Goodreads Choice Awards

Yesterday the opening round for the Goodreads Choice Awards began. Now you can vote for the nominees or write in your favorite books or authors in 20 categories.
There'll be three rounds:
The opening round from October 30th - November 10th
Semifinals: November 12th - November 17th
Final round: November 19th - November 27th
And at the end of the three voting rounds the winners will be announced. Winners that only the reader will determine. No jury, no committee.
I've been wondering how much value other people, especially readers of course, put into awards.
What's more important for you: An award like the Printz that's awarded by a committee, or a reader's choice award like the Goodreads Choice Awards?
Do you pay attention to awards? Would you buy a book just because it won the Goodreads Choice Awards or the Printz?
At first glance, I'd say that an award like the Printz says something about the literary merit of a book, while the Goodreads Choice Awards are purely based on the enjoyability - the fun factor of a book.
Did I get it wrong?
I'm personally not paying much attention to awards, though I love the Goodreads Choice Awards because every time I log into goodreads I can see what my friends have voted, I discover new books and I find myself browsing the nominees. But does that mean I'll buy a book just because it's nominated, or even wins the awards? The answer is no, but it'll definitely make me curious.
Let me know your thoughts on the matter!

Btw, I revealed my cover for my YA thriller IMPOSTOR (Silence of the Lambs meets X-men) a few days ago on the YA highway blog!

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10 Things that Scare Me (Thanks to Books + Movies)

In honor of Halloween tomorrow, I feel like I have to do the obligatory fear post. So here goes: a list of the ways books and movies have made me afraid of things.

1. Ebola. Specially, a genetically-enhanced super-strain that turns into a worldwide epidemic and leads to one of the most painful deaths imaginable. Thanks, EXECUTIVE ORDERS by Tom Clancy.  Honorable mention: the movie OUTBREAK.

2. Clowns. I should never have read Stephen King's IT when I was 13 years old.

3. People who pick up hitchhikers. Thanks to UNDER THE SKIN by Michel Faber, I know that these seemingly helpful souls have nefarious intentions.

4. Being locked in the attic with my siblings.  Thanks, FLOWERS IN THE ATTIC by VC Andrews.

5. Room 101. This is the place, according to 1984 by George Orwell, that all your worst fears come to haunt you. No thanks.

6. Being buried alive. In KILL BILL PART 2, The Bride gets out of her 6 ft deep coffin using her special skills. In the Alfred Hitchcock episode "Final Escape", the woman prisoner is not so lucky.

7. Dark subway tunnels.  If ENCLAVE by Ann Aguirre and the film 28 WEEKS LATER have taught me anything, it's that nothing good lurks in dark subway tunnels. Do not enter.

8. Being trapped in darkness for all eternity. Thanks WES CRAVEN'S THEY for making me have to sleep with a nightlight again.

9. Having a kid who turns out to be a killer. There are quite a few of these, but most chilling are Lionel Shriver's WE NEED TO TALK ABOUT KEVIN and the film THE GOOD SON. (Note: I have no children.)

10. Every other scary thing in horror books and movies. This is why I avoid them whenever possible.

What fears have books and movies cultivated in you?

The Value of Author Visits

Author visits can take a lot of time to schedule and prepare for. Teachers, school administration, and parents aren't always supportive. Some argue they aren't "curricular." (This isn't true. Unless writing isn't part of your curriculum. In which case your school has bigger problems than the lack of author visits.) They can be expensive.

On the author's side of things, they're exhausting. They take time away from writing. They can be a nice source of extra income, but for a new author like me, the income isn't very significant.

So why do we bother? Why do some librarians spend dozens of hours of their own time scheduling and preparing for author visits? Why do some English teachers take the lead in those sad schools that lack a librarian? Why have I done more than 200 author visits for free over the last year? (I charge now, although I'm very cheap.)

A student recently answered all those questions for me via email. I've asked for, and received, his permission to share the email with you. I've changed his name to protect his confidentiality. Otherwise the email is exactly as he wrote it:
My name is Fred. About a year ago you visited Cedar Rapids Iowa. You made a stop at the Linn County Juvenille Detention Center and i was a resident there. ever since you visited i have been big on writing. but just not stories. i have written alot of poems and different raps about my life. i was wondering maybe if i could get some expert advice on how they look. or what are some areas i need to improve. if at all possible i would like to send them to you in the mail and hopefully get some good advice. it was really nice meeting you. if you want to know how my life is going right now i am on my way to completeing an independent living program. i just celebrated my 17th birthday today and im on the road to success. writing has been a big inspiration in my life and with out the visit from you i know for a fact i wouldnt have started to write. i would really like to hear back from you soon. it was great meeting you.

Does anyone believe another high-stakes test would have had this kind of impact on Fred's life? Another reading program? Another teacher evaluation system? The things many policy makers and administrators focus on truly don't matter. What matters are the connections that librarians, teachers, coaches--even visiting authors, make with students and the impact we have on those student's lives. If you're involved in education, do your school and students a service: contact an author--any author--today and schedule what may be a life-changing experience for some of your students.

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SEEING CLOUD ATLAS WITH THE THREE WRITER-DIRECTORS

 


I saw a screening of CLOUD ATLAS. I wanted to read the book first but when I tried to get it at one of my bookstore signings, it was sold out.  Funny, there were all those Arnold books left on the shelf.  I could have gotten it somewhere else, but before I knew it the screening date came and I didn’t want to pass up an opportunity to hear the three writer-directors speak about this unusual project.

The Wachowski brothers wrote and directed The Matrix together, one of my favorite films. Along the way, one of the brothers became a sister and changed her name to Lana. She’s attractive and funny and actually the most interesting and articulate one of the bunch. The evolution of this major project started because the Wachowskis admired the work of Run, Lola, Run director Tom Tykwer and tried to meet him in Germany. After a few misses, they connected and felt like kindred spirits. So they went in search of a film they could shoot together. The book came their way and they felt the unusual structure would allow for multiple directors. They planned to shoot with two units, the Wachowskis directing scenes together, as they typically do, while Tykwer was also filming other scenes.

They worked on the screenplay adaptation for FOUR years. That is an incredibly long time, but the unusual structure of the book was a challenge. They got top actors on board like Tom Hanks, Hugh Grant, Halle Berry and Susan Sarandon, as well as Hugo Weaving, James Broadbent and others. Even with this package, they could not get a studio to sign off on it so they had to get a large number of investors (I think 30). Then Warners picked up the North American distribution. They had snags with foreign sales, and could not sell it to England or France.

The budget was one hundred million dollars, huge for what is essentially an independent film. The production values look it look even higher. Since the actors play multiple roles in different centuries, the makeup and period settings added to the budget.

Like the book, there are six storylines set in various times from the past to the future and the film-makers wisely chose not to follow the structure of the book which has 60 pages of one story, then another, etc. because it would mean introducing new characters 100 minutes into the film (the running time is roughly 3 hours). Instead, there is extensive editing and jumping around.  Your mind has to work overtime to make the connections just to follow each storyline. The language used in the future is hard to understand at times, and that adds another layer of difficulty. I am one of those viewers who loves a challenge, but I can see where some of the general public may not feel the same way.

The enthusiasm that the directors have for this project does make you want to forgive any elements of the film that don’t quite work. For a three-hour film, you are not bored, and that is saying a lot. You may not believe all of the stories, and some stories may feel more fresh than others, but it is easy to find elements to love. I particularly liked the two future stories (a fabricant and Zachry after the fall, both mainly directed by the Wachowskis), as well as the deeply emotional composer’s story (directed by Tykwer).

One of the devices that tie together the book is that each story is revealed to be read or seen by the main character in the next segment. This element is tossed into the stories in ways that are not particularly clear or satisfying. My overall disappointment in this film is that there is no major revelation for the audience, an aha moment where you feel all that you’ve witnessed adds up to a greater whole. Words that worked on the page to unify disparate elements have less weight when heard in this context. The project is ambitious, and the passion of the filmmakers commands admiration, but it could have been so much more.

The filmmakers stated they wanted this film to be viewed as a piece of art rather than a product. They are aware that the tone changes are an issue (they worked to smooth those out). They also make no apologies for any prosthetics that weren’t believable. The three want the viewer to accept juxtapositions that may not make sense in a traditional film. In that regard, they succeeded. Your mind will be exercised and challenged to find the connections they’ve set up by casting the same actors as different characters in different time periods, set in entwining stories of contrasting tones. Go into the film with this mindset, and enjoy what you see.
 

Beautiful quotes from Cloud Atlas the novel here.
 
The author, David Mitchell, on the film here.
 

Cover Talk

As an author waiting to see your cover is scary. I think every author would agree. Many authors probably have a certain image in mind and maybe even told their publisher about their certain vision for their book.

But that doesn't mean you get your wish. Because the process of creating a cover is more complicated than just finding a pretty image. It has to be right for the target audience, it has to reflect the inside of the book somehow (ideally, though that isn't always the case), it has to stand out on shelves while still following trends. Because many people judge a book by its cover.

And that's a very scary thing for an author. Because while we have power over what's inside the book, many readers might never get that far because they don't like what's outside.

So you can imagine how nervous I was before I was shown the cover of The Other Life. And though I knew Usborne, my Uk pub had done an awesome job with the cover for the first book, I was again nervous before I got to see the cover for its sequel The Life Beyond. But then I was relieved and so happy.
Two days ago I was allowed to reveal the cover to THE LIFE BEYOND and here it is:

As you can see it's quite similar to the first book THE OTHER LIFE. That way people will know that they belong together and as an added bonus the two books will look gorgeous on the shelf together! If you take a closer look, you'll notice that the butterfly changed a bit. It's still bleeding but what's happening inside has changed and the butterfly looks scarier, more like a hornet. That reflects the book, because it's getting more dangerous for Sherry and Joshua, and for a few other survivors as you might guess from the scene in the butterfly. And the skyline in the background has changed slightly too. Again to reflect a certain scene in the book. But I won't tell you more!
What do you think?


Lexile and (Lack of) Subtext

Yesterday, Mike posted about the Lexile system being used in schools to guide students towards reading that is challenging enough for their reading comprehension levels. It was the first I had heard of it. After reading Mike's post, I checked out the Lexile site to see what Lexile measures, and now I am even more sure that solely using Lexile scores to determine what students should read is doing them a grave disservice.

What does Lexile measure?
Lexile measures the quantitative aspects of text complexity, such as word length or frequency, sentence length, and text cohesion.

What doesn't Lexile measure?
Lexile can't measure the qualitative aspects of text complexity such as subtext, symbolism, and figurative language. It also can't measure the complexity of story aspects such as multiple plotlines, settings that require background knowledge to fully appreciate, and non-linear structure.

Some very challenging books are written in a deceptively simple way.  Let me offer up my experience with HOMO FABER by Max Frisch as an example.  HOMO FABER was the first novel I read entirely in German (the language it was originally written in). At the time, my German skill was on the advanced side of intermediate, and I could easily understand the vocabulary used in the novel.  What I didn't understand, however, was the subtext - and consequently, I missed the entire point of the story.

Witness this reconstructed conversation between my husband Daniel (who is a native German speaker) and me.

ME: So, HOMO FABER was pretty boring. The main character just travels around and has these romantic affairs with women. Big deal. 
DANIEL: Actually, HOMO FABER is a powerful treatise on fate versus coincidence. I thought you'd love it considering your interest in coincidence. Also, it alludes to the Oedipus myth. 
ME: Really? What were the coincidences? I didn't notice any. And Oedipus? Really? 
DANIEL: Uhhhh... did you not get that the woman he proposed to on the cruise to Europe was actually his daughter, but he didn't even know he had a daughter? It's a modern twist on the Oedipal archetype.  
ME: !!!!!!!! 
DANIEL: Yeah ... maybe you need to read it again.

HOMO FABER doesn't have a Lexile score, but I can imagine that if it did, it would be low - and summarily dismissed as too easy to waste precious reading time on. (This, of course, is entirely avoiding the topic of age-appropriateness of content). 

There is so much more to reading than a quantitative score based on word choice and sentence length. And students who are forced to adhere to such a strict system are sadly losing out on the qualitative experience a book can provide. 




How the Lexile System Harms Students

About a month ago, a woman approached me at a conference. She picked up a copy of ASHFALL and asked me, "What's the Lexile on this?"

This question threw me for a bit of a loop. I'm used to being asked what ASHFALL's about, how much it is, or where I got the idea for it. "What's a Lexile?" I asked.


"They use it at my daughter's school," she replied. "To match students with books at the right level for them."

"Oh, like the Guided Reading level." I happen to know about those because my wife's school district uses them. They always seemed a bit idiotic--what reader chooses a book based solely on its reading level? But since at her school they're used as suggestions, not mandates, and take the content of the books into account, they've never really bothered me. "ASHFALL is a Z+ on the Guided Reading level scale," I said.

Here's where the rabbit hole started to get twisty. "We don't use Guided Reading," she said. "We use Lexiles. And my daughter isn't allowed to read anything below 1,000." The italics are mine. You'll have to imagine my angry shouting at a school that won't allow their students to read--no matter what the excuse.

"I'm sure it's fine, then. ASHFALL is a Z+. It's got to be at least a thousand on your school's scale. What does she like to read?"

"She loved The Hunger Games, but the school wouldn't count it. It's too easy for her." (I later looked up The Hunger Games--its Lexile level is 810.)

"A lot of teens who liked The Hunger Games enjoy ASHFALL. How old is your daughter?"

"She's in sixth grade."

"You should read ASHFALL first, then--it depicts an apocalypse realistically. It's very violent. Definitely not appropriate for all sixth-graders."

"That's okay. I just need to know what the Lexile level is. Can you look it up?"

I obliged and found ASHFALL listed at Lexile.com. Its level? 750.

"It's too easy for her, then." The woman walked away as my lower jaw hit the table with an audible slap.

For kicks, I looked up Ernest Hemingway's masterpiece, A Farewell to Arms. Its Lexile? 730.

Is my work more difficult, more sophisticated, or more appropriate for older readers than that of Mr. Hemingway, a Nobel Laureate in literature? Of course not! Think about it: If this poor student stays in her school system, she'll NEVER be allowed to read A Farewell to Arms. It's allegedly too easy for her.

Since this conversation, I've heard of a high school that boxed up all its copies of Night, Elie Wiesel's classic account of surviving the holocaust, and sent them to the elementary school, because it's "too easy" for high school students. It's Lexile is 570.

Shocking as that example is, there's a bigger problem: the Lexile system punishes good writing and rewards bad writing. I'll illustrate this point with an example. Here's the first sentence of a book that sixth-grader would have been allowed to read, a book with a Lexile of 1650:
"ON the theory that our genuine impulses may be connected with our childish experiences, that one's bent may be tracked back to that "No-Man's Land" where character is formless but nevertheless settling into definite lines of future development, I begin this record with some impressions of my childhood."
Forty-eight words that can be replaced by three with no loss of  meaning: 'My childhood was.' This is a truly awful opening, whatever your opinion of the overall work.

Here's a novel millions of sixth-graders have enjoyed. A novel with a Lexile of only 820. A novel this woman's daughter would not be allowed to read:
“They say Maniac Magee was born in a dump. They say his stomach was a cereal box and his heart a sofa spring. They say he kept an eight-inch cockroach on a leash.”
It's clear and concise. It introduces the main character and opens irresistible story questions in the reader's mind. If it were rewritten as one sentence, it would lose the flavor of gossip that makes it intriguing--and have a much higher Lexile score.

Good writing is simple. The best writers never use two words where one will do, and they choose their words with precision. But the Lexile system rewards complexity and obscurity by assigning higher Lexile scores for works with longer sentences and longer words. In short, students forced to use the Lexile system in their reading are being taught to be bad writers. And some are likely being forced into books that will turn them off to reading.

What should you do? If you're a school administrator, teacher, or librarian, quit using Lexiles. I realize your motto isn't, "First, do no harm," but is that such a bad precept to follow? The Lexile system is actively harmful to your students.

If you're a parent, let your child pick books the way you do--based on interest and need. Ask your school to dump the Lexile system. The last thing we need is an expensive program that makes the great work parents, teachers and librarians do--educating our children--more difficult.
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