Hm, that’s weird

Sorry, LJ people, again. Since I switched the LJ cross-posting app, it seems that anything crossposted to LJ is turning comments off, even if they’re actually on by default. I’ve never turned them off on LJ, so I’m not sure what’s up. I’ll look into it and let you know when I figure it out. Sorry to make you have to come to the main site to comment!

One parent’s perspective on e-readers for kids

More and more teens are getting e-readers in the last year or so. There was a big wave of e-reader purchases for them at Christmas and Hanukkah last year (see this article in the New York Times covering that trend—a NYT article that actually gets it right about children’s books!). E-books are growing, especially in e-books for teens, and with the iPad there’s even potential growth in e-books for younger readers with illustrations.

Teens, particularly, seem suited to e-readers and electronic devices that can carry an e-reading app. For parents who can afford it, e-readers might be the thing that gets that reluctant reader child to get interested in reading again.

Then there’s the flip side of the coin. My friend Sandra Tayler, the mother of four children, recently blogged about the reasons they still do paper books, including with their kids, two of whom are teenagers and two of whom are in middle school. She’s got some great points:

I can hand a child a $7 paper back and not have to police the treatment of the book. Books end up in bathrooms, spattered with snack food, left on floors, buried under piles of clothing, stepped on, shelved, stacked, and read. I could not do the same with a device costing over $100. I would have to keep track of it and spend time training my kids to treat it correctly.

I have four kids. I want them all to be reading, sometimes simultaneously. I don’t want to spend $400-$700 to get enough reading devices for everyone to read at the same time. Additionally we have a house policy that a child can have an electronic device when they care enough to buy it with their own money. This way they have an emotional stake in taking care of the device. If my kids save up $150, they’ll buy an iPod or a 3DS, not an e-reader. They regularly spend $3-$15 buying books for themselves.

One of the best ways to get kids to choose reading is to have books laying around where the covers can catch their interest. Many moments of boredom have resulted in hours of reading because book was laying nearby. This does not happen if all the books are neatly filed on my Kindle.

Physically taking my kids to the library addresses reading in a new way. The kids are able to speak with a librarian and really think about what they are looking for in a book. Then sometimes their favorite books are ones that happen to be shelved near the one that the librarian was showing them. Involving a librarian in the book selection process means a new perspective and opens up new possibilities for the kids.

Owning a physical book and shelving it with their possessions is one of the ways my kids begin to form their identity. Different kids will latch on to different books or series of books. Then they loan them to each other. There is power in being the one who loans or recommends a book. If all the books are organized in the same electronic library my kids will not feel the same sense of ownership.

My children spend a lot of time playing computer and video games. Sitting down with a paper book gives their brains a break from the flicker of screens. It encourages them to switch over into a relaxed way of thinking. I’ve had them read things on my Kindle or Howard’s iPad, they read for shorter lengths of time because the presence of the electronic device is a constant reminder that there are video games in the world and that those video games might be more fun than reading.

In the same post, Sandra talks about how sometimes reading on her e-reader makes her think of work, which I completely agree with. Reading a paper book, for me, is completely unlike work. I know this book is finished. On my Sony Reader—or now on my Nook or Kindle app on my phone—I can read finished books, but I find myself easily distracted because it feels like I’m working, so I keep noticing typos and things that I would have edited a different way. The Reader is the device I read a lot of manuscripts on, so it really feels like I’m editing.

And I notice a lot of the things that make reading an interesting experience for Sandra’s children are the same ones I enjoy: going to the library and browsing, or just browsing my own shelves. Those experiences are tough to replicate on a device, especially for kids. I still read electronically—mostly on long trips or my commute (though if I’m reading electronically on my daily commute, it’s likely a manuscript).

But let’s talk about this in terms of the children’s book industry. As e-books become more ubiquitous, what might the future library or bookstore look like for children? Are there ways to address these very real concerns that a parent has about losing the benefits of siblings sharing books, owning their own physical books, finding a book to relieve boredom, and other reasons that a physical book is so important?

Not all parents will have Sandra’s same concerns. An only child won’t have sibling concerns, or some parents might prefer a more minimalist look in their house over owning possessions. But however you feel about any individual point, Sandra’s concerns in general reflect a lot of thoughts I’ve been hearing from other parents. Sandra’s reasons are the same reasons I don’t think paper books will ever go away entirely. Yet I also think that we need to think about usability in more than just the actual reading process in our rush to convert to e-books, and think about innovating ways that address these very real parental and sibling needs. Heck, they’re not just parental/sibling. I need these things too when I go to the library or am bored, and I’m a single adult woman who lives alone. Sure, it’s easier for me as a tech-savvy adult to just go look for a book on Amazon or even on my library’s website, where I can check out electronic books (and it’s so easy to do so–the books return themselves, which is something I have difficulty with doing on time in real paper!). But as Sandra notes in the rest of her post, there are ways to get distracted from that if I go onto a multipurpose device like a computer.

If you’re in publishing, how do you see our industry and libraries addressing these issues in the future? If you want to get into publishing as an editor or other industry professional, these are issues you’ll be dealing with as the industry continues to evolve. Maybe your generation will—should—innovate something that my generation never would have thought of?

Quick review of the redesigned Pilot Precise V5 Extra Fine

Beautiful old pen

In a sentence: WHAT DID YOU DO TO MY PEN??

I loved the old Precise V5s. Almost every editor I know who I’ve ever talked pens with loves the Precise V5. It’s got a fine enough tip to write between lines of text without smearing ink everywhere, and it was steady and sure.

And when I went back to the supply shelves today to find a new red pen, I certainly found a new pen, all right. Why in the world would anyone reinvent a pen that already works perfectly (besides, of course, a tiny little exploding problem)?

Looking at the new pen in comparison to an old one here on my desk, the construction feels cheaper. It doesn’t have the heft to it that the previous version did, which I felt was balanced perfectly. It’s more flimsy plastic, and it writes like one of those cheap ball-point pens that I avoid—you know, with a little wiggle feel to it, which kind of negates the whole point of the PRECISE pen.

Evil new pen

The new tip now scratches across the paper rather than gliding as the old pen used to. The ink and precision of what you write itself looks okay, but the process of writing isn’t as comfortable as it used to be. The length and width physically seem to be similar, except that the nib of the new pen is shorter than the old one and I feel like I have to choke up (back?) on this pen to hold it in the same position as the old pen, yet that means holding more of the fat part of the pen, rather than the part that fits my hand. There seems to be more plastic, but maybe that’s just a vibe I’m getting because the way the ink flows down into the nib is a straight tube rather than those weird layers of plastic (which would eventually explode in the most inconvenient way possible).

IF (and only IF) the changes mean fewer explode-o-pens in my purse/pocket/backpack/hand, I could probably get used to everything except the annoying scratch of the nib across the paper. The very tip of the nib where the ink comes out doesn’t appear to the naked eye to be any different in design than the previous pen, so I’m unsure why it moves differently across the page.

I’ll probably get used to it, if it means continuing to be able to have neat(er than my usual) handwriting when I edit. But I am a bit sad to see the old design go. Why mess with it?

ETA: Hm, now I’m confused. I went to the Pilot site, and now it seems that the V5s are V5/V7s? Can anyone tell me what’s up with that?

Villain POVs

I have to admit, I really hate villain POVs. There are so few villains that have any redeemable qualities, and especially starting a book out with the villain’s point of view when they’re murdering and/or plundering just makes me go, “Why do I want to read this book, again?”

This is actually one of the things I hated most about the Wheel of Time series, though I loved the series in general: I hated the amount of time spent on this Forsaken’s love of naked mindless servants, and that Forsaken’s love of skinning people, or whatever. Yeah, yeah, I get it, they’re irredeemably evil. Get back to someone I’m actually ROOTING FOR, which is why I’m reading the book!

Sometimes it’s important to briefly show the villain’s point of view to convey to the reader some information that our hero doesn’t have, but I find more and more that my tolerance for even these kinds of scenes is thinning fast. Too often it’s a substitute for more subtle forms of suspense, laying clues that the reader could pick up if they were astute, the kind of clues that the main character should be putting together one by one to the point where when he or she finally figures it out, the reader slaps their own forehead and says, “I should have seen that coming!”

It’s a completely different matter, of course, when the whole point is for the “villain” to simply be someone on another side of an ideological or political divide where there are no true “bad guys.” Usually this happens in a book in which your narrators are unreliable, which can be very interesting.

But there’s a line for me, generally the pillaging/raping/murdering/all manner of human rights abuses line, at which I’m sorry, I just don’t care about this guy’s point of view. The equivalent of this in middle grade books—where pillages/murders/rapes are (hopefully) fewer—is the pure evil villain who’s just out to get the main character because the villain is black-hearted, mean, vile, whathaveyou. Evil through and through, with no threads of humanity. (Though honestly if he’s killing people “for their own good” to protect a certain more nuanced human viewpoint, I generally still don’t want to see that from his POV.)

So, what’s the line for you? Do you like villain points of view? Do you feel they add depth to a story? At what point do you think a villain POV goes from adding nuance or advancing the plot to annoying?

ETA: Coincidentally, my author Bryce Moore recently reviewed the Captain America movie and had this to say about how a character becomes evil, which I think is apropos to this discussion:

Honestly, if writers spent as much time developing the origin and conflicted ethos of the villains of these movies, I think they’d all be doing us a favor. As it is, it’s like they have a bunch of slips of paper with different elements on them, then they draw them at random from a hat and run with it. Ambitious scientist. Misunderstood childhood. Picked on in school.

That’s not how evil works, folks. You don’t become evil because you get hit in the head and go crazy. You become evil by making decisions that seemed good at the time. Justified. Just like you become a hero by doing the same thing. A hero or a villain aren’t born. They’re made. That’s one of the things I really liked about Captain America. He’s heroic, no matter how buff or weak he is.

This is, perhaps, the best description of why villain POVs bug me so much: because they’re oversimplified, villainized. And for some stories, I think villainization works, but I don’t want to see that point of view, because it’s oversimplified and uninteresting. When it’s actually complicated and interesting, then it becomes less “the villain” and more nuanced—sometimes resulting in real evil (after all, I doubt Hitler was an evil baby; he made choices to become the monster he became) and sometimes resulting in a Democrat instead of a Republican or vice versa—ideological, political differences between (usually) relatively good people (though our current political discourse would probably make little distinction between *insert the opposite of your own party here* and Hitler, I do believe there is truly a difference).

Livejournal fixed

Apologies to those of you on LJ who just got 10 or 12 posts in a row from me. Those are from the last three months, in which my LJ importer hadn’t been working. I figured for those of you who haven’t been going to my main site from an RSS reader, some of you might want to catch up, and there was no way to update the posts on LJ without them going into the timeline (it kept giving me an error message saying to post the most recent post as out of order or to re-post my older posts out of order, but there’s no option in the importer on WordPress to post something out of order).

At any rate, the problem seems to be fixed now, and going forward, you should get posts from me at the same time they’re posted on my main blog. Let this post serve as a test of that theory, at any rate.

Simmons alums unite!

In celebration of my Simmons classmate Anna Staniszewski’s new book release, I thought perhaps we could make a list of children’s and young adult books by Simmons College children’s lit program alumnae. (The women’s college is open to guys in the grad programs, but I think most of the alums who have been published are women. Someone correct me if I’m wrong.)

I only know of a few, but I bet my Simmons friends out there can add to this list!

Anna Staniszewski, My Very UnFairy Tale Life

Kristin Cashore, Graceling, Fire, and the forthcoming Bitterblue

Jo Knowles, Lessons from a Dead Girl, Jumping off Swings, and Pearl

Karsten Knight, Wildefire

Juana Dehesa, Pink Doll (Mexico)

 

Who else? And make sure to congratulate Anna on her book’s publication!

What have you read lately?

I’m currently splitting my time between two favorite authors’ newest books: James Dashner’s The Death Cure and Tamora Pierce’s Mastiff. I’m a HUGE Tamora Pierce fan. As she often says when she introduces herself at conventions, she writes about girls who kick butt. You can see a really interesting progression of feminist thought from second wave to third wave in her work, too—the Song of the Lioness quartet about Alanna, published in the 1980s, are very much “girls are ‘as good as’ boys,” with something to prove, and then you can see how the idea of “girl power” has changed over the years all the way down to today, in the Beka Cooper books, in which Beka has nothing to prove: she is who she is, because duh, she kicks butt because she can and should be able to defend herself and those who have no power or voice. (She’s a medieval cop who can talk to ghosts and Hunts with a scent hound. I love it!) The Beka Cooper books are really interesting to me because they’re actually set at a time in the history of Tortall before Alanna, and you can see how the beginnings of the belief in the Goddess as the Gentle Mother influences Alanna’s circumstances later when she’s in such a sexist situation that no one believes women should be lady knights, despite there being many storied lady knights in the past.

And of course The Death Cure is the last in James Dashner’s Maze Runner trilogy. Even though I worked with James on the first book years ago before it ended up selling to Delacourte (curses! But I’m glad it found a good home), I could never have predicted where the next two books would end up. It’s good, guys. I’m not quite finished reading yet, but it’s action packed and if you haven’t started with The Maze Runner you should catch up to me so we can talk.

Once I finally finish those (tonight I’m off again on a Hunt with Beka Cooper), I’m digging right into Prized by Caragh M. O’Brien, the sequel to her Birth Marked, which I also enjoyed. I’m curious where it’ll go next.

And now my cat Mogget is racing around the apartment with the kitty crazies. Maybe I’ll go toss a mouse to him so he’ll stop scratching up the dining room table. While I’m gone, share your latest favorite reads!

New York Comic Con

Who’s going to New York Comic Con? We’re excited to be there for the first year, featuring Tu’s first three books! Make sure you stop by booth 2846 and say hi on your way to ogling slave Leias or taking pictures with Stormtrooper Elvis (or both). (Does Stormtrooper Elvis come to NYCC, or is he strictly a SDCC guy? I’m actually not sure.) I’ll be in the booth all day every day of the con, minus lunch breaks and some time to run around the show floor and attend a couple panels.

In fact, you should know that Galaxy Games series author Greg Fishbone will be dropping in on Saturday from 2-3.

Also, Tu’s books will be discounted at our booth, so come by for a good deal, too!

FAQ: Muslim protagonists

A writer asks:

I recently submitted the first three chapters of my manuscript to Tu Books as per your guidelines, and I am a ball of anxiety. My MC is a Muslim girl, and while the story itself is pure historical fantasy, I am worried that you will feel a Muslim protagonist is not relatable enough. Can you share your thoughts? I’ve been told that publishers might not want to take a chance on a Muslim protagonist.

 

No need to worry! Muslim protagonists (as well as non-Muslim Arab and Arab American protagonists) are welcome here, both historical and contemporary. I’ve been on the lookout for a story set in the Middle East and hadn’t found the right one yet. So please, yes! Send them along.

The biggest concern I’d have about any character being relatable would be on an individual basis, not because they were Muslim. If the main character were unsympathetic, that kind of thing—that’s what makes it hard for me to relate to a character. For me, relatability is based more on emotional connection rather than situational relatability. I can’t directly relate with the situation of being a genetically engineered untouchable/slave, but I completely related to Kayla in Tankborn on an emotional level. Who hasn’t felt as lost and disoriented at some point as she did, needing to discover what was most important to us and where we fit in the world, whether we shared her situation (being Assigned to her first job as a GEN caretaker) or not?

What I look for in something I might like to publish: strong, relatable characters; settings that interest me (whether familiar or unfamiliar); plot lines in which interesting and important things happen, action abounds, and connect closely with character development; worldbuilding that brings a reader into the world (in fantasy, no one knows this world, even if it is closely related to one in the real world; skillful worldbuilding is very important on a number of levels); well crafted voice. This can be done with characters of any background (well, I might not sympathize with a story told completely from Sauron’s point of view; completely evil characters are generally not sympathetic!).

I hope that helps allay some fears. When we say “about everyone, for everyone,” we mean everyone. Except maybe Sauron.