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I'm doing last-minute research on G3 and MA-series assault rifles used by the Tatmadaw Kyee in Burma for my novel BAMBOO PEOPLE, releasing Fall 2010 from Charlesbridge. The book features two boy protagonists—one a Burmese soldier and the other a Karenni refugee desperate to save his people hiding in the jungle.
As for the displaced people and their struggle to survive, here's a recent call for help from a Karen woman who shares graphic details about her family's suffering.
It helps to listen to the hopeful voice of one of my heroes, Aung San Suu Kyi, Burma's imprisoned leader of democracy:
I'm commandeering creativity from blogging and status updates this week and next to focus on my article for next month's School Library Journal and my revision of BAMBOO PEOPLE for Charlesbridge. Be back soon!
Most authors have little to do with book jackets. It's strange because a good cover can spur sales while a boring cover can kill your book, especially when it comes to teen readers. Not to mention the fear of an artist usurping power by representing a character differently than the author imagined, or adding stuff to the plot that simply isn't there.
But a novel is a collaborative process from start to finish, and authors have to trust editors, art directors, designers, and artists with book covers. While they might seek input from us, the final decision isn't in our hands.
Melissa Walker (rgz diva and author of the VIOLET series) interviewed me about the jacket of SECRET KEEPER (pictured in the sidebar) as part of her Cover Stories series. Here's an excerpt:
"My editor asked for input, and I told her that there were a glut of covers set in India with girls peeking over veils or around sarees ..."
Campaigning here in the States is intensifying and writers are wielding words to convince, confound, confuse, and confront -- and, in a culture where humor is perhaps our mightiest weapon, to entertain.
When I get heated up by something I read or hear, I look across the sea to places where freedom of expression -- even a joke -- is a crime. Consider poet/comedian Zargana, imprisoned again last June (he's pictured above):
(Last) time he got five years, several months of which were spent in solitary confinement. Reading and writing were banned, so he scratched poems on the floor of his cell with a piece of broken pottery, and committed them to memory. Poems - words - have power in Burma, and the military authorities realize it.
At night the moonbeams snap. The stars are suffocated. That maligned, unhappy barn owl screeches out its grief. The old train on the tracks hurtles to its destruction wheezing out its last breath.
And I? I send my thoughts beyond these walls day in, day out, from dawn to night (from dawn to night, day in day out)...
Read the rest here and visit PEN's Action Program to find out what you can do on behalf of Zargana and other writers in peril.
I know I said I was done writing under contract. My agent's excited about my 2008-2009 goals to hone the craft and write a better story than I've ever written before -- I fear she's dreaming about an auction that makes headlines at Publisher's Weekly. In truth, though, we're both hoping I create a story that readers will check out of the library again and again, and the thought of climbing fresh literary heights is invigorating.
But now I've been asked to write a children's book by a start-up on-line company. They need a story that's a tie-in for merchandise they'll be selling, so they have definite plot parameters along with a deadline. The catch is that they've offered me a fairly sweet financial deal.
Suddenly, I've tumbled from the lofty peaks of art to the desert reality of money -- the two sides of my full-time vocation. What to do? Here's the strange self-talk running through my brain:
You're not in your twenties, girlfriend; when it comes to time left for storytelling the hourglass is upside down.
If you pass on opportunities like this to free up time for "real art," do you even have what it takes to create a so-called "great story?" And what about your literaryreputation?
Chill out, snob, who's to say a merchandise-related story can't be defined as "great?" Heck, it could give joy to kids who read it -- why is that a lesser achievement than a starred review in the Horn Book?
It's only 6000 words or so; you could probably write it in a couple of months starting in the fall after revising Bamboo People this summer.
But a story, any story, takes creative energy. Is that a renewable resource?
1) You are so not out of time to tell stories! Stop that!
2) The more children you get to open a book--whether or not it comes with a theme-related doll and t-shirt--the more successful you are as a writer and a person (and there is no shame in giving merchandise a literary backbone)
3) Creative energy, in my opinion, is a skill and a muscle. The more you work it out the deeper, stronger, and more complex it becomes.
This being said, the only mistake you can ever make is to go against your heart. The rest just takes you on a winding path to your goals.
Gail Carson Levine didn't lose respect in my eyes when she wrote the anchor books for the Disney Fairies series, because I hear she still told a story worthy of her name and worthy of publication even if it weren't Disney Fairies. (I haven't read them yet, so I can't say for sure.)
So, as long as you can do the same, then it'll be ok!
World Vision is airlifting emergency supplies to survivors of the devastating cyclone that struck Myanmar over the weekend. Right now, more than 20,000 people are feared dead. Thousands more have been left homeless and desperately need food, shelter, and fresh, clean water. World Vision is delivering emergency supplies to the children and families who've lost their homes in the cyclone. Some of the most important items include emergency food, survival kits, water purifiers, tarps and shelters, and mosquito nets for survivors.
World Vision's National Director in Myanmar, James Tumbuan, described a chaotic scene: "Yangon totally collapsed. All the roads were blocked with fallen trees ... Getting drinking water is a real problem. We need water purification units like those that were used in the tsunami. It could take days to get the electricity back."
If you know of other ways to help, feel free to leave the information in the comments.
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This week Delacorte editor Françoise Bui told me that a copy editor's working on Secret Keeper (Random House, Spring 2009), the flap copy and author bio are good to go, and she's sending me cover art soon.
I've got one more revision of The Bamboo People due to Charlesbridge, but that feels more than manageable.
And agent Laura Rennert called to chat about future projects.
After almost three years of writing under contract, I'm free! Picture me on the Austrian Alps -- wait scratch that, the Himalayan foothills -- singing and whirling with arms akimbo.
My goal for the next three years? Hone the craft, sweetheart, and no signing on a dotted line before that first draft is finished.
gail said, on 4/4/2008 7:29:00 PM
Wow, a bookie future with publication dates and revisions nearly finished and someone interested in more. That's security. It's like knowing your car is full of gas and your laundry is done.
Mitali Perkins said, on 4/5/2008 11:03:00 AM
It does feel a bit like that, but I don't forget the running on empty and the dirty laundry of ELEVEN years of rejection between books one and two.
Anonymous said, on 4/12/2008 9:54:00 PM
my dog hasn't seen all of this movie yet
JE said, on 4/14/2008 11:57:00 PM
so you have finally finished her obligations under contract and are free to work on future projects and learned a lesson about signing before a first draft is complete. that's cool
Mitali Perkins said, on 4/15/2008 8:24:00 AM
je
Some authors need to sign before writing to put food on the table, and since any one of us might be in that position someday, I'm never saying "never again."
For now, I can breathe easy. But if an editor did approach me with an amazing idea, I might sign again. So I'm not sure if I learned that lesson after all!
If you have yet to purchase tickets to the Los Angeles production of Spring Awakening, I must inform you that all remaining performances sold out in advance. You may come to the theatre in case any seats open up, but we are hoping for all ticketholders to show up and fill the house.
With only two performances remaining, I'm fairly bursting. I've enjoyed every minute of this production. Being a part of something worthwhile and challenging makes me happy. Getting this part has not only challenged me, but given me hope. I'm going to miss this role, this show, these people.
Lo! 't is a gala night Within the lonesome latter years. An angel throng, bewinged, bedight In veils, and drowned in tears, Sit in a theatre to see A play of hopes and fears, While the orchestra breathes fitfully The music of the spheres.
[ . . . ]
That motley drama - oh, be sure It shall not be forgot!
"From its title one might suppose it a peaceful little idyl of the youth of the year. No idea could be more mistaken." - Francis J. Ziegler
You only have five more chances to see Spring Awakening in Los Angeles! Come be a part of this landmark event before it closes on October 27th.
Spring Awakening is a coming-of-age play written by Frank Wedekind in the late 1800s and which challenged the thinking and attitudes of people of that time. Though it was written and is set in the late 1800s, it addresses themes which are timeless and heady, such as academic failure, familial abuse, the generation gap, and the aftermath of personal tragedies. This production employs the translation written by Francis J. Ziegler as adapted and directed by August Viverito and produced by TL Kolman for The Production Company.
The show runs for only five more performances at The Chandler Studio.
Friday, October 19th @ 8 PM Saturday, October 20th @ 8 PM Sunday, October 21st @ 3 PM
Friday, October 26th @ 8 PM Saturday, October 27th @ 8 PM CLOSING NIGHT!
Ticket reservations are strongly recommended. You may purchase tickets online, call the box office at 1 (800) 838-3006, or pay $20 cash at the door. The doors open half an hour before curtain. Performances tend to sell out quickly, so make your reservations now!
Spring Awakening is halfway through its run in Los Angeles. Come experience Frank Wedekind's tragic, classic coming-of-age story as directed by August Viverito and produced by TL Kolman for The Production Company.
The show runs now through October 27th at The Chandler Studio in North Hollywood, located at 12443 Chandler Blvd, at Chandler and Whitsett. Performances are Fridays @ 8 PM, Saturdays @ 8 PM, and Sundays @ 3 PM.
Tickets are available online. You may also call 1 (800) 838-3006 or pay $20 cash at the door. Performances have been selling out in advance, so reservations are strongly recommended.
The Production Company proudly announces its inaugural production at The Chandler Studio in North Hollywood. This is the world premiere of the Ziegler translation of Frank Wedekind's tragic play as adapted by August Viverito.
Spring Awakening opens SEPTEMBER 21st. Opening night is almost sold out. Get your tickets now!
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I really enjoy your Blog! Would love to write a book myself one of these days...