Friday, March 14, 2014

Cynsational News & Giveaways

Compiled by Cynthia Leitich Smith
for Cynsations

On Neutral Characters and Relating to the Specific by Shannon Hale from squeetus blog. Peek: "Why can't someone like Maisie be worthy of a story too? I've encountered similar opinions over the years and began to come to an uncomfortable understanding, one that others before me have also discovered."

On Diversity Within Diversity by Ava Jae from Writability. Peek: "Sometimes we forget that the community of that one sect of people is just as beautifully diverse as the world as a whole. Diversity within diversity."

On the Care & Feeding of Writers by Julianna Baggott and David G.W. Scott from Writer Unboxed. Peek: "Your writer is practicing empathy and understanding of her characters; you can have that same empathy for her."

Why Talking About Girl Reading Matters by Kelly Jensen from Stacked. Peek: "Girls, on the other hand, are unlikable. They have girl problems. They have girl drama (drama, always drama). They are girls in crisis, rather than girls living through the challenges they have to confront in order to be their best selves. In so many of the books that tackle these challenges, girl is a qualifier."

Writing Emotions: Does Your Hero Shrug, Smile & Frown Too Much? by Angela Ackerman from Writers Helping Writers. Peek: "Are these types of descriptors all bad? Certainly not. The fact is, each of these is a real way people express their emotion. It’s only when we rely on a clichéd rendition of showing these cues or we turn to them again and again throughout the story that they hurt our writing."

2014 Nonfiction Award Nominees from YALSA. Peek: "In addition to the finalists and award winner, YALSA publishes a list of vetted nominations for the Nonfiction Award." See also Carla Killough McClafferty on Revealing Your Heart in Nonfiction from Cynsations.

Maybe You Could Do More from Jo Knowles. Peek: "Sometimes, opening my file, or putting on my sneakers, is actually the hardest part of getting back to the task at hand. It's the final commitment to starting again. Starting from what feels like the bottom of a very steep hill. So I told myself: Just write one sentence. It can be terrible."

Writing Tips & Diversity Points at the SCBWI Winter Conference by Cindy L. Rodriguez from Latin@s in Kid Lit. Note: includes seven tips from Katherine Tegen editor Anica Rissi on writing contemporary fiction, Knopf editor Nancy Siscoe on writing for middle grade readers, and PEN America's Susanna Reich on banned books and diversity.

Why Is Historical Fiction Important? by Bobbi Miller from Children's Literature. See also Bobbi on The Conversation of Historical Fiction Continued. Peek: "For some, historical fiction is first and foremost fiction, and therefore anything goes. Others condemn the blending of invention with well-known and accepted facts and consider the genre contradictory at the very least and, at most, it is a betrayal."

A comprehensive list of U.S. college- and university-sponsored or -hosted children’s and young adult literature conferences, festivals, and symposia by Chris Barton from Bartography. Peek: "In 2011, I was looking for such a list, wondered why I couldn’t find one, and decided to just go ahead and make one myself. Since then, I’ve periodically updated and reposted it, and I plan to continue doing so. If I’ve missed any, or included some that no longer exist, won’t you please let me know?"

Rejecting Rejection: With a Little Bit of Luck by Sarah Aronson from The Writing Barn. Peek: "Four years after reading the manuscript, she remembered some of the details. She asked me what had happened to the story. I almost fell over. As soon as I got home, I opened the file and read that manuscript. And you know what?"

2014 Illustrators Gallery at the SCBWI Bologna Book Fair from SCBWI. Peek: "There were 105 entries submitted and, from these...judges have chosen these 34 finalists. The overall winner and four runners-up will be announced on this page at the start of the fair."

Where Do Boys Belong in Women's History? by Jill Eisenberg from Lee & Low. Peek: "Alongside our girls, boys need the language of equality and a broader view of history. Women’s contributions advanced our society and continue to impact all of us. We need to teach that gender totally does matter and, at the same time, totally doesn’t matter."

Writing for the Long Haul: Quitting Writing by Kelly Bennett from Janni Lee Simner at Desert Dispatches. Peek: "...publishing can wreak havoc on our writing lives. It did mine. Having a 'career' requires us to split ourselves in two: part creative writer, part business-minded author."   

Interview with Literary Agent Steven Malk of Writers House from Casey McCormick at Literary Rambles. Peek: "I do think that smaller publishers can be incredibly effective. There are pros and cons with just about any house, but there have been several instances over the last few years of smaller houses publishing books that have enjoyed phenomenal success."

Filmmakers! Check out this contest for a 30 second to three minute video celebrating children's-YA literature from Writing and Illustrating for Young Readers.

Interview with Adi Rule on Strange Sweet Song by Leah Cypress from The Enchanted Inkpot. Peek: "To make it in classical singing, you have to be tenacious and ferocious. But at the end of the day, you also have to captivate an audience, and there's a certain sensitivity -- and vulnerability -- that goes along with that." See also an interview with Adi by Janet S. Fox from Through the Wardrobe.

What to Do When Your Story Feels Rushed by Deborah Halverson from DearEditor.com. Peek: "...work in setting details with language that conveys an atmosphere, have the characters act upon and react to props unique to the spirit of that place, and include smells and textures that engage readers’ senses."

Migas, Confetti and Martha Stewart by Diana López from Latin@as in Kidlit. Peek: "...'I hate when people tell me I should add more cultural interest to my books.' In other words, I don’t like these details to be forced. They have to feel natural, and as long as I’m not consciously adding them, they will be. Sure, my characters eat migas, but they eat pizza, too."

Here's What Both Pantsing and Plotting Miss: The Real Story by Lisa Cron from Writer Unboxed. Peek: "What drives your protagonist forward is her internal agenda: she arrives on page one already wanting something very badly, and with an inner issue – a misbelief – that she has to overcome in order to have a chance of getting it."

Call the Reading Police from Gwenda Bond. Peek: "Being really well-read in one genre or in all sorts of genres is a beautiful thing. Most of my favorite people on earth are. But...I have zero patience for reader shaming or for making people feel lesser or unwelcome or clueless because they haven't read the same things you have from some inevitably problematic canon checklist."

NAACP Outstanding Literary Work Awards

Children's Award: Nelson Mandela by Kadir Nelson (HarperCollins)

Nominees:

Youth/Teens Award: Courage Has No Color, The True Story of the Triple Nickles, America's First Paratroopers by Tanya Lee Stone (Candlewick)

Nominees:
This Week at Cynsations

Cynsational Giveaways


Enter to win a signed and personalized copy of Robot Burp Head Smartypants! by Annette Simon (Candlewick, 2014) and a set of alphabet-and-numbers foam stickers. Author sponsored. Eligibility: U.S. Enter here. Note: scroll through the photos to the entry form at the bottom of the post. 


Don't miss Seven Book Giveaways from Adventures in YA Publishing.

Austin SCBWI

This week's highlight was hearing P.J. Hoover speak on world building at Austin SCBWI's monthly meeting at BookPeople. In addition to offering great information, P.J.'s presentation was a terrific example of an author presentation. She did a wonderful job with visuals, incorporating humor, and encouraging interaction in a kid- (and grown-up-) friendly way. P.J. is a top author speaker!

Hat & umbrella -- Austin in late winter/early spring.
Cheering on P.J. Hoover (blonde in blue) with Marsha Riti, Amy Farrier, Samantha Clark & Jeff Crosby.
Marsha & Greg Leitich Smith (notice how he's wearing more vests lately)

More Personally
Hibiscus tea & "Downtown Abbey" at South By Southwest

I've working steadily on my revision of Feral Pride (Book 3 in the Feral series) on my sleeping porch with bands from South By Southwest playing in the background.

Despite living in Austin some 15 years, I've never had a chance to embrace the festival in a big way because it typically coincides with a novel deadline or author travel.

I'm so sorry to hear of the injuries and lives lost due to the drunk driving incident on Wednesday night. My thoughts are with the victims and their loved ones. See also Blood Donors Needed After SXSW crash.

My revision is going well. I thought I'd do a sweep to streamline the antagonists' construct and then revisit my alternating protagonists, but I'm finding that much of the character work is coming naturally along the way.

Everybody writes differently, but I encourage y'all not to cling to your process, especially when it's not conducive to productivity. Especially if you are transitioning from apprentice to published professional (with its industry demands), you may have to stretch in new ways. Or, if like me, you're an established pro with an ever-faster-moving schedule, then you may have to find a way to do that, too.

Ellen Oh's post on Sexism in Publishing
On Cynsations, there's been a lot of buzz around Ellen Oh's post on Sexism (prejudice by women against women and female characters). Don't miss it or the continuing conversation in the comments. See also the post Ellen recommends by Sarah Rees Brennan on the portrayal of female friendships in YA fiction. Note: Ellen reports having lost 53 Twitter followers in the immediate wake of her post--you know, for being against sexism. You can follow her @elloecho.

I'm also thinking about How Do Authors Know When Their Manuscripts Are Ready? at Sub It Club and Janni Lee Simner's thoughts On the Amtrack Residency: Residencies Versus Contests, Dreams Versus Desperation. See also Writers Say, "Not So Fast, Amtrack Residency."

Congratulations to Teresa Runnels (Sac and Fox Nation) of Tulsa City-County Library for being featured as one of Library Journal's Movers & Shakers 2014!

Personal Links

Deleted Scene from Blood Coven Series

I disagree with banning language, but we should reconsider how we use "bossy."
Cynsational Events

The SCBWI-OK Conference will be March 29 in Oklahoma City. Speakers are: Liza Kaplan, Editor, Philomel; Melissa Manlove, Editor, Chronicle; Andrew Harwell, Editor, HarperCollins; Colleen AF Venerable, Design Editor, First Second and author of Guinea PI series; Kristin Miller-Vincent, Agent, D4EO Literary Agency; Tricia Lawrence, Agent, Erin Murphy Literary. See more information and registration.

Writing and Illustrating for Young Readers will be held June 16 to June 21 at the Waterford School in Sandy, Utah. Keynote speaker: James Dashner; faculty includes Cynthia and Greg Leitich Smith. Learn about the WIFYR Fellowship Award. See also Alison L. Randall on Choosing a Writing Conference.

http://www.wifyr.com/

Thursday, March 13, 2014

Video: Kwame Alexander Riffs on Librarians & The Crossover

Follow Kwame on Twitter.
By Cynthia Leitich Smith
for Cynsations

Check out this fantastic author video by Kwame Alexander, promoting The Crossover (Houghton Mifflin Harcourt).

Why is it so great?

Kwame's irresistible combination of humor and charm, along with a call to action and a preview of the book to come.

Peek from the promotional copy:

"'With a bolt of lightning on my kicks . . .The court is sizzling. My sweat is drizzling. Stop all that quivering. Cuz tonight I'm delivering, ' announces dread-locked, 12-year old Josh Bell. 

"He and his twin brother Jordan are awesome on the court. But Josh has more than basketball in his blood, he's got mad beats, too, that tell his family's story in verse, in this fast and furious middle grade novel of family and brotherhood from Kwame Alexander. 

"Josh and Jordan must come to grips with growing up on and off the court to realize breaking the rules comes at a terrible price, as their story's heart-stopping climax proves a game-changer for the entire family."

Wednesday, March 12, 2014

Guest Post: Ellen Oh on The Ongoing Problem with Sexism

By Ellen Oh
for Cynthia Leitich Smith's Cynsations

Recently I have been talking with several other women authors about how hard it is to be a female writer. Many stressed how ironic it was given the fact that there are more women in publishing, more women writers, and more women readers.

But why, many asked, does it feel like women authors are never treated at the same level as male writers?

This unleashed a huge firestorm of discussion where authors brought up numerous examples of sexism that they have encountered not only from men, but from other women. And this is what I want to focus on.

Why are women so hard on each other? Why do we criticize women authors and women characters so much? We can't be too strong. We can't be too weak. We can't be too girly. We can't be too tomboyish. So much criticism.

I think it is because we all have some level of internalized sexism that doesn't allow us to look objectively at other females. Before you rail against me that you are a proud feminist, let me explain.

I'm not criticizing you, I'm criticizing our society. We live in a world that bombards us with images and rhetoric of how women need to constantly improve. Feminist empowerment articles can be found in the pages of our magazines that are covered with photoshopped pictures of beautiful, unrealistically figured women and posts about how to catch and keep your man.

Take a look at this fantastic Pantene commercial:



Yes, I understand the irony of a commercial that uses feminist messages to push a beauty product. But the message of the commercial is so true. We are always labeled by the society we live in. Nothing we do can be as good as what a man does. But what is internalized sexism?

Cultural Bridges to Justice defines it as the "belief by girls and women that the lies, stereotypes and myths about girls and women that are delivered to everyone in a sexist society are true. Girls and women...hear that women are stupid, weak, passive, manipulative, with no capacity for intellectual pursuits or leadership. ...are taught to act out the lies and stereotypes, doubting themselves and other females...)."

What happens when we have internalized sexism is that we are more critical of other women than men. We have accepted the belief that society has pressed upon us that women are not as good, smart, capable, and strong as men, and we vilify those who step out of line."

Penny Rosenwasser, author and feminist, calls this a type of self-loathing. She says "Internalized oppression is an involuntary reaction to oppression which originates outside one's group and which results in group members loathing themselves, disliking others in their group, and blaming themselves for their oppression - rather than realizing that these beliefs are constructed in them by oppressive socio-economic political systems."

I don't know if I would go that far. After all, "self-loathing" is a strong term. But I think it is time for all women to take a good hard look at ourselves. No matter how feminist you are, you've internalized some sexism.

How could you not? It has been brainwashed into our heads since we were children. Our mainstream media consistently produces sexist and stereotypical portrayals of women.

A 2012 study by the Annenberg Public Policy Center "analyzed 855 top 30 box-office films from 1950 to 2006...women have been consistently underrepresented as main characters for at least six decades." Bleakley, the author of the paper states that "Movie-going youth...repeatedly exposed to portrayals of women as sexual and men as violent, may internalize these portrayals."

The Geena Davis Institute on Gender in Media researchers have found that "gender stereotyping is an inherent problem in today's entertainment landscape, and children are the most vulnerable recipients of depictions that send the message that girls are less valuable and capable than boys. ...female characters who are lucky enough to garner speaking roles tend to be highly stereotyped."

And this leads me back to my original point. Why are women so much harder on other women? Why are we so hard on female characters?

We need to understand that how we portray women in literature and film and television is a reflection of our role in society. The more we provide diversity of characters in these mediums, the more we show a fair view of who we are in the world. Because women come in all shapes, all sizes, all types, all races, all religious backgrounds, and a vast diversity of personalities.

 We must recognize how society has played a part to keep us down. To brainwash us against one another. To find acceptable only one type of women over others.

So I challenge all women to recognize their own inherent sexism and to face it head on and step beyond it. For we can never be truly treated as equals if we don't take that first step within ourselves.

Tuesday, March 11, 2014

New Voice: Whitney A. Miller on The Violet Hour

By Cynthia Leitich Smith
for Cynsations

Whitney A. Miller is the first-time author of The Violet Hour (Flux, 2014). From the promotional copy:

Some call VisionCrest the pinnacle of religious enlightenment.

Others call it a powerful cult.

For seventeen years, Harlow Wintergreen has called it her life.

As the adopted daughter of VisionCrest's patriarch, Harlow is expected to be perfect at all times. The other Ministry teens must see her as a paragon of integrity. The world must see her as a future leader.

Despite the constant scrutiny, Harlow has managed to keep a dark and dangerous secret, even from her best friend and the boy she loves. She hears a voice in her head that seems to have a mind of its own, plaguing her with violent and bloody visions. It commands her to kill. And the urge to obey is getting harder and harder to control...

Could you describe both your pre-and-post contract revision process? What did you learn along the way? How did you feel at each stage? What advice do you have for other writers on the subject of revision?

The Violet Hour was the second novel I attempted to write, so I wasn't completely naive. I knew that a first draft was just the beginning of a very long process, but woah mama...did this book ever have it in for me!

In the beginning stages, I didn't really know what the book was about. I had this amazing main character (Harlow Wintergreen), this iconic cult-like religion (VisionCrest), and this edgy, pop-culture altiverse in which it all existed. But I didn't have a story just yet - details shmeetails.

At that time I never wrote with an outline so I meandered about the manuscript, surprised and delighted by every crazy left turn Harlow took. I've since learned my lesson on that front, but as I once said in an early draft of The Violet Hour to explain away a plot that made no sense, that is a story for another day. I would throw in wacky details because they sounded cool or seemed spooky - a mysterious necklace! a sinister voice! a Cambodian temple!

But then when I had to tie it all up with a bow at the end, I realized I had created a monster.

Whitney's workspace
That puppy was going to require major revision....like, 10 drafts' worth before it went out for sale.

It was a process. One that could have been significantly shortened by a little bit of pre-planning. But I'm a hard-way learner, what can I say?

During the time that it was out on submission, I came to realize that the last third of the book just didn't feel right. At that point I had stripped the story down to the studs multiple times, torn it into shreds and put it back together until my fingers bled and my eyes crossed (okay, maybe I'm being melodramatic).

I was exhausted. I didn't even want to look at it anymore, much less tear it apart again. But once it sold (oh happy, happy day!) I knew I owed it to myself and my future readers to make the story the absolute best it could be.

So, I ripped it apart once again, this time with the expert guidance of my editor. I took things out, added new stuff in, and fixed all the things that I knew didn't work but hadn't wanted to admit before. And then I revised it, and revised it, and revised it some more.

I lost count, but I was finally finished around draft 17. And I was really proud of it. The story I wanted to tell was finally on the page, and I didn't give up before I got there.

So what did I learn from this and what advice would I give to other writers around revision?

Here it is:

  • Do a little pre-work. You don't have to have a detailed outline, if that doesn't work for you (it doesn't for me). But a one-page synopsis can help you think the story all the way through before you throw in a magical necklace that has no business being there.
  • Take breaks between drafts. My rule of thumb is at least two weeks, but more is better. Renew. Refresh. Get some perspective. Then dive back in.
  • If you have a lot to fix, break it down into bite-sized pieces. Do a pass through for a certain element (say, fixing a specific plot thread). Consider that a draft. Then, after a break, come back for something else. Thinking about it as a whole can be daunting - just take it one step at a time.
  • Give yourself the gift of time. This isn't a race. There's no prize for finishing fast, but there might be one for finishing strong.
  • Hang in there! Persevere! Commiserate! Most writers will tell you that revision is a big part of their process, and some will tell you they've even come to enjoy it.
  • Enjoy it. Seeing your manuscript improve, become even better than you imagined it could be, is one of the most gratifying parts of the process. The journey is the reward!

As a horror writer, going in, did you have a sense of how events/themes in your novel might parallel or speak to events/issues in our real world? Or did this evolve over the course of many drafts?

Visit Whitney A. Miller
I didn't think about this consciously, like "I'm going to make this specific issue my real world parallel because that's what a horror book must do." That said, there are many social, political, and cultural parallels in the book - things that really intrigue me.

For example, I am curious about belief in all its forms. Religions. Cults. Science. Politics. The process of deciding that a certain thing or person holds the answers to the unanswerable is one I'll never tire of exploring.

As human beings, we are often willing to believe the most outlandish, unseeable things and simultaneously incapable of believing the clear and obvious (if there is any such thing).

What makes us think our perception is the only reality? What creates certainty in the absence of evidence? What happens when those things occur? These are the things that were always present in The Violet Hour, and became honed over the lengthy process of revision.

At a certain point I had to ask myself: okay, this is a cool story but what am I trying to say? That's when I really got down to the meat of it.

I hope the result is a rich subtext that both fascinates and frightens.

Monday, March 10, 2014

Guest Post: Linda Joy Singleton on Jumping Age Markets: How a Multi-Published Author Became a Debut Author

By Linda Joy Singleton
for Cynthia Leitich Smith's Cynsations

Blame it on the SCBWI (the Society of Children’s Book Writers & Illustrators).

When I joined SCBWI over two decades ago, I’d already sold a middle-grade and was interested in writing young adult books, too. Yet most of my writer friends wrote picture books.

Whenever I went to SCBWI conferences, I attended many presentations by talented picture book authors and illustrators. I listened to so many picture book talks that I joked I could teach a picture book writing class myself.

But write a picture book?

Nope. Not interested.

2009 was the year I sold my 37th book, Buried, a YA mystery (Flux)—and the year I wrote a picture book. This picture book idea struck with no warning—like summer rain or falling in love.

I was driving to a SCBWI retreat with authors Verla Kay, Danna K. Smith and Linda Whalen when my thoughts jumped to the childhood photo Verla had showed me of a snow dog.

Inspiration Photo
A word storm of inspiration flooded my head. When we stopped for lunch, I grabbed a napkin and wrote a story that began:

More than anything, Ally wanted a dog—but dogs made her achoo. So Ally drew pictures of dogs….

37th Book by Linda Joy Singleton
Jump five years and that napkin-scribbled book is now my debut picture book, Snow Dog, Sand Dog, illustrated by Jess Golden (Albert Whitman). And my box of author copies arrived last month (Yay!). But it’s not like I stopped writing middle grade/YA. I still do that, too.

How did this age-market hopping happen?

Thinking it over, it’s more of a surprise that I resisted writing picture books for so long. Whether I’m writing for big or little kids, I love the rhythm of lyrical, active and funny words. Studying the art of picture book writing has actually strengthened my novel writing. Sentences roll and sway like songs from thoughts to finger-tips.

For example (from a middle grade work-in-progress):

I’m squashed like a human pretzel and struggling not to sneeze at dog hair or freak out as I imagine creepy crawlies creeping and crawling all over me.

This is a sentence from a middle-grade book, yet fun words like "sneeze," "creepy" and "crawling" create a rhythm like when I’m writing picture books.

From Snow Dog, Sand Dog:

They heated popcorn and played fetch with straw brooms. They napped with a scarecrow then danced to the music of wind chimes.

I love the craft of word play; molding words like clay until they’re shaped into sentences that make children smile. Writing words for children brings out the child in all of us—and it’s fun.

Snow Dog & Sand Dog
But it’s hard work, too. I consider picture books the hardest format to write. There’s no room for even one sloppy word. Every word counts, and the story arc should rise and fall with character growth like a novel.

It took five years for Snow Dog, Sand Dog to become a published book. It went through editors, agents, rejections and rewrites. I rode a roller coaster of disappointments and hopes.

The day it sold, my agent told me, “You’re now a picture book author.”

And this middle grade/YA author is very proud to be a picture book author.



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