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books

  • STACKED
  • About Us
  • Categories
    • Audiobooks
    • Book Lists
      • Debut YA Novels
      • Get Genrefied
      • On The Radar
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      • Cover Doubles
      • Cover Redesigns
      • Cover Trends
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      • Feminism For The Real World Anthology
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Contemporary YA Week Wrap Up — And A Bit About Kelly’s Book

November 19, 2013 |

To wrap up Contemporary YA Week here at STACKED, I wanted to send a huge thank you both to our guest contributors, as well as to our readers who keep asking for more posts about contemporary YA. In fact, I’ve already received some suggestions for what to consider next year, and I’m compiling a list of those topics so that I can try to make it happen.

If there’s ever a topic that interests you as a reader, I’d love to know. Or if there are things you’ve thought about this week you’d like to read more about, leave those things in the comments. I can’t always follow up or through, but I do always think about them. And I hope the booklists, as well as the rerunning of some older content was valuable, too.

So please, feel free to give us feedback or suggestions or ideas for future contemporary week features — as well as ideas for posts about contemporary realistic fiction outside of this series — because it’s helpful to us to know what’s of interest.

Just because it’s fitting — and because I’m about to dig into revising — I thought it’d be worthwhile to talk a little bit more about my book about contemporary YA too.

The Real Deal: A VOYA Guide to Contemporary Fiction for Young Adult Readers should be out sometime next year, and you can add it to your Goodreads shelf if you want to. As it stands, I’ve not added a short description because the description of the book’s fairly evident from the title.

My book has three distinct parts that all build upon one another. The first part talks about how we define contemporary YA, how reader’s advisory for contemporary YA works, how to be effective and innovative in your reader’s advisory and book recommendations, and gives you the raw tools for working with YA readers and contemporary YA fiction.

The second part contains 10 thematic book lists, each with 15 annotations that can be used not only as book descriptions, but as book talks. They also include read alikes and appeal factors for making connections between and among different books beyond those within the thematic list itself (in other words, while the book list might be about health and well-being, the appeal factors might hit on the fact the book has a great family element to it, making it connect with some of the books in the relationships book list). At the end of each of those thematic book lists is a long list of other books, too. Here’s a sample of one of the annotations:

Finally, the third part of the book might be my favorite: conversation starters. I’ve pulled from the book lists and pooled together five or more books on a big and heavy topic and developed a series of questions and discussion fodder for them. Some of the topics include sex and sexual assault, military service, body image, and more. Essentially, this portion of the book puts the things in part one together with the things in part two and offers a way into talking about tough or touchy subjects with readers. This was the most fun and most challenging to write, but it’s also the part I think will offer the most value. I hope, at least!

Nearly every chapter in the book — and there are 22 — begins with insight from a variety of contemporary YA authors, as well as teachers and other librarians, about what contemporary YA has influenced them or how it is they implement contemporary YA into their own work. I thought it was really important to incorporate some other voices into the book, and I’m really pleased not only with what those contributors had to offer, but how well those contributions played into the things I was talking about in my book.

There’s really not much more to report at this stage in the process. The book’s been with my editor and the publisher now for a few months, and it’s in line for the design process, meaning there will be something that looks like a book-shaped thing very soon. In the mean time, I’m writing an index (yes, writing my own index) and going through the manuscript itself to clarify, tighten, and reword some of the things I haven’t looked at since I turned it in. I’m hoping to sneak in a few more titles into my book lists, as well, since I’ve read quite a bit in the interim.

I’m excited about this book and pleased with how it all came together. I think it’ll be really useful for those who love contemporary YA and those who work with YA readers in particular. And of course, when I know more — publication date, cover, so forth — I’ll share. But I believe this update pretty much covers what to expect content wise.

Perhaps the best part is at this point, I still love contemporary YA and I think that maybe I like it even more now that I’ve spent so much time thinking about it. In fact, I feel like after writing it, I could write even more books on some of the things I hit on within it. Maybe some day!

Filed Under: contemporary week, contemporary week 2013, kelly's book, Uncategorized, writing

The Male Voice in Contemporary YA Fiction: Guest Post by Steve Brezenoff (Brooklyn Burning, Guy in Real Life)

November 19, 2013 |

We’re going to wrap up our third annual contemporary week series talking about boys. As you may have noticed or noted, so far all of the guest posts were written by women, the bulk of whom have written primarily female voices in their novels. Although anyone who has checked out the “paging back” posts would know, we’ve had many awesome male writers and male voices featured here, too.

But I wanted to offer a challenge to today’s guest poster. My prompt to him was huge — and vague. I asked him to write about the male voice in contemporary YA fiction. And let me just say: Steve Brezenoff delivered. What is the male voice in contemporary YA? Where can you find it? How is this in conversation with everything else that’s popped up during the series? 

In other words: what about the “boy books?” 



Steve Brezenoff is the author of the young adult novels The Absolute Value of -1, starring two boy characters and one girl character, and Brooklyn, Burning, starring two ungendered characters, as well as dozens of chapter books for younger readers, with loads and loads of boy and girl characters. His third novel, Guy in Real Life, will be out out in May of 2014 and has one boy protagonist and one girl protagonist who will vie for your empathy. You can visit him at www.stevebrezenoff.com.






The Male Voice in Contemporary Young Adult Fiction: What Does That Even Mean?



Okay, yeah. I kind of know what it means. It means central male characters portrayed accurately in novels for teens. It means doing one’s best in fiction to move away from boy tropes. It means creating young adult novels that have appeal for boy/guy/dude/bro readers. I guess.
But none of those truisms have any real meaning themselves, because while we often hear that stories for or about boys need certain things that are presumably missing from stories that aren’t for or about boys—things like humor and action and sports—that’s of course hogwash, for a number of reasons.
There’s no such as a book “for” boys.
Not all boys look for the same things in a book. Maybe most boys want blow-by-blow sports stories, or novelized video games, or nonstop violence, or unyielding lowbrow humor. But maybe they don’t.

These things aren’t missing from books written “for” girls.
Believe me, it pains me already to have implied there are books written for girls or for boys, but for the moment just bear with me. That said, many of the books that people might see as written for girls contain loads of humor, action, or sports—sometimes all three.
A book needn’t be about a boy or about a girl.
It’s been said many times, but it ought to be said many more until conversations like this one can go unconversated: If we as writers and readers of fiction continue to imply that boys/guys/dudes/bros shouldn’t or can’t or won’t or mustn’t read books with a girl protagonist, then this false dichotomy will continue.
At this point it probably seems like I’ve really gone off track, but I haven’t. I’m circling the theme here, like a shark: male characters in young adult realistic fiction. What makes a good one? Do we need to see more of them? Are the current crop of male characters inadequate of worthy of scorn?
What makes a good one?
He doesn’t need to crack immature jokes, though he might. He doesn’t need to comment on every set of breasts he sees, though he might. He doesn’t need to love sports or comics or hard rock, though he might. A good male character in contemporary fiction needs the same qualities that every character in contemporary fiction needs: an authentic voice, clear and compelling motivation, something to lose and something to gain. Without those, any character will feel at times flat, unbelievable, Mary Sue-ish, or some other typical criticism we hear about characters that don’t ring quite true.
Do we need to see more of them?
We need to see more characters that we find compelling, be they boys or girls, not because there’s a shortage, but because that’s what realistic fiction is, and we love realistic fiction. So yes, we want more. Implicit here (and throughout this column) is the idea that our boys/guys/dudes/bros should (yes, should; I don’t much like to use that word, but I am in this case) read realistic fiction that features girl protagonists. Would it be easier probably for many boys to pick up a novel if the main character were a boy? I suppose. And I suppose that I wish that weren’t the case.
Is the current crop of male characters inadequate or worthy of scorn?
No.
What I mean here specifically are the boys in some works of realistic fiction that don’t feel quite realistic: boys with beautiful abs and arms and eyes and hair. Boys who, despite being firmly in their adolescence, can charm and disarm a girl with the greatest of ease. Do these boys exist? I suppose they do in some small number. I’ve never met them. If I have, then I’ve blocked that memory because it made me feel super inadequate probably. But I digress.
The point is, we are often dismissive of such characters, as if there’s only one way to write a secondary character, especially within realistic fiction, but I don’t agree. The spiel I’ve put forth above is merely what I’d like to see, forever and always, in contemporary fiction. This doesn’t mean that writers of novels for teens need to stop creating characters that do little more than handsomely and charmingly fill a space in their story—act as a vehicle for a protagonist’s development. Sometimes that’s just what the reader wants, and there’s not a thing wrong with that.
I’m a thirty-nine-year-old man. I’m different from your average teen boy reader in a lot of ways. I have a child. I have loads of life experience. I have twenty-plus years on the boy/guy/dude/bro readers and characters we’re talking about here. Still. I’ve written and read and found compelling and had empathy for boy characters and girl characters and neither characters. I’ve just finished reading several Anne of Green Gables books. I love reading Sara Zarr and Nova Ren Suma as much as I love reading Jon Skovron and Geoff Herbach. I’ve read compelling male voices from people like Carrie Mesrobian and Mindi Scott, and I’ve read compelling female voices from people like Pete Hautman and Blake Nelson and John Green.
So while I don’t think we’re at end of this conversation, let’s try to move through it with a little hope for the young men of today—that they’re capable and willing to read and feel empathy for girl characters, as we know girls are to read and feel empathy for boy characters. Let’s not pretend that there’s something inherently anti-girl about being a boy, and that there’s something inherently emasculating about empathizing with girl characters, or with empathy itself. Our boys are complex creatures, just like our girls, and they can (and should!) read stories about all people and all things, and we must stop pretending that they mustn’t.

Filed Under: contemporary week, contemporary week 2013, gender, Uncategorized

2014 Contemporary YA Books to Get On Your Radar

November 18, 2013 |

This post is going to be incomplete and it is going to be overwhelming. At least, I’m overwhelmed, and I’m also overwhelmed at knowing it’s incomplete. But because I know I like to have books on my radar and because I know that goes for many readers, I wanted to do a roundup of the 2014 contemporary YA titles that I am aware of already.

I’ve pulled from my own knowledge, as well as dug through publisher catalogs, and I’ve compiled a massive list. Again, I know it’s incomplete. And I know my ability to know for certain whether a book is contemporary or not is not perfect when I’m given just a short catalog description. I’ve tried my best to stick to the ones I know are, so yes, there are going to be titles missing and it’s possible there will be a title or two included that may not be “contemporary” in the way I define it.

Not all of the books have covers, but I’ve pulled out covers where I can. Because this post would never, ever end if I included descriptions, I’ve instead linked to the Goodreads pages for each, so you can read the descriptions and add them to your to-read if you want to. I have included publication months.

Feel free to leave comments if you know of other traditionally published 2014 contemporary titles, as I’d love to have a huge resource list here for myself, as well as other avid contemporary fans. It not only helps in planning my reading, but it helps in planning what I’d like to think about in terms of content, themes, and who to talk to for future posts and features. It’s fascinating to see themes emerge that were never on your mind before, even if it’s sheerly through book descriptions. And there some neat cover and title trends to pick up on, too. Without doubt, romance is something we’ll be seeing a lot of in the new year. 

If you’re ready, I’m ready. Like I said, this is long — contemporary realistic fiction is far from dead.

Fat Boy vs. The Cheerleaders by Geoff Herbach, May. 

Isla and the Happily Ever After by Stephanie Perkins, May. 


Pointe by Brandy Colbert, April.

Being Sloane Jacobs by Lauren Morrill, January

To All The Boys I’ve Loved Before by Jenny Han, April

What I Thought Was True by Huntley Fitzpatrick, April

Goldfish by Kody Keplinger

Better Off Friends by Elizabeth Eulberg, February

Bright Before Sunrise by Tiffany Schmidt, February

Side Effects May Vary by Julie Murphy, March

#Scandal by Sarah Ockler, June

The Art of Lainey by Paula Stokes, May

On the Fence by Kasie West, July  

#16 Things I Thought Were True by Janet Gurtler, March

No One Else Can Have You by Kathleen Hale, January

Open Road Summer by Emery Lord, April

Behind the Scenes by Dahlia Adler, June

Biggest Flirts by Jennifer Echols, May

The Break-up Artist by Philip Siegel, April

The Sound of Letting Go by Stasia Ward Kehoe, February

Before My Eyes by Caroline Bock, February

Far From You by Tess Sharpe, April

The Chance You Won’t Return by Annie Cardi, April

Not in the Script by Amy Finnegan, September 

Since You’ve Been Gone by Morgan Matson, May

Solving for Ex by LeighAnn Kopans, February

The Last Forever by Deb Caletti, April

Rumble by Ellen Hopkins

Faking Normal by Courtney Stevens, February

Fan Art by Sarah Tregay, June

More Than Good Enough by Crissa-Jean Chappell, January

Inland by Kat Rosenfield

Learning Not to Drown by Anna Shinoda, April

Love and Other Foreign Words by Erin McCahan, May

Torn Away by Jennifer Brown, May

Let’s Get Lost by Adi Alsaid

Nantucket Red by Leila Howland, sequel to Nantucket Blue, May

Wish You Were Italian by Kristin Rae, May

Year of Mistaken Discoveries by Eileen Cook, February

Geography of You and Me by Jennifer E. Smith, April

My Best Friend, Maybe by Caela Carter, June

Summer of Yesterday by Gaby Triana, July

Summer on the Short Bus by Bethany Crandell, April

Now & Forever by Susane Colasanti, May

The Other Way Around by Sashi Kaufman, March

17 First Kisses by Rachael Allen, June

And We Stay by Jennifer Hubbard, January

In Deep by Terra Elan McVoy, July

Lives My Girlfriend Told Me by Julie Anne Peters, June



We Are The Goldens by Dana Reinhardt, May

What We Hide by Marthe Jocelyn, April

Lover Letters to the Dead by Ava Dellaira, April

Something Beginning With You by Sarah Wylie

High & Dry by Sarah Skilton, April

The Art of Secrets by James Klise, April

We Were Liars by E. Lockhart, May

Bleed Like Me by C. Desir, October

Guy in Real Life by Steve Brezenoff, May

Tease by Amanda Maciel, April

Afterparty by Ann Redisch Stampler, January

Say What You Will by Cammie McGovern, June

The Things You Kiss Goodbye by Leslie Conner, June

The Impossible Knife of Memory by Laurie Halse Anderson, January

See Jane Run by Hannah Jayne, January

Boys Like You by Juliana Stone, May

Searching for Sky by Jillian Cantor, July

Girls Like Us by Gail Giles, May

Life By Committee by Corey Ann Haydu, May

There Will Come a Time by Carrie Arcos, May

Royally Lost by Angie Stanton, May

The Chapel Wars by Lindsey Leavitt, May

Heartbeat by Elizabeth Scott, January

Twas the Night Before College by Sonya Sones

The Summer of Letting Go by Gae Polisner, March

When I Was The Greatest by Jason Reynolds, January

The Scar Boys by Len Vlahos, January

Meet Me Here by Bryan Bliss

Complicit by Stephanie Kuehn, June

Road Rash by Mark Parsons, February

Wildflower by Alecia Whitaker, July

Everything Leads to You by Nina LaCour, May

Blind Spot for Boys by Justina Chen, August

Breakfast Served Anytime by Sarah Combs, April

The Prince of Venice Beach by Blake Nelson, June

Don’t Call Me Baby by Gwendolyn Healey, April

Just Call My Name by Holly Goldberg Sloan, August

The Promise of Amazing by Robin Constantine, January



How to Meet Boys by Catherine Clark, May

The Last Best Kiss by Clarie LaZebnik, April

The Truth About Alice by Jennifer Mathieu, June

 

The Killing Woods by Lucy Christopher, January

Why We Took the Car by Wolfgang Herrndorf, January

Skin and Bones by Sherry Shahan

Catch a Falling Star by Kim Culbertson, April

Little Blue Lies by Chris Lynch, January

Surrounded by Sharks by Michael Northrop, May

The Bridge from Me to You by Lisa Schroeder, July

Infinite Sky by CJ Flood, May

No Place by Todd Strasser, January

The Edge of Falling by Rebecca Serle, March

Girl Defective by Simmone Howell, September

Maybe One Day by Melissa Kantor, February

The Museum of Intangible Things by Wendy Wunder, April

The Vigilante Poets of Selwyn Academy by Kate Hattemer, April

The Summer I Found You by Jolene Perry, March

The Summer I Wasn’t Me by Jessica Verdi, April



Just Like The Movies by Kelly Fiore, June

Filed Under: book lists, contemporary week, contemporary week 2013, Uncategorized

Feminism in Contemporary YA Fiction: Guest Post by Trish Doller (Where the Stars Still Shine)

November 18, 2013 |

With all of the talk of gender and feminism over the last year and some change here at Stacked and in other venues, it seemed only fitting we’d have a post about feminism in contemporary YA fiction. Because Trish’s latest book Where the Stars Still Shine hit on many things I’ve been thinking about when it comes to female sexuality, autonomy, and more, I had to ask if she’d write about this topic. So she’s here today to talk about what it is to be a feminist writer and what it is to tackle feminist topics within a realistic novel — and maybe even beyond. 

We’ll have one more guest post tomorrow as our final piece in the contemporary YA week-and-a-half series, and it is in great conversation not just with Trish’s piece, but with many of the other posts that came through the series — and beyond.

Trish Doller is the author of Something Like Normal, Where the Stars Still Shine, and the book formerly known as Arcadia Falls. When she’s not writing, she’s goofing off on tumblr. But don’t tell her publisher, okay? 

A couple of months ago, Lauren Myracle and I did a chat together on twitter and during the chat she asked me if I considered myself a feminist writer. The question took me aback because I’d never really thought about it. I wasn’t sure. In Something Like Normal, Harper isn’t the main character but a love interest who can stand up to a broken boy. She is kind––both to herself and others––but also not afraid to say what needs to be said. 
So I thought…maybe I am a feminist writer? 
Then I considered Callie in Where the Stars Still Shine, a girl who is openly reclaiming her sexual agency in the aftermath of abuse. It contains the sexiest scenes I’ve ever written and I was worried because what kind of message would I be sending to teenage girls? But here’s the thing: that is the message. Sex is for girls, too. Where the Stars Still Shine advocates for sex that is responsible, but also enjoyable, especially when it’s a partner who is respectful of your boundaries and thoughtful of your needs. And I’m never going to apologize for that message.
So, yeah, I am working my way toward being a feminist writer. 
Except in my upcoming novel, readers will meet Cadie, a girl who––in the wake of her mother’s death––has spent a good portion of her teenage years looking after herself and her home, and raising a little brother. Cadie is a resourceful girl, a brave girl––the kind of girl who passed her Wonder Woman doll on to her brother, along with a conversation about how all toys are for all kids. She knows her mind (see above: agency) and she fights her own battles––even when her life is at stake.
So, yes, Lauren Myracle! Yes! I am a feminist writer.
But honestly? I didn’t set out to write this post about me. I set out to write about authors like Lauren Myracle, whose The Infinite Moment of Us is a brilliant example of feminist young adult fiction. It’s probably one of the sexiest books I’ve ever read, but Charlie and Wren discuss condoms and HIV testing as part of a bigger conversation about the what, when, where, why, and how of their first sexual experience together. All while wrapping it in a breathtaking, swoony romance. I joke that when I’m nervous about what I’m writing I’ll ask myself What Would Lauren Myracle Do? and then I do it. But it’s not really a joke. When you’re caught in the thrall of first love it’s so easy to get swept up in the moment (no pun intended) so I love the deftness and sensitivity Myracle employs in handling responsibility and waiting for the right time. 
Another of my favorite feminist authors is Siobhan Vivian. The List is a thoughtful examination of beauty and how perception––external and internal––shapes self-esteem in teenage girls. While I think Vivian didn’t have enough page space to delve deeper into each character, I think the book makes a great springboard for further discussion––something I plan to do with my young adult book club. I also loved Vivian’s Not That Kind of Girl, which not only takes a hard look at slut shaming, but also overturns the idea that a strong girl isn’t made weak because she falls in love. 
There’s been a lot of controversy over Bennett Madison’s September Girls is feminist or misogynistic. And I’ll admit…when I first read it, I was put off by the sexist behavior of virtually guy in the book and the way DeeDee called every girl a ho. Except these are the messages bombarding teenagers daily, telling them what it means to be a man or a woman. The pressure is immense and, like it or not, these messages shape them––shape us––into imperfect and sometimes terrible beings. I think the genius of September Girls is the way Madison’s characters navigate their way through the false messages to discover on their own what it means to be a man or a woman. Or, a mermaid? Of course, the other debate here is whether or not September Girls is actually contemporary or paranormal because the summer girls are mermaids, right? Or are they metaphor? 
One of my favorite books––feminist or otherwise––is Simmone Howell’s Everything Beautiful with a main character whose weight problem isn’t solved by the end of the novel. Riley owns her fat body. She loves her body. She falls for a boy who thinks she’s beautiful. (Who, by the way, is in a wheelchair. You go, Simmone!) And while Riley begins the story with a prickly personality––rooted in her mother’s death two years earlier––as she slowly lets down her guard, she realizes other people love her, too, fat body and all.
Finally I really can’t write about feminist books without mentioning E. Lockhart, whose entire body of work is supported by a spine of feminism. While I’m eagerly awaiting her upcoming We Were Liars, I’ve been re-reading some of her backlist, including The Disreputable History of Frankie-Landau Banks, which gives readers so much to think about when it comes to class and gender privilege. And I think it looks at feminism in a realistic way as Frankie learns feminism means more than just having what boys have––and eschewing “girly” pursuits––and that the road to social justice can be pretty damn frustrating.
Very soon––I hope––I will be finished with the book formerly known as Arcadia Falls and when that happens I’m going to need some great feminist YA reads. Any suggestions?

Filed Under: contemporary week, contemporary week 2013, feminism, Uncategorized

Contemporary YA Books Featuring Family Stories

November 15, 2013 |

It’s book list time! To go along with Amy’s post about why she writes about family in her contemporary YA, I thought it’d be worth highlighting some of the many books featuring strong family story lines within them. Not all of these books feature family at the forefront, but they all do feature some significant element of family — be it a parental relationship, a lack of parental relationship, or sibling relationships. They run the gamut in experiences and exploration of what family is or is not. And in some cases, the family story is the fact that there is no family present, but it’s that lack and want for it that impacts the character significantly. 

All of these titles are from within the last two to three years, and all descriptions come from WorldCat, unless otherwise noted. This is, of course, an incomplete list, and I would love to hear of other recent contemporary YA that showcases strong, unique, or dynamic family life, so feel free to leave other titles in the comments. I’d be especially interested to know about more non-traditional families, including those featuring adoption, step-siblings, grandparents or other relatives who are primary caretakers, or remarriage. Please also point me to more stories featuring families of color that have come out in the last two or three years. 

Ink is Thicker Than Water by Amy Spalding: For Kellie Brooks, family has always been a tough word to define. Combine her hippie mom and tattooist stepdad, her adopted overachieving sister, her younger half brother, and her tough-love dad, and average Kellie’s the one stuck in the middle, overlooked and impermanent. When Kellie’s sister finally meets her birth mother and her best friend starts hanging with a cooler crowd, the feeling only grows stronger. But then she reconnects with Oliver, the sweet and sensitive college guy she had a near hookup with last year. Oliver is intense and attractive, and she’s sure he’s totally out of her league. But as she discovers that maybe intensity isn’t always a good thing, it’s yet another relationship she feels is spiraling out of her control. It’ll take a new role on the school newspaper and a new job at her mom’s tattoo shop for Kellie to realize that defining herself both outside and within her family is what can finally allow her to feel permanent, just like a tattoo. (via GoodReads)

The Reece Malcolm List by Amy Spalding: When her father dies suddenly, Devan is shipped off to Los Angeles to live with her estranged mother, Reece Malcolm, a bestselling novelist with little time for a daughter, and Devan navigates her way through her new performing arts school.

All These Lives by Sarah Wylie: Convinced that she has nine lives after cheating death twice as a child, sixteen-year-old Dani tries to forfeit her remaining lives in hopes of saving her twin sister, Jena, whose leukemia is consuming their family.

A Certain October by Angela Johnson: Scotty compares herself to tofu: no flavor unless you add something. And it’s true that Scotty’s friends, Misha and Falcone, and her brother, Keone, make life delicious. But when a terrible accident occurs, Scotty feels responsible for the loss of someone she hardly knew, and the world goes wrong. She cannot tell what is a dream and what is real. Her friends are having a hard time getting through to her and her family is preoccupied with their own trauma. But the prospect of a boy, a dance, and the possibility that everything can fall back into place soon help Scotty realize that she is capable of adding her own flavor to life. 

The Lucy Variations by Sara Zarr: Sixteen-year-old San Franciscan Lucy Beck-Moreau once had a promising future as a concert pianist. Her chance at a career has passed, and she decides to help her ten-year-old piano prodigy brother, Gus, map out his own future, even as she explores why she enjoyed piano in the first place.

Under the Mesquite by Guadalupe Garcia McCall: Throughout her high school years, as her mother battles cancer, Lupita takes on more responsibility for her house and seven younger siblings, while finding refuge in acting and writing poetry.

Juvie by Steve Watkins: Working hard to be a contributing member of her family, Sadie accepts blame for her sister’s drug deal to keep the latter out of prison and finds everything she worked for threatened by a six-month sentence that tests her sister’s character.

Out of Reach by Carrie Arcos: Accompanied by her brother’s friend, Tyler, sixteen-year-old Rachel ventures through San Diego and nearby areas seeking her brother, eighteen-year-old Micah, a methamphetamine addict who ran away from home.

Yaqui Delgado Wants to Kick Your Ass by Meg Medina: One morning before school, some girl tells Piddy Sanchez that Yaqui Delgado hates her and wants to kick her ass. Piddy doesn’t even know who Yaqui is, never mind what she’s done to piss her off. Word is that Yaqui thinks Piddy is stuck-up, shakes her stuff when she walks, and isn’t Latin enough with her white skin, good grades, and no accent. And Yaqui isn’t kidding around, so Piddy better watch her back. At first Piddy is more concerned with trying to find out more about the father she’s never met and how to balance honors courses with her weekend job at the neighborhood hair salon. But as the harassment escalates, avoiding Yaqui and her gang starts to take over Piddy’s life. Is there any way for Piddy to survive without closing herself off or running away?

A Midsummer’s Nightmare by Kody Keplinger: Suffering a hangover from a graduation party, eighteen-year-old Whitley is blindsided by the news that her father has moved into a house with his fiancée, her thirteen-year-old daughter Bailey, and her son Nathan, in whose bed Whitley had awakened that morning.

If You Find Me by Emily Murdoch: There are some things you can’t leave behind… A broken-down camper hidden deep in a national forest is the only home fifteen year-old Carey can remember. The trees keep guard over her threadbare existence, with the one bright spot being Carey’s younger sister, Jenessa, who depends on Carey for her very survival. All they have is each other, as their mentally ill mother comes and goes with greater frequency. Until that one fateful day their mother disappears for good, and two strangers arrive. Suddenly, the girls are taken from the woods and thrust into a bright and perplexing new world of high school, clothes and boys. Now, Carey must face the truth of why her mother abducted her ten years ago, while haunted by a past that won’t let her go… a dark past that hides many a secret, including the reason Jenessa hasn’t spoken a word in over a year. Carey knows she must keep her sister close, and her secrets even closer, or risk watching her new life come crashing down. 

Where the Stars Still Shine by Trish Doller: Abducted at age five, Callie, now seventeen, has spent her life on the run but when her mother is finally arrested and she is returned to her father in small-town Florida, Callie must find a way to leave her past behind, become part of a family again, and learn that love is more than just a possibility.

Brother, Brother by Clay Carmichael: After his grandmother’s death, seventeen-year-old Brother sets out, with the abandoned son of a friend, on a 200-mile trip to North Carolina’s Outer Banks to find his twin brother, of whose existence he just learned.

Fingerprints of You by Kristen-Paige Maldonia: After spending her life moving from place to place with her single mother, pregnant seventeen-year-old Lemon takes a bus to San Francisco to seek the father she never knew, as well as truths about her mother and herself.

The Book of Broken Hearts by Sarah Ockler: Jude has learned a lot from her older sisters, but the most important thing is this: The Vargas brothers are notorious heartbreakers. But as Jude begins to fall for Emilio Vargas, she begins to wonder if her sisters were wrong. 

Golden by Jessi Kirby: Seventeen-year-old Parker Frost has never taken the road less traveled. Valedictorian and quintessential good girl, she’s about to graduate high school without ever having kissed her crush or broken the rules. So when fate drops a clue in her lap–one that might be the key to unraveling a town mystery–she decides to take a chance.

Narc by Crissa-Jean Chappell: When his little sister is caught with a bag of weed, seventeen-year-old Aaron Foster takes the fall. To keep the cops from tearing his family apart, Aaron agrees to go undercover and help bust the dealer who’s funneling drugs into his Miami high school. But making friends with the school’s biggest players isn’t easy for a waste-case loner from the wrong part of town.

The Whole Stupid Way We Are by N. Griffin: During a cold winter in Maine, fifteen-year-old Dinah sets off a heart-wrenching chain of events when she tries to help best friend and fellow misfit Skint deal with problems at home, including a father who is suffering from early onset dementia.

Boy21 by Matthew Quick: Finley, an unnaturally quiet boy who is the only white player on his high school’s varsity basketball team, lives in a dismal Pennsylvania town that is ruled by the Irish mob, and when his coach asks him to mentor a troubled African American student who has transferred there from an elite private school in California, he finds that they have a lot in common in spite of their apparent differences.

Personal Effects by E. M. Kokie: Matt has been sleepwalking through life while seeking answers about his brother T.J.’s death in Iraq, but after discovering that he may not have known his brother as well as he thought he did, Matt is able to stand up to his father, honor T.J.’s memory, and take charge of his own life.

Starting From Here by Lisa Jenn Bigelow: Sixteen-year-old Colby is barely hanging on with her mother dead, her long-haul trucker father often away, her almost-girlfriend dumping her for a boy, and her failing grades, when a stray dog appears and helps her find hope.

Live Through This by Mindi Scott: From the outside, fifteen-year-old Coley Sterling’s life seems imperfect but normal, but for years she has buried her shame and guilt over a relationship that crossed the line and now that she has a chance at having a real boyfriend, Reece, the lies begin to unravel.

Me, Him, Them, and It by Caela Carter: Playing the “bad girl” at school to get back at her feuding parents, sixteen-year-old Evelyn becomes pregnant and faces a difficult decision.

Uses for Boys by Erica Lorraine Scheidt: Anna remembers a time before boys, when she was little and everything made sense. When she and her mom were a family, it was just the two of them against the world. But now her mom’s gone most of the time, chasing the next marriage, the next stepfather. Anna gets used to being alone, until she discovers that she can make boys her family, from Desmond to Joey to Todd. But filling the void comes at a price.

Black Helicopters by Blythe Woolston: In a day-after-tomorrow Montana, fifteen-year-old Valley (now Valkyrie) and her big brother leave their underground den to fight a government that will kill them like coyotes. (Kelly refutes this is a “day after” sort of novel — it’s wholly contemporary in her read).

Reality Boy by A. S. King: An emotionally damaged seventeen-year-old boy in Pennsylvania, who was once an infamous reality television show star, meets a girl from another dysfunctional family, and she helps him out of his angry shell.

The Storyteller by Antonia Michaelis: Wealthy, seventeen-year-old Anna begins to fall in love with her classmate, Abel, a drug dealer from the wrong side of town, when she hears him tell a story to his six-year-old sister, but when his enemies begin turning up dead, Anna fears she has fallen for a murderer.

Don’t Breathe A Word by Holly Cupala: Joy Delamere is suffocating from severe asthma, overprotective parents, and an emotionally-abusive boyfriend when she escapes to the streets of nearby Seattle and falls in with a “street family” that teaches her to use a strength she did not know she had.

Fall for Anything by Courtney Summers: As she searches for clues that would explain the suicide of her successful photographer father, Eddie Reeves meets the strangely compelling Culler Evans who seems to know a great deal about her father and could hold the key to the mystery surrounding his death.

Stupid Fast by Geoff Herbach (the entire series): Just before his sixteenth birthday, Felton Reinstein has a sudden growth spurt that turns him from a small, jumpy, picked-on boy with the nickname of “Squirrel Nut” to a powerful athlete, leading to new friends, his first love, and the courage to confront his family’s past and current problems.

Filed Under: book lists, contemporary week, contemporary week 2013, family stories, Uncategorized

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