CEFS is a blog and podcast. Established in 2013, we are now a serialized site, with new content generally published monthly. We hope you enjoy!
Nafiza is one of the smartest ladies in the bookish blogosphere, complete with a Masters in Children's Literature, and we're so happy to have her join us for this discussion. If you'd like to hear more from Nafiza (and you really should), visit her online at Bibliographic Monologues and The Book Wars and check out all her smarty pants tweets at @Nafizaa.
I coined the term "nostalgia lit" on a podcast episode a couple years ago, and I'm generally a fairly reluctant about books set in near history, but Skyscraping is a wonderful example of this particular almost-contemporary setting.
My source was Taim, which was conveniently located in the nifty West Village neighborhood I stayed in. (Seriously, guys, if you go to NYC, skip the hell that is Midtown and stay in the Village, it's so pleasant.) Here are some of my falafels.
The following are 11 smart big-R romances (read: happy ending of a central love story, as defined by the Romance Writers Association) I recommend for Clever Ladies who are interested in the genre. Keep in mind that there's just about something for everyone in this genre, so if there's not something that's up your alley on this list, there's probably something out there--leave a note in the comments and I'll see what I can do.
Nafiza is one of the smartest ladies in the bookish blogosphere, complete with a Masters in Children's Literature, and we're so happy to have her join us for this discussion. If you'd like to hear more from Nafiza (and you really should), visit her online at Bibliographic Monologues and The Book Wars and check out all her smarty pants tweets at @Nafizaa.
Remember, if you want to get your new episodes early, subscribe in iTunes, the show drops there about a day earlier than it does here.
Enjoy!
Listen, I know authors are told to engage, engage, engage, but there's a way to do it that doesn't completely freak out readers. Unfortunately this recent request landed smack in the creepy zone. (Note: I've redacting information about this person.)
These combined volumes feature the archer Avenger and his mentee Kate, who's also known as Hawkeye and is super rad. I knew nothing about The Avengers going into this and found it incredibly accessible and liked the healthy does of angst. Fraction writes Sex Criminals, which I love, so I shouldn't be surprised by this one, but I was. My favorite was the third volume, LA Woman, which is just a Kate story.
Apologies for the long hiatus, but we had reasons. We've both done a lot of reading and watching television/movies during our time off, and we kept circling back to the idea of the way family relationships are portrayed. More often than not, it's hard for both of us to see familiar patterns and resolutions that feel "real." Obviously, as we mention in this episode, we only have our own experiences to draw on, but we also know we can't be alone.
Remember, if you want to get your new episodes early, subscribe in iTunes, the show drops there about a day earlier than it does here.
Enjoy!
Not to neglect Old English and Geoffrey Chaucer’s raucous and rowdy tales of those on a pilgrimage, I must mention those monks of olden days who told tales that to this day make us smirk and smile. In verse, Chaucer painted tales of the good folk who laughed about and flaunted their rowdy and raucous adventures.
I understand this prejudice, this preconception that poetry is difficult. I understand it, but I disagree. I think poetry takes a big, emotional idea and distills it into a few potent stanzas. It packs a lot of force in its compressed punch, and therefore, it hits the readers' feels hard.
While fiction is a meandering walk, poetry is a sprint. When it's good, at the end, you should feel breathless and sweaty. Your heart should beat wildly.
Reading about people getting hooked on drugs and terrible things happening seemed about as interesting as listening to a friend tell you about that totally awesome trip they had once. But I saw her speak at the Montgomery County Book Festival, and she spoke very passionately and personally about the books she writes. I chose to read her 2009 release, Tricks, because the sequel, Traffick, is coming out this November.
Part of my aversion to verse novels can be attributed to my first experience, which was Crank by Ellen Hopkins. The angsty, dramatic, dark story of addiction that is perennially popular with teenagers didn’t appeal to me at all.
The sentences
just seemed so
choppy.
The line breaks
nonsensical,
random.
(Granted, this is a very good problem—so many great verse novels out there!)
So, no top three. Maybe I could focus on a single stand-out? Or maybe go for something old and something new (something borrowed? --thanks, Vancouver Island Regional Library--something blue?).
First, the caveat:
I’m not saying prose novels can’t deepen emotion, of course they can—and do. I’m just saying this was my experience in the verse novel writing process.
Okay, I feel better getting that off my chest. Now, let’s talk about exposure. Say, for instance, you wrote a verse novel. One that started out more prose-like. Perhaps it had a particular voice that you explored while getting your masters in creative writing, if you will. And let’s imagine that as you combed through the scenes and fine-tuned the story, you pared back the language—just playing around during your time in Higher Education. It could happen. And, maybe as you dabbled in voice and tone, words fell away. A sparseness happened. What’s that all about? You thought, while typing away in your writer cave. What just happened to my story?
The Nakedness. That’s what.
When Sarah asked if I’d like to write a post for her fourth VERSE NOVEL celebration, I started reflecting on how the genre has fared between the publication of THE SOUND OF LETTING GO this past February and 2011, when I launched my YA debut, AUDITION. Here are a few of my personal thoughts and observations: