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January saw the critically acclaimed and award winning Broadchurch return to our TV screens for a second series. There was a publicity blackout in an attempt to prevent spoilers or leaks; TV critics were not sent the usual preview DVDs. The opening episode sees Joe Miller plead not guilty to the murder of Danny Latimer, a shock as the previous season’s finale ended with his admission of guilt. The change of plea means that the programme shifts from police procedural to courtroom drama – both staples of the TV schedules. Witnesses have to give evidence, new information is revealed through cross-examination, and old scores settled by witnesses and barristers.
riverSedge is a journal of art and literature with an understanding of its place in the nation in south Texas on the border . Its name reflects our specific river edge with an openness to publish writers who use English, Tex-Mex, and Spanish and also the edges shared by all the best contemporary writing and art.
Submit here. General Submissions/Contest Guidelines
Deadline to Submit is 3/1/15
$5 submission fee in all genres (except book reviews)
3 prizes of $300 will be awarded in poetry, prose, and art. All entries are eligible for contest prizes. Dramatic scripts and graphic literature will be judged as prose. Multiple submissions are welcome in all genres. Each submission should be submitted as a separate entry. In other words, do not send two or more entries as one document. Previously unpublished work only. Self-published work (in print and/or on the web) is not eligible. Simultaneous submissions are welcome, but please notify us of acceptance elsewhere as soon as possible. Submissions in English, Spanish and anything in between are welcome. Current staff, faculty, and students affiliated with UT-Pan American, UT-Brownsville, or South Texas College are not eligible to submit original work to riverSedge.
Submissions are now being accepted for the twelfth annual issue, The Ochre Issue, of Fairy Tale Review. The Ochre Issue has no particular theme—simply send your best fairy-tale work along the spectrum of mainstream to experimental, fabulist to realist.
We accept fiction, nonfiction, drama, and poetry, in English or in translation to English, along with scholarly, hybrid, and illustrated works (comics, black-line drawings, etc.).
The reading period will remain open until the issue is full—we predict closing it sometime in late spring or early summer.
Weave Magazine is now open for submissions through May 31, 2015. We are a print publication dedicated to promoting cultural diversity, accepting the best works of literary fiction, creative nonfiction, poetry, drama, and visual art that transfix, transport, and inspire. Currently, we are seeking more submissions for the genres listed below. More information about how to submit can be found on our submissions page.
Deadline: May 31, 2015
Poetry: 3-5 poems Flash Fiction: 1-3 stories, each 1000 words or less Fiction: 3,000 words or less Nonfiction: 3,000 words or less Drama: less than 4,000 words Reviews: 500-800 words Comics/Illustrations/Visual Essays/Stories/Poems: Black and white only
The Great Plains Emerging Writer Prize, sponsored the Great Plains Writers’ Conference at South Dakota State University, is given annually to a writer of the Great Plains region who has not yet published a book, but whose work and career shows exceptional promise. The winner will receive a $1000 honorarium and a featured reading at the conference in Brookings, SD in March, 2015, as well as land travel and lodging.
Submissions open October 1, 2014. Postmark deadline December 1, 2014. All genres open; include a maximum of 15 pages of poetry or hybrid-genre work, or a maximum of 20 pages of fiction, nonfiction, drama, or screenplay. Work submitted may be previously published, but must be stripped of all information identifying the author or the venue. Judging will be blind. Entry fee $15.
The Great Plains region is broadly defined as reaching from western Minnesota to eastern Montana and from the Canadian border to central Oklahoma. We consider writers to be “of” this region if they have resided here more than three years or have a demonstrable historical link to the region (e.g., you grew up here and moved away). Please state your relationship to the region in your cover letter.
What would I do if I did not tell my stories? I might be “asleep” in life. But even in sleep my stories dance in my mind. They wait. They hear my “voice.” That “voice” is a part of them. Where soul and chance meet, in their midst are cinematic images. They must be given an account in […]
As a bioethics teaching method, narrative genomics highlights the breadth of individuals affected by next-gen technologies — the conversations among professionals and families — bringing to life the spectrum of emotions and challenges that envelope genomics. Recent controversies over genomic sequencing in children and consentissues have brought fundamental ethical theses to the stage to be re-examined, further fueling our belief in drama as an interdisciplinary pedagogical approach to explore how society evaluates, processes, and shares genomic information that may implicate future generations. With a mutual interest in enhancing dialogue and understanding about the multi-faceted implications raised by generating and sharing vast amounts of genomic information, and with diverse backgrounds in bioethics, policy, psychology, genetics, law, health humanities, and neuroscience, we have been collaboratively weaving dramatic narratives to enhance the bioethics educational experience within varied professional contexts and a wide range of academic levels to foster interprofessionalism.
Dramatizations of fictionalized individual, familial, and professional relationships that surround the ethical landscape of genomics create the potential to stimulate bioethical reflection and new perceptions amongst “actors” and the audience, sparking the moral imagination through the lens of others. By casting light on all “the storytellers” and the complexity of implications inherent with this powerful technology, dramatic narratives create vivid scenarios through which to imagine the challenges faced on the genomic path ahead, critique the application of bioethical traditions in context, and re-imagine alternative paradigms.
Because narrative genomics is a pedagogical approach intended to facilitate discourse, as well as provide reflection on the interrelatedness of the cross-disciplinary issues posed, we ground our genomic plays in current scholarship and ensure that it is accurate scientifically as well as provide extensive references and pose focused bioethics questions which can complement and enhance the classroom experience.
In a similar vein, bioethical controversies can also be brought to life with this approach where bioethics reaching incorporates dramatizations and excerpts from existing theatrical narratives, whether to highlight bioethics issues thematically, or to illuminate the historical path to the genomics revolution and other medical innovations from an ethical perspective.
Varying iterations of these dramatic narratives have been experienced (read, enacted, witnessed) by bioethicists, policy makers, geneticists, genetic counselors, other healthcare professionals, basic scientists, bioethicists, lawyers, patient advocates, and students to enhance insight and facilitate interdisciplinary and interprofessional dialogue.
Dramatizations embedded in genomic narratives illuminate the human dimensions and complexity of interactions among family members, medical professionals, and others in the scientific community. By facilitating discourse and raising more questions than answers on difficult issues, narrative genomics links the promise and concerns of next-gen technologies with a creative bioethics pedagogical approach for learning from one another.
Heading image: Andrzej Joachimiak and colleagues at Argonne’s Midwest Center for Structural Genomics deposited the consortium’s 1,000th protein structure into the Protein Data Bank. CC-BY-SA-2.0 via Wikimedia Commons.
This morning, Jenny Colgan shares Issy’s must haves for the kitchen. Be sure to enter the giveaway for a chance to win a digital copy of Christmas at the Cupcake Café!
Issy’s Top 5 must haves:
*A good mixer. Kenwood, the British brand is the best: they also come in gorgeous colours!
*a cooling rack. You need to get air under your cakes to finish baking them properly when they’re out the oven!
*a measuring jug. Sometimes you don’t even need to get the scales out if you can approximate from the jug and it’s an easy cake!
* a skewer to poke in and see if your cake is done
* springform cake tins. These are the ones with the bottoms that come out. If you’re clumsy like me, they’re a godsend!
Christmas at the Cupcake Café
Cupcake Café # 2
By: Jenny Colgan
Releasing October 14th, 2014
Issy Randall, proud owner of The Cupcake Cafe, is in love and couldn’t be happier. Her new business is thriving and she is surrounded by close friends, even if her cupcake colleagues Pearl and Caroline don’t seem quite as upbeat about the upcoming season of snow and merriment. But when her boyfriend Austin is scouted for a possible move to New York, Issy is forced to face up to the prospect of a long-distance romance. And when the Christmas rush at the cafe – with its increased demand for her delectable creations – begins to take its toll, Issy has to decide what she holds most dear.
This December, Issy will have to rely on all her reserves of courage, good nature and cinnamon, to make sure everyone has a merry Christmas, one way or another. . .
Indulge yourself and your sweet-toothed friends with Jenny Colgan’s new novel, simply bursting with Christmas cupcake recipes and seasonal sugar-fuelled fun.
Jenny Colgan is the author of numerous bestselling novels, including Christmas at the Cupcake Café and The Loveliest Chocolate Shop in Paris, which are also published by Sphere. Meet Me at the Cupcake Café won the 2012 Melissa Nathan Award for Comedy Romance and was a Sunday Times Top Ten bestseller, as was Welcome to Rosie Hopkins’ Sweetshop of Dreams, which won the RNA Romantic Novel of the Year Award 2013. Jenny is married with three children and lives in London and France.
Robin Talley hijacked the virtual dashboard this morning to chat about her research for Lies We Tell Ourselves.
Top 5 most surprising facts I learned while conducting research for Lies We Tell Ourselves:
I had to do a lot of research to write Lies We Tell Ourselves.
Since the story follows the relationship between a black girl and a white girl during the Virginia school integration crisis in 1959, I read memoirs, oral histories, and news articles about the desegregation process, trying to learn everything I could about what life was like for the students on the front lines of the battle.
But I also needed to know more run-of-the-mill facts about life for high school students in the late 1950s. So I spent a lot of time pouring over vintage yearbooks and reading up on day-to-day life at the time.
Here are a few eyebrow-raising tidbits about life in the 1950s:
1. You didn’t wash your hair every day.
Today’s routine of showering and shampooing daily would’ve sounded crazy in 1959. How often teenage girls actually washed their hair varied, but this vintage hair-care video suggests washing “with a mild soap” every two weeks:
By the way, in 1959, you basically had one hairstyle option if you were a teenage girl. Long hair and straight hair were both unthinkable. Your hair didn’t fall past your chin, and it was curly, and that was that. If your hair wasn’t naturally curly, you got a perm or you set it up in rollers every night. Presumably using the time you saved by only washing it every two weeks.
2. School dress codes were no joke.
No one ever wore jeans to school. Boys would wear khakis with belts and solid-colored Oxford shirts with socks to match. Girls, meanwhile, would never think of wearing pants to school at all. Everyone wore loafers, saddle shoes, or flats, since high heels were forbidden, except for dances. Skirts were long ? well below the knee ? and tights hadn’t been invented yet, so to stay warm in the winter, you either wore knee socks or you just shivered. This yearbook photo shows girls wearing thick coats over bare legs ? and somehow smiling in spite of it.
3. Relationships were no joke, either.
The rules for dating and romance were formal for high school students in the fifties. Boys asked girls on dates ? never the other way around, except for Sadie Hawkins dances ? and, after a sufficient number of outings to movies or football games, a boy might ask a girl to go steady. To do this, he’d give her something of his to wear ? an identity bracelet, a class ring, a football pin, a letter sweater ? and whatever it was, she’d wear that thing every day of her life until they broke up. Going-steady couples walked down the school hallways together with the boys carrying the girls’ books. My mother told me about a trend she remembered where girls would wear blouses that had loops of fabric at the back of the collar. She remembered one going-steady couple at her school who walked down the hall together with the boy’s finger looped through the fabric at the back of her blouse collar. It sounds like nothing short of a leash.
4. Double standards for girls were the norm.
As I mentioned up in #3, the decision of who dated whom and who went steady with whom was almost entirely up to boys ? they were the only ones who could suggest a date or a relationship. After that, though, it was up to girls to keep the boys in check. It was considered normal for boys to want to hook up, but girls were supposed to stop them, or else. Even if you were going steady, girls were still supposed to rein their boyfriends in when they got “carried away.” A girl who kissed on a first date was “easy.” So was a girl who wore a skirt that was deemed too tight. My aunt told me about one classmate she remembered who was known for routinely too far with boys ? meaning she and the boys she dated would engage in extended kissing sessions. The other girls at their school referred to this girl in whispered voices as a “make out.”
5. Air raid drills were part of life.
The 1950s were near the height of the Cold War. During classes, it was routine for a practice air-raid siren to go off. Students were expected to duck down under their desks or go out into the hallway and kneel against the wall with their arms over their heads. These tactics wouldn’t have helped in the slightest if there had been an actual nuclear attack, of course ? nuclear weapons do far too much damage for it to make a difference what position you’re in ? but they did a great job of freaking out the students who went through the drills, and of reminding them of the Communist threat that loomed over everyone’s heads.
About the book:
In 1959 Virginia, the lives of two girls on opposite sides of the battle for civil rights will be changed forever.
Sarah Dunbar is one of the first black students to attend the previously all-white Jefferson High School. An honors student at her old school, she is put into remedial classes, spit on and tormented daily.
Linda Hairston is the daughter of one of the town’s most vocal opponents of school integration. She has been taught all her life that the races should be kept “separate but equal.”
Forced to work together on a school project, Sarah and Linda must confront harsh truths about race, power and how they really feel about one another.
Boldly realistic and emotionally compelling, Lies We Tell Ourselves is a brave and stunning novel about finding truth amid the lies, and finding your voice even when others are determined to silence it.
December 1. The year is winding down. While to some December means end-of-the-year holidays and cold weather, to me it means the arrival of "Best of the Year" booklists. I pore over them the way I used to study the old Sears Christmas catalogs, agreeing with some selections, shaking my head over others and marking those still to be read. The Teaching Authors don't think the reviewers at Publisher's Weekly and School Library Journal should have all the fun. In the next couple of weeks we will be discussing our own favorites reads of 2014, whether they were published this year or not.
In fact, my favorite read of the year, the graphic novel Drama by Raina Telgemeier, was published in 2012. Telgemeier also published this year, Sisters, which is every bit as good as Drama. However, Drama first caught my eye because it is about a subject close to my heart...a middle school drama club. Having been a middle school (and high school) drama club director for many years, I wanted to see how close the book came to my own experience.
Telegemeier not only nailed the excitement of producing drama on stage, but all the little "dramas" that go on every day in middle school. Callie, the main character, can't sing or act well enough to perform on stage in the school musical, but she loves theater so much she is thrilled to design and build the sets. The characters are not the school "cool" kids but the "stage rats," kids besotted by the world of theater. One detail that the author captured perfectly is the ability of these junior actors to accept each other unconditionally. Nothing really mattered except whether or not a person could perform their assigned task, onstage or off.
Telgemeier is also the author of Smile, a graphic novel of living though orthodontia. Smile is geared for an elementary audience getting their first braces. Drama is most definitely for an older reader, sixth grade and up. My review for Drama? Standing ovation, all the way!
ANGIE and her male friend(JOE) are sitting on a couch, caught up in an embrace. Her cell phone rings repeatedly.
ANGIE Ignore it. Now where were we...
(cell phone stops ringing and is replaced by the ringing of her regular phone)
JOE Shouldn't you answer? Sounds like it's important
ANGIE Some people might think so but not me. So...now...where were we?
JOE You know who it is?
ANGIE I have a pretty good idea
JOE Strikes me that whoever's calling you, is trying to get your attention
ANGIE Ignore him. As I recall, you had your arm here...
ANGIE That is to say, it's probably one those scam companies making me an offer I'll refuse
(both phones ring simultaneously)
JOE I dunno, Angie. Sounds like someone really wants to speak with you. You better pick up one of them. Why don't I go get us a drink while you choose?
ANGIE Honestly! I get crank calls all the time. Why should this be any different?
JOE (getting up) Answer the phone, Angie
(JOE leaves the room. ANGIE stares at the phones while they continue to ring)
JOE (from the other room) 'Answer the phone already!'
ANGIE Why...why did I get involved in this again?Hello?
NOAH Guess who? Is this your cell phone I'm communicating on? I've been thinking of getting one msyelf...
ANGIE I'm going to end this conversation, now
NOAH ...I mean, it would definitely give us more manoeuvering room. We could travel around and still keep in touch with everyone.
ANGIE We? I don't think so
NOAH Okay. I get it. We'll only use your cell phone. Don't wanna squander resources
ANGIE We are not partners, got that? Now if you excuse me, I'm otherwise occupied
NOAH Seems like a nice enough guy
ANGIE Say what?
NOAH Dear, Angie, my special connections allow me a private view into people's lives not accessible to humans
ANGIE What happened to my right to privacy? It's beyond chutzpah! This conversation is over
NOAH Would it make a difference if I apologize? It's not like I ask to have this insight. Comes with the territory. It's all water under the bridge, anyway. Always wanted to say that. Oh my - I am witty today.
ANGIE You mean, wit-less
NOAH Just trying to inject humor in what would otherwise be a dismal and gloomy topic. We have important things to discuss like how are we going ensure that we have two representations of all living things on this planet
ANGIE There is no "we"! I'm not working along side a peeping Tom or Noah as the case may be. Good bye!
(ANGIE turns off her cell phone. It rings again)
ANGIE (cont'd.) 'I'm not home, Noah!'
(JOE re-enters and looks around)
JOE I thought I heard voices
ANGIE Watching this stupid program on TV about this weirdo who thinks he's been appointed to save the world and tries to convince a woman to join him
JOE Sounds interesting
ANGIE Forget about it. Let's get back to what we were doing before, better
(CELL PHONE rings again)
JOE Boy! You sure get a lot of calls!
ANGIE It's always the wrong number. Gotta do something about that
(Knock on the door. ANGIE answers)
ANGIE (cont'd.) You!
NOAH Hope you don't mind me dropping by. I happened to be in the neighborhood
(pushes by ANGIE)
NOAH (cont'd.) Hello! I've heard so much about you and at last we meet. I'm Angie's friend, Noah. Tell me...have you given much thought to all this rain we've been having?
April 10, 2015 will mark the 90th anniversary of the publication of The Great Gatsby by F. Scott Fitzgerald — a book that many people believe is the best novel of all time. To celebrate the occasion, we are planning ahead — and getting started with our latest anthology: The Silver Birch Press The Great Gatsby Anthology, a collection of poetry, prose, art, collage, photography, and other work that celebrates this remarkable novel. WHAT: Poetry, prose, paintings, drawings, photographs, and other work inspired by The Great Gatsby. TYPES OF WRITTEN MATERIAL: Poems (up to three — either original work or found/erasure poetry based on The Great Gatsby) Short stories (up to 2,000 words) Essays (up to 1,500 words) Creative nonfiction (up to 2,000 words) Short plays or screenplays (approximately 5 typed pages) Other literary forms (up to 2,000 words) TYPES OF VISUAL MATERIAL (send jpg files of approximately 1MB): Photographs Collage Paintings Drawings SUBMISSION DEADLINE: September 1, 2014 RELEASE DATE: April 2015 HOW TO SUBMIT: Please email written entries as MSWord attachments and visual entries as a jpg attachments to:
silverATsilverbirchpressDOTcom (Change AT to @ and DOT to . )
along with your name, mailing address, email address, and one-paragraph bio. (If submitting an erasure poem, provide the edition and publication date.) PAYMENT: All participants will receive a copy of the Silver Birch Press Great Gatsby Anthology.
The East Carolina University English Department has created the Bill Hallberg Award for Creative Writing, a rotating genre prize open to undergraduate writers who attend universities in NC, TN, VA, and SC. This year, the award of $500 will be given for two one-act plays or a full length play.
A staged reading of the play(s) will be performed at East Carolina University with the playwright attending (expenses paid.)
Submissions must be accompanied by a letter of recommendation from an instructor at the student's school.
Here’s something I hope you’ll like! Want to win a copy of Killer Instinct by S E Green? Just answer the question and fill out the widget below! US shipping addresses only, please.
A teen girl version of Dexter meets the high stakes danger and mystery of The Girl with the Dragon Tattoo in this riveting debut. Lane is a typical teenager. Loving family. Good grades. After-school job at the local animal hospital. Martial arts enthusiast. But her secret obsession is studying serial killers. She understands them, knows what makes them tick.
Because she might be one herself.
Lane channels her dark impulses by hunting criminals and delivering justice when the law fails. The vigilantism stops shy of murder, but with each visceral rush, the line of self-control blurs. And when a young preschool teacher goes missing—and returns in pieces—Lane gets a little too excited about tracking down “the Decapitator,” the vicious serial murderer who has come to her hometown.
As she gets dangerously caught up in a web of lies about her own past, Lane realizes she is no longer invisible or safe. Especially after the Decapitator contacts her directly. Now she needs to use her unique talents to find the true killer’s identity before she—or someone she loves—becomes the next victim…
Here are the deets:
Answer this Question:
What’s an interesting habit or trait you have that is strikingly similar or remarkably different from your parents or other people in your family?
This is a tough question because I am so like my family members, yet so different, too! Like most of my family, I avoid confrontation (though lately I have been more willing to speak up for myself), I’m reserved around new people, and I’m willing to make a plan and work to achieve my goals. I’m not athletic – that gene missed our family, though as I am getting older, I enjoy getting outside and taking a nice long walk (I know my mom and brother like to walk, too). It’s very relaxing. We all enjoy hitting the road and visiting new places; that break from the daily grind is necessary to keep up my motivation.
Ways that I’m different – there are times that I don’t want to talk to anyone, my family included. I think my parents are finally picking up on that one. Sorry guys, there are just times that I need to be left alone! I don’t think anyone else in my family is like that. I also have to be surrounded by my critters to be truly happy. That means occasionally being covered in dog or horse hair, as well as slobber. What can I say?
When I think about it, I think I am much more like my family members than not. How about you?
A finished copy of the book in a police evidence bag!
Sandra from Brenda Beem’s Knockdown stopped by to share 5 things not to do during a Mega Tsunami.
1.Get stuck in traffic. Sixteen year old Toni, the main character, rides her bike to the marina where her family’s sailboat, Whistler is moored. The city has been ordered to evacuate. Traffic is jammed. The police are gone. Desperate people are fleeing the city. Toni makes it to the boat because she can weave through the mess on her bike. He parents are not so lucky, and never make it.
2.Wear flip-flops. When Toni gets to the sailboat, a group of her older brother’s friends are hanging around the boat, dressed in late August shorts and flip-flops. They left football practice with nothing but what they brought to the practice that morning.
Flip-flops slide around on your feet on a rocking boat and are useless when an ice age is approaching. When stranded passengers from an Alaskan cruise ship chase them, their flip- flops are hard to run in. The teen’s break-in to boats in the marina to scrounge clothing and end up tossing their car keys to the stranded cruise passengers.
3. Forget your cell charger. Cell service goes down in the beginning of the novel because the circuits are overloaded. After the Mega tsunami, cell towers are wiped out. The crews all have their cell phones, but not their chargers. They have to share the one on the boat, and Toni’s brother’s girlfriend does not share well.
4. Forget duct tape. Oh. The things you can do with duct tape. Entire books are written about them, and Toni and the crew have a supply onboard. They enlarge clothing, adjust life vests, and even wrap the dropped sails in it to survive the tsunami. When they are finished wrapping the boat, Toni stands back and thinks the boat looks like it belongs on the Island of Misfit Toys.
The crew creates and improvises in so many ways. Besides the many things they do with duct tape, they build a fire pit on board the boat, and even make penicillin. And not from bread.
5. Leave your pet behind. Toni sees abandoned cats and dogs as she races to the marina. I hated thinking people would really leave them behind, but some would. In early versions of this novel, I had Toni rescue a dog while riding her bike. I decided to move the rescue to later in the story.
Toni and Takumi, a soccer player who nobody knows well, are instantly drawn to one another, but can never find a place to be alone. They help build a raft from the ships table and send a crew member off to rescue a small dog trapped on a giant floating tree. After the rescue, Toni and Takumi take the raft back to the tree to free up a fishing net, but then sneak off and climb into the tree’s branches. They find a cozy evergreen nook where they have a few minutes to get to know one another without everyone onboard hearing their every word.
By Brenda Beem
Blurb: A sail boat can tip over and come back up again. Sailors call this a knockdown.
In eighteen hours a mega tsunami will hit the Pacific Coast. It will leave in its wake massive destruction and the threat of an ice age.
Sixteen-year-old Toni, her brothers, and their friends race the clock as they sail Toni’s family boat far out to sea. They must get beyond where the wave crests, or the boat will be crushed.
Without their parents to guide them, the reluctant crew improvises. Romances bloom and tempers flare. There is no privacy. Cell phones won’t work. The engine breaks down. They are running out of time.
Even if they survive the wave, there is nowhere in this ravaged world to go. When disaster strikes, it is up toToni to find the strength to lead the crew when her brothers cannot.
YOUNG ADULT AUTHOR.
I am an only child and growing up books were my best friends. My love of literature and the Pacific Northwest continued at the University of Washington where I earned a degree in English.
I began sailing with friends when my children were small, and continue to sail the inland waters of the Puget Sound.
When I’m not with family, friends, or writing groups, I’m sailing, kayaking, or boating on the waters of the Puget Sound and Lake Washington. I also like to hike the many trails on the lake and near my cabin.
If you’ve ever perused the online web comic community Tapastic.com, you’re sure to have seen the slice of life webcomic “The Danemen” featuring the DaneMan himself. The silent (word-less) comic transcends language through the use of visual queues that brings drama and comedy to the viewer. It’s like watching a classic Chaplin act and waiting for the finale, which never disappoints and is almost always unexpected.
In the video below, David shows us his work process and how it defines his unique style. Make sure to take notes, and don’t forget to support his Patreon campaign so he can make comics until the end of days!
With two brothers fighting in the Great War, her family needing extra money, and her boyfriend’s drinking driving a wedge between them, Livy Campbell accepts a job teaching German-American children in a nearby small town. But even there, the effects of the war can be felt as anti-German hysteria divides the town’s population. Friedrick Wagner feels shame for not fighting alongside his friends. Instead, he took a deferment to run his dying father’s farm, work as the school handyman, and provide for his younger siblings. With so much hatred surrounding him, he fears God may have forgotten him. His friendship with Livy gives him hope, but the obstacles dividing them must first be overcome
About Stacy Henrie:
Stacy Henrie has always had an avid appetite for history, fiction and chocolate. She earned her B.A. in public relations from Brigham Young University and worked in communications before turning her attentions to raising a family and writing inspirational historical romances. Wife of an entrepreneur husband and a stay-at-home mom to three, Stacy loves the chance to live out history through her fictional characters, while enjoying the modern conveniences of life in the 21st century. In addition to author, she is a reader, a road trip enthusiast and a novice interior decorator.
After another fifteen minutes had crawled by, Livy forced herself to accept the likelihood that Robert—for whatever painful reason—had chosen to spend her birthday with a bottle cradled in his arms instead of her. Hot tears of anger sprang up behind her eyes and no amount of blinking could keep several of them from leaking onto her face.
“Are you all right?”
Livy whipped her chin up and found herself peering into eyes more brilliantly blue than she’d suspected from her seat across the room. Their clear depths exuded friendly concern in a way that made her feel immediately safe, though she didn’t know anything about this young man. Up close, his Sunday shirt and pressed trousers, though worn, accentuated his strong-looking physique.
She blinked, trying to remember what he’d asked her. Something about her being all right? “Yes. Thank you. I’m just fine.”
She swept away the salty drops from her cheeks. Of course her first real cry in ten years would be witnessed by a stranger, and yet, his self-assured, compassionate manner made her suspect he didn’t find her silly.
“You look like you could use a dance.” He crouched down in front of her and held out his hand. “How about it?”
Livy darted a quick look at the entrance again. “I’m . . . um . . .waiting for my boyfriend.”
“Ah.” He let his hand drop to his side. “Seems to be a bit late.”
She blushed. Who else had noticed her sitting here for over an hour? “I’m sorry,” she offered lamely.
“No, it’s all right.” He got to his feet and started to walk away.
Who was she kidding? Robert wasn’t coming. If he happened to, he’d likely be drunk and she didn’t want to be around him .
“Wait.” Livy jumped up. She could at least have one dance on her birthday. Why should she spend the whole evening hurt and angry over Robert’s absence?
The young man slowly turned back around.
She attempted a genuine smile. “I’d love a dance.”
His face lit up as he smiled in return and held out his hand a second time. Setting her hat on her chair, Livy placed her hand inside his larger one and allowed him to escort her onto the dance floor. The band began to play a fox trot—one of Livy’s favorite dances. She and Joel had become fairly adept at the steps before he’d left for the war.
It felt strange, at first, to be in another man’s arms, but the feeling soon left her. The way he held her hand in a confident but gentle grip, his hand warm on her back, helped Livy relax. He led her around the floor, their feet walking or spinning in time with the music. He was as skillful at the fox trot as her brother, and Livy relished the chance to do more than just sway to the music.
“Are you from around here?” he asked her after a minute or two of dancing.
“About an hour away. And you?”
He shook his head. “I live outside of Hilden. In the county north of here.”
Livy vaguely recalled hearing the town name. “You drove all the way down here, just to go dancing?”
“We don’t have a public dance hall in Hilden. So we have to come here, or head farther north or drive all the way to Sioux City. Do you come to this one often?”
“I used to, before I went to college in Cedar Falls.”
With slight pressure to her back, he expertly led her through a spin before he picked up their conversation again. “What did you study in college?”
“Are you a teacher now?”
Livy frowned, doing her best to tamp down the seeds of resentment the question unearthed. She loved her family and wanted to lift the burden her brothers’ absence had created, but she missed college and the chance to pursue her own dreams.
“I was only able to attend for a year before I was needed here.” Her words drew a look of sympathy from him.
“I know what that’s like,” he murmured. Before she could ask what he meant, he poised another question. “Would you still like to be a teacher?”
“Very much. I’m hoping someday I’ll have the chance.”
The understanding in his blue eyes changed to enthusiasm. “That might be sooner than you think. The teacher at one of the township schools outside of Hilden was recently . . . .” He shot a glance at the floor, his jaw tightening. Livy wondered at the change in his mood. Then he guided her through another spin and his expression relaxed. “Suffice it to say, she’s gone now and I don’t think they’ve found a replacement. It’s a little far away, but you might want to inquire about it.”
A possible teaching job? A flurry of anticipation set Livy’s pulse moving faster at the possibility. She tried to squelch it with the reminder she wasn’t likely to be hired with only one year of schooling completed and no teaching certificate, but she couldn’t destroy the hope completely. How wonderful it would be to be on her own again, and not learning how to teach this time, but actually being the teacher.
Livy met his open gaze and found her thoughts moving from his idea to the man himself. She didn’t even know his name, and yet, she felt comfortable enough in his presence to share some of her regret at having her dream of teaching cut short. She hadn’t even voiced those feelings to Robert yet.
“Thank you,” she said, hoping he sensed how much she meant it. “I may look into it.”
“I hope you will.” He smiled in a way that made her stomach twist with unexpected pleasure.
She searched her mind for a more neutral topic, one that wouldn’t mean spilling more of her secrets to this stranger. “Do you live with family, up there in Hilden?”
He nodded. “I’ve got my father, stepmother and two half-siblings. What about you?”
“I’ve got a few more than two siblings.” Livy laughed. “I’m the third of seven. Five boys and two girls.”
She studied the firm shoulder beneath her hand. He appeared quite fit and healthy, so why wasn’t he a soldier? “Can I ask you something?”
“How come you’re not wearing a uniform?”
Livy wished the question back at once when a shadow passed over his face, erasing the easy camaraderie between them. Before he could answer, the song ended. He released her hand at once, though he didn’t join her or the other couples in clapping.
She gnawed at her cheek, embarrassed at her apparent mistake. He’d been so kind to notice her distress earlier and suggest the teacher position in his town, and she’d repaid him by bringing up something he clearly did not wish to discuss.
“I’m sorry. It’s none of my business,” she said, rushing her words in an effort to keep him from disappearing into the crowd. “I didn’t mean to pry.”
He watched her, his expression guarded. What could she say to erase the awkwardness her inquiry had caused? They’d been having such a lovely time talking and dancing.
“I appreciate the dance. You see it’s my birthday and I adore the fox trot. So you’ve saved my evening, Mister . . .” She waited for him to fill the pause with his name.
The corners of his mouth worked up into a smile. “How about you call me ‘the birthday rescuer?’”
Livy chuckled. She wasn’t sure why he refused to give his name, but she wouldn’t press it—not after her blunder about the uniform. His kindness had completely changed her botched evening. “Thank you for the dance, birthday rescuer. And for telling me about the teacher position.”
“You’re welcome. Do I get to know the name of the birthday girl?”
Two can play at his game, Livy thought with a smirk. “How about ‘the girl I danced with once?’”
Masque & Spectacle is a new online literary journal taking submissions for its first issue slated for September 1. We publish all forms of creative writing, including drama, literary journalism, and essays, as well as visual art, photography (especially performance photography), video, and sound art.
Please send all submissions and inquiries to: masqueandspectacleATgmailDOTcom (Change AT to @ and DOT to . )
Wow! This is a hard book to review, because it’s so important for the reader to go in blind, or it won’t work. The slow unfolding of Cady’s forgotten memory, like a languid summer day, is suspenseful and engrossing. I started reading They Were Liars without even reading the blurb, and I’m glad I didn’t. Knowing too much going in spoils the mystery of Cady’s lost summer, so I hadn’t even read any reviews for the book. I hate spoilers!
I’ll give you a general overview of the story, with no spoilers, and try to tell you how I felt about it without ruining the read for you. Deep breath – here we go!
Cady spends her summers on Beechwood, the family island. Her grandparents, and each of their three daughters, have a house there, and Cady’s summer days are spent swimming, hanging out with her cousins, and enjoying the closeness of her extended family. Everything seems so idyllic to her, until she turns fifteen. Then her life slowly starts to unravel; her father leaves her and her mother, moving to Colorado with another woman. Because her family doesn’t believe in actually expressing your feelings, her mother works out her hurt and grief by erasing every trace of Cady’s father from their life. Their old furniture is given away, the house in Vermont is redecorated, and only then can they begin their summer vacation.
While Cady is hurt and confused, and hadn’t found the process of rearranging the house therapeutic, her mother continues on as though nothing has happens, and she expects Cady to do the same. Stiff upper lip, steady square jaw, no emotional outbursts allowed. It’s during this pivotal summer that Cady realizes how imperfect her family is. Petty jealousies tear away at her aunts. Her grandfather takes pleasure in fueling the discord between his children. And Gat, her cousin Johnny’s friend, a boy she’s known forever, has suddenly stolen her heart, despite her family’s disapproval, because Gat doesn’t fit into their wealthy, white world view.
Cady is an unreliable narrator, and I was never sure when she was telling the truth, or what she thought was the truth. When she forgets most of summer fifteen after suffering a traumatic brain injury, she frantically attempts to discover what happened. Why was she swimming by herself? Why won’t her mom or the rest of her family tell her what happened that warm summer night?
While I loved Cady’s voice, I’m not so sure that I liked this over-indulged, spoiled young woman. Even though I was at odds about how I felt about her and her equally privileged cousins, I could not put the book down. Now that it’s a day after I finished We Were Liars, I can’t even tell you if I liked the book. All I know is that it held me mesmerized, and all I wanted was to find out the truth behind Cady and her whacked family. If you are looking for a quick, hard to put down read, We Were Liars has your name written all over it.
Review copy provided by publisher
A beautiful and distinguished family. A private island. A brilliant, damaged girl; a passionate, political boy. A group of four friends—the Liars—whose friendship turns destructive. A revolution. An accident. A secret. Lies upon lies. True love. The truth. We Were Liars is a modern, sophisticated suspense novel from New York Times bestselling author, National Book Award finalist, and Printz Award honoree E. Lockhart. Read it. And if anyone asks you how it ends, just LIE.
This morning I have a giveaway for you to enter. I have an ARC of We Were Liars by E Lockhart up for grabs. This is a compelling read that draws you in and refuses to let go. I am still trying to decide whether or not I actually liked it, but I know that I could not put it down.
About the book:
A beautiful and distinguished family. A private island. A brilliant, damaged girl; a passionate, political boy. A group of four friends—the Liars—whose friendship turns destructive. A revolution. An accident. A secret. Lies upon lies. True love. The truth. We Were Liars is a modern, sophisticated suspense novel from New York Times bestselling author, National Book Award finalist, and Printz Award honoree E. Lockhart. Read it. And if anyone asks you how it ends, just LIE.
As a playwright, the overall goal when crafting a play, is to create a scenario that will carry the story to an engaging conclusion. Once the story is completed, it is the hope of the playwright that the story will have legs so to speak and find the right home, in order to share the playwright's vision with the public. It's always gratifying when one's aspirations are rewarded with the opportunity to realize this goal with actors reading the words of the play. On Thursday, August 7, "Retribution" had its first date with the public via Sundog Theatre's, "Summer Reading Series" and by all accounts having not been in attendance, it was well received.
In the way of background information, the one-act play was born in a writing forum as part of a playwriting challenge a number of years ago. The only stipulation was that the subject matter had to focus on revenge. Before embarking on all writing projects, I always start with two words, "what if..." Initially, "Retribution" began as a short 10-minute play called, "A Close Shave" focusing on a barber and a man receiving a shave. Over time and during the editing process, it took on a life of its own with an adaption of the story and taking a different angle. The play itself can best be described in the quotation, "revenge is a dish best served cold."
In as far as reaction to the play is concerned, Sundog Theatre'sEric Petillo, Curator of New Worksand Administrative Assistant, wrote of the actors reaction when reading the play that "they all raved about your play. They told me that it had taken them all by surprise when the script suddenly took a left turn. One of the audience members said that it was a cross between "Steel Magnolias" and a Quentin Tarantino revenge fantasy."
Ask me if I'm happy. My story being compared to a Quentin Tarantino revenge fantasy AND Steel Magnolias, which is a favorite film, is some compliment! The only complaint was that it was difficult to visualize the graphic imagery accompanying the dialogue with the reading of my stage directions, The overall conclusion was that the whole play would benefit more from a full-scale production. Agree whole-heartedly.
For the record and in case anyone reading this is interested, the play is ready for its debut and if Mr. Tarrantino is interested, my people can speak to your people...or something.
Call for Submissions - Mason's Road: A Literary & Arts Journal
We are pleased to announce the opening of our next submissions period! We are now accepting your best Fiction, Creative Nonfiction, Poetry, Drama, and Craft Essays. The theme for Issue #10 is “Memory,” and we are looking for unique and arresting takes on this topic.
Our submissions period runs for three months: August 15 – November 15, 2014. There are two ways to submit to Mason’s Road. You can submit for free any time during our submissions period, and your work will be given thorough consideration for publication. Or, you can submit with a $10 fee, and your work will also be considered for our Mason’s Road Literary Prize, which includes publication and a $500 prize to the best entry we receive. Please visit our website for submission guidelines.
In our just-published issue, we feature work by prize-winning authors, including Jay Kidd, Nicola Waldron, and Stephanie Dickinson .We also have interviews on craft with poet Cynthia Atkins, screenwriter Tom Grey, and novelist Therese Anne Fowler. We are proud of the excellent array of work we selected from over 500 submissions, including the short story, “Formication,” by Patricia Canright Smith, winner of the Mason’s Road Literary Prize. Visit our website to check out all of the current issue’s works.
Sponsored by Fairfield University’s MFA in Creative Writing, Mason’s Road is an online literary journal with a focus on the lifetime learning of the writing craft. It is run by the program’s graduate students, and its goal is to be both educational and inspiring. Anyone in the literary community is welcome to submit, comment on the current selections, and engage in a dialogue about our craft.
Thank you in advance for helping us spread the word among your creative writing students, faculty, and contacts!
The Mason’s Road Editorial Team
MEMORY Marcel Proust once said, "Remembrance of things past is not necessarily the remembrance of things as they were." Such is the mystery and miracle of memory. Virginia Woolf believed that emotions cannot be fully developed in the moment, rather, only by remembering them in the past. Perhaps that is why, while we exist in the present, we have a tendency to live in the past, feeding on memory and experience to inform our future. Literature, especially, has all to do with memory. It is no coincidence that the majority of prose is written in the past tense as if being recalled from somewhere, and we even have a whole genre of nonfiction dedicated to memoir--a word derived from the French and Latin words for memory. Poetry is very often reflective, and even futuristic drama has an organic way of telling a story of the past. Why are we so tied to memory, and perhaps more curiously, why do we feel compelled to share memories with others? Mark Twain said, "A clear conscience is the sure sign of a bad memory." The implication is that alongside our memories of happiness and joy, there must surely be memories of sadness and regret. What value does this add to the human experience? How can literature help us to answer these questions? The editors of Mason's Road look forward to reading the creative ways in which our contributors delve into the eerie abyss of Memory. As Aldous Huxley puts it, "Every man's memory is his private literature." We are excited for this opportunity to read so many chapters of so many different stories.
This morning I have a giveaway for Ellen Hopkins’ latest release RUMBLE. Check out the blurb and enter to win a copy!
Can an atheist be saved? The New York Times bestselling author of Crank and Tricks explores the highly charged landscapes of faith and forgiveness with brilliant sensitivity and emotional resonance.
“There is no God, no benevolent ruler of the earth, no omnipotent grand poobah of countless universes. Because if there was…my little brother would still be fishing or playing basketball instead of fertilizing cemetery vegetation.” Matthew Turner doesn’t have faith in anything.
Not in family—his is a shambles after his younger brother was bullied into suicide. Not in so-called friends who turn their backs when things get tough. Not in some all-powerful creator who lets too much bad stuff happen. And certainly not in some “It Gets Better” psychobabble.
No matter what his girlfriend Hayden says about faith and forgiveness, there’s no way Matt’s letting go of blame. He’s decided to “live large and go out with a huge bang,” and whatever happens happens. But when a horrific event plunges Matt into a dark, silent place, he hears a rumble…a rumble that wakes him up, calling everything he’s ever disbelieved into question.
About Ellen Hopkins:
Ellen Hopkins is the #1 New York Times bestselling author of Crank, Burned, Impulse, Glass, Identical, Tricks, Fallout, Perfect, Tilt, and Smoke, as well as the adult novels Triangles and Collateral. She has helped to shape the literary landscape with more than 4.5 million copies in print. Successfully combining her two passions—writing poetry and writing fiction—her compelling novels told in free verse expose and examine the struggles facing today’s youth. Ellen lives with her family in Carson City, Nevada, where she founded Ventana Sierra, a nonprofit youth housing and resource initiative designed to help highly motivated young people build solid career paths toward a more positive future. Rumble is her latest book. Visit her at www.EllenHopkins.com or go to www.VentanaSierra.org.