Guess what? Those two things in my subject line are one and the same thing! We have a new episode of the Narrative Breakdown up, which also happens to be a recording of a panel I mentioned many moons ago: me, fellow editor and publisher Stacy Whitman, and our authors Eric Gansworth and Joseph Bruchac, respectively, discussing their books If I Ever Get Out of Here and Killer of Enemies, respectively. It was a really great, meaty, interesting conversation (IMO) about how Stacy and I came to edit these books, editor-author relationships in general, writing YA, privilege, and cross-cultural publishing. And now you can see a writeup of it from Publishers Weekly at this link, and listen to the full recording here. Thanks for checking it out!
Tuesday, November 25, 2014
Saturday, November 22, 2014
I'm delighted to say that I'll again be teaching a Book Editing Manuscript Workshop in Editing Children's and YA Novels at the NYU School of Continuing and Professional Studies, starting in mid-February 2015. I had a ton of fun putting the course together and working with my students this past year, and I'm looking forward to getting to know a new group of aspiring editors next spring.
(And I should say this course is very much intended for publishing professionals who want to know what goes into editorial work or get ideas for developing their own editorial work -- editorial assistants or aspiring assistants, agents, fellow practicing editors. Writers might get something out of it, but the focus is entirely on on how to be an effective editor for others, not on how to improve your own novelistic craft.)
Here's the course description in full:
Calibrating a characterization. Structuring a plot. Developing a theme. Polishing the prose. And bringing all of these elements into perfect balance to help a book become what it should be. In this eight-week course, we’ll learn how to practice these editorial skills, with special attention to the particular requirements of the child and young-adult audiences, and discuss the creation of the right public image for a book through its flap copy, cover, and editorial presentations.If you're interested, you can see more details and register here, and I'd be happy to answer any questions in the comments. Thank you!
Posted by Cheryl at 12:18 PM
Monday, November 03, 2014
I will read a portion of your manuscript or your synopsis, offer advice on agents or the market, critique a query letter, chat about plot or character or world-building. . . . In general, my brain will be at your service for pretty much anything literary- or publishing-related for an hour, and all for a good cause: my dear Park Slope United Methodist Church.
Posted by Cheryl at 9:12 PM
Sunday, October 05, 2014
In mid-August, I had the privilege of moderating a panel on diversity in children's literature with four wonderful authors: Lisa Yee, Sonia Manzano, Sharon Robinson, and Varian Johnson. There was one embarrassing slip-up from me that I'll let you all discover for yourselves, and otherwise, a lot of wise things said about reading and writing books in general -- not just books with diverse characters, or by diverse authors. Highly recommended!
Posted by Cheryl at 9:19 PM
Tuesday, September 16, 2014
One of the most thought-provoking plays I've seen this year was Your Mother's Copy of the Kama Sutra, at Playwrights Horizons, by the playwright Kirk Lynn. The theatre distributed a printed Q&A with Mr. Lynn after the show, and I've kept it for several months because there's a lot in the following that really resonates with me about art and life:
Q: You recently started running the UT Austin Playwriting and Directing program. What’s your pedagogy? What’s required reading in your playwriting courses?
A: ... The most controversial thing about me as a teacher, which surprises me, is that I—trained by my wife, who’s a poet—have really come to believe in a catholic taste: you should like everything; you should read everything. And this ties back to the no-experts thing. If you see something and think it’s totally full of shit, then you probably haven’t studied it enough. And you should spend time in its presence. I say this sentence, which I borrow from this classical music scholar Charles Rosen, who’s now dead. He said, “Admirers are never wrong.” For example, I find Shaw to be really stuffy. But people who authentically like Shaw aren’t lying. They’re not idiots. They’re not wrong. And if I place myself in their proximity, I can learn to appreciate—you can learn to appreciate any kind of art. I say this to my students and, more than any other crazy shit I say, that’s the one where people just get outraged. They think the avant-garde is full of shit, or they think the Well-Made-Play is full of shit. They don’t want to task themselves with the possibility that they’re full of shit and they can learn something from all of these.
When I was first dating my wife, I would wake up and she’d be sitting up in a chair, with a little light on, reading poetry constantly, every morning. I would always ask her, “What are you reading?” She would tell me, and I’d be like, “Do you like it? Is it good?” And she’d be like, “No.” And, just, the discipline of reading everything in the world because you’re an artist, and to be in conversation with it, seemed so radical to me. It has since become a practice of mine, to try and place myself—as much as I want to be in the company of plays that speak to me about my life—to put myself in the company of Shaw because I do not understand what he’s doing or why, and I need to stretch those muscles.
If nothing else, it’s just a more interesting world to live in.
I believe in this Wittgensteinian philosophy that words don’t correspond to meaning. There’s not a thing called “love” that actually corresponds to the word, there’s a kind of cloud of understanding that is different for each of us. So if I say I love you, you understand it as you understand love, but you don’t understand it as I understand it, and there’s a Venn diagram of how we sort of overlap in understanding. And if every word works like that, then making meaning together as humans is very complicated and we have to agree that there’s some leeway, that there’s not a right understanding of those things. That there’s not a right way to live, even.
So you got a text from your wife last night after the preview, about how your daughter Olive has a crush—
—I don’t know if we should say his name! It’s Daniel.
We’ll just call him “D---.” And you were so excited about it. Can you talk about why?
Yeah, this’ll probably make me cry more than anything else. Some of it’s just longing, because I miss my daughter and it’s fun to know about her life. It’s also such a great mystery. It’s interesting to have kids and realize that I’m not the central character in Olive’s life; Olive is the central character in her life. And [my son] Judah is the central character in his life. …I think there’s a little bit of fear in me that it will turn out that something like Christianity’s true, and I’ll become a crazy person who, like, wanders up and down the highway with a cross on my shoulder, shouting like, “Pleeeease repent.” Because if any of that is true, if what Christians believe is true, then everything you do is all wrong. There’s no sense in doing any of this. Making plays, being married. There’s just heaven and hell, and everyone’s fucking up really bad. I’m fucking up really bad. I don’t believe that’s true, thank goodness, but I do think placing yourself in service to people, there is a kind of—
You sort of make up for your narcissism by loving people. Does that make any sense? So knowing that my daughter is having this life, outside me, where she has her own friends at school, and she won’t tell me about any of them, and she has a crush at age three and a half, it just seems like a miracle. It seems like magic. And my job is to serve Olive so that she can have better and better crushes with crazier and crazier three-year-olds, and then four-year-olds, and then five-year-olds. That seems to me to be in the presence of the great mystery. It is insane that there’s a living being that I’m responsible for in some sense, and then that living being will jump ship and go off into the world and have the same experiences, both terribly traumatic and hard. And just the crushing sorrow and depression and, god forbid, addiction, anxiety, abuse, all those things. But then she’ll also have the experiences of friendship, and love—it’s insane. It’s a terrible system that we’re involved with! It seems poorly structured. My daughter’s life is this great thing that’s gonna unfold before me, and I get to watch it, and even participate a little bit. By recommending Daniel over, say, Ethan.
Sunday, September 14, 2014
On Saturday, November 8, I'll be teaching my Plot Master Class as a one-day workshop to benefit Park Slope United Methodist Church in Brooklyn, New York. The Master Class forces you to take an in-depth look at the plot of your manuscript through the pre-class homework; then I dissect all of the elements of plot in the course of the workshop; and then we put everything back together again by the end, at which point you should have plenty of knowledge about making plots operate effectively, and a number of tools to strengthen your own. It's the most popular course I offer, as I've taught it both online and at multiple locations around the country, and while it's always an intense* day, it's always a lot of fun too.
And this edition is truly for a good cause, as all proceeds will go directly to Park Slope United Methodist, my lovely, progressive, inclusive, social justice-minded church in Brooklyn,** which will also host the event. As this is being independently organized, you do not have to be a member of SCBWI or any other writers' group to attend; all you have to have is a manuscript in mind, a curiosity about plot, the fee, and the ability to get to Brooklyn on Saturday the 8th. Please check out the registration page here, and if you have any other questions, feel free to e-mail me through that page or leave them in the comments below. Thank you!
Oh! And while I am here and talking publishing: The newest episode of The Narrative Breakdown features me and Katy Beebe -- also known as KTBB among commenters here, also known as my best friend -- talking about query letters. Katy wrote the original Query Letter from Hell that appears in Second Sight, and anyone who can parody something better know her subject inside and out. And indeed, Katy also wrote an impeccable query letter for her picture book Brother Hugo and the Bear, which was published by Eerdmans earlier this year.
We discuss both of these queries in the course of the episode, and throw in some advice on copyright, synopses, and effective summaries besides. Please check the show out!
* Read: slightly brain-melting (but in an enjoyable way).
** If you want to take the Master Class but for some reason you object to the funds going to a church, let me know, and I'm sure we can work something out.
Posted by Cheryl at 12:33 AM
Saturday, August 16, 2014
wish President spoke today the way this presidential hopeful did in 2008 about race https://t.co/RRd2lTwuaE. #AMorePerfectUnion #StillNeededI do too. That speech remains the best speech I've ever heard a politician give in my lifetime, both honest and inspiring, both personal and national in its implications. It acknowledged the complexities of Mr. Obama's candidacy, of his relationship with the Reverend Wright, and indeed of the whole history of race in America after slavery. Rereading it now, I was astonished to see these lines:
— Rebecca Sherman (@RebeccAgent) August 14, 2014
We do not need to recite here the history of racial injustice in this country. But we do need to remind ourselves that so many of the disparities that exist in the African-American community today can be directly traced to inequalities passed on from an earlier generation that suffered under the brutal legacy of slavery and Jim Crow.
Segregated schools were, and are, inferior schools; we still haven’t fixed them, fifty years after Brown v. Board of Education, and the inferior education they provided, then and now, helps explain the pervasive achievement gap between today’s black and white students. Legalized discrimination — where blacks were prevented, often through violence, from owning property, or loans were not granted to African-American business owners, or black homeowners could not access FHA mortgages, or blacks were excluded from unions, or the police force, or fire departments — meant that black families could not amass any meaningful wealth to bequeath to future generations. That history helps explain the wealth and income gap between black and white, and the concentrated pockets of poverty that persists in so many of today’s urban and rural communities.
A lack of economic opportunity among black men, and the shame and frustration that came from not being able to provide for one’s family, contributed to the erosion of black families — a problem that welfare policies for many years may have worsened. And the lack of basic services in so many urban black neighborhoods — parks for kids to play in, police walking the beat, regular garbage pick-up and building code enforcement — all helped create a cycle of violence, blight and neglect that continue to haunt us.
. . . What’s remarkable is not how many failed in the face of discrimination, but rather how many men and women overcame the odds; how many were able to make a way out of no way for those like me who would come after them. But for all those who scratched and clawed their way to get a piece of the American Dream, there were many who didn’t make it — those who were ultimately defeated, in one way or another, by discrimination. That legacy of defeat was passed on to future generations — those young men and increasingly young women who we see standing on street corners or languishing in our prisons, without hope or prospects for the future. Even for those blacks who did make it, questions of race, and racism, continue to define their worldview in fundamental ways.This anticipates nearly everything in Ta-Nehisi Coates's brilliant article "The Case for Reparations" in The Atlantic earlier this summer -- except, of course, Mr. Coates's conclusion, which is that Congress should investigate the idea of reparations for African-Americans. Rather, Mr. Obama describes this legacy of pain as an opportunity for all Americans to come together, first to listen to and acknowledge each other's sufferings across racial lines, and then to work to address that suffering: the lost jobs, the lack of health care, the poverty and poor education that afflicts the 99% (to draw on another political metaphor). The speech received near-universal acclaim, and while politics, being politics, quickly reverted to the usual game of sound bites and wins and losses, it did create a quiet moment in the hullaballoo of that 2008 campaign, a moment when most people heard what Mr. Obama said, and glimpsed that opportunity, even if we did not take it . . .
Like Rebecca, I wish very much that Mr. Obama had the time and courage and clarity and political daring to make another speech like this in the wake of events in Ferguson -- to be our storyteller-in-chief of sorts, to help one part of America listen to and understand the anger and fear of another, and to point the way toward dialogue among and a shared mission for all our citizens. I am sorry that he doesn't make this a priority, because I think perhaps he could do some good. But in his absence, we have to do that work.
I am moderating a panel this Tuesday for Scholastic's Teacher Week -- a conversation with Varian Johnson (The Great Greene Heist), Lisa Yee (Millicent Min, Girl Genius), Sonia Manzano (The Revolution of Evelyn Serrano), and Sharon Robinson (Under the Same Sun) about diversity in children's literature and the need for all children to see themselves in books. There are a lot of dimensions to the diversity conversation, but the moral use of such books (and the moral necessity of publishing them) is fairly straightforward: More than any other media, a book allows a creator to control and tell their own story, to reveal the world they see in all its joys and sorrows, complexities and nuances, and to have that story be heard. For readers, books provide that opportunity to step into someone else's story and hear it -- to be affirmed by the story if some part of it speaks to your own experiences, emotionally or racially or religiously or physically, to know that you are not the first to go through this; to learn from it, both intellectually and emotionally, if it does not match your experience; to be challenged by and grow from it all around. (I wrote more about this, and the moral and sociological necessity for diverse books, in the opening of this talk.)
And I can't help thinking: How different might Ferguson have been if all the policemen had read Walter Dean Myers's Monster? Or Fallen Angels or Sunrise Over Fallujah, for something closer to their own quasi-military experience? Or Ta-Nehisi Coates's article, or The Beautiful Struggle? Or even listened to the "This American Life" stories on Harper High School -- about a very different place than suburban St. Louis, certainly, but unforgettable in showing some of the pressures on young black men? Or best of all, if the policemen had heard the stories of the people of Ferguson as individuals? If they had shared their own?
Perhaps nothing would be different. These can be seen as highly naive and facile questions, given the money and history and societal factors that went into the making of this as-yet-ongoing tragedy, and I acknowledge my highly privileged role in asking them. But I also believe that books, stories, do what not-yet-President Obama did with his "More Perfect Union" speech: They reveal the complexities, allow us to see things as both individual and universal, make other people real, open up space for dialogue -- if we'll take the time to listen and talk and learn. I wish we could find more of that time and space.
Saturday, June 21, 2014
“Life begets life. Energy becomes energy. It is by spending oneself that one becomes rich.” — Sarah Bernhardt
“I merely took the energy it takes to pout and wrote some blues.” — Duke Ellington
To many people artists seem
undisciplined and lawless.
Such laziness, with such great gifts,
seems little short of crime.
One mystery is how they make
the things they make so flawless;
another, what they're doing with
their energy and time.
— Piet Hein
“Judge the goodness of a book by the energy of the punches it has given you. I believe the greatest characteristic of genius, is, above all, force.” — Gustave Flaubert
“Genius is mainly an affair of energy.” — Matthew Arnold
“I’ve come to believe that each of us has a personal calling that's as unique as a fingerprint — and that the best way to succeed is to discover what you love and then find a way to offer it to others in the form of service, working hard, and also allowing the energy of the universe to lead you.” — Oprah Winfrey
“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others. “ — Martha Graham
"We all need to look into the dark side of our nature — that's where the energy is, the passion. People are afraid of that because it holds pieces of us we're busy denying.” — Sue Grafton
"Nobody realizes that some people expend tremendous energy merely to be normal." — Albert Camus
Friday, June 06, 2014
News! Later this month, on June 28, I'll be appearing in a great little mini-conference in my hometown of Belton, Mo. (about half an hour south of Kansas City). I'll give a talk on the five things editors want to see in every manuscript. Then the picture book author (and my best friend) Katy Beebe and I will discuss query letters, particularly the one that led to the publication of her lovely book Brother Hugo and the Bear. And finally, we'll do a first-pages session to round out the morning. Registration is $60, to benefit the Cass County Library Foundation (one of several library systems that made Katy and me the writers and readers we are today). For more information and to register, please click here.
In sad news, last month marked the first month in the nine-year history of this blog where I did not write a single post! Not a one! Part of it can be attributed to this fine fellow:
- The Great Greene Challenge is still on! Have you gotten your copy yet? It's a great opportunity to support diverse books, an independent bookstore, and fantastic middle-grade in one fell swoop.
- As this blog has often served as my running results archive: My sister and I ran the Brooklyn Half-Marathon a couple weeks ago in 2:10. It was my slowest time for a half ever, but I didn't care, because I super-enjoyed running and chatting with her.
- We have a great new episode of the Narrative Breakdown up here, with Matt Bird and James and I talking character goals and philosophies. Our podcasting has fallen off a bit of late because we lost our sponsor.... If you'd be interested in donating to the cause or sponsoring an episode yourself (a great way to reach a wide audience of writers and other lovers of narrative), please contact us at narrativebreakdown at gmail dot com.
- And if you'd like to buy my book SECOND SIGHT, but not through Amazon, please e-mail me at chavela_que at yahoo dot com. I'd be happy to work out alternate means of payment and delivery with you.
- Happy summer!
Wednesday, April 30, 2014
There is all kinds of great and exciting stuff happening with diverse children's literature these days! By the time you're reading this, the #weneeddiversebooks campaign should be live on social media, May 1-3 -- follow it on Twitter and Tumblr and please share your own thoughts there. Kudos to the awesome team who put that together!
Closer to home, The Great Greene Heist by Varian Johnson -- a modern, middle-school, multicultural Ocean's 11; a book I edited and am immensely proud of -- is getting a ton of awesome attention from indie booksellers and Varian's fellow authors, who are asking everyone to take the #greatgreenechallenge and help us get a diverse book on the bestseller lists. Kate Messner threw down the initial challenge; Shannon Hale raised the bar; and some guy named John Green sweetened the pot further for bookstores. You can check out all the action at Varian's blog post here. The book has received wide praise from many authors and a starred review from Kirkus, and it was named a Publishers Weekly Best Summer Book of 2014! If you still need more convincing, you can check out this wonderful little prequel as a taster, or just join the challenge and preorder it now. (I advise the latter.) Out officially on May 27, 2014.
Equally exciting: Sarwat Chadda is going to be in New York for the PEN World Voices panel this coming weekend, and appearing at Books of Wonder and a conversation on writing superheroes on May 3, and a great panel on sex and violence in children's literature on May 4. Good stuff!
Finally, I'm going to post this list here for anyone who might still need diverse book recommendations -- a list of books I've edited featuring diverse protagonists. Diversity has been a priority at Arthur A. Levine Books since the imprint was founded, and it's been a particular passion of mine for years, so I'm very proud of both this list and the many great books on our publishing lists to come.
Books I've Edited Featuring Diverse Protagonists
- Millicent Min, Girl Genius and Stanford Wong Flunks Big Time by Lisa Yee (MG; Asian-American)
- Bobby vs. Girls (Accidentally) and Bobby the Brave (Sometimes) by Lisa Yee (chapter book; biracial, Asian-American)
- Eighth-Grade Superzero by Olugbemisola Rhuday-Perkovich (MG: American of Black Jamaican descent)
- If I Ever Get Out of Here by Eric Gansworth (YA; Tuscarora Native American)
- The Path of Names by Ari Goelman (MG fantasy; Jewish)
- Marcelo in the Real World, The Last Summer of the Death Warriors, and Irises by Francisco X. Stork (YA; Latin@)
- The Nazi Hunters: How a Team of Spies and Survivors Captured the World's Most Notorious Nazi by Neal Bascomb (YA nonfiction; Jewish)
- The Fire Horse Girl by Kay Honeyman (YA; Chinese)
- Openly Straight by Bill Konigsberg (YA; Gay)
- Gold Medal Winter by Donna Freitas (MG; Latina)
- The Savage Fortress and The City of Death by Sarwat Chadda (MG fantasy; British of Indian descent, Hindu(ish))
- Words in the Dust by Trent Reedy (MG; Afghan, Muslim)
- The Encyclopedia of Me by Karen Rivers (MG; biracial, of British-Caribbean descent)
- Moribito: Guardian of the Spirit and Moribito II: Guardian of the Darkness by Nahoko Uehashi, translated by Cathy Hirano (YA fantasy; Asian-inspired)
- Above by Leah Bobet (YA fantasy; differently abled cast -- which is putting it mildly -- and biracial protagonist of French and Indian descent)