This morning, I suddenly realized that one reason I don’t do as many informational posts any more is because I post what I find on Facebook. Please, feel free to follow me there!
Have you had a chance to read “Against YA”? I’ve read pretty lively attacks directed at the thoughts expressed in the article and interesting to note they all came from authors of YA and kidlit, librarians and others with a unique relationship to the industry. Did bankers pay this any attention? How do plumbers and astronomers react to news of so many adults reading books written for those years or decades younger? The decades? That would be me. I honestly doubt I would fill my world with YA if I were not a librarian who works in the field. I know I wouldn’t. Perhaps I would pick up a YA books now and then, but I wouldn’t have the steady diet. I don’t like a steady diet of any gene, any ethnicity or any one thing when I read. I really like this from BookRiot on reading beyond your depths. I feel a constant back and forth in my reading, from stretching my imagination with a good YA spec fic to relaxing into an adult romance to expanding the bounds of my knowledge with professional nonfic. #INeedDiverseBooks
Yesterday, I finally made it back to the gym and as always, I used my time on the treadmill to get some reading done. I’m reading Cynthia Leitich Smith’s Feral Nights at home but prefer reading on my Nook when I’m on the treadmill. So, I began reading Shieldwolf Dawning by Selena Nemorin. As works of speculative fiction, both of these books require world building. The writers had to create myth, place, names, and problems that do not exist in their day to day life. I looked at Cynthia’s blog to get an idea how authors tackle such a project and found Malinda Lo discussing Ash (Little Brown, 2009). Cynthia asked Malinda how she goes about building worlds in her writing.
I was an anthropology graduate student when I began working on Ash, so I approached the world-building from an anthropologist’s perspective. I thought a lot about the rituals that mark the turning points in life–birth, marriage, and especially death.
This was particularly important for Ash because the story begins when Ash loses both her mother and father. I studied funerary rituals in China when I was in grad school, and I relied heavily on that knowledge when I wrote about Ash’s parents’ funerals, and when thinking about how people in that world think about death and dying.
Another of the most significant aspects of the Cinderella story is the fact that the stepmother wants her daughters to make wealthy marriages. I read a lot of analysis of fairy tales, and discovered that many tales included stepmothers because mothers often died in childbirth, and fathers were forced to remarry because they needed a wife to help raise the children.
These family structures might set up a situation in which a stepmother is forced to raise both her own children and another woman’s, and in a world of scarcity, this naturally sets up a kind of competition.
For girls, marriage was basically their ticket to freedom–a girl had to marry in order to support herself later in life, and it was to her advantage to marry well.
If a stepmother is raising both her daughter and her husband’s daughter from his earlier marriage, and there are few eligible males around, it might not be surprising that she would favor her biological daughter.
Obviously not all stepmothers are like this! But doing this research helped me to understand why a stepmother might act this way.
So, I guess I thought about the worldbuilding in a fairly intellectual, anthropological way! But then when I wrote, I kind of just loosened my focus and allowed it to become the background–the motivator for characters’ actions. I didn’t bother describing all the rituals or reasonings behind decisions; I focused on how those rules and practices would influence a character’s behavior. source
As with any writing, authors bring what they know and how they’ve come to view the world into their creation process.
Eric Gansworth’s If I Ever Get Out of Here didn’t have to involve world building, but I think when Eric considered his audience, he realized he’d have to build his world for them to enrich the story. How skillfully he did that! He took us right inside his character’s world and made us feel as though we were accepted.
I wonder which is more difficult, writing about a newly created world or one we intimately know. How does one become aware of things they’ve come to take so much for granted and know they need to be described to an audience?
Some of the following have recently been posted on my FB page.
Saturday 16 August is the date of this year’s International Children’s and Young Adult Literature Celebration: Muslim Journeys. This one day workshop will feature authors Ali Alalou, Saideh Hamshidi, Rukhsana Khan and Naheed Senzai. “This year the celebration will focus on Muslim Journeys by exploring new and diverse perspectives on the people, places, histories, beliefs, and cultures of Muslims around the world, through presentations on literature, media, history and social organizations.”
Creative Child Magazine, published by Scooterbay Publishing (a company that doesn’t appear too focused on diversity), focuses on “helping parents nurture their child’s creativity”. Yesterday, they selected Chinese Fables: The Dragon Slayer and Other Timeless Tales of Wisdom (Tuttle Publishing) as the Book of the Year, kid’s books category.
Works of many outstanding authors appeared on this year’s Bank Street Best Children’s Books of the Year List, including the following authors. Congratulations! Lists were created for a variety of genre for under 5, 5-9, 9-13, 12-14 and 14 and up. I did not look at the 5-9 list.
Margarita Engle The Lightening Dreamer: Cuba’s Greatest Poet (HMH) (12-14 Historical Fiction and 12-14 Poetry)
Margarita Engle Mountain Dog (Henry Holt)
Rita Williams-Garcia: P.S. Be Eleven (Amistad Press/Harper Collins)
Lesa Cline-Ransome: Light in the Darkness: A Story about How Slaves Learned in Secret (Jump At The Sun)
Jewell Parker Rhodes Sugar (Little Brown Books for Young Readers)
Diana López Ask My Mood Ring How I Feel (Little Brown and Co.)
Andrea Cheng The Year of the Baby (Houghton Mifflin)
Andrea Cheng Etched in Clay: The Life of Dave, Enslaved Potter and Poet (Lee and Low)
Cynthia Kadahata The Thing About Luck (Atheneum)
Angela Cervantes Gaby, Lost and Found (Scholastic Press)
Farhana Zia The Garden of My Imaan (Peachtree)
Eric Gansworth If I Ever Get Out of Here (Arthur A. Levine0
Crystal Allen The Laura Line (Balzer + Bray)
Nikki Grimes Words With Wings (Wordsong)
Shaun Tan The Bird King: An Artists Notebook (Arthur A. Levine)
Andrea Davis Pinkney Peace Warriors (Scholastic)
Tonya Bolden Emancipation Proclamation: Lincoln and the Dawn of Liberty (Abrams)
Matt de la Peña The Living (Delacorte Press)
Patrick Scott Flores Jumped In (Christy Ottaviano Books)
Carol Blythe Revenge of a Not-So-Pretty-Girl (Delacorte Press)
Gene Luen Yang Boxers (First Second)
Gene Luen Yang Saints (First Second)
Lynn Joseph Flowers in the Sky (Harper Teen)
Alaya Dawn Johnson The Summer Prince (Arthur A. Levine)
Sherri L. Smith Orleans (Putnam Juvenile)
Swati Avasthi Chasing Shadows (Alfred A. Knopf)
Walter Dean Myers Darius & Twig (Amistad)
I am really enjoying the BrownBookShelf’s Making Our Own Market series. Not only am I learning how African Americans are succeeding in various areas of the book industry, but I’m learning more and more about the industry itself. Most recently, Kirsten Cappy of Curious City discusses marketing African American titles. Here, she talks about how her work to promote Terry Farish’s The Good Braider (Amazon Children’s Publishing).
In “creating partners for the book by finding commonalities,” I reached out to a young Sudanese hip hop artist and shared a galley of the book with him. A few months later OD Bonny told me the book reminded him of his flight out of South Sudan alongside his brothers. I asked if we could pay to use one of his songs as the audio for a book trailer. He responded, “Why wouldn’t you want a song of your own? I’ll write it. Tonight.”
When I heard his song, “Girl From Juba,” I realized that it was not just marketing, but a reader’s genuine tribute to a work of fiction. An author can have no greater gift. I also realized that I did not need to be the one to produce this trailer. I transferred the book trailer funds to OD and the music video/book trailer was created with an all Sudanese American cast (save one Irish kid), crew, and director. The video had 1000 hits within a week, not of book professionals, but of Sudanese and African American young adults that follow OD’s music.
Ok, I have some writing of my own to do!