One thing we talked about is how the industry itself is working on awareness and furthering diversity among the books themselves and future publishing personnel. Last night, we launched the CBC Diversity Committee, which is working on these goals with other publishing partners. We have a brand-new website (which will gain content as time goes on) and plan a variety of events such as panels discussing diversity, visiting school career days and job fairs, and just continuing the conversation about diversity in all platforms, such as social media. See also some press coverage, where Robin Adelsen, the CBC’s executive director, shares our goals:

To make a difference, we will focus on recruitment by visiting high schools and colleges, providing resources on the CBC Diversity blog and promoting discourse by hosting panel and roundtable discussions.

I also promised attendees of my session that I would share with them the list of questions we discussed that might help us to know what questions to ask when thinking about deep cultural differences, whether we’re talking about writing cross-culturally in the sense of writing from a perspective not our own, or whether we’re thinking about reaching a readership that isn’t entirely our own culture, and if perhaps there might be some ways to express/acknowledge those differences in our writing. In the case of writing from our own cultural perspective, these questions may be less useful, but nonetheless I think they might get us all thinking about how culture affects decisions we make—not as a form of conditioning, at least no more than any other culture, but as a framework by which we interpret the world. Thinking about these questions may help us in our writing as we apply them to characterization, worldbuilding, plot (how a character reacts to certain problems may certainly be affected by cultural attitudes, whether he or she goes with mainstream culture or not, as does how other characters interact with that person, which eventually over the course of a book turns into a sequence of actions that turn into plot), setting, and so forth.

These questions are from chapter 9 of the excellent book A Beginner’s Guide to the Deep Culture Experience: Beneath the Surface by Joseph Shaules. The author was writing to an audience of potential U.S. expats living abroad, with the idea of helping them to think about cultural differences and ways to adapt to their new countries and enjoy the journey, but as I read it, I found so much that is applicable to ways we might think of culture in terms of writing about it, not to mention the adaptation experiences I had living with college roommates from other countries The intercultural experience goes both ways—though I didn’t live in another country, and so my experience wasn’t quite as deep, I still found I had to adapt and learn from my roommates if I wanted to get along with them.

I highly recommend reading the whole book, or at least chapter 9, where he expands on these questions and discusses how the answers are not either-or, good/bad—just choices that don’t have a value attached to them that show how different people choose to handle universal human questions in different ways.

1. Whom are people loyal to?
2. Who gets respect?
3. How do we ensure fairness and efficiency?
4. How do we manage our emotions?
5. Who is in control?
6. What time is it?
7. How can we judge goodness and truth?
8. How different are men and women?
9. Am I in your space?
10. Shall we look forward or back?

Also: I loved that there were several Koreans in my seminar over the course of the day, two in one session alone! After that session, we got to talking about why and how I’m learning Korean, so I wanted to give a shout-out to the excellent Talk to Me in Korean and their sister site, HaruKorean. I think for those with middle-school aged kids and older, and for us adults looking to learn, it’s a great place to learn Korean both by ear (with the short podcasts that feel like you’re just listening to your Korean friends bantering, yet you’re learning at the same time) and in writing (at HaruKorean you can practice Korean sentences and get corrections from native Korean speakers).

And lastly (but not least), one thing I didn’t get to include in my presentation for lack of time was bookseller Elizabeth Bluemle’s anecdote about how she talks up diversity to her customers, which illustrates well the bookseller-reader part of the diversity in publishing equation. She noted,

“Thinking about our own approach to race in children’s books requires ongoing self-assessment for all of us booksellers, me included. For instance: when I handsell books to customers, I usually gather three to five possible titles and booktalk each one.”

She said that in that stack, she tries to include at least one book featuring a character of color, and if she sees resistance on a customer’s face about the book about the character of color,

“…and they say those coded things like, ‘I don’t think that’s really for him,’ or ‘Oh, she wouldn’t like that,’ you can say, ‘Kids in town LOVE this book!’ (Of course, that has to actually be true. You never compromise your integrity or reputation by pretending a book is good or popular when it isn’t.) And you can make one more gentle try, by saying why you chose that book for that customer’s grandchild…”

…focusing on what’s great about the story—the adventure, the specifics of the plot.

“If they still say no, at least they will be more aware of why they’re saying no.”

Read Elizabeth’s whole post here at the Shelftalker blog.

Another notable text removed from Tucson’s classrooms is Shakespeare’s play “The Tempest.” In a meeting this week, administrators informed Mexican-American studies teachers to stay away from any units where “race, ethnicity and oppression are central themes,” including the teaching of Shakespeare’s classic in Mexican-American literature courses.

Here’s the list of books banned in the Tucson school district last week (source). What other books like this should we celebrate?

*For more on the situation in Arizona, see here and here.

BANNED MEXICAN AMERICAN STUDIES READING LIST
Curriculum Audit of the Mexican American Studies Department, Tucson Unified School District, May 2, 2011.

High School Course Texts and Reading Lists Table 20: American Government/Social Justice Education Project 1, 2 – Texts and Reading Lists

Rethinking Columbus: The Next 500 Years (1998), by B. Bigelow and B. Peterson

The Latino Condition: A Critical Reader (1998), by R. Delgado and J. Stefancic

Critical Race Theory: An Introduction (2001), by R. Delgado and J. Stefancic

Pedagogy of the Oppressed (2000), by P. Freire

United States Government: Democracy in Action (2007), by R. C. Remy

Dictionary of Latino Civil Rights History (2006), by F. A. Rosales

Declarations of Independence: Cross-Examining American Ideology (1990), by H. Zinn

Table 21: American History/Mexican American Perspectives, 1, 2 – Texts and Reading Lists

Occupied America: A History of Chicanos (2004), by R. Acuna

The Anaya Reader (1995), by R. Anaya

The American Vision (2008), by J. Appleby et el.

Rethinking Columbus: The Next 500 Years (1998), by B. Bigelow and B. Peterson

Drink Cultura: Chicanismo (1992), by J. A. Burciaga

Message to Aztlan: Selected Writings (1997), by C. Jiminez

De Colores Means All of Us: Latina Views Multi-Colored Century (1998), by E. S. Martinez

500 Anos Del Pueblo Chicano/500 Years of Chicano History in Pictures (1990), by E. S. Martinez

Codex Tamuanchan: On Becoming Human (1998), by R. Rodriguez

The X in La Raza II (1996), by R. Rodriguez

Dictionary of Latino Civil Rights History (2006), by F. A. Rosales

A People’s History of the United States: 1492 to Present (2003), by H. Zinn

Course: English/Latino Literature 7, 8

Ten Little Indians (2004), by S. Alexie

The Fire Next Time (1990), by J. Baldwin

Loverboys (2008), by A. Castillo

Women Hollering Creek (1992), by S. Cisneros

Mexican WhiteBoy (2008), by M. de la Pena

Drown (1997), by J. Diaz

Woodcuts of Women (2000), by D. Gilb

At the Afro-Asian Conference in Algeria (1965), by E. Guevara

Color Lines: “Does Anti-War Have to Be Anti-Racist Too?” (2003), by E. Martinez

Culture Clash: Life, Death and Revolutionary Comedy (1998), by R. Montoya et al.

Let Their Spirits Dance (2003) by S. Pope Duarte

Two Badges: The Lives of Mona Ruiz (1997), by M. Ruiz

The Tempest (1994), by W. Shakespeare

A Different Mirror: A History of Multicultural America (1993), by R. Takaki

The Devil’s Highway (2004), by L. A. Urrea

Puro Teatro: A Latino Anthology (1999), by A. Sandoval-Sanchez & N. Saporta Sternbach

Twelve Impossible Things before Breakfast: Stories (1997), by J. Yolen

Voices of a People’s History of the United States (2004), by H. Zinn

Course: English/Latino Literature 5, 6

Live from Death Row (1996), by J. Abu-Jamal

The Lone Ranger and Tonto Fist Fight in Heaven (1994), by S. Alexie

Zorro (2005), by I. Allende

Borderlands La Frontera: The New Mestiza (1999), by G. Anzaldua

A Place to Stand (2002), by J. S. Baca

C-Train and Thirteen Mexicans (2002), by J. S. Baca

Healing Earthquakes: Poems (2001), by J. S. Baca

Immigrants in Our Own Land and Selected Early Poems (1990), by J. S. Baca

Black Mesa Poems (1989), by J. S. Baca

Martin & Mediations on the South Valley (1987), by J. S. Baca

The Manufactured Crisis: Myths, Fraud, and the Attack on America’s Public Schools (19950, by D. C. Berliner and B. J. Biddle

Drink Cultura: Chicanismo (1992), by J. A Burciaga

Red Hot Salsa: Bilingual Poems on Being Young and Latino in the United States (2005), by L. Carlson & O. Hijuielos

Cool Salsa: Bilingual Poems on Growing up Latino in the United States (1995), by L. Carlson & O. Hijuielos

So Far From God (1993), by A. Castillo

Address to the Commonwealth Club of California (1985), by C. E. Chavez

Women Hollering Creek (1992), by S. Cisneros

House on Mango Street (1991), by S. Cisneros

Drown (1997), by J. Diaz

Suffer Smoke (2001), by E. Diaz Bjorkquist

Zapata’s Discipline: Essays (1998), by M. Espada

Like Water for Chocolate (1995), by L. Esquievel

When Living was a Labor Camp (2000), by D. Garcia

La Llorona: Our Lady of Deformities (2000), by R. Garcia

Cantos Al Sexto Sol: An Anthology of Aztlanahuac Writing (2003), by C. Garcia-Camarilo, et al.

The Magic of Blood (1994), by D. Gilb

Message to Aztlan: Selected Writings (2001), by Rudolfo “Corky” Gonzales

Saving Our Schools: The Case for Public Education, Saying No to “No Child Left Behind” (2004) by Goodman, et al.

Feminism if for Everybody (2000), by b hooks

The Circuit: Stories from the Life of a Migrant Child (1999), by F. Jimenez

Savage Inequalities: Children in America’s Schools (1991), by J. Kozol

Zigzagger (2003), by M. Munoz

Infinite Divisions: An Anthology of Chicana Literature (1993), by T. D. Rebolledo & E. S. Rivero

…y no se lo trago la tierra/And the Earth Did Not Devour Him (1995), by T. Rivera

Always Running – La Vida Loca: Gang Days in L.A. (2005), by L. Rodriguez

Justice: A Question of Race (1997), by R. Rodriguez

The X in La Raza II (1996), by R. Rodriguez

Crisis in American Institutions (2006), by S. H. Skolnick & E. Currie

Los Tucsonenses: The Mexican Community in Tucson, 1854-1941 (1986), by T. Sheridan

Curandera (1993), by Carmen Tafolla

Mexican American Literature (1990), by C. M. Tatum

New Chicana/Chicano Writing (1993), by C. M. Tatum

Civil Disobedience (1993), by H. D. Thoreau

By the Lake of Sleeping Children (1996), by L. A. Urrea

Nobody’s Son: Notes from an American Life (2002), by L. A. Urrea

Zoot Suit and Other Plays (1992), by L. Valdez

Ocean Power: Poems from the Desert (1995), by O. Zepeda

ETA: Also appropriate to this discussion, OTHER things that MLK once said besides the quotes you normally hear on this day:

Teens, particularly, seem suited to e-readers and electronic devices that can carry an e-reading app. For parents who can afford it, e-readers might be the thing that gets that reluctant reader child to get interested in reading again.

Then there’s the flip side of the coin. My friend Sandra Tayler, the mother of four children, recently blogged about the reasons they still do paper books, including with their kids, two of whom are teenagers and two of whom are in middle school. She’s got some great points:

I can hand a child a $7 paper back and not have to police the treatment of the book. Books end up in bathrooms, spattered with snack food, left on floors, buried under piles of clothing, stepped on, shelved, stacked, and read. I could not do the same with a device costing over $100. I would have to keep track of it and spend time training my kids to treat it correctly.

I have four kids. I want them all to be reading, sometimes simultaneously. I don’t want to spend $400-$700 to get enough reading devices for everyone to read at the same time. Additionally we have a house policy that a child can have an electronic device when they care enough to buy it with their own money. This way they have an emotional stake in taking care of the device. If my kids save up $150, they’ll buy an iPod or a 3DS, not an e-reader. They regularly spend $3-$15 buying books for themselves.

One of the best ways to get kids to choose reading is to have books laying around where the covers can catch their interest. Many moments of boredom have resulted in hours of reading because book was laying nearby. This does not happen if all the books are neatly filed on my Kindle.

Physically taking my kids to the library addresses reading in a new way. The kids are able to speak with a librarian and really think about what they are looking for in a book. Then sometimes their favorite books are ones that happen to be shelved near the one that the librarian was showing them. Involving a librarian in the book selection process means a new perspective and opens up new possibilities for the kids.

Owning a physical book and shelving it with their possessions is one of the ways my kids begin to form their identity. Different kids will latch on to different books or series of books. Then they loan them to each other. There is power in being the one who loans or recommends a book. If all the books are organized in the same electronic library my kids will not feel the same sense of ownership.

My children spend a lot of time playing computer and video games. Sitting down with a paper book gives their brains a break from the flicker of screens. It encourages them to switch over into a relaxed way of thinking. I’ve had them read things on my Kindle or Howard’s iPad, they read for shorter lengths of time because the presence of the electronic device is a constant reminder that there are video games in the world and that those video games might be more fun than reading.

In the same post, Sandra talks about how sometimes reading on her e-reader makes her think of work, which I completely agree with. Reading a paper book, for me, is completely unlike work. I know this book is finished. On my Sony Reader—or now on my Nook or Kindle app on my phone—I can read finished books, but I find myself easily distracted because it feels like I’m working, so I keep noticing typos and things that I would have edited a different way. The Reader is the device I read a lot of manuscripts on, so it really feels like I’m editing.

And I notice a lot of the things that make reading an interesting experience for Sandra’s children are the same ones I enjoy: going to the library and browsing, or just browsing my own shelves. Those experiences are tough to replicate on a device, especially for kids. I still read electronically—mostly on long trips or my commute (though if I’m reading electronically on my daily commute, it’s likely a manuscript).

But let’s talk about this in terms of the children’s book industry. As e-books become more ubiquitous, what might the future library or bookstore look like for children? Are there ways to address these very real concerns that a parent has about losing the benefits of siblings sharing books, owning their own physical books, finding a book to relieve boredom, and other reasons that a physical book is so important?

Not all parents will have Sandra’s same concerns. An only child won’t have sibling concerns, or some parents might prefer a more minimalist look in their house over owning possessions. But however you feel about any individual point, Sandra’s concerns in general reflect a lot of thoughts I’ve been hearing from other parents. Sandra’s reasons are the same reasons I don’t think paper books will ever go away entirely. Yet I also think that we need to think about usability in more than just the actual reading process in our rush to convert to e-books, and think about innovating ways that address these very real parental and sibling needs. Heck, they’re not just parental/sibling. I need these things too when I go to the library or am bored, and I’m a single adult woman who lives alone. Sure, it’s easier for me as a tech-savvy adult to just go look for a book on Amazon or even on my library’s website, where I can check out electronic books (and it’s so easy to do so–the books return themselves, which is something I have difficulty with doing on time in real paper!). But as Sandra notes in the rest of her post, there are ways to get distracted from that if I go onto a multipurpose device like a computer.

If you’re in publishing, how do you see our industry and libraries addressing these issues in the future? If you want to get into publishing as an editor or other industry professional, these are issues you’ll be dealing with as the industry continues to evolve. Maybe your generation will—should—innovate something that my generation never would have thought of?

This is actually one of the things I hated most about the Wheel of Time series, though I loved the series in general: I hated the amount of time spent on this Forsaken’s love of naked mindless servants, and that Forsaken’s love of skinning people, or whatever. Yeah, yeah, I get it, they’re irredeemably evil. Get back to someone I’m actually ROOTING FOR, which is why I’m reading the book!

Sometimes it’s important to briefly show the villain’s point of view to convey to the reader some information that our hero doesn’t have, but I find more and more that my tolerance for even these kinds of scenes is thinning fast. Too often it’s a substitute for more subtle forms of suspense, laying clues that the reader could pick up if they were astute, the kind of clues that the main character should be putting together one by one to the point where when he or she finally figures it out, the reader slaps their own forehead and says, “I should have seen that coming!”

It’s a completely different matter, of course, when the whole point is for the “villain” to simply be someone on another side of an ideological or political divide where there are no true “bad guys.” Usually this happens in a book in which your narrators are unreliable, which can be very interesting.

But there’s a line for me, generally the pillaging/raping/murdering/all manner of human rights abuses line, at which I’m sorry, I just don’t care about this guy’s point of view. The equivalent of this in middle grade books—where pillages/murders/rapes are (hopefully) fewer—is the pure evil villain who’s just out to get the main character because the villain is black-hearted, mean, vile, whathaveyou. Evil through and through, with no threads of humanity. (Though honestly if he’s killing people “for their own good” to protect a certain more nuanced human viewpoint, I generally still don’t want to see that from his POV.)

So, what’s the line for you? Do you like villain points of view? Do you feel they add depth to a story? At what point do you think a villain POV goes from adding nuance or advancing the plot to annoying?

ETA: Coincidentally, my author Bryce Moore recently reviewed the Captain America movie and had this to say about how a character becomes evil, which I think is apropos to this discussion:

Honestly, if writers spent as much time developing the origin and conflicted ethos of the villains of these movies, I think they’d all be doing us a favor. As it is, it’s like they have a bunch of slips of paper with different elements on them, then they draw them at random from a hat and run with it. Ambitious scientist. Misunderstood childhood. Picked on in school.

That’s not how evil works, folks. You don’t become evil because you get hit in the head and go crazy. You become evil by making decisions that seemed good at the time. Justified. Just like you become a hero by doing the same thing. A hero or a villain aren’t born. They’re made. That’s one of the things I really liked about Captain America. He’s heroic, no matter how buff or weak he is.

This is, perhaps, the best description of why villain POVs bug me so much: because they’re oversimplified, villainized. And for some stories, I think villainization works, but I don’t want to see that point of view, because it’s oversimplified and uninteresting. When it’s actually complicated and interesting, then it becomes less “the villain” and more nuanced—sometimes resulting in real evil (after all, I doubt Hitler was an evil baby; he made choices to become the monster he became) and sometimes resulting in a Democrat instead of a Republican or vice versa—ideological, political differences between (usually) relatively good people (though our current political discourse would probably make little distinction between *insert the opposite of your own party here* and Hitler, I do believe there is truly a difference).

And of course The Death Cure is the last in James Dashner’s Maze Runner trilogy. Even though I worked with James on the first book years ago before it ended up selling to Delacourte (curses! But I’m glad it found a good home), I could never have predicted where the next two books would end up. It’s good, guys. I’m not quite finished reading yet, but it’s action packed and if you haven’t started with The Maze Runner you should catch up to me so we can talk.

Once I finally finish those (tonight I’m off again on a Hunt with Beka Cooper), I’m digging right into Prized by Caragh M. O’Brien, the sequel to her Birth Marked, which I also enjoyed. I’m curious where it’ll go next.

And now my cat Mogget is racing around the apartment with the kitty crazies. Maybe I’ll go toss a mouse to him so he’ll stop scratching up the dining room table. While I’m gone, share your latest favorite reads!

In the meantime, you should check out Diversity in YA if you haven’t yet. Especially libraries! They’re running a summer reading challenge, and the prize is free books for the winning library! There are two parts of the challenge, actually—one for libraries to diversify their collections/programs, and one for readers and book bloggers to diversify their reading. For more details, check it out over at their site.

For fantasy is true, of course. It isn’t factual, but it is true. Children know that. Adults know it too, and that is precisely why many of them are afraid of fantasy. They know that its truth challenges, even threatens, all that is false, all that is phony, unnecessary, and trivial in the life they have let themselves be forced into living. They are afraid of dragons, because they are afraid of freedom.

This freedom she speaks of is that of the imagination, the ability to believe in things you know not to be real:

So I believe that we should trust our children. Normal children do not confuse reality and fantasy—they confuse them much less often than we adults do (as a certain great fantasist pointed out in a story called “The Emperor’s New Clothes”). Children know perfectly well that unicorns aren’t real, but they also know that books about unicorns, if they are good books, are true books. All too often, that’s more than Mummy and Daddy know; for, in denying their childhood, the adults have denied half their knowledge, and are left with the sad, sterile little fact: “Unicorns aren’t real.” And that fact is one that never got anybody anywhere (except in the story “The Unicorn in the Garden,” by another great fantasist, in which it is shown that a devotion to the unreality of unicorns may get you straight into the loony bin). It is by such statements as, “Once upon a time there was a dragon,” or “In a hole in the ground there lived a hobbit”—it is by such beautiful non-facts that we fantastic human beings may arrive, in our peculiar fashion, at the truth.

Unfortunately, the essay isn’t online to link to the rest of it, but do look up The Language of the Night at your local library (it doesn’t appear to still be in print, but used copies are going for anywhere from 75 cents on Half.com to $151 on Amazon). I’m still working my way through—each essay is fascinating. Working my way up to “American SF and the Other,” which is the reason I checked the book out from the library.

ETA: A blogger whose post on this essay is one of the top Google results posted the results of a Q & A with Le Guin last year that addresses her thoughts on where we are today.

I’ve gotten a lot of great suggestions to add to the list, but my website seems to still be broken, and my own computer has a dead motherboard (well, it did when I started writing this last week—thankfully, it’s now fixed). I’m still figuring out why WordPress won’t let me edit any of my old content.

So, in the interest of having one place that people can use as a resource, I’m going to copy everything into this entry. Rather than divide the list by what I’ve read and what I haven’t, which was just more a personal exercise last year in wondering whether my own reading habits had reached past my own culture, I’ll divide the list by age group and genre (fantasy/SF). What that means is that I am not making a comment on how good I think a book is or recommending it/not recommending it—there are several books on this list I haven’t had a chance to read yet. It’s simply a list compiling what’s out there. I’ve also added books that I’ve discovered over the last year or that have been suggested to me in the comments. Go to the previous booklist post for comments on some of the books in this list.

Middle Grade Fantasy

• Where the Mountain Meets the Moon, 2009, Grace Lin
• Moribito: Guardian of the Spirit, 2008, Nahoko Uehashi, and its sequel, Moribito II
• City of Fire, Laurence Yep
• The Tiger’s Apprentice, Laurence Yep
• Dragon of the Lost Sea, Laurence Yep (and pretty much anything else written by Laurence Yep)
• Zahrah the Windseeker, Nnedi Okorafor-Mbachu
• Chronus Chronicles, Anne Ursu (someone mentioned this and I haven’t read them—are the main characters people of color or is it set in a non-Western culture? from its Amazon listing, it seems to star a white girl and use Greek mythology, which are great, but don’t fit the definition we’re using here)
• The Red Pyramid, Rick Riordan
• Sword and Wandering Warrior, Da Chen
• The Conch Bearer, Chitra B. Divakaruni
• Circle of Magic quartet, Tamora Pierce
• Circle Opens series, Tamora Pierce
• Pendragon series (?)
• Un Lun Dun, China Mieville
• Lavender-Green Magic, by Andre Norton
• Dragon Keeper and Garden of the Purple Dragon, Carole Wilkinson
• Moonshadow: Rise of the Ninja, Simon Higgins
• The Magical Misadventures of Prunella Bogthistle, Deva Fagan
• Magic Carpet, Scott Christian Sava
• Marvelous World #01: The Marvelous Effect, Troy Cle
• Ninth Ward, Jewel Parker Rhodes

Middle Grade Science Fiction

• The Animorphs series
• The True Meaning of Smekday, Adam Rex

Young Adult Fantasy

• Wildwood Dancing, Juliet Marillier
• Book of a Thousand Days, Shannon Hale
• Flora Segunda, Isabeau S. Wilce, and its sequel Flora’s Dare
• Little Sister, Kara Dalkey, and a sequel for which I’ve forgotten the name
• Magic or Madness, and its sequels, Justine Larbalestier
• Eternal, Cynthia Leitich Smith
• Tantalize, Cynthia Leitich Smith
• Tantalize: Kieren’s Story, Cynthia Leitich Smith
• Sucks to Be Me, Kimberly Pauley
• Silver Phoenix, Cindy Pon
• How to Ditch Your Fairy, Justine Larbalestier
• Guardian of the Dead, Karen Healey
• A Wish after Midnight, Zetta Elliott
• The Black Canary, Jane Louise Curry
• The Secrets of Jin-Shei, Alma Alexander (older YA and up)
• The Worldweavers Trilogy, Alma Alexander
• The Will of the Empress, Tamora Pierce and its sequels
• Libyrinth, Pearl North
• Across the Nightingale Floor and its sequels, Lian Hearn (older YA)
• Devil’s Kiss, Sarwat Chadda
• Annals of the Western Shore series, Ursula K. LeGuin
• The Two Pearls of Wisdom (or Dragoneye Reborn as it’s known in the US), Alison Goodman
• City of the Beasts, Isabel Allende
• Blood Ninja, Nick Lake
• Magic under Glass, Jaqueline Dolamore
• Stormwitch, Susan Vaught
• 47, Walter Mosley
• Pemba’s Song, Marilyn Nelson and Tonya C. Hegamin
• Rogelia’s House of Magic, Jamie Martinez Wood
• Haroun and the Sea of Stories, Salman Rushdie
• The Icarus Girl, Helen Oyeyemi
• Invisible Touch, Kelly Parra
• Soul Enchilada, David Macinnis Gill
• Eon: Dragoneye Reborn, Alison Goodman
• The Comet’s Curse: A Galahad Book, Dom Testa
• Bleeding Violet, Dia Reeves
• Liar, Justine Larbalestier
• Meridian, Amber Kizer
• Ruined, Paula Morris

Young Adult Science Fiction

• The Ear, the Eye, and the Arm, Nancy Farmer
• The House of the Scorpion, Nancy Farmer
• A Wizard of Earthsea, Ursula K. Leguin
• The Shadow Speaker, Nnedi Okorafor-Mbachu
• Extras, Scott Westerfeld
• Black Hole Sun, David Macinnis Gill

Unsure of whether these books are MG or YA (have not read yet, pulled titles from Shweta Narayan and The Happy Nappy Bookseller‘s lists. Can someone give me a head’s-up what categories they fit in?

• A Posse of Princesses Sherwood Smith. (Is this YA?)
• The Dragon Keeper, Carole Wilkinson
• A Girl Named Disaster, Nancy Farmer
• The Wizard series, Diane Duane
• The Green Boy, Susan Cooper
• The Magical Adventures of Pretty Pearl, Virginia Hamilton
• Willie Bea and the Time the Martians Landed, Virginia Hamilton
• The Night Wanderer, Drew Hayden Taylor
• Dread Locks (Dark Fusion), Neal Shusterman

Please feel free to continue to leave other suggestions in the comments.

After all of the authors answered the question about marketing their books online with some version of "I have a web page," and perhaps an "I have a Facebook," I raised my hand and asked, "I’ve heard it said that the children’s book online community can be a little . . . in-bred. That is, authors friend authors on LJ and Facebook, comment on each other’s blogs and do blog tours, do interviews with reviewer bloggers, but who is the audience that these blogs reach? How do your directly reach your readers online?"

(I admit, it was a loaded question, because I’ve seen authors use the web in some very innovative ways to reach their teen readers, especially, and part of the answer to that for younger readers isn’t a direct answer because gatekeepers are involved.)

But I’d like to open up the question to you guys. Let’s brainstorm and really think about how to use these new technologies in a way that reaches teens. And how do you go beyond the message of "buy, buy, buy" (which is good for paying your bills, but there is something very commercial about that which I don’t think we really aspire to openly in the book world), and make it a more general message, yet still reach them about your book?

There are already some great examples of authors doing things that reach their readers directly–I’ll name a few off the top of my head: Readergirlz, Scott Westerfeld’s blog, Shannon Hale’s blog, several communities on Facebook. How do these accomplish what they do, and is there a way of extending their reach or following their example? How did Scott and Shannon attract so many readers–do teens look up their favorite author and see if he or she has a blog, or did the blog attract the teen first and then they became a reader of the books?

And what’s up with Twitter? I haven’t really had a chance to check it out yet. How might Twitter be used to reach teen readers?

Those are just a few questions I have, and I’m hoping to open up a discussion here and on Facebook, where this blog is imported as a note. I’ve seen these questions asked again and again on listservs I’ve been on, but usually in the context of librarianship, and I’m wondering how authors specifically can use these tools to reach readers.