Friday Fifteen

Another week, another Friday Fifteen, in which I review fifteen books in fifteen words or less. Here we go!

1. Mrs. Dalloway by Virginia Woolf
One of my favorites. Gorgeous writing about human connections. Read it in Regent’s Park.

2. Harry Potter and the Half-Blood Prince by JK Rowling
Accidentally spoiled the ending for my husband. Worst moment ever. Works well as penultimate novel.

3. The Very Hungry Caterpillar by Eric Carle
Beautiful art, excellently written picture book. And it’s science!

4. The Face on the Milk Carton by Caroline B. Cooney
Made me forever paranoid that my parents aren’t my parents.

5. Julius Caesar by William Shakespeare
What it feels like when friends stab you in the back. Love Mark Antony’s speech.

6. Teacher’s Pet (Sweet Valley Twins #2) by Francine Pascal
The younger version of SVH. Twins still obnoxious and size 6. They did ballet briefly.

7. The Female Quixote by Charlotte Lenox
The kind of book Catherine Morland from Northanger Abbey would have read.

8. Babylon Revisited and Other Stories by F. Scott Fitzgerald
Title story is great; others are good. None as good as Gatsby.

9. Heidi (Great Illustrated Classics) by Johanna Spyri
The easy reader Heidi, with lots of pictures. Didn’t need to read the real thing.

10. Something Upstairs by Avi
Inspired me to write a lot of bad, historical ghost story knock-offs.

11. In Cold Blood by Truman Capote
Chilling look at real-life violence in rural America. Capote’s best.

12. Oranges Are Not the Only Fruit by Jeanette Winterson
Engaging premise (lesbian grows up English and Pentecostal) and vivid writing.

13. Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire
Didn’t love it as much as I hoped. Is it wrong to love the musical?

14. Witch Week (Chrestomanci #3) by Diana Wynne Jones
Only one I’ve read in the series. Fun, non-HP book about boarding school and witches.

15. An Abundance of Katherines by John Green
Green’s weakest, in my opinion. Fun, but doesn’t carry the emotional weight of his others.

Happy reading/reviewing!

Why We Write YA

It’s a good time to be a young adult or middle grade writer. Thanks to the success of series like Harry Potter, Twilight, and The Hunger Games, people are paying a lot more attention to these genres and realizing that there’s a major audience out there for good YA/MG literature.

But the YA/MG writers I know don’t get into the genre because it’s popular or because it could make them a lot of money. (Ha!) Instead, it’s because they have a passion for stories that will resonate with younger reader. Writers don’t choose YA; YA chooses them.

A couple of these writers–Lucas Klauss and Melissa Kantor–have great posts about why they write YA. You should read the complete posts, but a couple of good quotes. First, from Lucas Klaus:

“Most YA novels tell a story in a direct way, unencumbered by cynicism, cleverness, or pretentiousness. Teenage readers will not tolerate that bulls**t. True, this approach, like any other, has limitations, and more oblique methods can yield surprising insights, but I find young adult literature’s straightforward style refreshing and rewarding. If one of the major goals of fiction is to help us empathize with one another—or, from a different point of view, to help us feel less alone—then why not try simply to communicate?”

I don’t tell to like very experimental fiction, so this focus on emotional communication is key for me as a reader and as a writer. And from Melissa Kantor:

“Writing about teenagers (for me), means not just remembering but being willing to dwell in that place where life felt like walking a tightrope without a net.”

Love that description. Although anyone can feel desperation at any point their lives, there’s something about being a teenager in which emotions are heightened–and not just because of hormones. It’s a time when you are first experiencing so many things on your own, and when you’re learning to be yourself. As a result, relationships and events are filled with an intensity you might not feel at any other point in your life. Literature about those experiences can really resonate with readers–both teen and adult.

I didn’t set out thinking I’d be a YA author. My MFA program was in general fiction writing. I came to realize that I’d way rather will a Printz or Newbery than a Pulitzer, and that most of my short stories centered around young characters. I love how daring the genre is–you can write historical fiction, novels in verse, or paranormal romance and still connect with readers. The focus is on crafting a good story with compelling characters.

I also love how vibrant the YA community is. I’m not sure how it compares with, say, literary fiction or adult fantasy, but the YA/MG community has felt very encouraging t me so far. Again, people get into it because they love the literature, and teen readers are unabashedly enthusiastic about their favorite books. Why wouldn’t you want to be part of a literary community like that?

Feel free to share your own thoughts about why YA/MG rocks.

Keeping up with Technology

At YA Highway, Lee Bross has a great post about referencing technology and other modern details in YA novels. Should you mention iPads? Facebook? Texting? Will these be obsolete in the next five years? What about bands or actors, or particular brands?

I tend to shy away from very specific references. I mention cell phones and texting, but don’t dwell too long on them and don’t call out particular brands. So far I haven’t references any particular actor, movie, or band, just because they can all fade so quickly. But I think it’s safe enough to use brands or names that have existed for at least a decade. For the most part, I don’t think you need to reference anything to feel “current.” It’s one thing to completely avoid mentioning these things (is your character really going to send a carrier pigeon to get a message to his friend instead of texting?) but any references for the sake of making your character current will probably feel more false than not.

It can also be fun to invent stores/bands/websites instead of using ones that currently exist. That can keep your novel somewhat more current, since readers will be able to associate the fictional store/band/website with one he or she likes now.

What choices do you make when referencing modern life in your contemporary novels?

A Whole New World

When I first read The Princess Bride, I thought Florin was a real place, or at least that it had been at some point. (Prussia was real.) Goldman crafted his novel so well that I really wanted it to exist. Also, my copy of the book included a map. It had to be real if some cartographer had written it down!

Okay, so I was a naive little reader. (Um, I still might be waiting for Goldman to finish Buttercup’s Baby–WHY ARE YOU DOING THIS TO ME, GOLDMAN?!) But there is something exhilarating about fictional lands. World-building is difficult, but so necessary for novels, particularly in the fantasy realm. The Pevensies are great, but what I love most about Lewis’s books is the possibility of Narnia. As a reader, you want to go to these places.

Part of world-building requires actually knowing where these places might exist. Maps like the the one in The Princess Bride can help a writer figure out how events can unfold and keep the narrative on track.

The Awl has a great collection of some literary maps, including Goldman’s. Others I hadn’t seen, like A.A. Milne’s Hundred Acre Wood or Baum’s map of Oz. Although it wasn’t included in the actual books, the recent map of Panem also gets a shoutout.

In case that’s not enough map-love for you, make sure to check out this gorgeous post from the Horn Book by Julie Larios. One point I especially enjoyed:

“I ask my writing students at Vermont College of Fine Arts to think long and hard about the setting they develop in their books for children. Kids want to be explorers, too. They don’t always want to identify with a familiar character in a familiar world. Books, says Fran Lebowitz, should be doors, not mirrors. So I ask my students to think of offering the setting of their stories to young readers as a gift that opens doors. By doing so, they turn their readers into explorers, and what child doesn’t want to explore?…We explore, and we come to know the unknown.”

I love the connection between maps and children’s literature in particular. Books are a major way (maybe the only way) children get to freely explore. Why not have fun with it?

Don’t Let This Be Your Unfinished Novel

In case you need a little inspiration to finish your current project, check out this list of 10 Unfinished Novels by literary greats. Although I kind of like that The Mystery of Edwin Drood by Dickens is unfinished (it makes for a fun Clue-style murder mystery musical), but my heart goes out to Nabokov:

“Like many authors, feted Russian writer Vladimir Nabokov left express intentions that any unfinished work should be destroyed upon his death. Following his passing in 1977, his final book, The Original of Laura, wasn’t destroyed but held in a bank vault as his son deliberated whether to publish it. In 2009, it finally saw the light of day. A fragmented novel concerned with aging and the complexities of love, literary figures despaired that the man behind the classic Lolita should not have had his final wish honoured.”

If I had been left with the unfinished novel, I would have destroyed it as Nabokov intended. Obviously it wasn’t finished, or even polished, so why publish it? It’s going to disappoint readers who love his other work, and I find it sad that he couldn’t show the world the version of The Original of Laura that he intended.

Just another reason to finish that draft!

(image: PBS, Carl Mydans/Time & Life Pictures/Getty Images)

Separating the Art from the Artist

With authors on Twitter and Facebook, it’s easy to feel like we know them better as people. But what happens when authors aren’t as cool in real life as their work? At Fiction Writers Review, Celeste Ng looks at what it means when an artist is a jerk–or worse. Where does the line fall for cutting a previously beloved piece of art out of your life because the creator is sketchy?

Ng writes: “If you, as a reader, know an author fervently supports a cause you hate, every word that author writes might seem tinged.” I’ve certainly felt that before. She brings up Orson Scott Card, who is anti-gay. I read and enjoyed Ender’s Game before finding that out. It hasn’t made me burn my copy of Ender’s Game, but I haven’t picked up any of his other work. But I can ignore a generally unpleasant writer as long as his/her unpleasantness isn’t morally offensive in some way. For the most part, I think a work of art should be able to stand on its own.

Fortunately, I can’t think of a lot of people in the children’s/YA world I’d have to cut out. (Writers, please don’t give me a reason.) Do you ever stop reading someone’s books because you found out something unpleasant about the author?

Bicentennial Man

It was the best of birthdays, it was the worst of birthdays…

Well, hopefully not the worst. But it is the 200th birthday of Charles Dickens. Happy birthday, Charles! My favorite of his work is probably A Tale of Two Cities, which I first read when I was way too young to get most of it.

To celebrate, Masterpiece has shared the trailer for their upcoming production of Great Expectations. It looks awesome. I haven’t actually read the book (I know, I know) but this might be the inspiration I need. Also, teachers and librarians should take note:

“Three video-based lessons will be posted in April on the free teacher resource, PBS LearningMedia. Using video clips from Great Expectations, English Lit classrooms can compare and contrast the film with the book, learn about the moral underpinnings of the work, and explore Dickens’s writing process.”

What’s your favorite Dickens novel?