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On Cover Flipping

May 9, 2013 |

I love a good conversation about book covers, so when Maureen Johnson stepped up and called for discussion and commentary on gendered covers, I started thinking. First, go read post which contains some of the redesigned covers created by readers. The long and short of the post is that female-authored books tend to have covers with a feminine slant, while male-authored books tend to have more literary covers to them (or more masculinely slanted covers).

This is actually not a new discussion at all. It’s something Kiersten White brought up a few months ago on Twitter, in relation to John Green’s The Fault in Our Stars. Would the cover look different if it were Jennifer Green instead? That’s not a knock on the book nor on the quality. It’s a good question about what we assume of books penned by male authors, as opposed to female.

Maureen’s post set off a number of really interesting reactions, some of which I saw stemming from her post and some which took a part of her post and went in a different direction. Justina Ireland wrote about feminism and about how she can like girly covers. Amanda Hocking wrote about how she’s complex, and how she like both those things which are girly and those which typically aren’t. Trish Doller wrote about her own cover and how books with similar themes as her own have different covers than hers (which is much more romantic in nature than the book itself).

I could write at length about any or all of these topics, but what has been sticking out in my mind is that of the male voice in YA. More specifically, the male voice as written by a female.

The male voice as written by a female whose names appear on covers like this:

All of these male-voices YA titles are written by women whose names are initials on the cover.  More specifically, all of these first YA novels featuring male voices have initialized author names on the cover, degendering their names. Note that Marissa Marr and Kelly Armstrong’s first middle grade collaboration, which is a male-voiced novel, uses this technique too.

Obviously plenty of females use initials for their names. Many of the authors listed above likely do just that. But what’s interesting to me is that this trend doesn’t happen much the other way around. And maybe it’s that there are fewer male writers whose first books are written in a female voice.

I can think of one first YA novel written by a male with a lead female where his name is initialed.

Maybe what’s as interesting to me as the initial use is that all of the covers above are either images that are gender neutral or they feature a male on the cover. These books appeal to both male and female readers in equal measure for both those reasons.

Does using an initial or two in place of an author’s full first name, though, impact reader perceptions of the book or the voice within it? In other words, had S. D. Crockett’s After the Snow had her first name on it — Sophie — would readers see the book differently? Would they not believe the male voice?

I have a lot more I want to say on covers like C. Desir’s Fault Line, but since it doesn’t come out until the fall, I’m saving my comments until then. I’ve had a lot of pause for thought lately, and I think that Maureen’s bringing up this topic of gendered covers is an important one. I think about it from the point of view of a librarian who works with teens and who adamantly believes that there is no such thing as gender in a book. Sure, covers can tap into the visually appealing elements that are socially associated with females and those which are socially associated with males. And there is absolutely nothing wrong with a cover that has a couple kissing on it — if that’s what the book is about, then it’s going to find its audience pretty well.

So then I wonder: are names and the way they appear on YA covers a marketing technique, too? Is using one’s initials to “degender” a name a means of reaching that elusive male readership if the book features a male voice? Would boy readers not believe the authenticity of any of the books above or others if the name on the cover was Emily or Erin or Sarah or Stephanie or Christina?

There’s a lot to chew on, and I’d be curious if anyone can think of examples either way: where the male-led novel written by a female has her initials as her author name or where a female-led novel written by a male has his initials as his author name. As I said before, this is a trend I’ve noticed in first YA novels, but it’s possible there are instances where pseudonyms are used. Lay them on me!

Filed Under: Uncategorized

Nothing Can Possibly Go Wrong — Faith Erin Hicks on the collaborative effort

May 9, 2013 |

We have a really fun guest post today about Prudence Shen and Faith Erin Hicks’s graphic novel Nothing Can Possibly Go Wrong (reviewed yesterday). I was curious what the collaborative process was like — how do you take a story idea in words and make it into a graphic novel and do so without sacrificing the art or story? Lucky for me, Faith was happy to answer, and I find this totally fascinating. I hope you do, too.


As a bonus, we have a copy of Nothing Can Possibly Go Wrong up for grabs, too, to one reader in the US. Just fill out the painless form and I’ll pick a winner in a couple of weeks.


Hi, I’m Faith Erin Hicks, and I write and draw comics for a living. I took a very funny, very sweet prose novel called Voted Most Likely by Prudence Shen, and turned it into a graphic novel now called Nothing Can Possibly Go Wrong, which is being published by First Second Books this week.

Let me set the stage for you: it is 2010, and it is the hottest week I’ve ever experienced in the five years I’ve lived in Halifax, Nova Scotia. Temperatures reached at least 30 degrees Celsius. I had recently finished work on my graphic novel Friends With Boys (also published by First Second Books), and was casting around for my next project. Cartoonists are a lot like sharks: we are constantly hungry and consume everything in our path, and if we don’t keep moving (that is to say, working), we die.

My editor at First Second books emailed me with a proposal: she had a prose novel, one she assured me was very funny and very cool, that she wanted turned into a comic. Was I interested? I printed out a copy of Prudence’s novel, and headed to a nearby air-conditioned coffee-shop to read and beat the heat. I spent most of the next four days there, reading Prudence’s novel and nursing a lemonade.

I liked Voted Most Likely. It had comedy, it had heart, and most importantly, I thought it would be a lot of fun to draw, and would translate well to the medium of comic books.

The trickiest thing about turning something that’s one artistic thing (a prose novel) into another thing (a graphic novel) is you have to be sure to honour the original of the story, but the final product must still be something wholly different from it. I couldn’t just take Prudence’s original novel, strip out the dialogue and slap some pictures down on the page. I had to transform her story, taking the subtlety of the characters’ interactions, their inner thoughts and development, and make it visual art. It’s tough!

I started with an outline. I read through Voted Most Likely several times, picked out the parts I thought were the most important, and wrote an outline. That outline I passed to my editor and Prudence, and once they approved it, I went forward with writing a script. I did a lot of cutting of Prudence’s story. Nate’s long suffering family, including his sister? Cut. Charlie’s school basketball team making a run at serious competition? Cut. The details of the election sabotage? Cut cut cut. Some of the cuts I felt bad about, but I knew unless I wanted to spend the next ten yeas drawing a 1,000 page graphic novel, they were necessary.

When I script, I thumbnail at the same time. I get a thick lined notebook and fill it full of tiny stick people drawings and lay out the entire graphic novel, inserting dialogue in where it needs to be. This allows me to pay attention to the pacing of the comic while I’m writing the script. This is my personal choice to work this way (other cartoonists work differently), but I like it. Comics are a symbiosis of art and writing; in the best comics, I think, one does not take precedence over the other. Doing thumbnails and the script for a comic at the same time allows me to develop them both in tandem.

After I finished my rough handwritten script (and thumbnails), I typed the script up and sent it to my editor and Prudence. I stuck close to Prudence’s original story, except for a few things at the end: I felt for a satisfying arc, the Science Club needed to face down a nemesis at the Robot Rumble, something that was lacking in the original story, and the ending would need to be a little different, as much of Charlie’s basketball-related story had been cut. Prudence agreed, and we worked on the revamped scenes together.

For the most part, we worked separately, me slaving away at my drawing desk for a year and a half, Prudence … I believe she was in the UK for at least some of the time I was working on Nothing Can Possibly Go Wrong. Maybe she is secretly James Bond. Finally I emerged from my cartooning hole in the ground with the finished comic, flush with the success of completion, and craving breakfast food. And soon you will be able to read it! I hope you enjoy Nothing Can Possibly Go Wrong. It is especially nice when read in an air conditioned coffee-shop during a heat wave.

Filed Under: Graphic Novels, Guest Post, Uncategorized

Nothing Can Possibly Go Wrong by Prudence Shen & Faith Erin Hicks

May 8, 2013 |

I have two descriptions that sum up what Prudence Shen and Faith Erin Hicks’s graphic novel Nothing Can Possibly Go Wrong is about: robots and high school politics.

Charlie is captain of the basketball team and the boyfriend of superhot popular cheerleader Holly. Nate is Charlie’s unlikely best friend, president of the robotics team. The story begins when Charlie’s been dumped by his girlfriend and Nate drops the news that the student activities funding, which will decide whether to spend their money on a national robotics event for the robotics team or on new uniforms for the cheerleaders, is being left to the student council. 

Nate decides he’s running for student council president so he can delegate the money to the cause he thinks deserves it more: his own.

The hitch in the plan is that Holly now wants to use Charlie to further her own cause for the cheerleaders. Yeah, they’re broken up now, but Holly could bring Charlie’s popularity down faster than anything if he doesn’t listen to her. And her plan is simple, too: Charlie’s going to run against Nate for student council president.

Enter a funny political battle. Except as funny as it is, it’s also painful for Charlie and Nate, as their long-standing friendship is tested. 

But when the principal gets wind of the backstabbing and the shenanigans going on in the election (because of course there is plenty of that — we’re talking social politics here of geeks vs. cool kids, of cheerleaders vs. robotics team members), he decides that the funding won’t be left to the student council. Now both Charlie and Nate scramble to figure out what to do next.

That’s where this story turns to robots! When there’s a robotics competition with a grand prize of $10,000 — enough money to cover both the new cheerleading outfits and the robotics event — the two sides pitch in to build the strongest, baddest robot in order to win. But do they even have a chance on such a national level?

Nothing Can Possibly Go Wrong was a fast-paced, fun story and both Nate and Charlie are well-developed. Charlie has a nice backstory going on with his family that didn’t feel tacked on. Even though he’s posited as the “popular” boy, there’s a lot more to him than that; his parents aren’t talking, and they haven’t in a long time. His mom hasn’t been in his life in a long time, and now she’s sprung a new marriage on him. He’s struggling with that and being the “nice guy” who has been strung along with Holly’s plans and quest for popularity and superiority on the cheerleading squad. Nate, who on the surface looks like a quintessential geek, is more than that, too. It makes sense why these two are friends, and there are little moments in the illustrations that highlight it so well — like when both boys are under Charlie’s bed during a party-gone-wild at Charlie’s parentless home. Even though this could tread the easy territory of also being a story about how cheerleaders are bad, Shen and Hicks avoid that stereotype, too, as is seen when they join in for the robotics competition and maybe even enjoy themselves while they’re at it. 

Shen’s story is relatable for teen readers, and it’s fun. The robot competition is a blast to watch unfold, and I love the subtle gender threads sprinkled through the story — girls can kick ass in the science and robotics world, even if it’s stereotypically boy-land. Hick’s illustrations are appealing and enhance the story, rather than detract from it. The balance of story and paneling is done well: there’s enough to pick up in both when they stand alone or when they’re paired. The attention to details such as offering a diverse cast of characters was great, too. It’s clear that Shen and Hicks worked well together.

Readers who enjoyed Raina Telgemeier’s books and who are ready to read something at a little bit of a higher level will love this. It’s a contemporary story with male friendship at the core. Also, did I mention there are robots? Because there are robots. 

Nothing Can Possibly Go Wrong is available now.

Review copy received from the publisher. Stop back tomorrow for a guest post about the collaborative process from Shen and Hicks themselves.

Filed Under: Graphic Novels, Reviews, Uncategorized, Young Adult

Twitterview: Sara Zarr

May 7, 2013 |

I can’t even tell you how excited we are to have Sara Zarr here as part of our Twitterview series. I adored The Lucy Variations, which is out today, and I loved being able to pick her brain about the book, as well as her prior books, about her podcast “This Creative Life” and much, much more. Since I had her, I asked her as much as I could!


I’m also giving away a copy of The Lucy Variations. 


Without further ado, Sara:



Pitch The Lucy Variations in 140 characters.

16-year-old retired concert pianist reclaims her life & love of music with the help of her little brother’s cute (married) piano teacher

What inspired The Lucy Variations?

My midlife crisis & my own creative crisis, which is handily disguised in life of teen girl. Also by my experiences mentoring/being mentored

The Lucy Variations is your first novel in third-person. What made you choose that direction?

Limited 3rd allowed me to do some different things w/story than I could in 1st, while keeping close connection to character

This book tackles passion and the desire one feels to create. Did writing this feel like looking into a mirror at times?

Absolutely! It’s very much about my relationship w/ writing & writing career & how they’re 2 different things that can feel in conflict

Music plays a large role in The Lucy Variations. What music inspired you while writing it?

Junip and Jose Gonzalez were on heavy rotation in drafting, also the Shins

If Lucy’s story had a soundtrack, what would be the first, middle, and last tracks?

1. The Shins: The Rifle’s Spiral 2. Junip: In Every Direction 3. Vivaldi’s Winter from The Four Seasons

What, if anything, should readers walk away with from The Lucy Variations?

I’m always happy if they walk away with a great reading experience! Beyond that, it’s such an individual thing.

Talk a bit about the change in title and cover direction for your novel Once Was Lost, now What We Lost.

I blogged about this in some detail, but basically it’s about finding as many readers for the book as possible.

What character do you most relate to from your novels? Why?

Right now, Lucy, because her struggle to protect the love of her creative work from external demands has been mine.

If you can’t answer that definitively, what character do you think about and revisit the most? Why?

Deanna from Story of a Girl is still so real to me. I picture her out there, living her life. I feel like I could run into her on the street

You’ve developed a podcast over the last year, “This Creative Life.” What inspired its creation?

The love of talking about what it feels like to be inside the creative process, and the sense it would be valuable to others, too

What has been some of the most valuable insight you’ve gained through your Podcast guests?

That we’re not alone, that there’s no one right way to do this thing, that it’s worth doing even when it’s hard

Who is your dream guest for “This Creative Life?”

They are all my dream guests! I wish I could resurrect Robert Cormier and have him on.

What gets you jazzed to write?

Reading, walking, staring into space, and mostly not wanting to hate myself at the end of the day!

Who or what do you write for?

I write for the sense that it’s my vocation & if I don’t do it I’m rejecting something fundamental about who I am & the life I’ve been given

What scares you the most about writing or the writing process?

I’m always scared that what’s coming out onto the page isn’t good, and I won’t know how to make it good. I want it to be perfect.

Is there something you’ve always wanted to explore in your writing but have been too fearful to do yet?

I’d like to explore the experiences of adulthood and not disguise them in lives of teen girls. That feels more self-exposing.

What’s been the most satisfying part of your career to date?

Hard to choose, but the friendships & peer connections I’ve had the opportunity to form because of being a writer mean so much to me

You’ve purposefully chosen to change your writing routine in the last year. Can you talk about that decision?

The main thing was that I took a break from signing contracts. I just needed a pause to gather myself & be thoughtful about what to do next

Now that you’re developing new routines, what, if anything, do you remind yourself of? What compels you to keep going?

Like Lucy, I want to stay connected both to myself & to audience. But it has to come from sense of calling, not fear of letting others down

Who are your top three writing influences?

I could list authors, but I think the real writing influences are more the people who’ve mentored & befriended me along the way.

What was your most influential read as a teenager?

The Chocolate War by Robert Cormier made me want to be a writer. Madeleine L’Engle’s House Like a Lotus stirred me up the most.

Who do you believe is breaking ground in YA right now?

I love what Matthew Quick is doing, and more people need to be reading Steve Brezenoff. Of course I’m a bit biased toward contemp realism

What’s the best writing advice you ever received?

“More poetry!” (Friend/writer Nicole Stansbury told me this & made me attentive to thinking about beauty in the midst of storytelling.)

What’s your best writing advice to give?

If you’ve never finished anything: finish. If you’ve finished: learn to be a great self-editor. This is accomplished by reading a lot.

What’s next for you?

A book I wrote with Tara Altebrando, Roomies, will be out at the end of the year. After that, who knows?

Favorite ice cream?

If I could tolerate sugar and dairy, some unholy trinity of Ben & Jerry’s Coffee Heath Bar Crunch, Peanut Butter Cup, and Cookie Dough.

Filed Under: Author Interview, Uncategorized

So You Want to Read YA?: Guest Post from Author Bryan Bliss

May 6, 2013 |

This week’s guest post comes to us from soon-to-be-published author Bryan Bliss.

Bryan Bliss is a young adult author. HarperCollins will publish his first novel, MEET ME HERE, next year. He lives in Oregon with a wife, children, and student loan payments. You can find him on Twitter @brainbliss and at www.boysdontread.com.





I came home from a weekend away to find my wife reading Twilight. Actually, it was the third book in the series. The other two were thoughtlessly stacked on the end table. She didn’t even say hello to me. 

This is how young adult literature entered my life.

I have never read Twilight—this is neither a badge of honor or a loaded statement. I just didn’t pick it up and, now, can’t find a reason to work it into my already towering TBR pile. And in those early days, when young adult literature was new and exciting and every trip to the bookstore was a revelation, I was a slavering mess.

Because young adult literature changed my life.

Okay, maybe not my life. But my writing and reading were changed forever, and suddenly I was the creepy thirty-something guy in the bookstore gushing to shocked teenagers and suspicious moms about everything I was reading. Everything I thought they should read. And while I got my share of awkward looks, I like to think of myself as something of a young adult literature evangelist, standing on the street corner and barking out to anyone who will listen: These are the books you need to read.

These teenagers—their mothers—were not captive audiences. But you. Well, let’s just say I’m happy to be here.

The following four books are ones that I love dearly. So forgive the way I’ve creeped up next to you amongst the shelves. Excuse this goofy smile. Because these books. I really think they could change your life.

17 & Gone by Nova Ren Suma

I don’t do scary. I’m still mentally broken over a childhood viewing of A Nightmare on Elm Street. So when I heard people describing this book as creepy, I was worried. First, because I’m a Nova Ren Suma fan (Imaginary Girls easily could’ve made this list). But I also like my sleep, my sanity. Like I said: conflicted. However, my desire to read more Nova books eventually won out and thank goodness for that. Let me just say it: I don’t know if I’ve read a more compelling young adult book in the past few years. This book was creepy, but the flawless writing and compelling story push it into a space few books achieve. Yes, I’m being vague, but only because I’d hate for you to not experience this book fresh. Let me simply say this: when you figure out what’s happening, it’s kind of like Boom. Mind, blown.

Brooklyn, Burning by Steve Brezenoff

I grew up playing in bands that practiced in basements and barns, none of which were as serious as we wanted them to be. So I’m a bit of a sucker for music books. And while music plays a huge part in Brooklyn, Burning, it’s not what the book is about. If I had to boil it down to one word, I’d say this is a book about love. Love of music. Love of Brooklyn. Love that isn’t contained to pronouns or biological parts.

Like his first book, The Absolute Value of -1, this one will make think about young adult literature in a different way, and that alone makes it a must read.

Hold Still by Nina LaCour

So, this book. I read it in a day and at the end, when I finally exhaled, it was like, I feel like I just died. But in a good way. There are a multitude of books that deal with suicide, but few do it with such care and attention to avoid the slip into sentimentality. You will feel Caitlin’s loss. The treat, however, is the beauty and poignancy with which it is written. Like the other books I’ve chosen, it’s just a damn good writer at work. Hold Still is a beautiful story of what it means to heal after tragedy—whether that’s the death of a friend, or the daily tragedies none of us can ever seem to escape.

Insignia by S.J. Kincaid

So there’s a book about video games and futuristic war and it’s hilarious and all the boy characters are spot on? Well, sign me up. Now, I’m a contemporary realistic fiction sort of guy, and I don’t stray very often. However, sometimes a piece of speculative fiction finds its way into my hands. And when the gods are smiling, when one of those books keeps me up all night reading, I remember how amazing it is to be transported to a new world. I don’t want to go all Reading Rainbow on you, but this is that sort of read. I literally couldn’t stop turning the pages. And like all great books, Insignia is about more than video games and the future of warfare. It reminds us what it’s like to be young and have friends and finally realize that you can do wonderful and miraculous things.

Filed Under: So you want to read ya, Uncategorized

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