Half speed

So far this year — I just counted the days, because I am the sort of person who does that — I’ve spent over a month in places that aren’t home.

Seven different states, including both New York and California, as well as a few occasions in my home state but not my home town. In most cases I was doing author events. And that is super cool and I’m very grateful to have the opportunities.

But wow, it has also been exhausting. (I say this fully aware that there are lots of folks who are on the road much more often than I’ve been. My hat is off to them/you all.)

I have a bit of time before the next round of travel (which I’m excited to say includes Kids Read Comics! and a writing workshop at the Ann Arbor District Library!) and I kind of feel like I’m operating at half speed — thinking, moving, and certainly writing less quickly than I’d like. Like the sleep debt and jet lag I’ve accumulated have coagulated to slow me down.

But I always think I’m not writing fast enough. And half speed is still some speed. So, onward.

 

SCBWI Oregon: resources mentioned for writing with cultural awareness/responsiveness

Writing The Other: a practical approach, Nisi Shawl and Cynthia Ward

12 Fundamentals of Writing “The Other” (and the self), Daniel Jose Older

Diversity in YA

We Need Diverse Books

Iceberg Activity – which aspects of culture are visible and which are ‘below the water line’? An interactive online exercise from FamilyForce.ca, a resource for Canadian military families

White Girl, Colleen Mondor

How privilege and diversity affect literature and media, a collection of articles curated by Sarah Hannah Gomez

Guest Post: Joseph Bruchac on You Don’t Look Indian at Cynsations, Joseph Bruchac hosted at Cynthia Leitich Smith’s blog

A Few Disjointed Thoughts on Other Cultures and Diversity in Science Fiction and Fantasy, Aliette de Bodard

Should White People Write About People Of Color?, Malinda Lo

Windows and Mirrors: Reading Diverse Children’s Literature by Dr. Sarah Park Dahlen

Writing Race: A Checklist For Writers, Mitali Perkins

The Danger Of A Single Story, Chimamanda Nzogi Adichie

“The Boundaries of Imagination,” Or, The All-White World Of Children’s Books, 2014, a collection of articles curated by Philip Nel

It’s Not Me, It’s You: Letting Go Of The Status Quo by Zetta Elliott

Looking at rituals from the outside:

No R.S.V.P.? In Rajasthan, India, No Worries and the satirical response No R.S.V.P.? In South Jersey, USA, No Worries

 

SCBWI Oregon: resources mentioned in Page One, Panel One graphic novel workshop

 

 

Interview with Mimi Lipson, author of The Cloud of Unknowing

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I loved every story in Mimi Lipson‘s collection The Cloud of Unknowing –  so much that I couldn’t resist reading one, “Mothra,” out loud in its entirety. When I finished, my companion looked at me expectantly, then said, “Oh no. That’s the end?” I nodded. They laughed with appalled delight.

Mimi is also a stained glass artist; I’ve punctuated this interview with images of some of her pieces.

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SR: Jenny Offill says and I agree that there’s a generosity to this collection, and I see it particularly in the way you shift points of view both between and within the stories; for instance, the reader seeing Isaac through Kitty’s eyes and vice versa. How do you decide which POV to use in a scene?

Thank you (and thank Jenny) for saying that. I guess generosity isn’t something every writer goes for, nor should they, but I do—as long as it doesn’t shade into mawkishness.

Anyhow, those switches in POV are usually a matter of instinct. Just, I get itchy with Kitty’s view, and bam, I’m in Isaac’s head. In retrospect I can see that the shifts are usually technical moves. They push a story along or to give it more dimension. It’s supposed to be good if the reader knows something about the narrator that the narrator doesn’t know about him-or-herself, and POV switches are a way of accomplishing this. It’s easy to communicate something about Isaac through Kitty’s eyes, and vice versa, without requiring either of them to have too much self-awareness. So maybe it’s another crutch.

Then sometimes a story will only work with a certain narrator. “Lou Schultz” is an example. It had to be told from Lou’s perspective because otherwise he would seem a little monstrous. Or anyhow he would just be a lousy parent, which in this day and age amounts to the same thing.

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SR: One of the many things I really admire about this collection is that there are moments in each story that suggest the possibility of other, equally rich stories. In “Lou Schultz” when Lou remembers how he and Helena met, or in “The Endless Mountains” when the freight lines remind Jonathan of Lou’s anecdote about hopping a train and eventually presenting himself at the Enid, Oklahoma jail. Given all these possibilities, how do you decide how much narrative space to devote to each one? Would you want to write, for example, a longer Lou-and-Helena-in-their-youth story, or a story about Lou’s train-hopping?

ML: This is actually a big problem for me. The story-before-the-story is such a tempting device for enlarging a current world or a current relationship. I would maybe even call it a crutch—like writing about dreams or photographs. As you point out, it seems to happen more around the Schultz family. I don’t think anyone will be shocked to learn that most of the pieces in this collection take events from my own life as their jumping-off points, and so much of what I know or think about my own family is based on stories I was told.

To answer your question, though: Would I want to write those other stories? Yes. I guess everyone is interested in their parents as characters who existed in the world before they were born. But haven’t I already been self-indulgent enough?

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SR: Does your background in linguistics influence your writing, and if so, how?

ML: I’m not sure about influence. I do think my interests in linguistics and in writing have a common source, which is (to use a mortifying expression) a love of language. I’ve always paid a lot of attention to the way people talk: how they can be characterized by their speech, and how they do things with language—for instance, using formality to dominate and informality to disarm. Or how grandiloquence can be comic. It’s Bugs Bunny stuff, really.

As far as linguistics goes, my initial attraction was to macro-level language structures—what’s called discourse analysis. That quickly led to sociolinguistics, which is more about the invisible rules and patterns of language change and variation. That, in turn, led me to formal linguistics. Eventually, we’re not even dealing with words anymore—just symbols and functions and stuff. So as things become more abstract and formal and technical, the two things—writing and linguistics—get further apart. I’d be hard pressed to find a connection between my writing and, say, the semantics of verb aspect.

Anyhow, I didn’t start writing seriously until I’d been out of the linguistics game for a while, but when I did, there was that mix of high and low—that functional use of register that made language structure interesting to me in the very beginning.

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SR: Your characters Helena and Kitty seem to have some similar impulses to rescue, protect, and otherwise nurture difficult people, and also a similar capacity to see those difficult people’s positive qualities. Where do you think the line is between having strong empathy and making excuses for poor behavior?

ML: I guess you could say that the apple didn’t fall far from the tree with those two. As for me, I don’t know where that line is, but then I think a lot of people don’t. I don’t even know where the line is between a negative trait and a positive one. I often have misunderstandings as a result of talking about people or places in terms that sound disapproving when I don’t necessarily mean something bad—like how Kitty calls Los Angeles ‘apocalyptic’ in “The Searchlite.”

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SR: And of course the usual question: what are you working on now?

ML: Let’s just say I am working on a nonfiction project.

OLA and WonderCon

If you’re in Salem tomorrow or Anaheim Friday-Sunday, come see me!

At the Oregon Library Association conference:

Thursday, April 17th

2 – 3:30 PM Graphic Rave & Graphic Reads!  In my part of the session I’ll talk about collaborating with Carla Speed McNeil on Bad Houses & show some penciled and inked pages from the book. I’ll especially highlight Carla’s fabulous lettering — she was just nominated for an Eisner Award for Best Letterer!

4 – 5:30 PM Making vs. CraftingDespite the title this will probably not be a fight between Team Making and Team Crafting. But who knows what might happen? 

Directly after those sessions, I’ll drive at breakneck speed from Salem to the Portland Airport so I can make my flight to Anaheim!

I’ll be a special guest at WonderCon, tabling at AA155 and appearing on the following panels:

Friday, April 18
1:30 PM Spotlight on Steve Lieber and Sara Ryan 
Room 203WonderCon Anaheim special guests Steve Lieber (Superior Foes of Spider-Man) and Sara Ryan (Bad Houses) discuss creating comics, finding the core of a story, comics versus prose, collaborating while married, and more.

4 PM The New Wave Graphic Novel Room 210A: Jim Di Bartolo (In the Shadows), Steve Lieber (Whiteout), Sara Ryan (Bad Houses), and Gene Luen Yang (The Shadow Hero), all eminent graphic novelists, discuss their own works within the graphic novel form, as well as how today’s increased acceptance of the graphic novel has led to new books, new authors, and new readers. Moderated by WonderCon Anaheim special guest and author Jim Pascoe.

Saturday, April 19
11 AM: Signing at Dark Horse booth 519

Life Gets Better Together 4/13

In a mere few days, I’ll be at Syracuse University!

I’m very honored and excited to be a speaker & workshop leader at the Life Gets Better Together conference on Sunday, 4/13, and also that the first 50 people to register for the event will receive a copy of The Rules for Hearts

Although I’m a little concerned — I had to agree, when I signed the contract for the conference, that “no member of the performing group or its entourage will encourage, incite, or participate in any form of stage diving, moshing, slam dancing” — and I mean, I’m just not sure I can be responsible for the behavior of my entourage.

In my writing workshop.

 

 

 

Latoya Peterson at Reed College

Yesterday while I inched my way across town through drizzly rush hour traffic, I was tired, cranky, and unsure whether my plan to attend Latoya Peterson‘s Digital/Divides: When Race, Class & Pop Culture Collide talk at Reed College would be the best way to spend my evening.

It absolutely was.

Peterson, editor/owner of the invaluable Racialicious.com, is an insightful, funny speaker who moves seamlessly between hilarious TV, music, film & Internet references and acute analysis of the ways these cultural products reflect dominant norms.

Early on, she asked the audience how many of us considered ourselves culture creators, and made the point that whatever you’re putting out there, whether it’s a book, an album, a comic, a YouTube video, or a year’s worth of Instagram selfies, you’re contributing to culture, and therefore you need to be conscious about the messages you’re sending.

A few other highlights from my notes:

When you consume any piece of culture, ask yourself: What kinds of stories are you being told? What stories are you missing?

“Culture is hegemony’s goon.” — Renina Jarmon (Peterson, in citing the piece from which that quote is taken, noted the particular pleasure to be derived from article titles that juxtapose raw lyrics with academic & feminist terms.)

During the Q&A, I asked about using genre (e.g. romance, mysteries, science fiction & fantasy, YA, urban fiction, & other types of storytelling that are sometimes dismissed & disregarded) as a way to challenge dominant cultural norms and tell the kinds of stories we’re not seeing elsewhere. Peterson’s excellent response: “The greatest thing about genre is that you can break all the rules; the worst thing about genre is how infrequently that happens.” Indeed.

Speaking of cultural products, genre and otherwise, now on my list because Peterson mentioned them: Noah’s Arc, the first season of Gimme Sugar (link is to a 2008 article she wrote about the show for Racialicious, which, bonus, quotes Malinda Lo!), and Jennifer Silva’s book Coming Up Short: Working Class Adulthood In An Age of Uncertainty, & (edited to add!) Jessica Luther’s feminist romance project Steel & Velvet.

Peterson also mentioned, offhandedly, that she’d probably write her own book eventually. I hope it’s soon! In the meantime, if you have a chance to see her speak, go.

 

 

 

Emerald City Comicon: yes I will be there

 

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Emerald City Comicon-goers, come see me at the Periscope Studio island, booth #1214!

I will have many copies of Bad Houses and of the special comics-enhanced reissue of Empress of the World and of the non-comics-containing but all-about-comics-anthology Chicks Dig Comics!

Also I’ll have minicomics in clever bundles, 3 complete stories for a mere five dollars, such a deal.

When I’ve sorted them to go into their bundle bags they even look like a heart.

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See you there!

Recently, soon

KAPOW! If you’re anywhere near Eastern Michigan University, go see this exhibit. I’d say that even if there weren’t pages from Bad Houses in it.

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Then I went from Ypsi to Indy.

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I confess I imagined a cell phone into this statue’s hand.

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This gallery was technically not open but the nice curator let me wander around for a while anyway.

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So that’s recently. Soon is Emerald City Comicon; I’ll be in the Periscope Studio area, booth 1214. Seattleites, hope to see you there!