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Do the Write Thing for Nashville

May 6, 2010 in Etc. | 29 comments

My favorite thing about children’s publishing is that it’s really a community, above all. I don’t know of a more supportive, loving and nourishing group of people, and I’m so happy to be a part of it.

Every now and then, members of our community, friends, and colleagues come together to mount a truly heroic effort in the face of disaster. My client, Amanda Morgan, and a group of other writers (including the fabulous Victoria Schwab) have witnessed the flood devastation in central Tennessee firsthand…and they’re doing something about it.

These wonderful ladies — with donations from many people — are putting on an auction over the next few days. You can check it out here:

Blog: Do the Write Thing for Nashville
Facebook: Do the Write Thing for Nashville

How it works:

Exciting book/publishing/writing-related items are posted every day and interested parties have exactly three days to bid in the blog comments to win the item they want. The highest amount bid by someone in comments wins the auction item. The winner pays by PayPal, gets a receipt for their taxes and receives the critique, book, phone call, or whatever, that they bid on. All auction proceeds go to the Community Foundation of Central Tennessee to provide disaster relief.

Here’s where I’m hoping you come in.

I have donated the following items and they will become available over the course of the auction:

  • one query critique
  • one PB manuscript critique
  • one YA or MG manuscript critique (of one manuscript of 100,000 words or less, please. This one is really special, guys. I have never offered a full manuscript critique before because they are so in-depth and time-consuming. You won’t get another opportunity like this unless you become a client!)

My auction items will become available over the next several days. If you love Kidlit, if you’ve ever wanted to be critiqued by me, if you want a really in-depth look at your manuscript, if you’ve got some spare tax refund cash lying around, even if you’ve never heard of me but love to help people in need…please bid generously to support the writing community and the greater community of central Tennessee.

So check out the Do the Write Thing for Nashville Facebook page and blog to see if you can bid on a critique from me or any of the other fantastic items generously donated by my colleagues in publishing. I can’t wait to see all the good we can do together. Now go and bid on something, the first items have just been listed. None of my items have popped up yet, but keep checking back, and bid on some other goodies in the meantime.

To all the writers who blog and Tweet and Facebook and post on Verla Kay and Absolute Write: please get the word out about this auction and about the items I’m offering (not in an annoying, spammy way, though, please). Even if you can’t bid on an item, lend a helping hand by spreading the word!

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Swear Words in YA Fiction

April 21, 2010 in Writing | 92 comments

At the last few conferences I attended, people have been very interested in swear words in YA fiction. Now, a brilliant writer I know said to me, when I asked him for guidance on this issue: “A swear word is just another word. It has to be a choice, just like every other word in your manuscript.”

I completely agree. If you absolutely have to use a swear word in your manuscript, if there’s no other word it could be, then use it. You won’t get a squeamish look from me. (You may get an odd glance from a few people in my DFW Writers Conference audience, who apparently gasped when I dropped an f-bomb or two in response to this same question. What? The guy who dropped it first looked self-conscious, so I had to take some of the heat off of him!) You might also alienate yourself from certain libraries, school administrators, booksellers and editors who work for more clean-cut imprints and don’t publish content. There will be parents who are too scared of their kids growing up, who are in denial of the words and ideas that fly around every middle and high school in every town in every country, too.

The thing is, kids are really good at figuring out what’s a good fit for them and what isn’t. If they are reading a book that has swearing or action or other content that makes them uncomfortable, that they can’t handle, or that they don’t want to handle, most readers will skip that part or put the book down. Parents, librarians, administrators and booksellers shouldn’t always presume to know exactly what kind of book is scandalous to what kind of teen reader.

On a recent trip, I was getting really into a story, and dropped an f-bomb. Not loudly or rudely but, you know, sometimes I get carried away. The man in front of us, who was sitting with, no joke, a 17 or 18 year-old daughter, in a college sweatshirt, for Pete’s sake, turned around and hissed, “Can you please not say that? I’m traveling with a child!” He indicated his daughter with an angry nod of the head.

I can guarantee that his scowling teen was 500% more scandalized by being referred to as a “child” in public than she was by a word I said. Words only have power if you give it to them. (Of course, I shut my yap right after that. I may not have agreed with the guy but I’m not a jerk.)

Speaking of which, there are certain times when I don’t think swearing is necessary. If it’s every other word, that might be too much. If it’s peppered in to be hip or cool or edgy, then it will come across as forced. Some people circumvent the issue by creating their own colorful vocabulary that’s supposed to stand in for swearing. If the language is natural enough, this could work, but it mostly feels contrived to me. The important thing to remember is that nobody’s forcing you to do anything, it’s your manuscript. You can swear if you want to but, by the same token, if you don’t want to swear, you can write a clean manuscript and that’s just fine, too.

If, though, as mentioned above, the swear word is a conscious choice, a careful choice, then there’s no problem with it. An editor or agent can always let you know if something is too much or not right. And if you do publish a book with any kind of content — swearing, violence, drugs, drinking, sex — there will always be people who balk.

But you know what? Fuck ‘em.

:)

Come on. I had to.

ETA: WOW! Clearly, this is a very passionate issue. Lest anybody here thought that swearing in books was settled, let them come and read the comments. The use of a swear word or an opinion about swearing, one way or another, has caused certain readers to lose their respect for me. It has caused other readers to gain it. This is powerful, powerful stuff.

My favorite part of keeping this blog and of teaching writers is ALWAYS how much I learn about my own subject matter in the process. In throwing up this post — and its intentionally cheeky last few lines — I’ve had so many new thoughts on the issue of swearing in YA. I’ve delved a lot deeper into this issue in my head. Watch out for another post about swearing in YA on Friday.

Lastly, as one reader pointed out, and to repeat the obvious, this is about swearing in YA fiction. The same rules do not apply for MG at ALL. (I would highly recommend NOT swearing in MG.) Thank you all for the food for thought!

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What a Great Critique Partner or Group Means

April 16, 2010 in Advice, Revision, Workshop, Writing | 22 comments

In light of my recent Critique Connection post, where I’ve let readers who want critique partners climb out of the woodwork and introduce themselves, I wanted to focus on what it means to be a great critique partner today, which was a great suggestion from MY critique partner, Martha, in the comments for my last post. (Thanks for keeping me on my toes, Martha.)

So, if you’ve followed the blog long enough, you know that I can’t put enough emphasis on critique and revision. That’s where writing truly grows. First, because nobody can have a perfect (or anywhere-near-publishable) novel in one draft. At least not when you’re starting out and learning about writing. Second, because you cannot be anywhere near objective about your own work. Even if you’ve had many, many books published, you’ll still get feedback from beta readers. All of the published writers I know do this for their first, their second, their tenth books. And I honestly believe that you learn so much from critiquing the work of others that it should be a required exercise for anyone hoping to get published.

What does it mean to be a great critique partner? You give more than you get. Lots of people go into a workshop or critique situation and sit there until the group gets to their submission. This is a waste of everybody’s time. If you’re going to get valuable critique on your own work, don’t miss out on the valuable learning experience of being able to critique the work of another person and do it well.

What else does it mean to be a great critique partner? You don’t just focus on the what, you focus on the why. Sure, any idiot can say, “This part doesn’t work for me.” But when you articulate why something works or doesn’t work, you’re putting your finger on the writing craft and taking its pulse. Does a section seem clunky because there is too much description? Is there too much telling in a writer’s characterization of someone and you don’t actually get a clear sense of who they are? Is a writer’s dialogue clunky because they use a lot of adverbs and physical choreography in their dialogue tags? These are getting to be more concrete than just saying, “It’s slow” or, worse, “It sucks.”

Great critique partners don’t pass judgment and they aren’t prescriptive. Everyone who sits down at the page has got to start somewhere. Everyone writing today is on a different part of their writing and learning journey than the writer next to them. Good critique partners can see and understand the strengths and weaknesses of a particular piece and a particular writer in the moment, and work with that. They give constructive feedback, don’t judge the overall merit of the work (because you’re all there to improve, right?) and they don’t tell you how to fix whatever issue they’ve identified. A writer friend of mine says, “If they tell you what’s wrong, they’re probably right. If they tell you how to fix it, they’re probably wrong.” Critique groups can be sounding boards for the writers’ ideas, sure, but they should never tell the writer what to do or what to try. That kind of playing around and imaginative work is how the writer learns, on their own, to make their story stronger.

Balance is important in critique groups. You want one or two really amateur writers, but none more than that. You’ll also want one or two people on the other end of the spectrum, and a few in the middle, depending on size. Be careful of getting into a group of people who are all the same level. You need different abilities, strengths and weaknesses, or you won’t grow as much.

Personality is also important. If you don’t like your critique group or trust them, you’ll stop getting any benefits from the exercise very quickly and you’ll start to resent the whole process, which could leave a permanent block on your writing path. It’s okay to try several groups or several people… you want to find a good fit, not just the first person who’ll read your stuff.

Finally, the worst thing your critique group can say is, “It’s fine” or “It’s good.” Even if it’s good, your critique group should always be pushing you to new horizons in your writing. All my published writer friends who are in critique groups get feedback, tons of it, and it helps them take their work to the next level. And those are published authors, even bestsellers! Sure, they could probably get their first drafts published, some of them, but why would they want to?

It’s all about growing and learning and evolving in the writing business. It’s up to you to find partners who are like-minded and who understand that. And once you get their feedback, it’s up to you to use it in your work and do the revisions. I may write a post sometime about processing feedback and using it in a constructive way, but I think I’ve given you some food for thought to start.

And again, everyone, go to my previous post and cruise the comments to see if any critique partners catch your eye. If their email isn’t listed, post a comment. If you want to write your own “Critique Partner Wanted” ad there, make sure to post your email so people can get in touch with you.

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Revising Past December

December 30, 2009 in Revision | 36 comments

Today, the Revision-o-Rama series of posts draws to a gentle close. I hope you’ve gotten some new ideas and the food for thought has been fruitful for you. Of course, I will keep posting about revision topics on the blog and, of course, you will keep revising into the new year (right?). Now it’s time for me to take a breather, reset back to my “regular programming” and give you all a few ideas for how to proceed from here, as well as recommend some books on revision that I’ve read and found helpful in my study on the subject.

I have to say that the biggest revision weapon in a writer’s toolkit is… other readers. It’s that simple. Writing is most definitely not a solitary pursuit, at least it shouldn’t be. With writing, the following thing tends to happen: the more we write, the more we revise, the more we muck around in the same material over and over, the more blind we grow to it. The most obvious example is missing typos. Our eyes just tend to gloss over the words if we read them too much. Or we know our manuscript has problems but we leave them in because a) we love that part, b) we’re too lazy to really fix it, c) we’re waiting for someone to call us on it, d) we figure that’s what an editor is for.

No, no. As editors tighten their belts and only take on the most polished projects, it has become even more important to revise to perfection before you even seek an agent. (Who will then tell you to — you guessed it! — revise yet again, if they’re the kind of agent who places a  lot of emphasis on editorial work, which I do.) So, since you’re effectively blind to your own work, you have to bring in qualified readers as soon as you’re feeling strong enough to hear their feedback.

Join a critique group if you’re not in one already… there are plenty of writers on message boards and various websites who are just dying to get together and are maybe too shy to ask. Whether you do one online and email manuscripts back and forth or whether you find a group in your area through a writing or arts center, the Internet, Craigslist, etc., make sure the group you’ve got is quality. If they don’t write kidlit, they should at least respect it and want to learn more about it from you. If they’re not published, their work should at least be damn close. The best groups have at least one published or agented writer in the mix. Strive to join those that feel slightly more advanced than your level, so that you can really trust and enjoy their expert advice.

The other great thing about a critique group is that you learn a whole lot about writing just by looking at someone else’s work. If you see a mistake or something that jumps out at you in another manuscript, and you get good about analyzing what works and what doesn’ t — guess what? — soon you’ll be turning that same sharp and critical eye on your own work. (It usually takes a while to translate… anyone can be a critic but actually implementing the same advice toward oneself is the real challenge.)

Even if it’s not a traditional critique group with regular meetings, you should at least hook up with one or two writing friends or take a writing class. Maybe you can make some bonds that’ll extend past the last day. Or go to local or national conferences. There are plenty of writers there that you can befriend and keep in touch with. But the key is getting eyes on your manuscript, and getting eyes that know what they’re talking about (now that, my friends, is a mixed metaphor). Teach yourself to hear their wisdom but take it with a grain of salt. You’ll learn a lot, you’ll also discard a lot, but I can tell you one thing for sure: the more feedback you get on a manuscript, the more it’ll inspire you, the more it’ll spark your own imagination and the stronger it will be.

If you want to do more independent study on writing and revision in general, I can recommend the following books on revision, specifically, and the writing process in general:

BIRD BY BIRD by Anne Lamott
REVISION AND SELF-EDITING by James Scott Bell
WRITING THE BREAKOUT NOVEL by Donald Maass
STORY by Robert McKee
THE SUCCESSFUL NOVELIST by David Morrell
ON WRITING by Stephen King
FINDING YOUR WRITER’S VOICE by Thaisa Frank
NO PLOT? NO PROBLEM by Chris Baty
FINDING YOUR VOICE by Les Edgerton
TIME TO WRITE by Kelly L. Stone

Books on grammar and punctuation:

EATS, SHOOTS & LEAVES: THE ZERO TOLERANCE APPROACH TO PUNCTUATION by Lynne Truss (hilarious!)
THE ELEMENTS OF STYLE ILLUSTRATED by William Strunk Jr. and E.B. White (stylish!)

Books on writing for children:

DEAR GENIUS: THE LETTERS OF URSULA NORDSTROM ed. by Leonard S. Marcus (highly recommended!)
THE SPYING HEART by Katherine Paterson
THE WRITER’S GUIDE TO CRAFTING STORIES FOR CHILDREN by Nancy Lamb

Books on reading:

READING LIKE A WRITER by Francine Prose

Finally, Maggie Stiefvater did this on her blog with great success, so I just wanted to open it up to you all in case anyone is looking for a critique buddy. You can use the comments for this post as a personal ad to find fellow writers who might be looking for the same. Maybe talk briefly about what you write (What age group is it for? What genre is it? Is it complete?) and what you’re looking for, and we’ll see if we can’t match anybody up so you guys can go off and work together.

As for me, I’m going to take January 1st off, again and drink in the last little bit of holiday time before publishing comes back in earnest (as will I) on January 4th.

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Holiday Gift Guide

December 22, 2009 in Reviews | 14 comments

I read a lot of books in my line of work. Most of them are unpublished, sure, but I still have to make time to keep up with the market. I read tons of ARCs (Advance Reader or Review Copies, sent by publishers to reviewers, bookstores and librarians before the book’s release date… I get them through bookseller friends or at industry events) and already-published books. I used to do a lot more in terms of book reviews on here, but now I think I’ll put together lists of my recent favorites a few times a year. In the spirit of Christmas, here’s a quick and dirty last-minute Holiday Gift Guide with recommendations for some things I’ve read lately and loved.

Support the industry you want to work in by buying two copies of each of these… one for the favorite teen in your life and one as research for yourself, the writer!

***

flashburnoutcoverFLASH BURNOUT
by L.K. Madigan
Young Adult (336 pages). Houghton Mifflin, 2009.
ISBN: 978-0547194899

For Readers: You don’t need lil’ old me to recommend this book to you. It is a PW Flying Start, a finalist for the William C. Morris YA Debut Award and beloved by everyone. But I will anyway, because it is just that good. You will love Blake’s voice. The main character manages to be hilarious and poignant from one moment to the next, a feat that’s not easy to pull off. Author L.K. Madigan has crafted a story where you’ll be frequently put-off by Blake and his choices, but you’ll be rooting for him anyway, all while laughing your ass off. There are some sexual situations, so this might be a good fit for the older teen set.

For Writers: This is what I mean when I say “voice.” A lot of you are still confused on that subject, or you want to see it in action. Just read this.

buckfeverBUCK FEVER
by Cynthia Chapman Willis
Middle Grade (240 pages). Feiwel & Friends, 2009.
ISBN: 978-0312382971

For Readers: I feel like I have to include BUCK FEVER here because I don’t usually cover a lot of MG and I don’t usually cover a lot of boy MG especially. This book features an unlikely hero, a boy who isn’t one of those self-conscious nerd geniuses like the character in FOOD, GIRLS, AND OTHER THINGS I CAN’T HAVE (Read my review). He’s sensitive and shy and genuinely wants to make a difference in his world and to belong to his family, neither of which he’s been able to do very well so far. A sensitively-written novel that’ll appeal to both girls and boys, this MG pits its hero against a really big moral choice… and, in my opinion, that’s the heart and essence of middle-grade right there.

For Writers: If you’re writing more literary or more old-fashioned middle-grade, pick up BUCK FEVER because it puts to bed the myth that these kinds of books have to be slow and boring. There’s a lot going on and the pacing moves briskly. There’s also a great mix here of internal conflict, of the main character and his struggles to define himself and to live up to his father’s expectations, and external conflict, with a local hunting family and the deer that he’s supposed to kill. Yes, it’s a hunting book, and that will turn some people off, but it’s still worth a study.

timothydragonTIMOTHY AND THE DRAGON’S GATE
by Adrienne Kress
Middle Grade (368 pages). Weinstein Books, 2009.
ISBN: 978-1602861091

For Readers: Hilarious hijinks ensue in Adrienne Kress’ second book. Middle-grade readers who want just the right touch of whimsy and don’t want to dip their feet into wizards and dragons will love the author’s unique take on fantasy/adventure. This will appeal to both boys and girls — a rare feat — and will leave readers clamoring for more. Good thing they’ll find it in Kress’ debut ALEX AND THE IRONIC GENTLEMAN, which shares characters and plot with the follow-up. Well worth a read!

For Writers: This is another example of great voice. Kress’ work is a study in the self-conscious narrator. What do I mean by that? It’s a narrator who is very much a part of the story him- or herself. They break the fourth wall, make asides to the reader and otherwise participate. The narrator’s voice colors everything. Kress’ books are also great middle-grade adventure novels with pirates, theatre, quirks galore. They’re over-the-top and they’re romps but there’s also some serious craftsmanship going on. This style worked very well for Lemony Snicket and, if you want another hidden gem example, definitely pick up TIMOTHY.

goodbyerobotHOW TO SAY GOODBYE IN ROBOT
by Natalie Standiford
Young Adult (288 pages). Scholastic Press, 2009.
ISBN: 978-0545107082

For Readers: I have made no secret of my burning love for this book. It slays me. If I had read it in my incarnation as a geeky, profoundly introspective 15- or 16-year-old, it would’ve changed my life. I think it has pretty much done that anyway. This book is truly for those special readers: the observers, the quirk-ridden, the deep thinkers, the lonely hearts, the painfully awkward. And that’s an amazing thing. I think this simultaneously heart-warming and heartbreaking story is one that will reach out of the pages and grab its readers, never to let them go.

For Writers: “Quirky” is such a cheap word now. Too many people think they have what it takes to write a truly quirky character and instead they emerge with a mish-mash of incomprehensible traits that don’t make a fleshed-out person. Natalie Standiford has created characters who are almost too real. Their interests, their passions, their needs are achingly authentic. They are truly quirky, without being cute or contrived about it. And they don’t harp on their quirks or their loneliness, like most other characters do. I don’t know exactly what lesson a writer can take from this book. I’ve taken so many, over several rereadings, that I really do urge you all to just read it and discover it for yourself.

gothgirlGOTH GIRL RISING
by Barry Lyga
Young Adult (400 pages). Houghton Mifflin, 2009.
ISBN: 978-0547076645

For Readers: Kyra won’t be for everyone, but those who read her and resonate with her will carry her voice and her story for a very long time. Lyga’s angsty, fully-formed character has been waiting for a chance to tell her story and I can’t imagine a better one to showcase her side of things. Despite some very difficult and emotional moments throughout, the ending resonates will a rare, well-earned hope.

For Writers: Barry Lyga is a guy. But he writes an edgy teen girl with all the skill and conviction in the world. Many writers ask me if it’s okay to step so far outside yourself to find a character’s voice. Guy writers, especially, worry that they won’t get credibility writing from a girl’s POV. And I think that’s a valid concern, especially for men writing a first-person woman (I think women writing from a guy’s POV have it slightly easier in terms of criticism, as did L.K. Madigan in FLASH BURNOUT, above, but that’s another bucket of fish). If you are finding your current first-person protagonist is a stretch for you, pick up GOTH GIRL RISING and see how seamlessly the writer a) maintains the writing voice he’s well-known for, and b) slips on a whole new skin.

***

And for the love of goats, go buy these at your local independent bookstore or online at IndieBound.org.

For other books that I have loved this year, click on the “Highly Recommended” tag in my blog sidebar. You’ll see things I’ve reviewed and loved from earlier.

Disclosures: This list includes friends as well as ABLit clients. Books have either been purchased by me, obtained at BEA, passed along from friends, or sent to me by the author in ARC form.

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Sarah Dessen Event: Not Your Mother’s Book Club

June 22, 2009 in Events | 12 comments

dessen_11Now, everyone probably knows I’m no stranger to Not Your Mother’s Book Club Events (@nymbc). Yesterday’s super sold-out lunch with Sarah Dessen was no exception and I’m happy to be able to share pictures with you.

Sarah, who is extremely charming, spent an hour or two circulating from table to table to chat with her fans and readers up close. Then she did a little reading from her brand new release, ALONG FOR THE RIDE, which everyone should go pick up. Right now.

She had some really interesting things to say. Did you know that she found being a full time writer more difficult than she ever thought it would be?

When she was sitting at my table, she told us how having her baby recently completely changed how she thinks of her writing career. Caring for something else so much really helped get her out of her own head. Writing ALONG FOR THE RIDE, as a result, was a completely different experience.

That’s a good thing to keep in mind, and you don’t have to have a baby to experience it: step outside of yourself every once in a while. Get your mind off your obsessive writing patterns. Approach your craft from a different direction. Even the biggest, baddest, most bestselling pros do this.

Without further ado, here are some great pictures from the event, after the jump.

Read the rest of this entry »

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Debutante Ball at Books Inc! Event With Sarah Quigley, Cheryl Renee Herbsman and C. Lee McKenzie!

May 15, 2009 in Events | 5 comments

Just last night, I had the pleasure of hanging out with some awesome YA authors. Cheryl Renee Herbsman, who wrote BREATHING (Viking, 2009), Sarah Quigley, author of TMI (Dutton, 2009) and C. Lee McKenzie of SLIDING ON THE EDGE (WestSide Books, 2009) were our three debutantes at Books Inc. They can be seen pictured here from left to right. (Sorry your eyes are closed, Cheryl, it’s hard to get three people coordinated in a group shot!)

The reading was wonderful, with so many friends, family and fans in the store to cheer our debs on. Punch, cupcakes, cookies, tiaras and pearls were in abundance to make it a truly white-glove affair. In fact, bookseller extraordinaire, Summer, even showed up with kid gloves. Cheryl read from BREATHING first, and had some inspirational words for writers:

Read a lot, write a lot, kill the inner critic.

When her first manuscript didn’t sell, Cheryl admitted the following:

It was hard not to give up, but people told me to start working on something new. That book was BREATHING. It was the best advice I got.

C. Lee McKenzie read from SLIDING ON THE EDGE next. In fact, she had her first paragraph memorized! She told the audience that her idea for the book came from a newspaper article, and brought the clipping that started it all. So look out, writers, inspiration is everywhere. She also told people to build their web presence, book deal or not, so that you can start connecting with readers and develop your career.

The pretty pink princess of the evening, Sarah Quigley, then read from TMI (here are links to: my review, my interview with Sarah). No wonder Becca, her character does theatre… Sarah had great stage, er, bookstore presence and totally nailed her character’s voice.

After getting books signed, everyone poured out of the store on a total sugar high. This isn’t the last you’ll hear from these debut authors, so if you haven’t picked up their books yet, do it now and get in the know. Some of my lucky readers don’t need to go through the trouble, though. They’ve won autographed, personalized copies! Click the link below to reveal the contest winners and see more awesome pictures from the event!

Read the rest of this entry »

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So Excited For Cindy Pon’s Books Inc. Event!

April 30, 2009 in Events | 1 comment

I stopped by Books Inc. on my lunch break to see awesome children’s bookseller Caitlin putting up the display for Cindy Pon’s visit next week!

That’s right. Cindy Pon, of SILVER PHOENIX fame (click here to read my review), is coming to Books Inc. Laurel Village on California Street in San Francisco on Friday, May 8th at 7 p.m.

Check out the Books Inc. website for more info on the event. They’re already getting ready for you, Cindy!

All of my Bay Area kidlit friends, I expect to see you there.

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Review: Silver Phoenix

April 29, 2009 in Reviews | 2 comments

by Cindy Pon
Young Adult, 352 pages.
Greenwillow, HarperTeen (2009)
ISBN: 978-0061730214

No suitor wants seventeen year-old Ai Ling because they think her father betrayed the Emperor many years ago. This great agony turns out to be her greatest gift. When her father disappears, she’s free to go after him, armed with the necklace she gave her when she was just a little girl: a jade pendant bearing the symbol for “Spirit.”

On her journey, Ai Ling meets brothers Chen Yong and the hilarious Li Rong. The further she journeys to find her father, the more she’s aware that her pendant seems to awaken powers in herself. She can project her spirit into another’s body and hear their thoughts, she also enjoys bursts of warrior strength when she’s in danger. Oh yes, and she’s become somewhat of an evil magnet, with every being in Chinese folklore out to get her. Will she reach the imperial palace where her father is being held hostage? Will she take the one suitor who’s been waiting to have her for centuries to save her family?

The lush plot of SILVER PHOENIX is hard to articulate here. There are imaginative monsters, family lore and danger at every turn. Through it all, Ai Ling and Chen Yong do battle, deveop deep and truthful feelings for each other and feast on lavishly described meals. Have enough bloggers mentioned that this novel makes you a hunger fiend for delicious Chinese food? (Here and here, for example.) I was reading it last night with one hand on the phone, ready for Cindy Pon to somehow communicate to me, through code in the prose, that it was okay to order something for delivery.

It turns out that Ai Ling’s powers and destiny come from the fact that she was a woman called Silver Phoenix in an earlier life. She must channel these powers near the end to overcome her greatest foe yet, but not without sacrifice. I would have loved even more emphasis on the Silver Phoenix storyline as it leads up to the climax. However, I would not change a thing about the last chapter. No matter how much glorious food there is in this novel, Cindy Pon does not let Ai Ling have her cake and eat it, too. Ai Ling triumphs over most things, but Cindy refuses to let her enjoy the romantic happy ending that most authors would’ve included. That choice made the entire book resonate more strongly with me.

If you want adventure, a great balance of tidy writing and exciting story, and a protagonist who has her strength tested in fantastic ways but learns a very real lesson about herself, check out SILVER PHOENIX — which came out yesterday. Pick up a copy for yourself and one for a friend at your favorite indie bookstore!

For Readers: A blazingly fast read that would be especially exciting for girls who like fantasy with strong character and great writing. This could even be a hit with boys who want a relatively familiar world but with a girl protagonist. While some of the conflicts can seem repetitive (monster, slay, repeat) there is great emotional content here as Cindy explores family, love and loss. I’m very, very glad that I stayed up (way too late) reading this in one enormous gulp!

For Writers: I’ve mentioned Cidny’s balancing act already but I think it bears repeating: there is a very pleasing mix here of prose and action, plot and world, love and duty, growth and obstacle. One of my favorite things about this book was the rich world-building that Cindy managed. She rendered the world in a very distinctive style, like one of her gorgeous brush paintings. And the best part about it was that, once she did this, she didn’t have to spend hardly any time at all to introduce new towns, new people, new creatures. All of these things seemed to evolve very naturally. If you’re building a world of any kind, read this book to see what total and effortless immersion feels like. The ancient Chinese landscape is such a fascinating setting, also, because of all the fantastical animals and folklore she gets to play around with. Bravo!

As some of you might know, Cindy is a great friend and resource to many in the online kidlit community. You can check out her website here and follow her on Twitter: @cindypon. She’s one of the warmest and most radiant debut writers and I couldn’t be happier for her!

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Lisa Yee Reading at Books Inc.

April 16, 2009 in Events, Writing | 3 comments

What a wonderful time! I just got back from the Lisa Yee reading at Books Inc. Palo Alto. First, I have to give a standing ovation to Jennifer Laughran, who organized this event and is in charge of  Not Your Mother’s Book Club. She is such an asset to the Bay Area kidlit community. She is literally on the pulse, if not the pulse, of everything that goes on here.

Speaking of pulse… my pulse is definitely jangling with sugar from all the delicious cupcakes! Mmmm.

Another standing O goes to Lisa Yee, who was her witty, charming self at tonight’s reading, as you can see from the pictures.

After reading a little bit from STANFORD WONG and ABSOLUTELY MAYBE, she spent a little time giving advice to writers, which she tried to say in one, very long word:

ReadReadWriteWriteReadWriteReadReadWrite

She also told writers to pull something different from the shelf, something other than what they’d usually read. (See: The Importance of Reading for Writers)

Instead of worrying about producing the next New York Times bestseller, she also advises writers to keep some perspective:

Keep your goals small: write one good sentence.

Overall, a very fun and totally memorable evening. More pictures behind the cut and… the winner of the ABSOLUTELY MAYBE contest revealed!

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