Catching Fire trailer!

The Hunger Games movie franchise could easily rest on its popcorn potential. These are suspenseful stories featuring hot young movie stars whose characters' fates hang constantly in the action-packed balance. What I love about these movies is that they play up their serious side even though they don't have to. The books were written largely to make us think by making us feel something more than just our pulses pounding. The tone set in the first movie, particularly during the Reaping, did the same thing, and this trailer takes that same tone. Yes, Katniss Barbie exists, but you don't have to have read the books first to realize why that's funny. (If you read them afterwards, as so many people did when the first movie came out, so much the better.)

I'm sure I'll have more to say once I've seen more than two and half minutes of the movie. But given the trailer's emphasis, I'm inclined to thank Lionsgate for trusting our intelligence.

A thought for publishers

Dumps are often a great idea, at least to this bookseller's mind. (For the uninitiated, a dump in this context is a cardboard floor display designed to hold lots of copies of a particular book or sometimes a series.) They make a new book visible, which obviously makes a huge difference in sales. They tell customers (and us booksellers) that a book is kind of a big deal. They save us from finding space for huge amounts of overstock - not the basis for display decisions, but a nice perk. But they only work when we can use them.

We're a midsize indie, and nearly every square foot is accounted for, either by merchandise or by a thoroughfare. On a sunny Sunday when everyone's picking up summer reading for camp, our aisles can get pretty crowded. I can only imagine how precious space is for smaller stores than ours, of which there are many.

I'm much more likely to put up a dump if it's relatively small, and I bet I'm not the only one. A display with one column of slots for books and a topper with the title and an image will still get much more attention than a faceout on the shelf, and it's much easier to use than one that's two or three feet wide. (Having the book's title on the top piece is a simple thing that can help; if I'm not able to use the dump, I do try to hang the top piece as a poster.)

Every store's space has its quirks. Our kids' section's layout is such that there are several nooks and crannies for dumps around Intermediate Fiction, but not many around other sections, and that's probably different in other stores. And of course, some stores are bigger than we are, and their booksellers might be more eager for a giant display to draw attention to a big new book. I wonder if it would be feasible for publishers to provide dump options in different sizes and let buyers choose, if that isn't happening already.

You want customers to notice your big titles, and we want the same thing. The easier it is to display them prominently, the better for both of us.

**************************************************************************
I'll be away next week, and probably playing catch-up when I first get back. If this blog is quiet for a bit, rest assured I haven't abandoned it!

Best. Word Book. Ever.

I've had some variation on this conversation quite a few times, almost always about the same author:

Customer: Can you help me? I need to buy a gift for a four-year-old, and I don't know much about kids' books. I don't even really remember what I read as a kid. Is there something with trucks, maybe?
Me: Sure, of course. How about Cars and Trucks and Things That Go?
Customer: Oh, right! I remember Richard Scarry!

Richard Scarry's Best Word Book Ever turns fifty this year, and Random House is marking the occasion with a new edition, which will kick off a rebranding of much of Scarry's backlist. The changes sound fairly minor (new covers, but Scarry's original artwork will be scanned), and I say more power to a Scarry push. In many ways, Scarry does for the picture book set what a lot of nonfiction does for older kids who might find themselves reluctant readers of more linear text. Scarry's busy, busy pages tell kids that they don't have to read or sit through a story from cover to cover. They can "dip in." They can interact with each page, discovering new details every time or developing their own custom routines of elements to point out every time they share the books.

Maybe that's why Scarry has such an ability to jog the memories of adults who as a whole don't have strong memories of childhood reading. I can see why his books might leave an impression on kids who otherwise didn't enjoy reading. Scarry's work broadens the definition of what reading can be like for early readers, and if those reluctant readers who found his books forty or fifty years ago had then found lots more books like them, I wonder if they would've had a more natural progression into reading. These days, with so many kids' books using more visual formats (I'm looking at you, nonfiction and graphica and semigraphica), I wonder if Scarry's books are better positioned to serve as gateway books.

Head-over-heels literary love

It's been a while since I've had a strong experience of couldn't-put-it-down, wanted-to-share-it-with-everyone literary love. That just happened with David Levithan's Every Day. The premise: each day, A inhabits a different person's body. The major (though not only) conflict is that A falls in love but is not in a great position to establish a long-term relationship; I don't always find romance plots very compelling, but the circumstances of this one made it worth following. To me, though, the most interesting aspect of the novel was A's day-to-day (see what I did there?) life. A embodies the close friends and family members of countless people, and thus learns all about human nature and relationships. I could've done without the occasional preachiness, but was in constant awe of A's primary goal for the vast majority of A's life: to make things as easy as possible for the owner of each inherited body. I actually spent the first few chapters wishing this were a middle-grade novel; I'd love to see how a younger A would grow to understand that kind of existence, and I was very glad Every Day eventually addressed A's childhood pretty thoroughly. In any case, wow. This is the kind of mind-bending fantasy that's so closely tied with reality, it makes me see life differently, and looking at life through its lens was so interesting that I didn't really mind the lack of an explanation for A's situation. (Side note: did anyone else mentally assign a gender to A? I think I tend to project the author's gender onto the protagonist, especially in a first-person novel, if the gender isn't immediately apparent. Or maybe I was just influenced by the first form in which we meet A.)

Spoiler alert: Every Day will probably be my next staff rec at the store, and that's saying something, because I've had a great reading streak overall lately. A few other good reads of late:

Absolutely Normal Chaos, by Sharon Creech. The lady is good at voice. And thirteen-year-olds. And hilariously blossoming understanding of adult matters.

Scarlet, by A.C. Gaughen. I am a sucker for a good reimagining of an old story. I'm only passingly familiar with the Robin Hood tales (and by passingly, I mean my frame of reference is almost entirely Men-in-Tights-based), but all the same, I loved the new elements introduced to deepen Will Scarlet's backstory.

A Family of Poems, by Caroline Kennedy. I'd flipped through this and her newer collection, Poems to Learn by Heart, but I took a closer look while staffing a book fair last week. Kennedy's done a great job of gathering a variety of poems in a way that encourages making them a part of daily life, and there's nothing like a Jon J. Muth illustration to make an old favorite new again.

Borrowed Names, by Jeannine Atkins. Have I mentioned I love new perspectives on familiar stories? Atkins realized that Laura Ingalls Wilder, Madame C.J. Walker, and Marie Curie were all born in 1867, and drew more connections among them, which resulted in a verse novel focusing on their daughters. I have to admire the publisher that was willing to take on an idea like this, and I'm glad one did.

If you've tried to talk to me in the past few weeks and just gotten a "hmmmm?", one of these books was probably why.

**************************************************************************

The children's lit community suffered a sad loss last week. I only knew Kristin Sinclair briefly through a few classes at Simmons, but I remember her as constantly enthusiastic, equally so for books and ideas and for the people she encountered. My heart goes out to those who were close to her.

Honey, I blew up the story

Honey, I Shrunk the Kids is on right now. This, in my childhood, was the sort of movie that I wouldn't just tell you was funny. I would recite a scene and make sure you understood the logic behind why that scene was funny. Then I would go back to counting how many times each member of the Baby-sitters Club moved within the series. (They moved a lot.)

Today, a customer of about seven was trying to make the case for purchasing the third Wimpy Kid book, The Last Straw, better known to many of us as "the green one." Her caregiver assured her that the library would have it, but the girl knew otherwise (or at least, knew what was on the shelf on her last visit or two): "The library doesn't have it. They only have The Ugly Truth, and Rodrick Rules, and The Third Wheel, and Dog Days, and Cabin Fever. They don't have The Last Straw."

There's a reason we teach kids to summarize. But while they're learning, being obsessed with something down to the tiny details is a lot of fun.

The whirlwind children's lit life

It's been a busy week or so in the Boston children's lit world, partly because of Children's Book Week and partly just because. Last Tuesday saw a mini-reunion of NESCBWI conference attendees at a YA panel at the Newton Free Library featuring Erin Dionne, Jo Knowles, and Gina Rosati. What struck me most besides the friendly atmosphere was how involved Newton-area teens seem to be in reading. They comprised a significant percentage of the audience, they'd read some of the authors' books for their book club, and it sounded like quite a few of them were aspiring writers. Cue the awwwwwws.

The next night, Charlesbridge and the Children's Book Council held a discussion entitled "Diversity on the Page, Behind the Pencil, and in the Office." I thought the event started a number of great discussion threads, and I mentioned to one of the organizers I'd love to see the discussion continue online, so I'll start here with one point that came to mind. One of the panelists pointed out that book purchases often depend on how we present the books - a book about runaway slaves can be presented as a story of courage, for instance, instead of as a story about the experience of an "other" group. I agree that this is the ideal, and in many cases, it does work well. For instance, we've had great success selling Anna Hibiscus as a funny chapter book about a girl's adventures with her big family, which by the way lives in "Africa, Amazing Africa." But what about a book like Drama? It's not immediately clear from the cover or the what-it's-about pitch (middle school stage crew! What's not to love?) that homosexuality plays a significant role in the plot, and we live in a world where some people are afraid of certain kinds of otherness. If the potential reader is young enough (say, under ten) that the book's innocent portrayal of gay preteens might raise questions, I feel I have to be honest about that with the customer; it doesn't help anything if he or she finds out later and thinks that liberal lady in the bookstore is trying to trick people into giving children books with an agenda. (To be fair, quite a few of our customers are absolutely fine and then some with giving their children books that have gay characters. But one can't assume, and I know there are parts of the country where it's a much bigger problem.) In any case, the event was well-attended by people from all facets of the industry, and it was great to see that so many people care about this issue or series of issues.

The PEN New England Susan P. Bloom Discovery Night was this past weekend; congratulations to winners Anna J. Boll and Katherine T. Quimby! Both are Vermont College grads, and it was sweet to see classmates standing up there together. Katherine's manuscript, in particular, tied in with points raised in Wednesday's diversity discussion. I hope both stories go far.

And last night was Kidlit Drink Night, where we talked about all of the above and more (over music that was too darn loud). A raffle of signed books raised over $150 for violence prevention with Boston teens, with the promise of further fundraising with the remaining books. Cool!

No wonder I'm behind on my reading.

Back from NESCBWI

Hundreds of business-casual shoes padded against the thickly carpeted floors of the Sheraton Springfield Monarch Place, carrying the scent of coffee and the sound of tweeting fingers from the King George Room to the Ballroom.

(Several workshops and a critique reminded me I need to use more sensory details.)

The New England conference for the Society of Children's Book Writers and Illustrators was this weekend, and as always, it was a great place to see old friends and look at writing in new ways. I started off in Jeannine Atkins' workshop on using setting to structure fiction; hence the sudden focus on sensory details. (I promise to make those in my fiction sound more natural than the above.) Next was a workshop on managing life and writing, which provided a needed reminder after a busy week to relax a bit. After a dinner spent catching up with friends from Simmons, we attended a panel on "edgy" YA. I'd be curious to know what sort of content genuinely shocks teen readers these days; I remember giggling in amazement when a Writer's Digest guide I received for my bat mitzvah said writers needed a "built-in shit detector" (apparently a reference to a Hemingway quote), but I'd be surprised if most thirteen-year-olds would react the same way now.


I loved Sharon Creech's keynote, particularly her interpretation of "You come too" in Robert Frost's "The Pasture" as a beckoning to the reader. After a critique that gave me some ideas for playing with my novel's beginning, I attended Kate Messner's revision workshop, which was full as always of good ideas (and of attendees!) and which proved to me that my career does not lie in wordlessly acting out emotions. Grace Lin's after-lunch keynote about her career journey was a reminder of how recently the term "multicultural" has been used to mean "acknowledging the existence of a non-dominant culture in a book that automatically gets pigeonholed." Chris Eboch's workshop on theme was a good exercise in using plot to help a book say what you mean for it to say. Getting off campus that evening and exploring Northampton was another kind of good exercise, and we got to do some more catching up with friends when we got back, including the perpetual Crystal Kite winner. Congratulations, Jo!

The historical fiction panel the next morning impressed me with the amount of historical fiction that's written in verse novel form; even small, necessary info-dumps must be a challenge. Karen Day's tips for finishing a novel were practical and realistic, and Kellie Celia's workshop on reaching book bloggers, though not immediately applicable in my pre-published state, was illuminating on the blogging end; the lady knows her stuff (and if I ever want to grow this into a more influential blog, I know exactly who I'll pump for tips). AC Gaughen and Hilary Weisman Graham's gave us great examples of how word choice affects voice; largely through their own banter.

Rooming with the co-registrar gave me a glimpse of the work the goes into the conference. Thanks, everyone who created places for our business-casual shoes, our coffee, and our tweeting fingers to go!