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NaNoWriMo Helps Kids Jump into Writing with ‘Brave the Page,’ a guest post by Rebecca Stern

My belief in the transformational power of National Novel Writing Month (NaNoWriMo) began well before I joined the organization’s staff; it started back in 2011 when I was an English Language Arts teacher. The school where I taught used project-based learning, so every August, I did what most teachers who have some curricular autonomy do: I spent days upon days wading through the sometimes lush but more-often-than-not dry pastures of the Internet in search of brilliant ideas that I could adapt into engaging and thoughtful writing projects for my fifth- and sixth-grade students.

I still remember the moment I came across NaNoWriMo’s Young Writers Program (YWP). It was an especially hot day, and sweat dripped down the side of my face as I stared at my computer. Every website was a mix of the same: grammar worksheets, personal narrative activities based on summer excursions, boring ideas for getting your students to nail a five-paragraph essay…

Anxiety crept into my stomach as the minutes ticked by and my teacher plan book remained blank, without a single lesson for the entire year. And then, just when I was about to give up for the day, I saw it: a creative writing program that challenged kids to write an entire novel in the month of November. My first thought was, “How did I not know about this before?” Followed immediately by, “This is definitely happening.”

That year, and for several subsequent years, our school’s librarian and I collaborated on a NaNoWriMo novel-writing project. Here’s what we noticed: our fifth- and sixth-grade students came into class eager to write—and excited to talk about their own characters and plots as well as their observations about books they’d read or were reading—and by the end of November, each of them had written more than they’d ever written before. In addition, our kids came out of the program with better time-management skills; stronger writing fluency; and more confidence in their writing abilities in all subject areas, not just in ELA. (These same results were reiterated to me years later by many other YWP educators when I was NaNoWriMo’s Director of Programs.)

Throughout the writing process, my students read each other’s novels and gave feedback. I was blown away by their thoughtful comments and desire to support their peers:

The Young Writers Program is easy to implement thanks to the plethora of free resources NaNoWriMo provides, including Common-core aligned lessons for educators; engaging workbooks that are printable or available as hard copies; motivating classroom kits that come with a progress chart, a creative writing poster, stickers, and buttons; and a robust website with a novel-writing space, virtual classrooms, inspirational pep talks written by well-known authors, and forums for teachers and teen writers.

To further support students and educators, I’m thrilled to announce the publication of a new NaNoWriMo book, Brave the Page (Viking Children’s Books), which is a NaNoWriMo primer for young writers. Partly a how-to guide on the nitty-gritty of writing, partly a collection of inspiration to set (and meet) ambitious goals, Brave the Page champions NaNoWriMo’s central mission that everyone‘s stories deserve to be told. The volume includes chapters on character, plot, setting, and the like; motivating essays from popular authors; advice on how to commit to your goals; a detailed plan for writing a novel or story in a month; and more! (Available for preorder now and in stores and online on August 27.)

As the Kirkus Reviews starred review put it: “a wonderful instruction guide for writers of any age.”

Here’s an excerpt from Brave the Page on what to do if you start to hate your story idea after you’ve already begun writing:  

Week 1’s Motivation Station: Help! I hate my idea!

You know the idea for your story? The one that seemed so brilliant in Week 0? At some point during Week 1, that scintillating idea might begin to lose its luster. It might even fade into a seemingly terrible and stupid idea that will never, ever work.

Unfortunately, self-doubt is one of the most dangerous roads to travel when you’re writing a novel. If you continue down this road for too long, your writing—and your novel—will hit a wall and come to a complete halt.

Of course, starting over is an option. But if you allow yourself to start over now, there’s a good chance you’ll want to start over again tomorrow or in a week. And then guess what will happen? You’ll keep doubting your ideas and starting over, and then a month will go by and you’ll have a whole lot of beginnings but not one complete draft.

So if you find yourself questioning your idea, stop what you’re doing, take a deep breath, and exhale slowly. Then try the following strategies:

Give yourself permission. Give yourself permission to doubt your ideas. All writers, at one time or another, have doubted their ideas, so why shouldn’t you? Give yourself permission to write a “terrible” story (which is probably way better than you or your Inner Editor think it is). Give yourself per- mission to sit with the discomfort of doubting your ideas—a moment that often leads to a creative breakthrough—and then give yourself permission to get back to your writing. Look at this draft as a way to practice writing, rather than as a way to produce the perfect book. (And you never know, you may end up writing a great book in the process!)

Give your idea room to breathe. Instead of spend- ing time trying to make your idea better, put it in a safe place, walk away, and spend an hour or even a day doing something else. Do the moonwalk. Meet up with a friend. Practice hanging a spoon on your nose. And then go back to that safe place, grab your idea, and start writing.

Give your idea some new flair. Sometimes all it takes to make an idea interesting again is a little spice, a little more flavor. Give your protagonist a new problem to tackle. Or introduce a new charac- ter who’s full of self-doubt. Or move the story to a different location, like Mustafar or the Emerald City.

Here’s a helpful tip from a fellow NaNoWriMo writer:

If you start to hate your story idea, it probably has to do with an element of the story idea rather than the story idea itself. Maybe it has to do with one of your characters, or a particular occurrence that you had planned that isn’t working out.

Don’t be afraid to stop and think it through! —Ailun, age 16

The Young Writers Program changed the way I taught writing—and even inspired me to participate in National Novel Writing Month on my own (something every English teacher and librarian should do!). When I decided to leave the classroom, I knew exactly where I wanted to go: to NaNoWriMo, the organization that inspires people of all ages to achieve ambitious creative goals and believes everyone’s story matters.

Meet Rebecca Stern

Rebecca Stern has experienced NaNoWriMo from every angle: she had her students participate in the Young Writers Program when she was a teacher, did a victory dance in the 50K winner’s circle, served on the organization’s Associate Board, and then was Director of Programs. Prior to working for NaNoWriMo, Rebecca was a teacher for a decade and a Senior Digital Editor at Pearson Education. She also co-edited an anthology of essays for kids called Breakfast on Mars and 37 Other Delectable Essays. She lives in San Francisco with her husband and son.

About BRAVE THE PAGE

The official NaNoWriMo handbook that inspires young people to tackle audacious goals and complete their creative projects.

Partly a how-to guide on the nitty-gritty of writing, partly a collection of inspiration to set (and meet) ambitious goals, Brave the Page is the go-to resource for middle-grade writers. Narrated in a fun, refreshingly kid-friendly voice, it champions NaNoWriMo’s central mission that everyone‘s stories deserve to be told. The volume includes chapters on character, plot, setting, and the like; motivating essays from popular authors; advice on how to commit to your goals; a detailed plan for writing a novel or story in a month; and more!

National Novel Writing Month (NaNoWriMo) is a 501(c)(3) nonprofit that believes in the transformational power of creativity. They provide the structure, community, and encouragement to help people find their voices, achieve creative goals, and build new worlds–on and off the page. With its first event in 1999, the organization’s programs now include National Novel Writing Month in November, Camp NaNoWriMo, the Young Writers Program, Come Write In, and the “Now What?” Months.


ISBN-13: 9780451480293
Publisher: Penguin Young Readers Group
Publication date: 08/27/2019

Sparking Summer Reading, a guest post by M.G. Hennessey


“That looks like work,” my son said skeptically, eyeing the copy of Catcher in the Rye that I was offering him.

“Are you kidding? You’re going to love this. Trust me, give it twenty pages. If you hate it, you can read something else,” I said (quite reasonably, I thought).

After emitting the standard teen heavy sigh, he took the book and slumped off to his room with it.

Getting teens to read at all is a challenge; getting them to read something other than dystopian fantasy romances, even more so. Every time we sit down with my son’s summer reading list I’m reminded of this, as his top picks are almost exclusively thrillers.

Mind you, there’s nothing wrong with reading a good thriller (I’m a huge fan myself), and as one of my friends who is a librarian said, getting them to read at all is half the battle. When I was fourteen, I spent a summer tearing through everything Agatha Christie had ever written. But as a parent, I want to make sure that my son also reads books that challenge him intellectually and broaden his world view. So how to make that happen?

The good news is that YA and MG social issues books are experiencing a bit of a renaissance right now. It was much easier to get my son to read The Hate U Give when he knew a movie version was coming out; same with Simon vs. The Homo Sapiens Agenda. But I can’t rely on every social issues book being made into a TV show or film, right?

Here are a few tricks that have made a difference:

Start a family book club. Sometimes it’s just me and the kids, and other times we manage to wrangle a larger circle of family members, including cousins who live on the opposite coast. It’s been a treat to revisit some of the classics I read when I was his age- and to discover some new titles about current issues that I probably wouldn’t have read otherwise. Plus, it’s become the older version of me reading them bedtime stories, and what’s not to love about that? It was fascinating to reread To Kill a Mockingbird as an adult. Due to the subject matter (opioid addiction), I was initially a little reluctant to dive into Mindy McGinnis’s novel Heroine; but reading it together elicited some of the most in-depth conversations about the dangers of addiction that our family has ever had.

Focus on a single issue. My son’s class studied the civil rights movement last year, and consequently he was interested in reading more books about civil rights both then and now. Thanks to that, getting him to read Brown Girl Dreaming and One Crazy Summer was relatively easy. After reading The Diary of Anne Frank, my daughter delved deep into other books about WWII and the Holocaust, including the excellent Code Name Verity and The Book Thief (both still two of my all-time favorite reads).

One of these, one of thoseWhen going through his summer reading list this year, I let my son choose one “fun” book for every more serious one he tackled. Mind you, I hate categorizing books this way, because it implies that social issues books can’t be fun (they can and should be – I know I certainly always try to make mine feel that way), and conversely that most YA fiction isn’t worthy of deeper discussion (much of it is). But I do think he’s less likely to develop analytical reading skills with books that have a dragon on the cover (ducks for cover).

Audiobooks. We have a couple of long car trips lines up this summer, and what better way to pass the time than with an audiobook the entire family can enjoy? I’m planning on introducing my kids to 1984 and The Curious Incident of the Dog in the Night-Time en route to visiting relatives; and I’m bringing along copies of each book so that if they want to keep reading on their own, they’re able to.

So those are my tips for not only getting kids to read over the summer, but hopefully also encouraging them to dive into some meatier topics and texts. And who knows, this might spark up your summer reading too!

Meet M.G. Hennessey

M.G. Hennessey is the author of The Echo Park Castaways, a social issues book about four foster kids in L.A. who create their own found family. She also wrote The Other Boy, about a transgender boy and the challenges he faces long after transitioning. M.G. mentors teens at the Lifeworks program/LA LGBT Center, and volunteers as a Court Appointed Special Advocate for L.A. foster kids. She’s also the dean of Camp Transcend Family Camp. She lives in Los Angeles with her family.  She/Her/Hers

Website: www.mghennessey.com

Twitter: @mg_hennessey      

Instagram: @ m.g.hennessey

Facebook: @mghennesseyauthor

About The Echo Park Castaways

From the author of The Other Boy comes a poignant and heartfelt novel that explores what it means to be a family. Perfect for fans of Counting by 7s.

Nevaeh, Vic, and Mara are veterans of the Los Angeles foster care system. For over a year they’ve been staying with Mrs. K in Echo Park. Vic spends most of his time living in a dream world, Mara barely speaks, and Nevaeh is forced to act as a back-up parent. Though their situation isn’t ideal, it’s still their best home yet.

Then Child Protective Services places Quentin in the house, and everything is turned upside down. Nevaeh really can’t handle watching over anyone else, especially a boy on the autism spectrum. Meanwhile, Quentin is having trouble adjusting and attempts to run away.

So when Vic realizes Quentin just wants to see his mom again, he plans an “epic quest” to reunite them. It could result in the foster siblings getting sent to different group homes. But isn’t family always worth the risk?

ISBN-13: 9780062427694
Publisher: HarperCollins Publishers
Publication date: 07/02/2019

Dear Society: Sheltering Teenagers Helps No One (Thoughts from a Young Adult), a guest post by Zack Smedley


Hi! The following is a piece I wrote the night before my 20th birthday, almost four years ago. I’ve never posted it anywhere before, but I wanted to share it now. In hindsight, the only footnote I’ll add is that I say “teenagers” when I should really be saying “privileged white teenagers from middle-class families.” Forgive my far less developed cultural awareness from back then.

Without further adieu, I yield the stage to 19-almost-20-year-old me.

Today I wanted to discuss what it’s like to grow up as a teenager in today’s (American) society. Why? Because as I approach the hilariously old age of 20, I’ve finished developing a list of complaints I have about how the world handled teenager-me.

I should begin by saying I’ve grown up blessed with a plethora of good fortune. I have two happy and healthy parents who love me relentlessly, my family lives comfortably, and I’ve managed to get into college and survive as a Chemical Engineering major (so far, anyway). A good bulk of teens reading this are, I hope, fortunate in similar aspects. So why do I say we’re all getting screwed? Why have I, for years, been so fundamentally unhappy with my transition from childhood to adulthood?

Picture this! Growing up as a teenager twenty or thirty years ago, life was different. Kids got jobs at 16 to maintain their junk cars. As soon as they could drive, they were able to roam around with minimal supervision. They had to sweat a bit to make ends meet, but by the age of eighteen, they had gotten enough practice living as adults that they were ready to take off the training wheels.

(Or so I hear, anyway. I myself wasn’t a teen thirty years ago).

Here’s what inspired this post: today I was sitting in lecture when I realized I didn’t have a single idea how to do taxes. TAXES. The only thing you’re required to do on this earth apart from dropping dead.

Which leads me into a brief rant: why the hell didn’t any teacher in high school bother to sit down us wide-eyed little 16- and 17-year old selves and say “here’s all the information you need about mortgages and credit unions and taxes”? Is the point of high school not to prepare kids for the real world? Why is it that I—and every other peer of mine—has reached their twenties without having been taught a single strategy for managing credit lines or sketching out a plan for IRA’s?

BUT THANK THE LORD I KNOW THAT THE MITOCHONDRIA IS THE GODDAMN POWERHOUSE OF THE CELL.

That said, my gripes here extent past my ignorance towards the Internal Revenue Service. One quick YouTube tutorial can, and will, fix that issue. But let’s dive a bit deeper for a second.

I earned my driver’s license a few days before my senior year of high school. My parents, God bless them, weren’t comfortable with me taking the car past the driveway for another six weeks. (The ol’ “it’s not you we don’t trust, it’s everyone else.”) Several of my friends were in similar situations.

And I know what you’re thinking! Hey, why didn’t you just buy your own fixer-upper car with the money you had saved from your high school job? I would have loved to do that. Except that I—along with, once again, most of my friends—wasn’t allowed to have a job in high school. My parents and teachers must have rehearsed their lines together, because it was identical sound bytes from both: “school is your job.”

To be clear, I understand this pattern is no one’s fault. It’s not my teachers’ fault for assigning me the homework they’re required to give, and my parents didn’t do anything wrong by having me focus on school. But it’s gotten to the point where we’re sending kids off to college—and I was absolutely among this group—that have never had a job, never taken care of their own car, and never been allowed to make their own mistakes.

If you’d like to know what the powerhouse of the cell is, though, by God will I knock your socks right off.

Now. I’m thankful every day for my wonderful parents & teachers. And I realize that if my biggest problem is them caring about me too much, I probably shouldn’t be ranting at all. But I’m going to, because these issues I’m describing a) extend far, far beyond my own household, and b) are way too important to not talk about.

Our society is screwing teenagers by not letting them grow up sooner. Parents and schools say “oh, we just don’t want you to have to worry about working, or maintaining a car, or dealing with long nights” but that’s the stuff that turns kids into adults, man! We have to get our hands dirty sometime, and in my opinion, parents and schools of the modern day are shoving fundamental skills aside because, “worry about that when you’re 18.” It’s entirely understandable why they do this—after all, kids are coming home with six hours of homework a night. The answer isn’t to “power through it.” And I’m not here to propose any concrete solutions. But the first step to solving a problem is recognizing there is one, and Houston, we’ve got a big one here.

Parents—especially the great ones, like mine—are so driven to protect their kids from everything. But hardship, and mistakes, and pain…those things shape us to be stronger. And dealing with life experiences (such as jobs and cars) early on can help us teenagers learn how to overcome those challenges for when we’ve truly grown up.

And now here I am—finally filling out my own job applications, driving my own car, managing my own finances—and I couldn’t be happier. But I’ve had to spend a few years playing catch-up, and that was a heavy weight on my shoulders.

In short, to any parents with teenagers: I know how scary it can be letting your kids go, but it has to happen sooner or later. Just be mindful of when they’re really going to become adults, so you can make sure they’re ready to face the world when they step into it.

And high schools? If you’re going to make me sit through a class where I learn how to build a bridge out of popsicle sticks and craft glue, the least you could do is make sure I know what a goddamn FAFSA is.

Meet Zack Smedley

Photo credit: James Ferry

Zack Smedley is a chemical engineer who recently graduated from the University of Maryland, Baltimore County. As a member of the LGBT community, his goal is to give a voice to marginalized young adults through gritty, morally complex narratives. Deposing Nathan is his first novel. Find him on Twitter @zack_smedley. Twitter @zack_smedley.   

About DEPOSING NATHAN by Zack Smedley

“A heartbreaking and important read.” —Caleb Roehrig, author of Last Seen Leaving

“[A] layered, complex depiction of questioning (bi)sexuality..A heartbreaking case worth revisiting again and again.” Kirkus Reviews, starred review

Nate never imagined that he would be attacked by his best friend.

For sixteen years, Nate was the perfect son—the product of a no-nonsense upbringing and deep spiritual faith. Then he met Cam, who pushed him to break rules, dream, and accept himself. Conflicted, Nate began to push back. With each push, the boys became more entangled in each others’ worlds…but they also spiraled closer to their breaking points. And now all of it has fallen apart after a fistfight-turned-near-fatal-incident—one that’s left Nate with a stab wound and Cam in jail.

Now Nate is being ordered to give a statement, under oath, that will send his best friend to prison. The problem is, the real story of what happened between them isn’t as simple as anyone thinks. With all eyes on him, Nate must make his confessions about what led up to that night with Cam…and in doing so, risk tearing both of their lives apart.

ISBN-13: 9781624147357
Publisher: Page Street Publishing
Publication date: 05/07/2019

Author Molly E. Lee stops by to talk about hackers, coding, gender bias, and her new book, ASK ME ANYTHING

Thank you for having me! I’m so excited to talk all things ASK ME ANYTHING!

 

The concept for ASK ME ANYTHING came about from a collaboration between my editor, Stacy Abrams, and myself. Given the current social climate, we were both craving a strong female lead and the idea for Amber being a kickass coder was born. The rest of the story developed naturally and the deeper we dove the more Amber had to say.

 

The hacking element is incredibly important in the book and I spent almost an entire year researching it so it would be as authentic as possible. Luckily, I have a super-secret source that helped me speak all things hacker and be true to the culture that it represents. And it was so fun and refreshing to highlight Amber’s skills in coding.

ask me anything2

The number of females in coding is finally increasing and I (much like Amber) hope to see those numbers continue to increase throughout the upcoming years. Coding is such an important skill to have, even in the most basic forms, because it’s the language of the future. Unfortunately, there are still girls discouraged from pursuing STEM courses or careers and I believe it’s important to feature female leads who are rocking out in these areas. But programs like Girls Who Code are doing amazing combatting those negative viewpoints.

 

Even when I was in school, I was told I shouldn’t join the after-school science program (not by my parents, thankfully) but by teachers and boys at school. I joined anyway because I loved creating science projects but I was the only girl in the club. And it was hard but worth every second.

 

And I hope Amber’s character—a coder who is as good or even better than the best boy hacker in the school—will inspire other girls who might be on the fence about joining coding programs. Or other, male dominated programs. Because there is absolutely no reason why women should be discouraged from any form of education or any program or any career field. Anyone who tells a girl that she can’t do something because of her sex is severely misguided.

 

Amber steps up to those kind of biases and gender stereotypes throughout the book and I hope young girls reading it will take that confidence if they’re ever put in a situation like that and use it to take a stand. Like the words stamped on Amber’s bracelet—prove them wrong. Prove to those who doubt with hard work, amazing innovation, and above all, don’t let them put you in a box.

 

I’m so grateful you had me over today to chat! I hope you’ll enjoy ASK ME ANYTHING when it releases on May 7th! Be sure to check out the EPIC giveaway I’m hosting in celebration of its release! Spoiler alert—there is a laptop up grabs!!!

ONE GRAND PRIZE WINNER WILL BE RANDOMLY CHOSEN TO RECEIVE

– Signed-copy of Ask Me Anything
– Microsoft Surface Pro 6 with keyboard and pen
– Amber’s Zox bracelet
– Arrow extra-large Book Beau
– Custom Ask Me Anything tumbler
– Two Disney ColorPop lipsticks
– Hackers Blu-ray

*If an international entrant is chosen they will receive a $1200 Amazon Gift Card in equal value of prize shown.

 

Meet Molly E. Lee

molly e lee picMolly E. Lee is an author best known for her romance novels, the Grad Night series and the Love on the Edge series. She is a 1001 Dark Nights Discovery Author for 2017. Molly writes Adult and Young Adult contemporary featuring strong female heroines who are unafraid to challenge their male counterparts, yet still vulnerable enough to have love sneak up on them. In addition to being a military spouse and mother of two + one stubborn English Bulldog, Molly loves watching storms from her back porch at her Midwest home, and digging for treasures in antique stores.

 

About ASK ME ANYTHING

I should’ve kept my mouth shut.

But Wilmont Academy’s been living in the Dark Ages when it comes to sex ed, and someone had to take matters into her own hands. Well, I’m a kick-ass coder, so I created a totally anonymous, totally untraceable blog where teens can come to get real, honest, nothing-is-off-limits sex advice.

And holy hell, the site went viral—and we’re talking way beyond Wilmont—overnight. Who knew this town was so hard up?

Except now the school administration is trying to shut me down, and they’ve forced Dean—my coding crush, aka the hottest guy in school—to try to uncover who I am. If he discovers my secret, I’ll lose him forever. And thousands of teens who need real advice won’t have anyone to turn to.

Ask me anything…except how to make things right.

ISBN-13: 9781640636583
Publisher: Entangled Publishing, LLC
Publication date: 05/07/2019

Let’s Talk About Sex…Positivity in YA, a guest post by Jenn Bennett

My latest YA contemporary, Serious Moonlight, is a book about Birdie and Daniel, two teens who meet one rainy afternoon in Seattle and impulsively decide to hook up. Unfortunately, the experience is bumbling and embarrassing. Birdie’s only solace is that she’ll never see him again, but alas, when she lands a job working the front desk at a historic hotel, Daniel is the hotel van driver. Awkward. Do they ignore each other? Pretend it never happened? What if they still like each other? What if they are both just bad at sex?

All of my YA contemporaries are romances; all of them include sex on the page. It’s by no means the driving force of my stories, which also include a lot of other big-ticket items—themes about non-traditional families, exploration of mental health issues, and the importance of self-expression. But when you write about two people falling in love, just like Real Life, that connection sometimes gets handsy.

Luckily for me, this is one of my favorite subjects to write about, because sex is such a complex and wonderous thing filled with weird emotions and meaningful conflict. How can something so simple go so wrong, so often? How can something so pleasurable be plagued with baggage, shame, and guilt?

I never once considered not including sex scenes in my YA books, nor did I want to “fade to black” during the kissing, or skim over the good parts. And by good parts, I don’t mean the actual sex—though that’s in there, too. (Three cheers for joyful female desire!) No, I mean the talking about it. Because my characters talk about sex a lot. They talk about birth control. Previous partners. Lack of experience. Pain. Rejection. Body image. Masturbation. Pregnancy.

My characters are curious. They ask permission and respect boundaries, but they also get confused and make mistakes. They know exactly what they want, and yet know nothing at all. Like all of us, really.

The subject of sex is strange when you’re a teen. It can be both alienating and blissful, both scary and alluring. It can change your life in terrifying ways (pregnancy, STDs) and in unexpected ways (establishing an intense, beautiful connection with another human). Sometimes it’s all of the above, and that’s a heady thing to explore when you’re trying to figure out who you are while also surviving the day-to-day pressures of finishing high school.

I’ve never once had a teen reader tell me they were upset with the sexual content in my books. Occasionally I see reviews from parents who like my books but warn other parents about “intimate situations,” like it’s something they can’t even bear to say out loud. It’s bizarre, really, that in America, sex is still one of the big taboos. We are A-Okay with violence in our fiction, on our televisions, in our streets. But when it comes to sex, we seem to be perpetually stuck in arrested development—censoring it, hiding it, shaming people who do it too much, laughing at people who don’t do it enough.

Sometimes writing these kinds of stories make me feel like everyone’s cool auntie, the person in who you feel safe confiding. My sister-in-law asked me if I thought it was okay if my nephew, who was twelve at the time, could read my YA. Was it? Did I want to be the person who taught this kid about sex? WAS THAT WEIRD? I recommended that she wait until the kid was thirteen, at least. I didn’t want to scar the kid, for the love of Pete. (Spoiler alert: he’s now almost fifteen and turned out just fine.)

Being a YA author comes with a certain amount of responsibility. I always tell my editor, when we’re both in doubt about a certain piece of dialogue or the direction a scene’s taking, that my personal philosophy as an author is much like a doctor’s oath: do no harm. That’s a lot of pressure, especially when I don’t have all the answers about sex, love, and relationships. But I think I’m okay with it. I do my best, and that’s all any of us can do.

Who knows? Maybe Birdie and Daniel’s journey in SERIOUS MOONLIGHT is not the experience you remember having with your first boyfriend or girlfriend. Maybe you’ll judge Birdie for having sex with someone she didn’t know very well. Maybe you’ll empathize with her. Fiction is part escapism, part mirror…and sometimes, it’s rebuilding the world how it should be. To that end, I hope that teens (and adults!) reading Birdie and Daniel’s story will see two people on the page who make a few mistakes but eventually get to know each other, talk frankly about their hopes and fears, and eventually build a stronger, lasting connection.

And what could be more positive than that?

Meet Jenn Bennett

Jenn Bennett is an award-winning author of several young adult books, including: ALEX, APPROXIMATELY; STARRY EYES; and SERIOUS MOONLIGHT. Her books have earned multiple starred reviews, won Romance Writers of America’s RITA® Award, and been included on Publishers Weekly Best Books annual list. She lives near Atlanta with one husband and two dogs. Find her online at Twitter: @Jenn_Benn, IG: @J3nn_Benn,and at her website http://www.jennbennett.net/

About SERIOUS MOONLIGHT

After an awkward first encounter, Birdie and Daniel are forced to work together in a Seattle hotel where a famous author leads a mysterious and secluded life in this romantic contemporary novel from the author of Alex, Approximately.

Mystery-book aficionado Birdie Lindberg has an overactive imagination. Raised in isolation and homeschooled by strict grandparents, she’s cultivated a whimsical fantasy life in which she plays the heroic detective and every stranger is a suspect. But her solitary world expands when she takes a job the summer before college, working the graveyard shift at a historic Seattle hotel.

In her new job, Birdie hopes to blossom from introverted dreamer to brave pioneer, and gregarious Daniel Aoki volunteers to be her guide. The hotel’s charismatic young van driver shares the same nocturnal shift and patronizes the waterfront Moonlight Diner where she waits for the early morning ferry after work. Daniel also shares her appetite for intrigue, and he’s stumbled upon a real-life mystery: a famous reclusive writer—never before seen in public—might be secretly meeting someone at the hotel.

To uncover the writer’s puzzling identity, Birdie must come out of her shell…discovering that most confounding mystery of all may be her growing feelings for the elusive riddle that is Daniel.

ISBN-13: 9781534445284
Publisher: Simon Pulse
Publication date: 04/16/2019


Kids Can Handle Big Decisions . . . If the Adults Get Out of the Way (But Also Don’t), a guest post by Kirstin Cronn-Mills

(CW: Assisted suicide.)

First, a million thanks to Teen Librarian Toolbox for hosting me. I appreciate your work so much!

(Important note: this blog post can’t tackle the social and legal issues around assisted suicide. Too much complexity for 900 words. We’re just gonna go with it.)

Lake Superior, Duluth, MN, where WRECK takes place. Photo credit: Kelly Tekler

Lake Superior, Duluth, MN, where WRECK takes place. Photo credit: Kelly Tekler

In Wreck, Tobin has a lot of choices to make—ones most high school juniors don’t generally make, thank goodness. She’s choosing what to do with her future, which is typical, but she also has to choose how to interact with her dad, Steve. Thanks to his ALS, which is complicated by frontotemporal dementia, he’s unpredictable on his best days and impossible on his worst. Is she going to be a crabby teenager, or will she show him compassion (or will she do both, which seems pretty traditional for a teenager, as well as what most humans would do)?

Eventually she also has to choose what to do (and how to feel) when Steve makes decisions about his own death. Steve’s choice is an awful thing for her to face—it’s an awful thing for a grown-up to face—but she legally becomes a criminal when she helps him carry out his wish to be free. That’s a heavy and unnecessary burden for a seventeen-year-old.

I can hear the outraged voices now: she’s too young for such a difficult choice! She can’t make such an adult decision! She has no idea what she’s doing!

Um. No, she’s not. Yes, she can. Yes, she does.

Yes, Tobin is young. No, human brains don’t mature until they’re in their mid-twenties. But Tobin understands a lot about two fundamental parts of being human: she knows about love, and she knows about loss.

Fundamentally, Tobin makes her decision to help her dad out of love, because they have loved each other fiercely for all of Tobin’s life, and she wants him to be out of both physical and mental pain. Her knowledge of loss is more of a mystery to the reader (and to her, really): she doesn’t acknowledge the large loss she’s already suffered, nor that it’s affected her in more ways than she’ll cop to. However, when it comes down to her decision to help Steve, she knows more than most of us because she’s lived with loss for much of her life. She knows she can cope.

Action figures are a part of WRECK, too!

Action figures are a part of WRECK, too!

What carries Tobin through all of her grief—including her decision—is the love of people older than her who help her make these big decisions. She has her great-uncle Paul, who clearly values her (and also understands loss), and she has Ike, a family friend who becomes a brother. Especially with Ike, Tobin can sort things out, feel her feelings, and figure out what’s next.

Tobin is also allowed to make decisions—which isn’t something all teens get to do. She isn’t forced into anything (with the exception of who will be her guardian, once Steve isn’t), and she isn’t sheltered from her dad’s choice. She has the knowledge she needs about the situation, and she responds to Steve out of love and understanding, rather than duty or a forced adherence to convention.

This is one of the ways kids become caring adults—first, they’re influenced by people who model both caring behavior and critical thinking, and second, they’re surrounded by safety. Tobin is safe to explore her thoughts and feelings with Steve, Paul, and Ike, and that safety allows her to come to her empathetic decision.

When I started writing for teens, I committed to giving my protagonists an older person they could rely on, because I had a couple in my high school years—a person who’s not a parent, usually. In Sky, Morgan has her grandma. In Beautiful Music, Gabe has his neighbor John. In Original Fake, Frankie has his boss and idol, Uncle Epic. Tobin has the same thing in Ike and Paul. Teenagers need to see evidence that not all grown-ups are assholes (if they are inclined to think they are), and that there are people interested in what they have to say. Some adults actually do recognize that yeah, teens are learning, but they’re pretty smart to start with.

If Tobin was a real person, she wouldn’t be able to recognize all the implications of her choice right away. A grown-up might not even be able to do that. But I don’t think she’d regret her choice, because she was helping someone she loves be free of pain. Hopefully Real Tobin would also have the support of those who love her, and they’d affirm her decision, even as they were sad about it. I know lots of teens and young adults who’ve been in really tough situations. Those who’ve come through it have been the ones with a circle of caring folks around them. Book Tobin does what she does, even though it will devastate her, because it’s the right thing to do, and because she’s got support.

There’s all the difference in the world between being forced into the fight and walking in with your head held high. Steve chooses. Tobin chooses. We all deserve that right.

Meet Kirstin Cronn-Mills

kirstinKirstin Cronn-Mills writes young adult novels and nonfiction for high school libraries. Her books have received both state and national recognition. She lives in southern Minnesota with her family, where she teaches and wishes she lived closer to Lake Superior.
Find her on Facebook, Instagram, and Twitter.

About WRECK

wreckSometimes loss has its own timetable.

Set on the shores of Lake Superior, Wreck follows high school junior Tobin Oliver as she navigates her father’s diagnosis of ALS (Lou Gehrig’s Disease).

Steve’s life as a paramedic and a runner comes to an abrupt halt just as Tobin is preparing her application for a scholarship to art school. With the help of Steve’s personal care assistant (and family friend) Ike, Tobin attends to both her photography and to Steve as his brain unexpectedly fails right along with his body.

Tobin struggles to find a “normal” life, especially as Steve makes choices about how his own will end, and though she fights hard, Tobin comes to realize that respecting her father’s decision is the ultimate act of love.

Wreck wrecked me. Kirstin Cronn-Mills has a singular way of getting inside characters heads and making their stories come to life. This book will make you cry.” —Bill Konigsberg, award-winning author of The Music of What Happens?

“A provocative, unflinching, and emotionally-complex deep dive into mortality and loss while Tobin and her father grapple with almost unfathomable decisions. A wrenching and empathetic look at the tumultuous waters and seemingly bottomless grief that can interrupt an otherwise placid life.” —Amanda MacGregor, Teen Librarian Toolbox

“This book has heart and empathy as vast and deep as the Great Lake on which it’s set.” —Geoff Herbach, award-winning author of Stupid Fast and Hooper

“Every so often a book comes along that is so sharp, so moving, so real, and so good, you want to press it into everyone’s hands and say, Read this! READ THIS!” —Courtney Summers, author of Cracked Up to Be, on Beautiful Music for Ugly Children

“A kind and satisfyingly executed portrait.” —Kirkus Reviews

ISBN-13: 9781510739031
Publisher: Sky Pony
Publication date: 04/16/2019

See Amanda’s review here

Monsters united can never be defeated: sentimental queer horror YA, a guest post by Hal Schrieve

The year I turned fourteen, I came out to my parents as transgender. In 2010, as a young teenager, with Gender Identity Disorder still written into the DSM as a disease, I knew that my eventual medical transition would require doctors’ notes and assessments in order to proceed. But my parents, wearing a look of inscrutable fear, initially took me to therapists with the stated hope that we as a family would work something out that didn’t involve me actually ever transitioning.

 

Eventually, all the doctors my parents took me to, even those most sympathetic to my parents, began to reach the consensus that I was in fact a transsexual. That, the doctors and therapists agreed, meant my parents had to move to the next healthy stage in raising a trans child: mourning my death.

 

This is standard advice, advice that the parents of trans children have gotten from well-meaning therapists for decades. My inexpert Cut Rite haircut, abbreviated name, the desire to to put testosterone into my body and surgically modify my chest, and, not least, my expression of my desire for romantic and sexual contact with gay men—meant that the child my parents had raised was dead. My parents had lost their shot at something. Therapists phrased it in different ways, describing the dead girl who I was not as a child of expectations, or dreams, as someone who had existed and as someone who had never existed. But again and again, the living teenager in front of my parents was ignored in favor of the theoretically dead girl I had replaced.  My parents were given permission to ignore my distress, the bullying I was facing, the discrimination I faced from my school, the lack of information I had about what my future might hold, so they could grieve and adapt slowly to life without their daughter—though I was alive, and their real daughter, my little sister, was right in front of them and living too. For a period of just over a year, and maybe long beyond that, I became undead, unknowable, invisible to the people who were supposed to protect me.

 

Caption: Intervening in each others' lives when we start believing we are dead or deserve death is more important than anything.

Intervening in each others’ lives when we start believing we are dead or deserve death is more important than anything.

 

Just as I died to my parents, my parents also disappeared to me. They were no longer role models, because they believed, at least for a while, that the me that existed should not exist. There were people who could see and understand me as alive, but they were not my parents. I still don’t know what I was to my parents during this time, exactly, but it’s safe to say I was something monstrous, a portent. For me, the result of being discussed and treated as dead was a temporary frozenness in my emotional development, a deep depression, and a lack of ability to fathom or connect to the cisgender and straight people around me. My sense of self esteem and empathy towards others ultimately grew enormously during my transition, but the things that prompted this had little to do with medical change in my own body. What replaced my family unit’s emotional ties was contact with punks and sex educators and old gay and trans people and young teens in my city and online who were like me and count see the beauty in one another. Over and over again, I watched small-town gay and trans people take care of each other, drive to one anothers’ houses late at night to intervene in suicide attempts, house each other, give one another jobs, get in professional hot water to protect each other, build up our mutual sense of safety in the face of horror. As my parents realized I was a monster, I was realizing I found their world monstrous.

I wanted to have a character like Mrs. Dunnigan, who sees and understands younger LGBT people who other adults fear.

I wanted to have a character like Mrs. Dunnigan, who sees and understands younger LGBT people who other adults fear.

 

I am white, which limits how I have been dehumanized in the settler-colonial state I was born in. My family is middle-class. My cognitive differences are such that I was never deemed disabled. I have a body which is able to navigate the ableist infrastructure of our society with relative ease. But I have always related to monsters. This is a trend, among queer people, even those of us who are lucky. We didn’t start it, though—monsters never start our own monstrosity.

 

 

I could theorize about when and how being gay or trans became a monstrous threat in European civilization, and others have certainly discussed how this belief was used as a tool of violent imperialism. But it would take a long time. Instead, here is a page from Alan Bray’s Homosexuality in Renaissance England.

I could theorize about when and how being gay or trans became a monstrous threat in European civilization, and others have certainly discussed how this belief was used as a tool of violent imperialism. But it would take a long time. Instead, here is a page from Alan Bray’s Homosexuality in Renaissance England.

 

 

I remember the first stories I ever wrote, at age four, being about Ursula from the Howard Ashman version of The Little Mermaid running away from persecutors, escaping and starting a new life at the bottom of a deep well. I didn’t know then that the original Hans Christian Andersen story, queer in its own way, regards the mermaid herself as a sort of monster, who nobly kills herself when she is wounded by her prince’s lack of ability to love her. I just knew I sympathized with something unlovable but charismatic, with tentacles, that shouldn’t have died. Further stories I wrote involved noble, ugly troll girls locked into mill-towers, werewolves on the lam, haggard witches and dwarves living under bridges and stealing scraps. I knew, reading fairy stories, that the witches, pirates, and dragons I read about rarely deserved persecution. When I read the story of St. George and the Dragon, the dragon was the only face I could compute as relatable. Nowadays, when I watch a horror movie about a traumatized ghost or psychic evil type monster wreaking havoc on a living straight white family, I only care about what happened to the vengeful spirit, and why it is so important to the filmmakers that the revenge be seen as more horrible than the original violence. I know that monsters are made, and that we usually are less scary than the people that made us. Traumatized people aren’t why the world is violent. Abusive people in power who want to stay in power and refuse to empathize or love others is why the world is violent.

 

The horror I see in the world is the systems of capitalism, racism, sexism, homophobia, transphobia, ableism and ecological destruction designed to divide and alienate us from our friends, our lovers, our children, and break us up so we are easier to break. This horror can come even from systems that are supposedly designed to help us, like doctors. Too many of my friends have been told that their physical or mental pain is imaginary, or given up parts of their lives to afford medical care. My own life has been shaped less than others’ by psychiatrists and their edicts, but I spent all of my adolescent years concealing the distress and mental illness that i knew might stop them from writing essential letters or mean they would disclose something that would cause my parents to institutionalize me. I have been helped by psychiatry. But it’s a strained affection. The closest friends I have have been abused by family members, police, psychiatrists, teachers. My best friend when I was eighteen, a trans boy named Sebastian, was killed by a combination of all these actors. All of whom were ostensibly supposed to protect him.

 

 

My characters Aysel, Z and Tommy are the kids you don't want to talk to at school who have a hard time relating to other people but who feel things really deeply.

My characters Aysel, Z and Tommy are the kids you don’t want to talk to at school who have a hard time relating to other people but who feel things really deeply.

 

In Out of Salem, I want to talk about the way that queer people and many others are seen as monsters acting as a threat to violent systems of control; I want to express as fully as possible the hope I have that we are in fact a threat, that we can break impossibly huge violent systems through survival and solidarity and love. I wanted to talk about the numbing horror of experiencing the world as marginalized, and how that makes it harder to trust people or show love. You have to talk about that in order to speak of the ways that we can survive the horror story that is our whole world by sticking together. My characters Chad, Elaine, Mrs. Dunnigan, Mr. Weber, Z, Tommy, Azra and Aysel are all at least mostly able to see one another’s personhood and personal dignity, even if people like abusive uncles or hostile teachers are unable to. Solidarity and contact between peers kept me and my friends alive during my high school years, as well as contact with sympathetic adults who couldn’t do everything for us we needed but could act as a model of long-term endurance of a hostile world.

 

Stonewall Youth, an LGBT youth organization in Olympia WA, helped me survive high school. Here is me (burgundy blazer) at age 15 in 2012 on their Pride float.

Stonewall Youth, an LGBT youth organization in Olympia WA, helped me survive high school. Here is me (burgundy blazer) at age 15 in 2012 on their Pride float.

 

When you are gay and trans and young, or marginalized in other ways, sometimes seeing the survival of your elders—your real elders, who are monstrous like you— is powerful. Touching someone like you is healing. Holding onto each other is hard but it is the only thing I know is good to do, which can help us survive.

 

 

Meet Hal Shrieve

Image credit: Micah Brown

Image credit: Micah Brown

Hal Schrieve grew up in Olympia, Washington, and is competent at making risotto and setting up a tent. Xie has worked as an after-school group leader, a summer camp counselor, a flower seller, a tutor, a grocer, and a babysitter. Hir current ambition is to become a librarian, and xie works as a trainee children’s librarian at New York Public Library. Xie has a BA in history with a minor in English from University of Washington and studies library science at Queens College, New York. Xie lives in Brooklyn, New York, and hir poetry has appeared in Vetch magazine.

Out of Salem is hir first novel.

Social Media links:
@howlremus on Instagram
https://soundcloud.com/haltalksmonsters (podcast about monster movies)

 

 

 

About Out of Salem

out of salem2The best Teen Zombie Werewolf Witchy Faerie fantasy murder mystery you’ve ever read—by debut author, Hal Schrieve.

Genderqueer fourteen-year-old Z Chilworth has to adjust quickly to their new status as a zombie after waking from death from a car crash that killed their parents and sisters. Always a talented witch, Z now can barely perform magic and is rapidly decaying. Faced with rejection from their remaining family members and old friends, Z moves in with their mother’s friend, Mrs. Dunnigan, and befriends Aysel, a loud would-be-goth classmate who is, like Z, a loner. As Z struggles to find a way to repair the broken magical seal holding their body together, Aysel fears that her classmates will discover her status as an unregistered werewolf. When a local psychiatrist is murdered by what seems to be werewolves, the town of Salem, Oregon, becomes even more hostile to “monsters,” and Z and Aysel are driven together in an attempt to survive a place where most people wish that neither of them existed.
Rarely has a first-time author created characters of such immediacy and power as Z, Aysel, Tommy (suspected fey) and Elaine (also a werewolf), or a world that parallels our own so clearly and disturbingly.

ISBN-13: 9781609809010
Publisher: Seven Stories Press
Publication date: 03/26/2019

The Where of it All: Place and Story, a guest post by Kathi Appelt

underneathYears ago, when my novel The Underneath came out, one of the reviewers called it “Southern Gothic for the middle-grade set.” At first, I was a little on the crushed side, but the more I’ve thought about it, the more I realized that the reviewer actually got where I was coming from—they understood me as a person who dwelt on the beauty of extended syllables, who cools them down with iced tea from a jar, a person who was raised on William Faulkner and Tennessee Williams. It shouldn’t have come as a big surprise that my voice was a reflection of that. I decided to own it.

 

 

 

And now, a little over ten years since the publication of that first novel, I have this new novel, Angel Thieves, that is also deeply ingrained in the place of it. Houston. Fourth largest city in the country, also the most diverse.

 

I really believe that the most important three things in our lives all start with the letter P. They are: People. Places. Pets.  They’re the “whirled P’s,” as my friend Liz Garton Scanlon calls them.  Our deepest loves, our most profound fears are found there. And they’re intertwined, woven together—whirled–in all the ways that generate stories. Try telling a tale without one of those three P’s.

 

For me, as much as I groove on my People and my six gifted and talented cats, Place is almost always where I begin when it comes to a story. You could say it’s the where of it all.

 

I don’t have to think for very long when I conjure up Houston. I remember the house where my sisters and I scrawled our names on the interior garage wall, and our big dog Sam watched over a batch of kittens after their mother was hit by a car. (Fyi, Sam was my role model for Ranger). I remember sitting behind a large window and watching the shingles blow off of the house across the street as Hurricane Carla’s winds shook every square inch of the city. I remember the drive-in movie theater called The Thunderbird, where I can still see Doris Day singing “Que Sera, Sera” from the fifty-foot tall screen.

 

Big, expansive Houston. It’s all sprawled out. And yet, it’s knitted together by those slow-moving bayous that flow right through her heart. 

 

But how did all of the stuff about this particular place play into my work? For one, it made me want to write a tale that was itself expansive, that spanned time periods and crossed borders. Likewise, it made me want to explore the indigenous plants and critters, including the mosquitoes who once spread one episode after another of yellow fever, each time reducing the population by dozens, hundreds.

 

This central wildness invited me to incorporate wildness into the very middle of my story, and that brought me the ocelot.  Like so many other species, they’re no longer extant in Houston. In her own way, because she was once native, she bridges the time spans of this story, from past to now, from dream to real.

 

To me, place also offers up its unique voices, what some call a sonic landscape. Houston has its own homegrown music. It’s a music mixed up by generations of freed Creoles with their German polka-playing neighbors, making Houston the birthplace of Zydeco. The sounds of an accordion, with its breath being squeezed in and out, the notes pushing and pulling against each other is pure Houston. I love the syncopation of it, the big mixture of joy and sorrow, all forced into those breathy notes. I kept Zydeco in my ear as I wrote, I looked for ways to push and pull the different threads of time and purpose, to squeeze the chapters when called for, to find some moments of joy and urgency and a deep sigh at the end.

 

There’s so much about Houston that calls to me, even though I haven’t lived there for some time. It feels ripe for Story. Not only that, but I come from seven generations of Houstonians. My roots are deep. I knew Houston. And yet, it wasn’t until I began to write that I felt like I was seeing the city clearly enough to set a story there.

 

We are always told to “write what you know.” There is a good amount of wisdom in that. But I also want to say, “write because you want to find out.” Years ago, I happened across the paintings of Houston artist John Biggers. One of them stood out to me. I was so struck by it, that I found that I couldn’t step away from it. Maybe I stood there for ten minutes. Maybe it was only ten seconds, but I’ve never forgotten it.

 

It was a painting set in the Fifth Ward, called “Shotguns,” for the style of houses that stand there, nothing at all like the Fifth Ward I thought I knew, a place considered at the time to be crime-ridden, run-down, the absolute poorest neighborhood in Houston. In this beauty of a painting, suddenly, I saw the Fifth Ward in such a different way. It wasn’t that Mr. Biggers denied the abject poverty. He didn’t. It wasn’t that he was trying to cover something over. He wasn’t. It was that he showed how a place occurs in layers. There was layer upon layer of the Fifth Ward, like looking into a receding wall of mirrors, or the striations of a canyon wall. Before this, I had only seen the surface of the Fifth Ward, an ugly, falling-down place, with trash-strewn yards and boarded up shanties. That was only one layer. And there was the message.

 

So this is, I think, what Place offers to us in matters of story: multiple layers that only that particular place can hold. For me Houston is a layer of rich black dirt, washing down from the Great Plains and piling up so that the azaleas blaze every March. It’s a layer of fog that streams up from the Gulf of Mexico and hides the skyscrapers, closes the airports. It’s a layer of animals and plants that came and went and might come again if we have enough heart for them. It’s a layer of flood after flood, always bracing for the next flood. Water, layers of water. It’s also a layer of families, including those that settled there long before the Europeans, long before the Mexicans and Texans, long before me. It’s layers of gospel and field songs and blues and Jim Crow and desegregation and Barbara Jordan. It’s layers written in twists and turns, like the Buffalo Bayou herself. Mother River. It’s seven generations of my family, many buried right along that bayou in the old Washington Cemetery.

 

It’s that Place.

 

So, I have told my students, and I will tell you, start with Place. Pull back the layers. Stand in the old cemeteries and ask your people to tell you their stories. Ask their neighbors to lend their voices. Ask the trees and the streetlamps and the nighthawks.

 

Ask that bayou. And then, let it be the where of it all.

 

 

Meet Kathi Appelt

Photo credit: Ken Appelt

Photo credit: Ken Appelt

Kathi Appelt is the author of the Newbery Honoree, National Book Award finalist, PEN USA Literary Award–winning, and bestselling The Underneath as well as the National Book Award finalist The True Blue Scouts of Sugar Man SwampMaybe a Fox (with Alison McGhee), Keeper, and many picture books including Counting Crows. She has two grown children and lives in College Station, Texas, with her husband. Visit her at KathiAppelt.com.

 

Connect with Kathi online:

Twitter:  @kappelt

 Facebook: https://www.facebook.com/kathi.appelt.7

Goodreads: https://www.goodreads.com/author/show/29011.Kathi_Appelt

Pinterest board: https://www.pinterest.com/kathi5cats/

Instagram: https://www.instagram.com/kathiappelt/

About Angel Thieves

angel thievesAn ocelot. A slave. An angel thief. 
Multiple perspectives spanning across time are united through themes of freedom, hope, and faith in a most unusual and epic novel from Newbery Honor–winning author and National Book Award finalist Kathi Appelt.

Sixteen-year-old Cade Curtis is an angel thief. After his mother’s family rejected him for being born out of wedlock, he and his dad moved to the apartment above a local antique shop. The only payment the owner Mrs. Walker requests: marble angels, stolen from graveyards, for her to sell for thousands of dollars to collectors. But there’s one angel that would be the last they’d ever need to steal; an angel, carved by a slave, with one hand open and one hand closed. If only Cade could find it…

Zorra, a young ocelot, watches the bayou rush past her yearningly. The poacher who captured and caged her has long since lost her, and Zorra is getting hungrier and thirstier by the day. Trapped, she only has the sounds of the bayou for comfort—but it tells her help will come soon.

Before Zorra, Achsah, a slave, watched the very same bayou with her two young daughters. After the death of her master, Achsah is free, but she’ll be damned if her daughters aren’t freed with her. All they need to do is find the church with an angel with one hand open and one hand closed…

In a masterful feat, National Book Award Honoree Kathi Appelt weaves together stories across time, connected by the bayou, an angel, and the universal desire to be free.

ISBN-13: 9781442421097
Publisher: Atheneum/Caitlyn Dlouhy Books
Publication date: 03/12/2019

Writing with a Trigger Warning, a guest post by Victoria Lee

“Write what you know.” We get that advice a lot, as authors. Writing from experience builds deeper, more authentic stories. Sometimes it’s as easy as writing a known setting—for example, my debut novel, The Fever King, is set in a speculative version of my own hometown. Who is gonna know how to write Durham better than me?

 

But other times, writing what you know means writing narratives that are important…but really personal and really, really difficult. In some ways, we want the people who have lived these experiences to write them. On the other hand, writing about trauma and discrimination and mental illness can be incredibly triggering for the author themselves.

The author as a teen.

The author as a teen.

In my books—both The Fever King and in books I’m writing now, or have written in the past—I’ve wrestled with the push and pull of wanting to tell the hard story and wanting simultaneously to hide from it. It’s a very personal choice, deciding whether or not you’re ready to tell certain stories. Not just because they’ll be hard to write, but because if they ever get published, you’ll be asked to explain how those experiences relate to your own (c.f. the ever-present interview question: What inspired you to write this book?).

 

I survived sexual abuse as a child, and subsequent to that I dealt with a lot of mental health and substance use issues. It’s not uncommon among survivors—you want to splint the parts of you that feel broken with whatever materials you can reach. I wrote about both of these issues in my most recent books, and while in a lot of ways writing so frankly about these experiences was cathartic, other times it got difficult. I found myself having to take breaks after certain scenes. Oddly enough, it was never the scenes themselves that triggered me—it was the little details: describing a certain expression on an abuser’s face, or the way it feels to tell someone the truth and wonder if they see you differently now.

image004

But I keep writing these stories. I feel like I have to—like I’m contributing one particular facet of this experience to the conversation about mental health and survivorship, and in a lot of ways, the story I’m telling is the story I wish I’d had when I was a teen.

 

A critique partner once asked me if I ever planned to write about characters who weren’t survivors of some kind of trauma. I told her no. I’m not done telling survivors’ stories. Honestly, I don’t know that I’ll ever be done. Because if just one reader tells me my books made them feel seen, it’ll all have been worth it.

Meet Victoria Lee

Victoria Lee author photo (no credit)Victoria Lee is the author of The Fever King, which Skyscape will publish on March 1, 2019. She grew up in Durham, North Carolina, where she spent twelve ascetic years as a vegetarian before discovering that spicy chicken wings are, in fact, a delicacy. She’s been a state finalist competitive pianist, a hitchhiker, a pizza connoisseur, an EMT, an expat in China and Sweden, and a science doctoral student. She’s also a bit of a snob about fancy whiskey. Lee writes early in the morning and then spends the rest of the day trying to impress her border collie puppy and make her experiments work. She currently lives in PA with her partner. www.victorialeewrites.com

 

Follow her on Twitter: @sosaidvictoria, Instagram: @sosaidvictoria, and Facebook: @victorialeewrites

 

About THE FEVER KING

 

fever kingIn the former United States, sixteen-year-old Noam Álvaro wakes up in a hospital bed, the sole survivor of the viral magic that killed his family and made him a technopath. His ability to control technology attracts the attention of the minister of defense and thrusts him into the magical elite of the nation of Carolinia.

The son of undocumented immigrants, Noam has spent his life fighting for the rights of refugees fleeing magical outbreaks—refugees Carolinia routinely deports with vicious efficiency. Sensing a way to make change, Noam accepts the minister’s offer to teach him the science behind his magic, secretly planning to use it against the government. But then he meets the minister’s son—cruel, dangerous, and achingly beautiful—and the way forward becomes less clear.

Caught between his purpose and his heart, Noam must decide who he can trust and how far he’s willing to go in pursuit of the greater good.

ISBN-13: 9781542040402
Publisher: Amazon Publishing
Publication date: 03/01/2019
Series: Feverwake Series #1

A Secret Corner, a guest post by Tehlor Kay Mejia

Tehlor Kay Mejia's debut novel.

Tehlor Kay Mejia’s debut novel.

It was before a girl treated my heart like a catch- and-release fish. Before newly-blue-haired courage sent me across a parking lot to compliment the patches she’d sewn on her jean jacket. It was before I felt like myself, the awkwardness of sixteen still sitting heavy on my skin, and the house was empty, and the library was open until nine.

 

Back then, the teen section was upstairs and in the back, away from the computer banks and the prying eyes of people my mom might know. I dropped my heavy backpack next to the chair in the corner every day while cooler kids got in cars to haunt the steps of pizza places and their parents’ business-trip-empty condos. I looked for books that looked like people might kiss in them.

 

I watched people more than I talked to them, the way their hair fell in these intentional looking waves, the way they seemed to know what to do with eyeliner. The way they just locked together, effortlessly, like there weren’t a million tiny miracles between not-holding-hands and holding hands. Not-kissing and kissing.

 

So far, none of those miracles had happened to me.

 

I was obsessed with kissing, because I’d never done it. Not unless you counted that awkward “see what this is all about” thing in the backyard with my best friend on my thirteenth birthday. But I didn’t. I was a lifetime from thirteen now, taller and weirder and quieter. I pined after boys I would never talk to from afar. I waited for my miracle.

 

In the library, I browsed the sparsely populated teen shelf looking for something I hadn’t already read on a hundred other nights like this one. But on this particular day, I found a book with a perfect cover. It was a sunshiney thing, the main image two hands with their fingers interlocked. It looked cheesy and summery and I wouldn’t have been caught dead reading it in front of my debate team friends – who were on an Ayn Rand kick – but in the secret corner of the library no one knew I was haunting, I let myself take it anyway.

 

That night, the librarian had to tap me on the shoulder to tell me they were closing. But by then I had read enough. Empress of the World was about a girl like me. Smart, awkward, a little thorny, so the world believed she was mostly friendless and unkissed by choice. I had read other books about girls like her, but those girls had kissed boys in the end and I had been fascinated but not always moved.

 

This time, the awkward girl did not grow closer to a popular boy who sees her beyond her glasses. This time, the awkward girl kissed a blonde, beautiful preacher’s daughter. A dancer who was a friend before she was more. I read it with my heart pounding, this sleepy summer camp book, and when I walked out into the world again, fluorescent lights turning off in my wake, the air felt different on my face.

 

It was a book I couldn’t have picked up at the bookstore. A book I wouldn’t have been brave enough to read on the bus, or the cafeteria, or the living room, or even my bedroom. It was a book I left behind, my library card unused in my wallet. But I came back to visit. I learned the code words in the cover copy like they were a secret language. I found other books like it, and in the safety of that secret library corner I read until the lines around me were a little darker, the colors inside them more filled in.

 

There was a long way to go before I’d cross that parking lot to tell a girl with a mohawk I liked her jean jacket. Before I’d stop feeling left out and unkissable and weird (let’s be honest, I still feel that way sometimes). There was a long way to go before I’d realize the things I was scribbling in my notebook margins were poetry, or that I’d collected enough of the secret code to write a book of my own.

 

But when I finally found I had enough, I went back to that corner. I sat in the chair where I’d discovered Nicola and Battle, and two hands intertwined on a cover that my friends would have teased me for reading. I thought about the holes I’d fallen into in those stories, the patchwork of myself I’d tried to make out of all their pieces. All the things that had been missing from them that I’d had to find myself out in the world.

 

There were so many people on my mind and in my heart when I wrote We Set the Dark on Fire, but first and foremost it will always be for that lonely, mixed up girl, looking for keywords in cover copy, jumping and hiding the book every time she heard feet on the library stairs.

 

The one who found a home in a library corner when the world wasn’t quite ready for her brand of magic.

 

The one who found her own words there.

 

 

Meet Tehlor Kay Mejia

tehlorTehlor Kay Mejia is an author and Oregon native in love with the alpine meadows and evergreen forests of her home state, where she lives with her daughter. We Set the Dark on Fire is her debut fantasy novel. She is active in the Latinx lit community, and passionate about representation for marginalized teens in media. Her short fiction appears in the All Out and Toil & Trouble anthologies from Inkyard Press, and her middle grade fantasy debut, Paola Santiago and the Drowned Palace, is forthcoming from Rick Riordan Presents/Disney Hyperion. You can find her on Twitter and Instagram @tehlorkay.

 

 

 

About WE SET THE DARK ON FIRE

 

In this daring and romantic fantasy debut perfect for fans of The Handmaid’s Tale and Latinx authors Zoraida Córdova and Anna-Marie McLemore, society wife-in-training Dani has a great awakening after being recruited by rebel spies and falling for her biggest rival.

At the Medio School for Girls, distinguished young women are trained for one of two roles in their polarized society. Depending on her specialization, a graduate will one day run a husband’s household or raise his children. Both paths promise a life of comfort and luxury, far from the frequent political uprisings of the lower class.

Daniela Vargas is the school’s top student, but her pedigree is a lie. She must keep the truth hidden or be sent back to the fringes of society.

And school couldn’t prepare her for the difficult choices she must make after graduation, especially when she is asked to spy for a resistance group desperately fighting to bring equality to Medio.

Will Dani cling to the privilege her parents fought to win for her, or will she give up everything she’s strived for in pursuit of a free Medio—and a chance at a forbidden love?

(SEE AMANDA’S REVIEW HERE.)

 

ISBN-13: 9780062691316
Publisher: HarperCollins Publishers
Publication date: 02/26/2019