will respond to my words. That’s because when I rewrite I’m literally responding to other people’s thoughts on what I’ve written: comments from my first readers, from my agent, and editors.
My first readers are not always the same people. If I’m writing a book that touches on people/places/genres I have not written before I’ll send the novel to some folks who are knowledgeable about those in the hope that they will call me on my missteps.
Any remaining missteps are entirely my lookout. There are always remaining missteps. I then do what I can to avoid making the same mistakes in the next books I write. And so it goes.
I hope this goes a little of the way towards answering N. K. Jemisin’s question. At least from this one white writer. Thank you for asking it, Nora.
The next book for Kate Elliott and mine’s Bestselling Women’s Fiction Book Club is Patricia Highsmith’s Carol.
The book was originally published under the title Price of Salt and under the pseudonym Claire Morgan as a Bantam paperback original in 1952. It sold extremely well and become a lesbian classic. Highsmith didn’t publicly admit the book was hers until the 1980s. This lovely article by Terry Castle at Slate gives some more context for the book.
It’s one of my favourite Highsmith novels and the one least like her other books. No one’s murdered, there are no psychopaths, and the ending does not fill your heart with despair.
Kate and I look forward to discussing it with you on on Monday 28 Jul at 10 pm ET (USA)/ 7 pm PT (USA)/ 4 pm Hawaii Time and on Tuesday 29 July noon Eastern Standard Australian time.
A few weeks back @bysshefields was being really smart on twitter about being a young adult excluded from conversations about Young Adult literature. This is something that has often annoyed me, that the go-to “experts” on the genre for the mainstream media are almost never young adults themselves, that we only rarely hear from the people at whom the category is purportedly aimed. I asked Bysshe if she would write a guest post on the subject for my blog and happily she said yes.
All the words below are hers:
My name is Bysshe and I’m a 19 year old aspiring author who lives in Brooklyn, NYC. I spend most of my time reading and writing.
Two different conversations led to my tweeting about the way YA voices are being ignored. I was talking to a friend (who is also a writer) about how no agent will want to take on my manuscript because it deviates too far from “the norm” (aka straight white girl protagonist being a badass and defeating the government). Both of us know that the audience for our stories is out there; if we and our group of friends, and THEIR groups of friends, and so on and so forth want to read about queer girls of color, then someone out there is lying about what’s actually popular in YA (particularly speculative fiction).
The second conversation occurred when my friend and I were discussing high school trauma, and how we felt that we couldn’t turn to YA because there weren’t representations of kids in our situations. Instead, we were reading books like The Godfather and Fight Club and who knows what other adult-marketed books because there was nothing heavy enough in YA to match how heavy we felt.
In what I’ve written below, I know there are misconceptions about how YA publishing works but I’ve left them in because I think they represent how little communication there is between those who market YA books and their audience. That also ties into what the idea that it’s harder to sell books about non-white/non-middle class/non-straight characters.
I truly, deeply don’t think it’s that they’re harder to sell, so much as people aren’t working as hard to sell them. Social media has taught me that the market is there. My own existence has taught me that the market is there. In my experience, the only people who truly think that diverse books might be harder to sell are people who wouldn’t buy them.
I’m certain that if Sherri L. Smith‘s Orleans got the same explosive blockbuster treatment as, say, Divergent, it would sell. Thinking that it wouldn’t is another example of young adults being underestimated because it suggests that we’re incapable of handling differences, which just isn’t true. I think that if publishers, or whoever’s in charge of properly exposing books, put the same effort into exposing diverse books, we would see a change in how they sell.
Young Adult is defined as the ages of 15 to 25. By this definition, I’m about four-ish years into young adulthood. So far, it feels like a lot of things. It’s stifling, frustrating, exhausting. Sometimes I feel like I won’t make it out of these years alive. As a young adult, a lot of my decisions have already been made for me (if not by an adult, then by circumstances that were generated under adult influences). What little freedom I have has been cut down almost to the point of nonexistence (again, if not directly by adults, then by systems that adults put in place long before I was born).
In spite of the release that reading is supposed to give me, I’ve noticed a trend in mainstream YA literature: it’s exactly the same as reality, in that I have close-to-no input with regards to what happens in it.
There are a lot of teams on the playing field of the YA lit scene. Out of everyone, I feel a lot like Frodo at the Council of Elrond as I struggle to assert my voice over the Big Folk who seem to think that only they know what’s best for Middle-earth.
Just like Middle-earth, the world has become an increasingly toxic place for people my age to navigate. And basically, the parameters for the books we turn to for empathy and escape are shaped and defined by people who have little to no idea what we’re going through; people who make laundry lists of what YA is/is not, or what YA does/does not need. People telling us what we can/can’t handle, what we are/are not ready for despite the amount of things we’ve already been through. As we write our own stories and seek publication, I’ve had my own friends go over YA parameters they disagreed with but feel the need to adhere to. They’re always something like this:
- No blatant sex, drugs, violence, or cursing.
- Nothing too complex.
- No adults.
- Stick to characters and themes that are easy to understand.
Otherwise, the book “won’t sell”. Won’t sell to whom?
I’d sure as hell buy something that went against each and every one of those points. You know how that list translates to me?
- Sex, violence, and so forth are not a part of adolescence.
- Young adults are unintelligent.
- Young adults have no adults in their lives.
- Young adults don’t have real problems—never mind the harsh and diverse realities of abuse, rape, deportation, international terrorism, identity crises, mental health, the trauma of high school, etc. Let’s dumb this down, then turn it into a blockbuster film series. The end.
Have the majority of editors in YA publishing houses ever actually spoken to a young adult? If you have, have you asked them what they needed to read? What they needed empathy for? Have you, as an adult, tried to think back on what you needed to hear when you were my age or younger? Because if yes to any of those, then it isn’t showing. None of the Big Folk seem to have ANY idea what I needed to read at the age of 16, and what I still need to read now at the age of 19.
When I was an even younger young adult than I am now, I needed to read about sex. I can already visualize a bunch of mainstream authors pulling on puppy faces and gesturing to copies of their novels: “But what about my—?”
Stop right there. As a young, queer girl of color, I needed—no, NEED to read about sex. Heroines of my race having sex in a way that isn’t hyper-sexualized. Heroines having sex that isn’t just romanticized rape. Heroines having sex with multiple partners over the course of a series, because the first-boyfriend-only-boyfriend model is a dangerous misconstruction of reality.
I wanted heroines who know that it’s okay to fall in love multiple times. Heroines who know that it’s okay to leave relationships. I wanted to read about queer kids having sex. Period. None of those fade-to-black sex scenes between straight characters have ever taught me anything about safe, healthy sexual relationships. Sure, I could go to Planned Parenthood for that, but that’s embarrassing and terrifying for a kid to have to do and I’d rather just access my bookshelf like I do for everything else.
You know what? Sixteen-year-old me wanted to read about sex because she wanted to read about sex. Period. Good portrayals of sex are something that sixteen-year-old me desperately needed, and that nineteen-year-old me desperately needs now. Good portrayals of sex help kids to learn the signs of abusive, coercive relationships. “But that’s too explicit” my ass. The virgin, white-girl heroine never taught me anything except that my version of adolescence was dirty and needed to be kept off the shelves.
I needed to see violence—not some sick gore fest or anything, but something that subverted the violence happening around me. I grew up in Detroit—America’s capital of violent crime and murder. If you know anything about Detroit, then you know it’s closer than any city in America to becoming a modern urban dystopia. And yet the only message I’ve managed to pull from half the dystopias on shelves is that “the government” is “after me”.
How is the government after me? Is it the devastating impact of capitalism on the working class? Is it the fucked up education system? The school-to-prison pipeline? The military industrial complex? The ever present hetero-patriarchy that many, YA writers, editors, and publishers included, are complicit in? Because after taking a long list of classes and reading a long list of essays, I’ve finally figured out that, yes, those are the problems. But somehow my books couldn’t tell me that. Interesting.
Surprisingly, I need to see adults. I’m really curious about this one. Why do adult writers of young adult books tend to write adults out of the picture? Or else portray them as flat, villainous characters?
Throughout high school, I had a very tumultuous relationship with my mother, and definitely needed to see people my age communicating effectively with their parents. After having endured many mentally and verbally abusive teachers, I learned to neither trust nor respect adults, but to fear them. Even though I was going to be an adult soon, I hated all of them and had no idea how to approach them.
Reading about abusive adults in YA lit hasn’t done anything to heal me from that. I definitely needed to see that it was possible for someone my age to have a connection with an adult that wasn’t full of miscommunications and didn’t border on abusive. At this point, I’d say that stereotyping adults as vapid villains does more harm than good.
More than anything, I need a spectrum of issues—a whole rainbow of characters and themes to match my identity, and the identities of the many people I know. This is probably more important to me than any of the above.
Adults in the publishing industry are currently responsible for the devastating and, frankly, embarrassing lack of diversity in the YA canon. Publishers and edits and basically everyone else who’s not writing what they see for a living, don’t seem to think we’re capable of handling a catalog of diverse narratives—which is complete and utter bullshit.
Don’t project your racist, sexist, transphobic, queerphobic, xenophobic, and otherwise marginalizing overview of reality onto my generation. Our realities encompass racial identity, gender identity, sexuality, religion, mental illness, disability, abusive relationships, poverty, immigration. The list goes on and on, and we need to see people with complex identities and narratives in our fiction.
We need to see people coping with racism. We need to see queer and trans people coming out of the closet. We need to see queer and trans people doing things OTHER than coming out of the closet. Seriously. There’s always been more to my life than queer angst. There is more to my queer life than the closet, than simply telling people that I’m queer.
We need to see queer kids breaking out of the established set of queer tropes. We need to see people ending unhealthy relationships and forming newer, healthy ones. We need to see all the issues that the Big Folk think they’re hiding from us because these issues are not exclusive to adults. These things are happening to us, too, and censoring in our fiction only makes us feel more alone. We need to see these things happening to people like us in the books that we’re supposed to be able to turn to. Even if the character’s problems aren’t solved, just knowing that someone with the same issues means the world to people who feel trapped in their lives.
I don’t think this is an issue with authorship. I don’t think this is an issue of editorship, either. To be honest, I’m not sure what type of issue it is. All I know is that I am very, very frustrated with the lack of complexity and diversity in the mainstream catalog of books for my age range. I think that there are plenty of authors I haven’t heard about writing just for me, but for one reason or another, I can’t access them.
Justine provided an excellent insight, which is that it isn’t that things aren’t being published, but because they’re not being promoted as heavily as the big books like Divergent. Or they’re being published by smaller publishers with a smaller reach. Or they’re not being published at all.
Is it that adult-operated publishing houses are telling adult writers what they should/shouldn’t be writing for the YA audience, without first consulting the audience itself? If so, this is blatantly disrespectful not only to authors, but to me, because a large portion of the industry that wants my support doesn’t respect my identity or my intelligence. I don’t know. All I know is that I’ve given wide berth to the young adult bookshelves while I sit back to write the series I’ve always wanted to read. If it weren’t for the fact that I eventually want to be published, I might’ve quit altogether.
But I don’t want to quit.
The books I’ve needed to read are out there. They’re just few and far in between. Orleans by Sherri L. Smith follows a young, black rape survivor navigating a hostile post-deluge New Orleans, where people are hunted for their blood. Coda by Emma Trevayne follows a diverse group of teens operating within a dystopia fuelled by music. Pointe by Brandy Colbert features a black girl protagonist with an eating disorder and deals with a multitude of heavy issues that teens in her situation might normally face. Last year’s If You Could Be Mine by Sara Farizan is a f/f love story set in Iran. The Interrogation of Ashala Wolf by Ambelin Kwaymullina features an Aboriginal Australian protagonist in a supernatural dystopian future. These books are all immensely important, but they’re under-marketed, and even then, they’re not enough.
YA lit is too important to be given up on, and instead needs to be worked on. Many of the criticisms of YA are baseless and frivolous, such as the notion that adults should be embarrassed to read YA because, according to Slate, it’s all “written for children.” Bullshit.
If after the age of 25, I can only read the Adult Literary Canon™ for the rest of my life, I may as well just sign out now. It’s easy enough to address all these problems: cut down on the Big Folk vs. Hobbit mentality. Publishers need to start treating their young adult audiences like growing, developing human beings, or else the industry runs the risk of ending up as dystopic as half the books on the shelves. Stop telling us what we need and ask us instead.
We are more than just a market. This should be a partnership.
I know a tiny handful of people who have not the tiniest speck of humility or modesty and—this is the important part—are not obnoxious. They are good people.
What they have is a sense of their own worth and talents that is directly proportional to those talents and worth. They do not sell themselves short, nor do they overestimate their abilities. They have the self confidence and belief to neither indulge in false modesty nor to be crippled by doubt. They know they would not be where they are if those talents had not been nurtured by others or if they had not worked hard.
It is remarkably refreshing and I envy them.
Humility and modesty are possibly the most annoying virtues. Too often the truly modest are neurotic, self-doubters who don’t know their own worth and I want to shake them. YES, YOU ARE TALENTED AND AMAZING! STOP SAYING YOU’RE NOT!
Undervaluing yourself is not a virtue. At its worst self doubt keeps people from doing what they are talented at. I can’t tell you how many brilliant writers I’ve known over the years who’ve never finished a novel because of their lack of self belief, because they are humble, and do not recognise their own talent. That’s a loss to every one of us who would love to read their work. A huge loss.
At the other end of the scale is false modesty: those who live by the humble brag. Those who’ve been told they mustn’t talk of their achievements nor blow their own horn, they must be humble and modest but they’re not so they try to disguise their longing to boast by saying, “Oh, this little thing.” “Oh, I don’t know why they wanted me to be the support act for Prince.” Blah blah blah.
Don’t know about you but I’d much rather they were all: “Look at my new dress! I made it! Isn’t it the best thing ever? I love it to death!” Or “OMG! I’m the support act for Prince! This is something I’ve worked towards my ENTIRE LIFE. And now it’s happening! I am so happy! YAY!”
You achieved something amazing. You get to tell people. You get to be excited. You get to jump up and down. Only mean-spirited poo brains would begrudge you your joy. Who cares what they think?
So those confident—but not obnoxious—folk I mentioned at the beginning of this post? All but one are USians. All white. Mostly from loving, supportive families. Mostly male. Mostly not working class. The one non-USian is from a wealthy Australian family. It is amazing how much confidence growing up loved and without the slightest bit of want can give you. Growing up with money does not, of course, guarantee that you’ll be confident. The love part is essential. Sometimes I think the worst start in life anyone can suffer is growing up unloved.
Growing up in Australia I learned that talking positively about your own achievements was one of the worst sins ever. “Don’t write tickets on yourself,” should be our national motto. Getting too big for your bootstraps is a national crime and leads to all sorts of contortions as far too many people fall over themselves to seem less smart, talented, and interesting than they are. Not a pretty sight. On the other hand it does lead to some gorgeously self-deprecating wit.
Meanwhile in my other country of citizenship they’re mostly being taught to boast their arses off. Truly, I do enjoy US confidence. It’s so refreshing compared to Australia. But, oh my, when that confidence is married to ignorance and stupidity and blind self belief? Things get very ugly indeed.
These are, of course, caricatures that are mightily affected by intersections of race, class, gender etc and how loving the families we grew up in were. Both countries have folks hiding their lights under bushels. They both have less talented folks under the sad delusion that they are The Most Talented People in the Entire Universe.
What we need is a mix of the two cultures so we wind up with the happy medium I started this post with. Nations of people who know their own value and feel neither the urge to constantly boast about it: I AM NUMBER ONE AT EVERYTHING EVER! Or to pretend that their ability to whip up a divine, multilayered, delicate-as-air, intricately decorated cake out of almost nothing is no big thing.
So I’ll end this post telling you something I’m proud of: I’m proud of the book I’m almost finished rewriting. It feels like a big step forward and that makes me happy and proud.
I have been called an expat because I have lived in New York City on and off since 1999. The off time was spent living here in Sydney. I live in two countries and I am not an expat.
When someone in Australia calls me that they’re usually saying I don’t have the authority to comment on what’s happening here because I’ve been away too long. People like Germaine Greer and Clive James are called expats. Often with a sneer.
I am not an expat.
I am not an expat in the sense that Australians use it: “Someone who has abandoned Australia and has no clue about it anymore.”
I have never lived outside Australia for more than a year.
I am not an expat in the sense that many others use it either.
I have no Australian friends in NYC. I do not go to Australia clubs to hang out with the other Australians. I don’t eat at Australian restaurants. To me that is expat behaviour. To go to another country and try to live there as much as you can like you were still back home.
Now, part of my not seeking out other Australians in NYC is because I also live in Sydney and there are quite a few Australians here. When we’re in Sydney we’re with our Sydney friends, most of whom are Australian. In NYC we’re with our New Yorker friends, none of whom are originally Australian.
I admit I’m puzzled by people who want to live in another country but once there only hang out with people from their own country. Why not stay home?
Yet, that is what my grandparents did.
But they were refugees. They ran from the Nazis and landed in Australia. They did learn English, but it took a long time, and they were never comfortable speaking it. All their friends were East European refugees like them. They weren’t wild about Australian food. Sometimes I got the feeling they weren’t too impressed by Australians either.
But, you know what, they lost almost their entire families, almost everyone they’d ever known or loved. They were forced to leave their home. Refugees get a pass.
And their children and their children’s children are very much Australians.
Refugees can’t be expats. To be an expat you have to have chosen to leave your home country; not be fleeing certain persecution.
Those who move to another country to live, who engage with that country, rather than perch on top of it, are migrants, not expats.
I’m a migrant, not an expat. Some of us migrants go back home. A lot. Some of us live in more than one country.
Ever since I started living in two different countries I’ve met more and more people who do the same. I’ve met even more people who would love to do that but simply can’t afford it. The old path of migration meaning you left your country forever and ever amen is not the only path.
I have a friend in NYC, originally from Guatemala, who goes back there for a few months every year. I’ve met many Mexican-Americans who go back and forth between Mexico and the US. And Indonesian-Australians who go back and forth between Indonesia and Australia. The closer your country is to the other country you live in the easier it is. Not that I’m jealous . . .
I know loads of mixed national couples like me and Scott who alternate what country they live in. Even couples with kids who do that. Though they tend to do years-long chunks in each country. The Belgian/Australian couple I met recently have just spent five years here and now are moving there with their two children where the kids will be attending a trilingual school.
In conclusion: do not call me an expat! Or something . . .
By: Justine Larbalestier
Blog: Justine Larbalestier
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1930s NYC novel
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I have a writing problem which is shared by many writers: I struggle to get started.
I wrote about this problem a bit way back in 2009 when I confessed to almost destroying my professional writing career before it even started. The first six months of being a full-time freelance writer was one great big procrastinatory guilt-ridden hell.
Since then I have reigned it in so that it’s only a struggle at the beginning of a first draft.
For the first week or so on a new book it is a major effort for me to look away from whatever online or offline spectacle is calling to me in order to start typing. I’ll have the open scrivener project with the initial idea jotted down. Girl who always lies. And I’ll think, well, do I know enough about lying? Maybe I should look up what recent research there’s been? So I do that. Then I accidentally look at twitter. Or someone’s blog where a flamewar has started. Then my twenty minute break reminder will buzz. So I have to get up and stretch and someone will text me and I’ll realise we haven’t chatted in ages and call them. And as I walk around the flat chatting I’ll realise that I haven’t emptied the dishwasher and once it’s emptied I have to load it with the dirties. And then I’ll be hungry and have to make second breakfast and in doing so I’ll notice that some of the parsley in the garden is going to flower and I’ll pick those bits and kill some bugs and check for weeds and make sure the passionfruit isn’t growing over to our next door neighbour’s deck. And then I’ll realise we need pine nuts for the dinner we’re going to make so I have to up to the shops.
And like that. At which point the sun will be setting and it’s time to down tools and I’ll have written precisely no words of the new novel I swore I’d start that day.
The next day there’ll be more of the same. And that will keep on until for some miraculous reason I start typing actual words that turn into actual coherent sentences of novel-ness.
The next day the struggle will be a little bit less bad and every day will be better than the day before until I’m on a roll and the novel is actually being written.
By the time I’m heading to the climax and then the end of the book it’s really hard to not write.
It goes like that unless I take a break for a holiday, or get sick, or for some other reason stop work for four days or more. When I return to the book it’s as if I’m starting all over again. Aargh! It takes several days, sometimes more than a week, to get back into the swing again. Drives me nuts.
I have developed several methods of dealing with this annoying tendency of mine.
Procrastination is good
The first is to simply accept that procrastinating is part of my process. Often I’m unable to get started on a new novel because I’m not ready. I haven’t found the way in: the right voice, the right setting, the right starting point. I haven’t done enough research. All that futzing around is me finding a way in. It’s necessary and without it I can’t write my novels.
Though sometimes I’m just flat out wasting time. RSI has meant that I do way less of that online. I consider that to be a blessing because it pushes me out to the garden or out of the house altogether a lot more often. Nothing better for thinking things through than being away from my computer. Long walks, I love you.
Not having done enough research is often the reason why I can’t get started. I need to know more about that world and those characters and what their problem is.
Before I could really get going with Liar I had to find out a lot more about lying. Why people lie, what kinds of lies they tell, the difference between compulsive and pathological lying.
Same with the 1930s New York City novel. I needed to know so much more about the city back then, about the USA back then, about how the USA wound up where it was in the early 1930s. So the idea kicked around for quite a long time before I could write anything down.
Sometimes a novel springs from research I don’t realise I’m doing. I’ll be reading a non-fiction book or listening to a fascinating radio show or see a great documentary and it will give me a great idea. That’s how my sekrit project novel, what I just finished first draft of, got started.
Many books at once
I have learned to always jot down new ideas. For me they’re rarely ideas, per se, more often they’re a fragment or beginning. That way I always have a novel to turn to when I’m stuck on the one I’m supposed to be writing.
The first words I wrote of Liar are:
I’m a liar. I don’t do it on purpose. Well, okay, yeah, I do. But it’s not like I have a choice. It’s just what comes out of my mouth. If my mouth is closed then I’m cool, no lies at all.
That did not make it into the book. I don’t even know whose voice that is. It’s not that of Micah, Liar‘s protagonist. But I jotted that down in 2005 as the first spark of the book that was published as Liar two years later.
At the time I had already started, but not finished, the book that was to become How To Ditch Your Fairy and was on deadline to finish Magic Lessons, the second book in the Magic or Madness trilogy. I was also hard at work on the Daughters of Earth anthology. It was not a good time to start a new book, but I was stuck on Magic Lessons: so the day before it was due with my US publisher I started writing HTDYF.
Yes, I was a bit late with Magic Lessons. From memory, I think I was no more than two weeks late, which is not too bad. Starting HTDYF when I did meant that after I’d sent off the first draft of Magic Lessons I could get back to work on it. And in between ML rewrites and copyedits and proofs and having to write the last book in the trilogy I kept going back to it. It was a wonderful respite from what I was supposed to be writing.
Turns out that what works best for me is to always have more than one novel on the go. Right at this moment I have recently finished the first draft of my sekrit project novel. But I have ten other novels that I’ve started, ranging from the 1930s New York City novel, which is more than 100,000 words long, to a rough idea for a novel of 126 words.
If I get stuck with the book I planned to work on I turn to one of the other books. Often I’m writing back and forth on several different books at once until one of them takes off. Sometimes I’m totally unable to decide and poll my blog readers or ask my agent or Scott. That’s how I went with Liar back in 2007 and put down the lodger novel and the plastic surgery novel both of which I know I’ll get back to some day. Actually I got back to the lodger one a few years ago before it was swamped by the 1930s NYC novel and then Team Human.
If I get an idea for a new book I always jot it down no matter where I am with the main novel I’m working on. Sometimes that novel takes over. The novel I just finished came to me very strongly a year ago when I was feeling overwhelmed by the sprawling NYC 1930s novel which had just hit 100,000 words with no visible sign of ending. I hadn’t, in fact, gotten up to what I thought would be the book’s first incident. ONE HUNDRED THOUSAND WORDS and I wasn’t at what I thought was the beginning. AARGH. In my panic I started a whole other novel.
In conclusion: There may be a good reason you can’t get started. Procrastination can be your friend. It’s okay to flibbertigibbet from one novel to another and back again and then to another and so on. Other writers will have other solutions and processes. Do whatever it is that works best for you. Zombies should not, in fact, be added to all stories. Just the ones that need zombies.
If anyone has photos of Scott and me taken together any time after January 2008 could you please leave a link to them in the comments below or send them to me.
Photos of us with other people would be especially wonderful, but just the two of us is fine too.
You’d be doing both of us a huge favour.
In the last few weeks as people have started reading the US ARC of Liar they have also started asking why there is such a mismatch between how Micah describes herself and the cover image. Micah is black with nappy hair which she wears natural and short. As you can see that description does not match the US cover.
Many people have been asking me how I feel about the US cover, why I allowed such a cover to appear on a book of mine, and why I haven’t been speaking out about it.
Authors do not get final say on covers. Often they get no say at all.
As it happens I was consulted by Bloomsbury and let them know that I wanted a cover like the Australian cover, which I think is very true to the book.1 I was lucky that my Australian publisher, Allen & Unwin, agreed with my vision and that the wonderful Bruno Herfst came up with such a perfect cover image.
I never wanted a girl’s face on the cover. Micah’s identity is unstable. She spends the book telling different version of herself. I wanted readers to be free to imagine her as they wanted. I have always imagined her looking quite a bit like Alana Beard,2 which is why I was a bit offended by the reviewer, who in an otherwise lovely review, described Micah as ugly. She’s not!3
The US Liar cover went through many different versions. An early one, which I loved, had the word Liar written in human hair. Sales & Marketing did not think it would sell. Bloomsbury has had a lot of success with photos of girls on their covers and that’s what they wanted. Although not all of the early girl face covers were white, none showed girls who looked remotely like Micah.
I strongly objected to all of them. I lost.
I haven’t been speaking out publicly because to be the first person to do so would have been unprofessional. I have privately been campaigning for a different cover for the paperback. The response to the cover by those who haven’t read Liar has been overwhelmingly positive and I would have looked churlish if I started bagging it at every opportunity. I hoped that once people read Liar they would be as upset as I am with the cover. It would not have helped get the paperback changed if I was seen to be orchestrating that response. But now that this controversy has arisen I am much more optimistic about getting the cover changed. I am also starting to rethink what I want that cover to look like. I did want Bloomsbury to use the Australian cover, but I’m increasingly thinking that it’s important to have someone who looks like Micah on the front.
I want to make it clear that while I disagree with Bloomsbury about this cover I am otherwise very happy to be with them. They’ve given me space to write the books I want to write. My first book for them was a comic fairy book that crossed over into middle grade (How To Ditch Your Fairy). I followed that up with Liar, a dark psychological thriller that crosses over into adult. There are publishers who would freak. No one at Bloomsbury batted an eye. I have artistic freedom there, which is extraordinarily important to me. They are solidly behind my work and have promoted it at every level in ways I have never been promoted before.
Covers change how people read books
Liar is a book about a compulsive (possibly pathological) liar who is determined to stop lying but finds it much harder than she supposed. I worked very hard to make sure that the fundamentals of who Micah is were believable: that she’s a girl, that she’s a teenager, that she’s black, that she’s USian. One of the most upsetting impacts of the cover is that it’s led readers to question everything about Micah: If she doesn’t look anything like the girl on the cover maybe nothing she says is true. At which point the entire book, and all my hard work, crumbles.
No one in Australia has written to ask me if Micah is really black.
No one in Australia has said that they will not be buying Liar because “my teens would find the cover insulting.”
Both responses are heart breaking.
This cover did not happen in isolation.
Every year at every publishing house, intentionally and unintentionally, there are white-washed covers. Since I’ve told publishing friends how upset I am with my Liar cover, I have been hearing anecdotes from every single house about how hard it is to push through covers with people of colour on them. Editors have told me that their sales departments say black covers don’t sell. Sales reps have told me that many of their accounts won’t take books with black covers. Booksellers have told me that they can’t give away YAs with black covers. Authors have told me that their books with black covers are frequently not shelved in the same part of the library as other YA—they’re exiled to the Urban Fiction section—and many bookshops simply don’t stock them at all. How welcome is a black teen going to feel in the YA section when all the covers are white? Why would she pick up Liar when it has a cover that so explicitly excludes her?
The notion that “black books” don’t sell is pervasive at every level of publishing. Yet I have found few examples of books with a person of colour on the cover that have had the full weight of a publishing house behind them4 Until that happens more often we can’t know if it’s true that white people won’t buy books about people of colour. All we can say is that poorly publicised books with “black covers” don’t sell. The same is usually true of poorly publicised books with “white covers.”
Are the big publishing houses really only in the business of selling books to white people? That’s not a very sustainable model if true. Certainly the music industry has found that to be the case. Walk into a music store, online or offline, and compare the number of black faces you see on the covers there as opposed to what you see in most book stores. Doesn’t seem to effect white people buying music. The music industry stopped insisting on white washing decades ago. Talented artists like Fats Domino no longer needs Pat Boone to cover genius songs like “Ain’t That a Shame” in order to break into the white hit parade. (And ain’t that song title ironic?)
There is, in fact, a large audience for “black books” but they weren’t discovered until African American authors started self-publishing and selling their books on the subway and on the street and directly into schools. And, yet, the publishing industry still doesn’t seem to get it. Perhaps the whole “black books don’t sell” thing is a self-fulfilling prophecy?
I hope that the debate that’s arisen because of this cover will widen to encompass the whole industry. I hope it gets every publishing house thinking about how incredibly important representation is and that they are in a position to break down these assumptions. Publishing companies can make change. I really hope that the outrage the US cover of Liar has generated will go a long way to bringing an end to white washing covers. Maybe even to publishing and promoting more writers of color.
But never forget that publishers are in the business of making money. Consumers need to do what they can. When was the last time you bought a book with a person of colour on the front cover or asked your library to order one for you? If you were upset by the US cover of Liar go buy one right now. I’d like to recommend Coe Booth’s Kendra which is one of the best books I’ve read this year. Waiting on my to be read pile is Shine, Coconut Moon by Neesha Meminger, which has been strongly recommended to me by many people.
Clearly we do not live in a post-racist society. But I’d like to think that the publishing world is better than those many anecdotes I’ve been hearing. But for that to happen, all of us—writers, editors, designers, sales reps, booksellers, reviewers, readers, and parents of readers—will have to do better.
My last week in NYC I was invited to visit the studio where the audio book of Liar was being recorded. Even though I had a gazillion million things to do I made sure to get there. I’m so glad I did. It was an amazing experience.
I’d never had my prose read out loud by a talented actor like Channie Waites before. It was a revelation. I know it’s a cliche but she really did make my book come alive. Bits that I hadn’t realised were funny, she rendered funny. (In a good way!) It was strange and wonderful and gave me chills. And as you can see I’m really struggling to articulate how incredible it felt to listen to Micah brought to life.
Channie Waites in the booth behind the glass and Lisa Cahn reflected in the glass
Channie Waites in the booth and Jeffrey Kawalek doing his sound engineering thing
Let me instead talk about the nitty gritty. There were three people in the studio: Channie Waites in the recording booth, then the engineer, Jeffrey Kawalek, who’d call a halt to proceedings anytime he heard a P or T pop or the rustle of Channie’s clothing (those mics are crazy sensitive) who fiddled with knobs and dials and, lastly, Lisa Cahn, the producer, who would stop the recording to ask Channie to read it with more or less emphasis and so on. It was unbelievably hard to keep my mouth shut and not interrupt with my own suggestions, but I managed, and after a few minutes was able to relax and just enjoy hearing someone else’s interpretation of my book and my characters.
Channie Waites in the recording booth
Both Channie and Lisa had really interesting theories and questions about the book. I wrote Liar to be read in at least two different ways, but the responses I’m getting are showing me that there are way more than just two interpretations. I love hearing them all. Especially Channie’s and Lisa’s because they’d both read it very closely indeed. The finished recording is eight hours long but it takes at least double that to do the recording. That’s a long time to spend reading one book. I can’t wait to hear the whole thing.
The Liar recording was produced by Brilliance Audio and the How To Ditch Your Fairy one was produced by Bolinda Audio. Each will be available from the other company because of their cunning co-production. Liar will go on sale in each country at the same time as the print edition.
In addition to my Melbourne Writers Festival events—first one is tomorrow with Scott and Isobelle Carmody *squee*—soon I’ll be off on my second US tour. Pretty, exciting, eh?
I just added a few events to the appearances page. So far I have events confirmed (or close to) for Phoenix, Nashville, Memphis, Austin, Seattle, Portland and New York City. I’m especially excited about those first three cities as I’ve never been to any of them before.
Also: Memphis = Gracelands = Justine hyperventilating. For those of who don’t know, yes, I am a daggy Elvis fan. Goes back to when I was very little.
There will be at least one or two more cities on my tour. I’ll let you know which ones as soon as I know. Here’s hoping it’s your city.
Just so you know, I don’t pick where I go. The wonderful publicists at Bloomsbury make those decisions and it largely depends on which book shops, libraries and schools want me to come to talk to them. It could be that I’m not going to your town because no one there asked my publisher to send me. So get mad at your local book shops, schools and libraries, not at me!1
What will I be doing on tour? Talking about Liar, how I came to write it, my thoughts on lying, and the many other things that shaped the book. I’m also happy to talk about my earlier books, especially How To Ditch Your Fairy which comes out in its brand new shiny paperback edition at the same time as Liar debuts in hardcover. In fact, I’ll talk about whatever you want me to talk about. Last year, at one school event all they did was ask me about food. Oh, and to tell them vomit stories. I live to answer your questions.
Here’s hoping I’ll get to meet some more of you over the next few days and months. It’s my favourite part of touring.
Lately, I have heard several published white writers express their trepidation about the idea of writing non-white characters. Some of them have mentioned that they feel they’ll get in trouble if they continue to write only white characters, but that they also feel they’ll get into trouble if they write characters who aren’t white cause they’ll bugger it up.
Damned if you do, they say, damned if you don’t.
To which I can only say, and I mean this nicely, “Please!”
What exactly are you risking? Who exactly is damning you? Which of your previously published novels have attracted no criticisms and no damnation? Cause that’s amazing. You wrote a book no one critcised? Awesome. Please teach me that trick!
Every single book I’ve published has displeased someone. I’ve been accused of promoting teenage pregnancy, homosexuality, and underage drinking. Every single one of my books has caused at least a few people to tell me that I stuffed various things up: my descriptions of Sydney, of NYC, of mathematics (absolutely true), my Oz characters don’t speak like proper Aussies, and my USians don’t talk like proper Yanquis. My teenagers sound too young or too old and are too smart or too stupid. I did my best, but some think that was not good enough.
That’s the risk you take when you write a book.
If you do not have the knowledge, resources, research, or writing skills to write people who are different from you, then don’t. People may well criticise you for that. They’ll also criticise you for having some of your characters speak their notion of ungrammatical English1. And for not having enough vampires. Whatever.2 Write what you’re good at. Lots and lots of writers pretty much only write about themselves and their friends. F. Scott Fitzgerald is a famous example. There are many many others. That’s fine. Own it. And do it as well as you can.
If you, as a white writer, decide to write people of a different hue to yourself then you should do your damnedest to get it right. But know that no matter how well researched your book, no matter how well vetted by multiple knowledgeable readers it is, there will always be people who think you buggered it up and misrepresented them. All you can do is write the best, most thoroughly researched book you possibly can. After all, don’t you do that with every book you write? You don’t write your historicals with Wikipedia as your only source, do you? Right then.
What should you do when you are criticised?
Listen. Learn. Even if you think they’re insane and completely wrong.
Figure out how to avoid the same egregious mistakes in your next book. But remember that your next book will also be criticised. That’s how it goes.
Do not have a hissy fit and say you’ll never write about anyone who isn’t white again. Do not insult those criticising you.
Say you, as a white American, write a novel with many Thai-American characters and a Thai-American reader criticises you for getting something wrong yet another Thai-American reader praises you for getting the exact same thing right. Who do you believe?
What do you do when two white readers disagree about stuff in your books? Do you assume that all white people are the same? Perhaps it’s time to stop assuming that all Thai-Americans are the same and have the same opinions and experiences. Thailand’s a big country with a wide range of ethnicities, religions, cuisines and everything else. The experiences of the Thai diaspora in the USA is going to be just as varied. Some Thai Americans will think you got it right, some will think you got it wrong. That’s how it goes.
Keep in mind that Thai-Americans writing about Thai-Americans are also criticised and told they get it wrong. No one is immune from criticism. No one is immune from getting it wrong for at least some of their readers. We all do it.
Writing is hard. No matter what you write about. You will be damned no matter what you do. But that has nothing to do with you being white, that has to do with you having the arrogance to be a writer, and publish what you write for other people to read. Your readers get to judge you. That’s just how it goes. Your job is to be a grown up about what you do and how people respond to you. That’s really hard too. Trust me, I know.
Thus endeth the rant.
First I must make a confession: I was very nervous about reading Zetta Elliott’s A Wish After Midnight despite all the good reviews it’s had. I was nervous because it’s self-published and I’ve had some bad experiences with self-published books. Midnight does show a few (minor) signs of not coming from an established publisher such as the margins and line spacing too tight. However, within a couple of pages I stopped being bothered by them, and a few pages after that I stopped seeing them at all because I was lost in the story.
I feel like A Wish After Midnight was designed with me in mind. Because it does so many things I love as well as working as an homage to one of my favourite writers, Octavia Butler. It’s a time travel story set in New York City between now(ish) and the Civil War. Both time periods are vividly realised. You can smell and taste and feel the very different NYC (mostly Brooklyn) landscapes between then and now. I adore historical novels that are clearly well-researched and yet all that research is not obvious. It permeates every scene, every sentence of the book, but it never feels like the author was showing off. Story came first. I love social realism that is also genre. Wish covers multiple genres seamlessly.
Then there’s the protagonist. I absolutely adored Gemma Colon. She’s smart, strong, resourceful, but also very young. She’s an outsider at school and doesn’t get on with her two oldest siblings. Her mother is fighting hard to keep the family afloat but that involves working around the clock. Funny how economic stability and emotional stability sometimes work out to be incompatible. If you’re a single parent working two jobs you don’t get to spend enough time with your children. Gemma is in a lot of pain but she channels it all into working as hard as she can at school and at home. She maintains a huge capacity for joy and hope. Can you tell I adored her?
A Wish After Midnight is influenced by one of my favourite books of all time, Octavia Butler’s Kindred. You could almost say that it’s a YA reworking of Butler’s brilliant book. Butler has had an enormous influence on my writing. So when I say that Wish evokes Kindred without ever being overwhelmed by it, that’s a huge compliment. In fact, I was left wanting to re-read Kindred and Wish back to back.
My biggest question about Wish is why it had to be self-published. This is great story telling, it’s totally commercial—i.e. I could not put it down—it’s also an ethically compelling book about race, class and gender. It’s not like other books in the marketplace. I don’t understand why a big house has not picked it up.
As you can tell my streak of reading extremely good books continues. I’d love to hear what you all thought of A Wish After Midnight espeically those of you have also read Kindred.
Ever since I first became a part of the YA world, I’ve been noticing complaints that way too many YA books published in the US of A are set in New York City. Why can’t other cities get a look in? they ask. Off the top of my head I can easily name many, many US YA books that are not set in NYC. But I think most people would concede that there are more YA books set in NYC than any other city or place in the USA.
There are lots of reasons. There’s the famous New York City bubble. People who live in NYC find it hard to believe there is anything of interest outside her five boroughs. (And most of them are unconvinced there’s anything cool anywhere expect the borough they happen to live in.) I don’t share that opinion, but hey, I’m from Sydney that’s where all the cool stuff actually is.
I have never heard anyone bitch that all Oz YA is set in Sydney. That’s beacause a) it isn’t and b) the publishing industry is mostly in Melbourne. But neither is most OZ YA set in Melbourne. Actually, an astonishing number of Oz YA novels are set in country towns. This is especially astonishing given that Australia is the most highly urbanised country in the world.
I think the preponderance of NYC YA makes sense given the huge population of the city and that it’s the centre of publishing and thus has a long long history of writers living here. Er, like me.1 I’m one of those writers who needs to have been to the places I write about. My five novels are set in Sydney, NYC, San Miguel de Allende, Bangkok, Dallas as well as a city, New Avalon, I invented and thus know really well.2
Are any of you annoyed by all the USian YA set in NYC? Do you not read it cause you’re so sick of it? Or is it more that when you’re picking a new book you’ll pass if it’s yet another one set in NYC?
If you’re not from the US, are you annoyed by the setting of any of the YA in your country? Is too much French YA set in Paris? Too many Bangkok YA novels in Thailand?
Yesterday was lovely. First up there was the flight from NYC. Well, okay, that was not lovely. Flying in the US rarely is. Ridiculously long security lines, having my luggage searched yet again and all my carefully packed to prevent wrinkling event clothes trashed, etc. However, I sat next to a book cover designer and we had a long goss about the industry and the flight arrived on time. So, really, it went better than usual.
Fist event of the tour was an interview with the fabulous Justine magazine. Yes, there’s a magazine named after me.1 We talked books, writing, and Elvis. Hey, I’m in Memphis, you know. It is the land of Elvis.
Next was the event at Davis-Kidd Booksellers.2 It was a small crowd but they were full of good questions and incredibly knowledgeable and enthusiastic about YA. I had a blast rattling off my various theories about Flowers in the Attic, Wuthering Heights, Elvis’s mother’s middle name, Australia’s gravitational pull and why all YA writers know each. Yes, me and Stephenie Meyer and Philip Pullman and Cassandra Clare are all best friends!
After the event we went to Rendezvous BBQ, which many people say is the best barbeque joint in Memphis, some say in all of the United States. I am not really in a good position to judge because I have not had a lot of bbq in my life but it was definitely the best bbq this Australian girl has ever had. I would live there if I could. Oh, and those of you who follow Maureen Johnson’s twitter feed she was totally lying about only eating a bit of bbq sauce on a spoon. Rendezvous has a veggie plate: meatless beans and rice, coleslaw, cheese and pickles. It looked really good. And MJ ate her fill.
And now we’re heading off to Graceland where we have VIP tour tickets waiting for us courtesy of Jana of Justine Magazine. Am I excited? Put it this way: only MJ is keeping me from hyperventilating.
In short: I LOVE MEMPHIS.
Today I blogged about over here. Those of you who’ve been wondering about the process of writing Liar might find it interesting.
Today I prepare for my appearance in Larchmont tonight and the many appearances I’m doing next week in Seattle and Portland. Then I’ll be at the Teen Lit Festival in Austin next Saturday. That’s quite a temperature range. Packing’s going to be fun!
For those of you who only read the posts and not the comments, you really need to check out the comments on the White Writer Advantages thread and the Hating Female Characters one. People are being astonishingly smart.
Today Louisville’s Courier-Journal has a most excellent article about adults reading YA by Erin Keane. I don’t just say that because I was interviewed for it, but because the article is smart and non-sensationalist, and includes some actual facts:
Young adult fiction’s appeal has grown way beyond the school library. What was once considered entertainment for kids has become big business for adults, who are increasingly turning to the children’s section for their own reading pleasure, according to publishing experts.
Nielsen’s BookScan predicted U.S. book sales will remain flat this year, but amid this industry slump, sales of young-adult titles are expected to continue to rise. It’s not only teenagers who are browsing the shelves
There’s no hint of panic about this anywhere in the article. In fact, you get the impression that adults reading the amazingly wonderful YA books out there is a good thing.
Pinch me now.
The event at Books of Wonder with Libba Bray, Kristin Cashore, Suzanne Collins, me and Scott last night was astonishing. Several people said they thought there were around 200 people there. I could not possibly guess from where I was sitting, but it did indeed appear to be many.
Here’s my bad fuzzy photo of the many:
It was pretty overwhelming to be on the bill with such popular writers, especially Suzanne Collins. For those who don’t know, her two most recent novels, Hunger Games and Catching Fire are currently, and have been for some time, numbers one and two on The New York Times bestsellers list, selling bajillions of copies a week. The Books of Wonder appearance was organised around Suzanne because it was her only signing for Catching Fire. I can’t tell you how grateful I am that Peter Glassman (the owner of BoW) thought to ask me to take part. Here’s Suzanne in action (with Libba Bray listening carefully):
I’d never met Suzanne before. She’s lovely, smart and gently funny. She, me and Libba had a fun conversation about the joys (meeting wonderful teens, booksellers, librarians) and travails (food poisoning) of touring. She’s also extraordinarily generous, giving up a big chunk of her presentation to talk in detail about how much she’d loved Liar, Fire,1 Leviathan and Going Bovine. Thank you, Suzanne.
I’d never met Kristin either and she also turned out to be lovely. I don’t know what it is about the YA world but almost all the authors I’ve met have been fabulous.2 It’s such a wonderful community to be part of.
It was only overwhelming at first then it quickly became relaxing. For most of my tour, I’ve done solo events with all the attention on me, but last night I could sit back and watch how other YA authors answer questions about how they come up with names, where they get their ideas, and which characters they like best.
Suzanne and Kristin were both so thoughtful and smart, providing little glimpses into how they work. They both have detailed maps of the imaginary worlds they’ve created. It sounds like Kristin’s world encompasses gazillions of countries and large swathes of time. Very Tolkienesque. Libba Bray remains one of the funniest people on the planet and I don’t just say that because she’s a dear friend of mine. As does Scott.3 Last night’s event made me want to stick to doing events with other people. Not just because it’s more fun for me, but also because it felt like the audience gets more out of it too.
What do you think?
One event I’m dying to do is me and Libba talking about unreliable narrators. For those of you who haven’t read Going Bovine you really should. We wrote Liar and Going Bovine at the same time and commented on each other’s early drafts. I can’t tell you how deeply eerie it was to discover we were both writing unreliable narrators and how many resemblances there were between our books even while they were also extremely different. Going Bovine is hysterically funny; Liar not so much. I think our two books work amazingly well side by side. Turns out I am not the only one to notice this.
Maybe some time next year we’ll be able to talk about our books, their unreliability, and how hard they were to write side by side. Fingers crossed!