Four Things I Learned About Veronica Roth After Reading Allegiant

After reading Allegiant, here are four (get it?) things I've learned about Veronica Roth. 

*NO SPOILERS*

1) Veronica Roth is brave, incredibly so. To end a series is an impossible task, because even though the books have been written the characters find a way to live on in our minds. For an author, a series never really ends. The story might end, but there are always new readers, new thoughts, and random scenes that appear in your mind. Ending a series is brave.

2) She knows her characters and is not afraid to show their faults. She is not afraid to tell the story of a girl who is both strong and weak. She is not afraid to tell the story of a boy who is both strong and weak. And I think that is amazing. Men and women, we are all everything at once. We are not just one thing, strong or weak. These are brave things to feature because readers tend to look at (some) flaws negatively - especially when it comes to ideas about sexism and gender equality. This is why I will always love Tris and Tobias - because they are everything at once, as it is. I've found more comments from readers of Allegiant that the ending "blew" because Four appeared weak. And if you've read the ending, you'll know (hopefully) why comments like this are ridiculous. Fear, tears, sadness, love, hope, and loss are never signs of weakness no matter who wears them. Boys will not be boys and girls will not be girls, at least not in this series - and that is something wonderful.

3) Veronica Roth is brave because of that ending. Because it made sense. Because it was vivid and real and raw. And because the ending stayed true to the characters. More importantly, knowing how readers would react makes Roth an even braver soul than most. She knew. For the most part, authors and publishers and agents and editors always do. Knowing that and still writing something because it has to be written is brave. 

4) Veronica Roth is brave. The end.

And in the end, I don't know if this was the ending I was hoping for, but it surely was the ending I needed. The one that was meant to be. The one that should have happened. And the one that, no matter what, will teach us to live freely and move forward and, like Tobias says, "mend each other."

Philip Pullman's Carnegie Medal Acceptance Speech

Just because this entire speech is amazing, and so very, very true.

"There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book. 

 The reason for that is that in adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult writers who deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. And by a story I mean not only Little Red Riding Hood and Cinderella and Jack and the Beanstalk but also the great novels of the nineteenth century, Jane Eyre, Middlemarch, Bleak House and many others: novels where the story is at the center of the writer's attention, where the plot actually matters. The present-day would-be George Eliots take up their stories as if with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. But what characterizes the best of children's authors is that they're not embarrassed to tell stories. They know how important stories are, and they know, too, that if you start telling a story you've got to carry on till you get to the end. And you can't provide two ends, either, and invite the reader to choose between them. Or as in a highly praised recent adult novel I'm about to stop reading, three different beginnings. In a book for children you can't put the plot on hold while you cut artistic capers for the amusement of your sophisticated readers, because, thank God, your readers are not sophisticated. They've got more important things in mind than your dazzling skill with wordplay. They want to know what happens next. Now I don't mean children are supernaturally wise little angels gifted with the power of seeing the truth that the dull eyes of adults miss. They're not. They're ignorant little savages, most of them. But they know what they need, and they go for it with the intensity of passion, and what they need is stories. Why do they spend so much time watching TV? They're not watching documentaries about Eastern Europe or programs about politics. They're watching drama, film, story. They can't get enough of it.

There's a hunger for stories in all of us, adults too.

We need stories so much that we're even willing to read bad books to get them, if the good books won't supply them. We all need stories, but children are more frank about it; cultured adults, on the other hand, those limp and jaded creatures who think it more important to seem sophisticated than to admit to simplicity, find it harder both to write and to read novels that don't come with a prophylactic garnish of irony. But those adults who truly enjoy story, and plot, and character, and who would like to find books in which the events matter and which at the same time are works of literary art where the writers have used all the resources of their craft, could hardly do better than to look among the children's books. And there's a spin-off too, a social benefit.

All stories teach, whether the storyteller intends them to or not. They teach the world we create. They teach the morality we live by. They teach it much more effectively than moral precepts and instructions.

Give the books to the teachers, and then leave them alone; give them time to read and think and talk about the books with one another and with their students, so that they can put the right book into the hands of the right child at the right time. We don't need lists of rights and wrongs, tables of do's and don'ts: we need books, time, and silence.

Thou shalt not is soon forgotten, but Once upon a time lasts forever."

A Little Bit of This and That and Love

A week ago I wrote this piece for ADR3NALIN3, the other blog on post on, on what insta-love really is. I still stand by what I wrote there, but I do want to clarify a few things. 

"And while we might not see every single trial and tribulation they go through, there are very few literary couples that have everything so perfect from beginning to end. Actually, I can’t think of one. So much of the criticism surrounding insta-love is that it happens so quickly. One moment and it’s over. Love has been had. That’s it. In reality, those moments of instant connection are just the beginning of a more delicate love. There are different stages of love, each of them simple and complex at the same time. And while there are those who think literary criticism and real life opinions should stay separate, I think that, like love, nothing is so black and white. So, to call the idea of “insta-love” or “love at first sight” unrealistic would be accurate only if that was all that happened. But that’s not exactly the complete version of love, it’s the beginnings of it. A much better term for the insta-love connection we see so regularly in literature would be “insta-kind-of-love-but-really-thinking-about-becoming-love” because love, in reality and in literature, is so much more than that first connection. It’s about building upon that first connection, whether it’s a good or bad one. Through the tough times and the easy. And while it does all have to start somewhere, that moment of first sight is not where it ends. That, after all, wouldn’t be any kind of love story. Love surrounds all the great moments in life. For some of us, these moments just happen in an instant and stay around long after."

What I mean is this: The stories we read about in novels are just moments of much larger stories. Like looking at a photograph, we're only giving a moment in time. So, perhaps we're looking at the moment in which love happens. Perhaps not. Either way, I think it's important to realize that even though love or something like it may happen within the first few pages of a story, that certainly doesn't mean it's the end. Or even the beginning. There are all different kinds of love, but not one that ends as quickly as it begins. A first connection should not define a story. Rather, it should enhance the urgency we often read about in literature that is so often missed in real life. 

So, fall in love. 

Take risks. 

Live in the moment.  

Love surrounds all the great moments in life.

ALSO REMEMBER THAT THE SHADES OF THE STARS COVER REVEAL TOUR IS NEXT WEEK! SO CHECK BACK ON MONDAY FOR THE COMPLETE LIST OF BLOGS!

More Book Poetry

If I stay

where you are,

don't let me go

before I fall

endlessly.

The space between

what I didn't say-

forever

hidden

where things come back

fallen in love.

Books I Want and Covers I Love

I want need all these as soon as possible. I'm so excited for these books to come out! What are some books that you're excited for? Any of these?

And remember that Shades of the Stars is coming in July!

The Importance of World Building

Once upon a time, I wrote THIS post discussing world building in Light of the Moon. And then THIS post, which appeared on Smash Attack Read's wonderful blog (go check it out). The main idea in both of those articles was that world building should be a quiet whisper of what is actually happening in the story. Mainly, we should see the world through the character's eyes. I still think the "show rather than tell" approach is a great way to go, but I can't help but think there is so much more to world building than that.

I'm a firm believer that certain literary things have greater impacts if they are done quietly. Certain topics are better felt than lectured upon (see THIS post about diversity in Marie Lu's Legend). Certain elements of diversity are better understood through action rather than instruction. The point of this whispered theory is this: A reader will feel more, understand more, and be involved more if a character is taken on an emotional journey rather than simply placed in the middle of the action. For me, this is very true. I connect more with characters who grow and develop through the story. I understand more if they show instead of tell.

I think this approach can also be said in reference to world building.

Once upon a time I said this: "For me, world building is about creating characters that are able to show things about your worlds you cannot."

Now I say this: The world you create should be as alive as your characters. It should live and breathe and be a character itself. 

The world should be detailed, real. Through the character's eyes, the world should come alive because it already IS alive. And we should see that as readers. We should feel the impact of the world instead of read a lecture about it. World building is incredibly important. It can make or break a novel. World building is a character. What do you think?

Of course, there are exceptions to every rules, especially when it comes to writing.

Go break some.

Interview with Jamie Manning, author of BLOOD BORN

Today I have the pleasure of interviewing Jamie Manning, author of BLOOD BORN, on the blog. Jamie and I have been in contact for a while now, but have never interviewed each other. So today I'll be interviewing him, and tomorrow he'll be interviewing me on his blog. He'll also have some cool LIGHT OF THE MOON (which releases tomorrow!) giveaways on his blog, so make sure you check it out HERE tomorrow.

I recently finished reading Jamie's BLOOD BORN, the first book in the Blood Prophecy Trilogy, and was impressed by the strong characters and world Jamie created. The sequel, BLOOD AWAKENING, will be out in 2013 so make sure you check both out.

  

1) Hi, Jamie! What inspired you to write your first book?

 I’ve always loved vampires. Whether in books, on TV, in movies, there’s a never-ending appeal to the mystery and secrecy surrounding them. So I knew I wanted to write a story about this paranormal creature. And I wanted it to somehow be a bit different than others out there. That’s how I decided on the “fighting to become human again” aspect.

2) How did you come up with the title of BLOOD BORN?

 Ugh, titles. They’re the Achilles’ heel of writing, right? I actually had a different (and albeit better) title for my book, but unfortunately my publisher deemed it too similar to something already out, and thus the war of words began. It took me days to come up with Blood Born, and though I’m okay with it now, I still have a huge soft spot for the original one. 

3) Do you have any specific pre-writing rituals?

     Not really. Most days I don’t begin writing till I’ve had some down time (translation: TV), so if I had to use the “pre-writing ritual” label, that would be it. I loves my TV. 

4) Is there a message in your novel that you want readers to grasp?

     I hope that readers walk away with the understanding that fighting for what you want, or for what’s right, is never an easy thing to do. But is ultimately worth it in the end. 

5) Your novel BLOOD BORN has some pretty strong main characters. How do your characters showcase strengths?

     Aw, thanks for that! Tying in to the question above, I think that my MC Ava’s biggest strength is her willingness to fight for what she wants, even when she’s unsure what will happen. That’s always a big fear for most people (myself included), so it’s nice to be able to showcase that. As for her friends, they’re unflinching loyalty, the way they’re ready to stand by her no matter what, is inspiring to me. (insider scoop: That aspect is based on the friends in my own life. They’re the best!)

6) Are experiences based on someone you know, or events in your own life?

     Other than some of the characterizations (like those mentioned above), the rest of the events in the book are pretty much fictionalized. Some of the settings are loosely based on places I’ve been/seen, but the rest are make-believe! 

7) What books/characters have most influenced your life most?

     Oh wow, tough question. As for influencing me to get off my derriere and actually write, that would be (hold the boos) TWILIGHT. Yes, like countless others, that book inspired me to do what I’ve wanted to my entire life but was always too afraid to try (see any similarities with Ava here? Yeah.). As for life in general, TO KILL A MOCKINGBIRD inspires me to be a better person, always. 

8) If you had to choose, which writer would you consider a mentor?

     I could easily go back to the likes of Harper Lee or Mary Shelley or even Mark Twain (all geniuses, of course), but to keep it current, I’m gonna have to go with Jennifer Echols—though she doesn’t know it, lol! Her ability to build worlds and characters and pull readers in is inspiring and invigorating and makes me want to do better!

9) Are there any new authors that have grasped your interest?

     You mean other than you? (Thanks, Jamie!) Hmm…Since recently trying my hand at contemporary writing, I’ve been perusing the genre in search of inspiration. And I’ve discovered Abbi Glines and I’m loving her work. (yes, technically, she isn’t new; but new to me!)

10) Can you tell us any information about the sequel to BLOOD BORN?

      The second book in The Blood Prophecy trilogy, BLOOD AWAKENING, takes Ava even further on her quest to save her humanity. In this book, I decidedly focused more on the characters themselves, and how the events thus far have changed them and the choices they make. In my opinion (which, if you add in a nickel, is worth five cents), book two is better!

11) The BLOOD BORN paperback is coming out soon, right? Are you excited about that?

      Yes it is! And yes I am! Currently the paperback release of BLOOD BORN is scheduled for a January release, but could come earlier, so keep a look out for it! It really is exciting that I’ll get to see it in a paperback version, and that (hopefully) others will pick it up to read. I know lots of people prefer the paperback to hardback, so I’m happy that now they’ll have both out there. And a heads up, the first chapter of BLOOD AWAKENING (which doesn’t come out till April 23, 2013) will be in the paperback of BLOOD BORN, so you get a sneak peek!

12) Do you have any advice for other writers?

     This is always a tough question for me, because I feel extremely inadequate to dole out advice. But I will say this: Never give up. I know life gets in the way of what we truly want, but persistence is a writer’s best friend. Stick with it and you’ll make it to whatever level of success you hope to achieve!

THANKS FOR THE GREAT INTERVIEW JAMIE!

Jamie Manning's love of reading can be traced back to a Sidney Sheldon novel his grandmother purchased at a tag sale when he was young. He's been addicted to books ever since. He prefers getting lost in the pages of a book to just about anything, and it's that love of reading which sparked his interest in writing. He currently lives in a small, humid city in Alabama, where the only thing he pines for is a cooler climate.

Make sure to visit Jamie's blog HERE tomorrow for LIGHT OF THE MOON giveaways.

BLOOD BORN is available for purchase on Amazon and Barnes&Noble.

"NOT MY DAUGHTER, YOU &%$#!"

There was a recent article in US News and World Report that discussed the idea of profanity in YA literature and mulled around this question: "Is it time to rate young adult books for mature content?" Considering the fact that so many YA authors support each other tooth and nail, it's not surprising that many of them, like the bleeping hysterical Kiersten White, have begun to voice their opinions on the topic.

Here is mine.

So many things in life are situational. Which is why, perhaps, we often say things like "you just had to be there." Things change when we try to explain them. It's beautiful in a way to be part of a moment like that, when you know it can only be truly explained to the people you're with, or maybe even just you. But sometimes we can't explain things. We can only live them.

What is great about so many authors of YA literature today is that they write about these real moments, the good and the bad, and they're doing it in a very real way. Gritty. True. Powerful. Yes, a lot of the more popular YA novels are fiction or fantasy based, but a lot of the situations portrayed in those bestsellers have the possibility to become very real. This article, for an example, stated that there are around "50 f-bombs" in one recent GOSSIP GIRL novel.

Well. Really. There should be.

Side note: Brigham Young University actually spent cash on a study that counted the amount of profanity in YA novels. 

GOSSIP GIRL is a novel series about teenagers, depicting moments that could be real. And yes, although the things seen on the television series and in the book series probably don't happen to normal teens (or even normal adults), the way they talk and dress and feel and love are all very much real in the lives of many young adults. Considering that, isn't GOSSIP GIRL just mimicking the language so many teenagers use today? Shouldn't this argument be flipped?

If so many YA novels are accurately portraying young adults (and they are), shouldn't we be more worried about how our young adults got like that, instead of attacking the authors that got it right?

So often literature and movies reflect the way a society thinks and feels. There is more sex on television because people watch it. There is more swearing on the radio because people listen to it. 50 SHADES OF SEX GRAY? I mean, c'mon. Are those things okay? Is it okay for teens to swear? To have sex?

Is it okay for young adults to love as deeply as we write?

Who really knows. It's all a matter of opinion. But I do know this: The more adults pretend tough situations don't exist, the more they do. Young adults find ways to seek out that information (I know I did) we hide from them, and if we're so afraid that they'll become a Gossip Girl or Boy, then avoiding or banning something just because it's not what we agree with probably isn't the answer. Like this article mentions, I think that parents need to read what their children read. With the variety and the quality of YA books on the market these days, it's so easy to pick one that lends itself well to any tough conversation. We should not forget the fact that we have books like SPEAK by Laurie Halse Anderson, or CRANK by Ellen Hopkins, or BEFORE I FALL by Lauren Oliver - books that are as real as they are difficult as they are truthful. Books that swear, not because it's cool or because they can, but because they must. Because they show us the possible consequences of real actions. Use these beautifully written difficult books to talk. And, like Gayle Forman mentioned on her blog, if you have questions or concerns about content go to your local Barnes and Noble and ask - or read the book yourself first. Or look online - Amazon has age ratings right next to the page count. It's so simple to be informed these days that there's really no excuse not to be.

But this whole argument is a matter of opinion and personal choice.

I don't swear often. I don't feel like I need to.

But, just like Mrs. Weasley, I feel there are situations that arise when swearing is certainly the right way to go. After all, if and when I'm a parent, and an evil wizard attacks my daughter, you can bet I'll whip my wand out and scream this:

"NOT MY DAUGHTER, YOU BITCH!"

"NOT MY DAUGHTER, YOU &%$#!" just doesn't cut it.