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It is such an honor and so much fun to watch videos based on my books! Here are two based on Catalyst.

(Why are we thinking about Catalyst right now? It’s anxiety time for high school seniors trying to figure out their paths to college. I send all of you big hugs and virtual cups of chamomile tea.)

Kate Malone is one of those over-achievers; every school has one. Not only is she a straight-A student with especially outstanding grades in math and science, she also happens to be a long distance-running track superstar. She is a minister's daughter. She is dating Mitchell "Mitch" Pangborn III, who is got accepted Early Decision into Harvard. She is the unwilling caretaker of her family, between the death of her mother and the religious duties of her father, Kate is left with most of the house chores. On top of all this, she is a master of avoiding emotions. However, her emotional avoidance skills get put to the test after a series of cataclysmic events turn her life upside-down.

The storyline is pretty good. No complaints about the seriousness of the aforementioned cataclysmic events, they are really quite life changing. The story is easy to relate to, especially for high school students. All high school seniors share a good degree of nervousness over college acceptance. Also, the characters are pretty unique, yet stereotypical. Sound contradicting? It is. Kate Malone, for example, is a classic example of the overachiever student everyone knows will go to some Ivy League school and invent some radical new piece of technology. However, she is not so simple. Sure, she is smart, but she only applies to one school, MIT. Anderson is a master of creating believable, yet unique characters with refreshing amounts of wit. She also develops her characters, and their relationships with one another, beautifully.

Another aspect of Anderson's writing I simply love is her mastery of changing points of view. Not from first person to third person, but changing the way people see the world around them. As the characters' view of one another and the surrounding world change, so also do the reader's. The reader follows the characters' journey as if he/she were a part of it.

The story is set in the same community as Speak, which is pretty exciting if you've read Speak. If you haven't read Speak, what are you waiting for? I gave it five out of five daggers! That's more than enough to convince you to read it. Anyways, there's a great moment in Catalyst where Kate Malone refers to Melinda from Speak, got to love it.

If you've read this far, congratulations. You have patience. Some call it a virtue. As a reward, you get to hear my negative criticism for Catalyst. First things first, it's not as good as Speak. Speak was more humorous, more emotional, and (from a certain angle) more believable. Catalyst wasn't far-fetched. However, the way the events snowball and cause this sort of domino effect makes the story seem less likely to ever happen to a real life person (however, I'm sure someone is going to get lucky). Also, I felt much sorrier for Melinda than for Kate.

Nevertheless, Catalyst was most certainly enjoyable.

4 potentially painful daggers, out of the potentially more painful 5.

(Excuse me, family business first) HAPPY BIRTHDAY, JESSICA!!

(Thank you.)

The nominees for the 2010 YALSA Award for Excellence in Nonfiction for Young Adults have been named and I am really excited for two friends, Deborah Heiligman (Charles and Emma) and Tanya Lee Stone (Almost Astronauts) whose books both made the list.Huzzah!

Revision Tip #10

I need to clarify yesterday's tip.

A Facebook Friend wrote in to say my advice contradicted what Barry Lyga wrote on his blog.

(I'll wait while you hop over to Barry's page and see what he wrote.)

(Really, it's OK. I just made tea. The fire is warm. Go on! Shoo!)

(....)

(Are you back yet?)

Barry and I agree more than we disagree. We are both striving for the balance between tight writing and clear writing. Neither one of us wants you to waste words and page space on dialog or description that don't move the story forward.

But I see opportunity to use what he calls "blocking" as a way to move the story forward. It's all in the details. There is no point to just throwing in descriptions of actions simply to avoid a page of dialog that bounces back and forth between two people. (For the record, my first drafts are often page after page of dialog.) The key is to find THE EXACT RIGHT ACTIONS that will help your characters show what's going on inside them in addition to telling.

This is where choosing the right setting for a scene helps.

I'll give you an example from CATALYST. There is an emotionally loaded scene in which the main character, 18-year-old Kate, is talking to her younger brother. The two of them have just come from a funeral for a small child who was a neighbor. The brother is pestering Kate for details about their mother's funeral, which happened when he was an infant.

In the scene, Kate is cleaning the kitchen. (Their father is the minister, they live next to the church, the congregation gathered at their house after the funeral for a meal.) She is wiping clean, sanitizing, scrubbing, putting things into boxes, sweeping up - all actions that really show what she is trying very hard to do with the memories and feelings about the death of her mother. In the climax of the scene, she puts the last container of food in the refrigerator and slams the door so hard that family photos and the drawings by the dead child all fall off the door of the fridge.

That dialog could have been set in many different places, but I deliberately chose the kitchen because of the opportunities it gave me to create subtext for Kate. Putting action into dialog sequences ensures you don't have talking heads on the page, and it allows you to give the reader more information than just the dialog alone, if you are wise about your choice of action and setting.

Does this make sense?

Questions? Thoughts?