Saturday, September 24, 2011

simple joys






I've been having a wonderful time chronicling my adventures in France on my blog (I'm about half way done) as well as my Pocket Pacy adventures!

I've been actually getting such a kick out of the whole Pocket Pacy project that I think I will continue and expand it at home.

But so far, I think my favorite memory of France has been when I wandered into the Jardin du Luxembourg in Paris.  I became entranced by this Italian style fountain:
The Medici Fountain

But the Sasquatch grew a little bored as I sketched and walked around, instead. When he came back, he said, "I think there's something over there you'll really want to see."

He was right. Because "over there" was an amazing vintage carousel:

the animals were designed by the Charles Garnier, the same designer of the Grand Opera!
The animals were worn and chipped, there wasn't even music playing. But there was a new group of children waiting each time and the grey horse even had a waiting line (it seemed to be the "special one.")   All the children carried sticks and the carousel was full each round.

Look how old the animals are!
The only animal that was ignored was the giraffe (and the tented carriage).



And I slowly figured out why. The carousel was an old-fashioned game. The children tried to catch the ring on the bell with their sticks. The grey horse must be the "lucky one" and the giraffe, not so much:


Every child was so enthusiastic, so excited about their animal and trying to catch the ring...it was incredibly charming and delightful.

And to me, it was also very hopeful. In this day and age, with computers and video games, to see children enjoying something so simple was inspiring. Things don't have to light up, be bright, shiny, action-packed and new for kids to love it. Simple things can still be vibrant and beloved.

It seems like there are hundreds of articles a day about how the book is dead, how the new generations will turn up their noses at a paper book. Perhaps many will. But perhaps, many will not. Perhaps they will still find the simple pleasure in an old-fashioned book like they do with this old-fashioned carousel.




Friday, September 23, 2011

Banned Books Week: Jonah Goldberg Claims It’s Just ALA Propaganda







Last week while I was working on a post about Banned Books Week 2011 (September 24−October 1), I came across an op-ed that Jonah Goldberg had written for USA Today titled Banned Books Week is just hype. It really got my dander up—so I wrote a criticism of Goldberg’s column for Jonathan Turley’s law blog on Sunday. The title of my post was Banned Books Week: Just a Lot of Propaganda Says Jonah Goldberg.

Goldberg took issue with my criticism of his op-ed and wrote a blog post at the National Review Online (NRO) titled Banned Books B.S. Cont’d. In it, he said that my attempted rebuttal of his column was “underwhelming.” He wrote:

Elaine Magliaro, a guest blogger at Jonathan Turley’s site, comes to the rescue of the Banned Book Week crowd and the effort is entirely underwhelming. There’s a great deal of nonsense here. I’ll focus on just a few points. A big chunk of her response restates my op-ed while casting her incomprehension as if it’s a rebuttal.

Goldberg claims that cases of challenged books reported to the ALA “are little more than disputes over whether a book is age-appropriate.” He adds that such disputes “don’t end in books being pulled from shelves.”

Goldberg was kind enough to answer a question that I had posed in my Turley blog post. He wrote: Oh, and to answer Magliaro’s question, my answer is Yes, I think it might be a good thing if there were more challenges to librarians’ judgment about what books kids should be reading.

I must admit that I have to wonder why a published book author and a member of the USA Today Board of Contributors thinks that Banned Books Week is just propaganda and thinks it would be a good thing if there were more book challenges every year.

I’d appreciate feedback from anyone who reads my Turley blog post and Jonah Goldberg’s USA Today op-ed and NRO post.

**********

At Wild Rose Reader, I have a post title Cleaning House and Discovering Old Poems. (I also have some new pictures of my granddaughter Julia Anna.)

Anastasia Suen has the Poetry Friday Roundup at Picture Book of the Day.

Wednesday, September 21, 2011

Testing characters' names








Naming characters for me is either super-hard or super-easy, never in-between. Sometimes the name and the character come together; sometimes nothing seems right, or I doubt my choice.

This week I found a way to test the name. On Google Image search now, you can type in the kind of image you're looking for, so I tried the names I'd thought of for the character with "Face" as the image type.

I can't claim that this changed my mind in any way -- I had a favorite name and found myself searching for images that fit it. But, I did find one face that seemed exactly right -- as soon as I saw it, I thought:

"That's her!"

Maybe it helped, or maybe my mind was already made up and I just didn't know it.

It was also interesting (to me) to see often the names seemed to attract a TYPE: look at Ashley (above) and Margaret (below). Neither of these were names I was considering -- I just looked up lots to see if there really is anything to do this idea. Maybe there isn't and it's just my imagination --but still, a character's name matters -- it gives the reader a mental image of the person.

These Margarets were the first three rows that came up when I entered the name, as were the Ashleys above.

QUESTIONS FOR A POLICE OFFICER

What are some questions you'd ask a police officer? What are some questions your kids might ask?

Tuesday, September 20, 2011

Long time no see

While unpacking boxes, I recently came across a stack of books from my childhood that I haven't seen in years. I LOVED this series. The books originally belonged to my mom, they were first published in 1913. I can't wait to reread them! Finding them was perfect timing, as I've been working on my own chapter book of animal stories.

Monday, September 19, 2011

And so it begins...







The Emmy Award Ceremony was last night (I didn't watch, but followed some of the action via Twitter), and that brings to mind the awards that concern those of us who work in children's and young adult publishing. Over at School Library Journal, the "Heavy Metal blog" has begun its fascinating discussions about the books that just might have a chance at winning the Newbery.

I have some fondness for that particular blog, because there wasn't much buzz about Grace Lin's Where the Mountain Meets the Moon being a possible Newbery title until it was discussed on that blog in November. Of course, buzz isn't everything--and in the case of this year's winning Moon Over Manifest, buzz meant nothing (the Heavy Metal blog didn't discuss that book), but still, I think the likelihood of the winner being a book discussed on that blog is high. So, check it out, weigh in, and place your bets! I find the discussion about Gary Schmidt's Okay For Now particularly fascinating (you'll remember that I read and loved the book, although to be sure, it isn't without its flaws. What book is?).

At the same time, the Horn Book has started a blog to discuss possible Caldecott contenders over at "Calling Caldecott". 

Now all we need is for someone to start one for the Printz, and the triumvirate will be covered.

And also, National Book Award finalists will be announced on October 12.

Betsy Bird gives her Newbery/Caldecott predictions over at Fuse #8 here. I won't make any predictions myself, because of course I have some hopes for books I've edited, and also, I don't feel that I've read enough to give an educated guess (although I'm sure Okay For Now will be "in the room" as we say in the business).

Do any of you have any early favorites for the awards?

Sunday, September 18, 2011

from the BRG archives: making literature, making a living










More often then not, when I'm introduced at a book event I'm described as a prolific author/illustrator. While it is usually meant as complimentary (at least I hope so) I always wince a little inside. Just because a person (especially someone in the creative field) creates many works doesn't necessarily mean they are any good.

Of course, I am extremely grateful that I have been able to be so prolific. But the truth is, I have to be. I depend on it. If I don’t produce, I quickly drown--mortgage, health insurance, medical bills, groceries-- everything breaks through the rickety dam of my paying books.

Which is probably why I was so affected by Linda Sue Park’s speech about creating your best work . I didn’t go into children’s books for the money (who does?); and it goes without saying that I want everything that I do and publish to be the absolute best of my ability. But I would be lying if I didn’t say that sometimes my creative juices flow out of desperation for the cold hard cash, that compromises are made to get contracts, and sometimes work is rushed when bills are waiting.

To be able to make a living in children’s books is a gift, but one that is dearly paid for. And is compromising quality one of the unavoidable taxes? That is the question I struggle with when the projects are over and the bills have been paid. Could I have done it better? Should I have done it better? Was it my very best?

The answer is always yes and no. Everything I’ve done probably could’ve been done better. But it was the very best I could do at that time. And while that’s not quite satisfactory, it’s enough to make me try again with another book.

Originally published January 13th, 2007

Thursday, September 15, 2011

JUDGING ART PART 2






This is what I wrote on my blog today:
"Twice this week I've had conversations with people about judging art. The first was when I was in the break room at work. I was looking at Selznick's new book...

Anyway, I was looking at the book and someone who works in the kids dept. asked if I was going to buy the book. I said that I was just looking at it. I wanted to look at the art. She asked if I liked it. I told her what I thought. She said that she didn't know how to judge art so she didn't have an opinion. I said, "Well, do you like this or don't you?" She said she thought it was okay. She said she didn't love it but didn't hate it. I said, "So you DO have an opinion. You can judge art." Just because I went to art school and I can verbalize WHY I like or don't like or am indifferent to something doesn't mean that I'm a better judge than anyone else. I think people who weren't schooled are afraid to give their opinion because it won't be the right one. Do you like it? Do you hate it? Are you just okay with it? That's all that matters! Go with your gut. That's all there is to it!"

I want to add something to that. What I want to add is that I think sometimes people who don't know much about art or who aren't trained in it pick out things that "they like" or rather - and maybe I'm taking too big a leap here - THINK that they like - based on what other people say or based on buzz. Sometimes I think this is how Caldecott winners are picked. Buzz starts and people sort of pick something that they think they should pick because people have been talking about it a lot. I am not talking about this because I just mentioned Selznick's book! This has just been on my mind. A trend I notice a lot is that an illustrator will switch up his or her style (mostly his) and all of a sudden everyone is wowed. Usually non art trained people. I think they don't know that artists can do lots of different things. We pick one style because we are trying to sell ourselves. Not because that's all we are capable of doing. But I feel like people see something new or different and think - damn, look at that!!! And then an award is given.

Am I terribly wrong here? Heck, I like starting a discussion. I just noticed this so I thought I'd throw it out there.

Decisions, decisions





The New York Times recently had an article about how every decision you make depletes your energy -- and your supply of glucose (blood sugar). A friend immediately thought of me, saying:
"When you write, you must have to make decisions all the time."

Now I know why we -- or so many of us -- like to eat candy while we write! The more we're concentrating and deciding, the more blood sugar is getting used up.

The article said most people deal with decisions by:
*NOT deciding
OR
*deciding impulsively.

I do both -- instead of deciding, I'll obsess and overthink.

One of the many astonishing results of my vacation is that I've stayed more relaxed and it's a lot easier to let go. I THINK this makes decisions easier. To make decisions well, you have to (this is me, not the TIMES) be able to let go -- to trust that forgoing all those other possibilities (choosing one thing does usually mean others won't happen) is really and truly okay. When you believe that letting go of those possibitilies is not only okay, but in fact opens new possibilities, it's easier to act instead of just think, decide instead of obsess.

But letting go is still hard, on all fronts. I'll know I've learned to do it when I can confidently throw out or delete old drafts.

I'm practicing by getting rid of clothes -- those of you who know me know that I've always had the fantasy of owning ONLY clothes I love. This sounds so easy to achieve! But getting rid of clothes is so hard!

One thing that makes it hard is thinking of all the money spent on the useless items...so I've been repeating as a mantra, "The money is gone, no matter what I do. It's MORE of a waste to have clothes I don't like sitting in my closet, taking up space and energy."

I'm selling some on ebay -- any tips on that? Good pictures, I know; but what about shipping? Does it make any difference if you do calculate per sale or fixed price? (I only ship Priority Mail -- buying shipping supplies is too much bother). And what about price? Do you have to start items at $9.99 if you really want them to sell?

Advice much appreciated! And if anyone is on ebay -- I'm dislikepaypal.

Tuesday, September 13, 2011

Settling down






Please pardon the radio silence as I get unpacked in our new home (again). This time we're settling for awhile an it feels great. Most of our place is still in boxes, but the living room is shaping up nicely. The house we're renting feels like a little mountain lodge.


This is the view from the living room window:


And a little fellow my husband caught the other day:


The place is brimming with wildlife; there are hummingbirds, dragonflies, frogs, chipmunks, and deer all over the place (I'm told bears as well, though we haven't seen any yet). The woods are full of edible mushrooms, my husband had some for lunch today that looked like this:


It's been a really nice change from city life, and a big sigh of relief to unpack things that have been in storage for more than a year. I realized pretty quickly as we started sifting through boxes that the vast majority of my things fall into one of three categories: books (of course), art supplies, and angsty drawings from college like this one:


I'd love to purge and lighten our load but I find each of those things very hard to get rid of, for different reasons. The books because I want to remember them and reread them and use them for inspiring new stories. The art supplies because of all the projects I might need them for. And the drawings because the more time that passes since art school the more I forget where I started on the journey to becoming an author and illustrator. And it's good to remember that beginning and how much has changed since then.

Monday, September 12, 2011

Remembering 9/11/01






I was trying to avoid reading or watching too much yesterday, because I knew it would be upsetting to relive 9/11/01, but of course it was hard to avoid, and some of the things I encountered were so lovely and touching I wanted to share them here. I was living in Boston ten years ago. I did not lose anyone close to me that day, but of course it was an event of such mind-boggling horror and evil and tragedy; ten years later I still can't think about it without getting emotional.

StoryCorps is doing a series of 9/11Animated Short Stories that had me sobbing--the stories are so touching and personal. Here are three:







Author and editor David Levithan talked about his 9/11 book Love is the Higher Law and the importance of remembering and telling stories here.

Author Meg Cabot shares both hope-filled and heartbreaking stories here.

Author Maureen Johnson writes about her experience ten years ago here. Her impetus for writing  and the comments from teens who were too young to understand what happened that day are eye-opening.

Patrick McDonnell's MUTTS comic for yesterday was simple and lovely.

Sunday, September 11, 2011

a pacy in the pocket





After finishing my novel, I really needed to  let out some steam and do something completely  silly and fun. My trip to France was in a couple days so there was just enough time to do an extra small project. With some leftover material from our our cupcake decorations I decided to make some Pocket Pacys!



They say you always leave a bit of yourself behind when you travel. Well, I going to leave a little me! Ha ha!

I plan to leave one somewhere every day while we're are in France. I hope that someone else finds it and brings a little cheer in their day. And, if I'm lucky the person will carry it to a new location, take a photo and send it to me which I can post here.  Maybe these Pocket Pacys will travel all over the world!

In the photos, the Pocket Pacys might not look that neatly painted. That is because they are so small! see, shorter than a battery:


Though, honestly, the hardest part was trying to get the website url in it. First I tried to write it by hand, but the it wasn't very legible. And I need people to be able to read the url so that they can find the site! So, I finally made stickers which I am just crossing my fingers will stay affixed.


But, I've made eight Pocket Pacys ready for their new home in France. They travel by cardboard box, first class.

Where will they all end up?



Wednesday, September 07, 2011

All ages











On some Scottish islands when it's sunny all day they call it "a given day," and I was lucky enough to be given several, all in a row. The best way to convey the beauty of these places would be to hand you my laptop and let you look at the slideshows -- but since I can't do that, I'll add more pictures to this post later, and write now about other things.

I had expected that my last week would be a kind of retreat, but instead, every evening people on the island invited me to things and the last one was on an island even more remote than the one I was on (5 hours by the once-a-day ferry from Oban to reach B., where I was staying, then a long drive across a causeway to V. The causeway was built after a bull drowned while being swum to pasture for the summer on V.).

The town council had thoughtfully hired a bus, to leave from the main square of B. and then drive people home. The family who had invited me had said we were going to a "concert" -- I had asked hopefully if it would be a ceilidh, but they said no. However, on the bus, some young teenagers -- talking in that excited way teenagers talk before a party -- were making jokes about "having some tea at the ceilidh" and giggling, so I began to hope.

We arrived in a long hall: tables with bottles and people of all ages, literally -- from babies held in their parents' arms to people who were at least eighty, and everything in-between. As soon as the band -- THE VATERSAY BOYS (listen here -- and to get an idea of what they played that night, skip the first two songs!) -- started, people JUMPED up and danced. I wish you could see the two girls at the top of the set more clearly -- but even in my blurry picture, their energy (the way they're kicking up their feet!) shows.


And they danced until midnight -- old dances, with sets and patterns and steps (swinging your partners, dancing forwards and backwards and sideways a certain number of steps, clapping in certain places): "Strip the Willow," "The Grand Old Duke of York," "Canadian Barn Dance," I wanted and wanted to dance, but I did NOT want to be the clueless American messing up the steps, so I joined in only to the hokey-pokey, which they did differently than we do....but I could at least do it.

Alas! My pictures are dark and blurry like this, but maybe they convey something of the energy and enthusiasm with which the dancers threw themselves into the sets. The older girls helped the younger children by shoving them in the right direction, or holding out the proper arm with which to grab a partner.






People danced until midnight, getting more and more into it -- even the children didn't flag. The short girl in the dark dress (the one at the top of the set in the first picture, the daughter of one of the band members), in fact, stood on the stage, clapping her hands over her head, making all her friends do it too, urging everyone on -- and then danced more herself. Another band member told me later that at another event, she had a very badly hurt foot,but didn't tell her parents until afterwards because she didn't want to miss the dancing.

The bus was supposed to drop us off at the main square, but instead he drove everyone home, right to their doors -- refusing tips and also telling us we'd never seen him do it. Two men on the bus were really, really drunk; the children were polite to them.
"I'm fine," one of the men said belligerently.
"You seem fine," a student said, smiling in a friendly way.
(Later, he told me that living in Glasgow had taught him how to deal with drunks.
"How?" I said.
"Agree with everything they say and don't look them in the eye.")
Before passing out, the man had given a glass of whisky to a young girl to hold. When she reached her stop, she woke him up and said politely,
"Here's your glass back -- thank you."

When our group got off, and we were discussing the evening, and those two (who were staggering to their door within sight) someone said:
"Only two in the whole crowd -- that's not bad," and her sister added,
"And they were from Glasgow."

Walking home -- I hadn't wanted to be last on the bus with the two men, so I got off with the family who'd invited me and they walked me the rest of the way-- there were more stars than I've ever seen. In bed, I looked out the window for a long time, thinking about how much I love it there,--including spending an evening with people of all ages DOING something together. I want my writing to be for all ages, too; and hope I can capture something of the intense joy and energy and courage of the people I met, and the stories they told me, too.

The next day, there was time for one last long walk -- believe it or not,this is across the road from the airport; behind this field is another beach --



and then I got on the plane (it only lands and leaves at low tide, so the water is way in the background). I will be back: in my mind, in my writing, and I hope, in real life.

Monday, September 05, 2011

It's the end of the world as we know it (soon)





I was looking for an article I read recently about how the mass market format is dying, and instead I came across this rather depressing article, "Are books dead, and can authors survive?"

The author claims, due to the digital revolution, that the paper book will most definitely disappear in 25 years time, and he also claims that this will mean that "writing, as a profession, will cease to exist."

Eek.

As rather damning evidence, he outlines the demise of many other industries, including porn, music, home videos, photography, newspapers, and more, mainly due to technological changes, free content, and piracy.

He also talked about the "long tail", a term I hadn't heard before, although the description is familiar. (The article links to this lecture for an explanation of what long tail means.):

In simple terms, the long tail derives its name from graphs of sales against number of products. Whereas throughout the 20th century publishers concentrated on selling only a few heavily promoted "hits" or "bestsellers" in bulk, digital shopping has meant that what was originally a tail-off in sales, has now become increasingly profitable. Rather than selling, say, 13m copies of one Harry Potter book, a long tail provider can make the same profits by selling 13m different "obscure", "failed'" and "niche" books.

The long tail is Amazon and iTunes, Netflix, LoveFilm and eBay. It is, arguably, between 40% to 60% of the market, which was hidden and/or simply unavailable before the advent of online shopping.

As more consumers come online and chose to select content for themselves, the long tail gets longer. It also starts to demolish the old mainstream system of pre-selection, mass marketing and limited shelf space for "bestsellers". Amazon is a successful long-tail industry: it has forced publishers into selling their books at 60% discount and driven bookshops out of business. As the long tail grows, the mainstream mass market shrinks and becomes more conservative. The long tail has created this effect in all of the other industries that have gone digital.
 
What this means is that even if the book publishing market is increasing, the money that each individual author makes is probably decreasing. Although, with books having the ability to stay in print indefinitely via Print on Demand and eBooks, maybe this means that authors (and publishers) with deep backlists will continue to be successful. The article does end on a more hopeful note, saying:

There is no simple solution. All that is clear is that for authors and publishers to abandon each other only accelerates the race towards free content.

Authors must respect and demand the work of good editors and support the publishing industry, precisely by resisting the temptation to "go it alone" in the long tail. In return, publishing houses must take the risk on the long term; supporting writers over years and books, it is only then that books of the standard we have seen in the last half-century can continue to come into being.

In a way, this gives me hope for children's publishing in general, because I do feel that we tend to commit to authors in the long term more than our adult counterparts, and children's publishing also relies on backlist sales more than adult publishing.

At any rate, sorry to be such a downer on a Monday.

By the way, here's also that mass market article I mentioned at the beginning: "The Dog-Eared Paperback, Newly Endangered in an E-Book Age."

***

On a more upbeat note, I leave you with Reese Witherspoon's acceptance of the "Generation Award" at the MTV Movie Awards.

"I just want to say to all the girls out there. I know it's cool to be bad. I get it, but it's also possible to make it in Hollywood without a reality show...it's possible to be a good girl. I'm gonna try to make it cool."



Yes! Let's hear it for the good girls!

Happy Labor Day, all.

Sunday, September 04, 2011

from the BRG archives: Turnover in the children's book publishing industry











The following question was posted anonymously in the comment section of my personal blog, but since it seemed more appropriate for this blog, I'm answering it here:

Eds, art directors, marketers, etc. move around a lot in the publishing biz. What is it like for you to be at a house for a while and to have people coming and going all the time? It seems as though inefficiency would be rampant. Do you find you have to get new folks up to speed often as you usher a ms through to publication? Why do you think people in the biz move around so much?

For the first three years I was at my house, I think only 2 or 3 people in all of the children's division left the company. Of course, at that time we were based in Boston, where publishing jobs were fewer and far between, so people tended to stay at their jobs forever. When the division was moved to NY 4 1/2 years ago, everything changed. First of all, we lost our entire Marketing and Publicity group, our entire Production Department, and all but one Designer. As I wrote about here, it was a tough transition period--and all of the turnover after that was a piece of cake--kinda. I think for me, it wasn't just the regular amount of turnover, but also the fact that we were growing. Boston's editorial department of ten people is now fourteen. Four designers have doubled into eight. The five-person marketing/publicity department is now nine. And yes, we've also had quite a bit of turnover, which I think is natural during transition periods. I got very used to seeing new faces in the office, and sadly, also saying goodbye.

I will say that sometimes as the one "left behind" it does make me wonder if I'm missing out by staying in the same place, or maybe missing the reason why people tend to leave all at once. I had a conversation with at least two other coworkers this year about whether we felt weird staying when everyone else was leaving, if it made us want to leave, too. And I also see people moving up more quickly than me, or people with less experience in higher positions in other companies. But then you remember how much you love your job, your coworkers who aren't leaving, the books you work on, and you know you're doing the right thing for you. As I think I may have mentioned in the past, I "follow my compass, not my clock." And if you look at the reasons why people left this year, out of the five people who left, only one left to go to the competition. One moved to France, one moved to Hawaii, one went back to school, and one moved to PA and is now a professor. Why would I leave my dream job?

I don't think inefficiency is rampant at all. In fact, just the opposite. The people who remain pick up the slack and are forced to work either more efficiently and/or longer hours than before to make up for being short-staffed, or taking time to train new employees. Sure, there are tough transition periods, and I can't say that some books didn't suffer due to staff changes. But everyone was committed to getting the books on our list published in the best possible way. And there are positives that come out of turnover, too: new staff brought a welcome fresh perspective to our company and made us even stronger, made the other employees more invigorated. As with anything, it's good to mix things up a bit every now and then so you don't get too set in your ways.

On the other hand, I think we have a nice balance of old and new. Three of us in editorial: me, one of our editorial directors, and our publisher, have been with the company since we were editorial assistants (I think over seven, ten, and fifteen years respectively), and we bring with us the knowledge of our backlist and how things used to be done, and how so much of our procedures are more streamlined and effective now.

I've certainly done my fair share of getting new staff trained and up-to-speed, but even new employees had much to contribute, and could perhaps take over more duties from me that they could dive into right way, such as manuscript reading for example, while I got them up to speed on other procedures and responsibilities.

And finally, why do I think people in the biz move around so much? Do they, really? I've never worked in any other industry aside from retail at B&N, and certainly there was more turnover there than in publishing. People move around in every industry for the same reasons--to get a higher position, more pay, change departments, change industries, get married, have kids, because of problems with their bosses or problems with their coworkers. I don't think people move around in children's book publishing more so than in other industries.

If in fact there IS more turnover in children's book publishing than in other industries, perhaps it can be attributed to the fact that so many of the staff are young and female. This has been discussed on several other blogs, and I posted my response to the issue here. I think women are perhaps more likely than men to move for their spouses who most likely make more money, or leave if they decide to start a family. The low pay is also a factor--people may be eager to either move up more quickly into higher-paying positions, and sometimes the only way to do that is to move companies.

Anyway, I know I may be naive and overly optimistic sometimes, but when I look at our staff today, I think we're probably the best, most stable we've ever had, and it seems to me that most everyone is really happy there doing what they do. Of course there will be changes in the future, but I hope we stay this way for a little while.


Originally published December 10th, 2006

Saturday, September 03, 2011

c'est finis!





The Sasquatch baked me a blueberry pie in honor of finishing my novel revisions! Yes, the novel is done (for now). I have to ship it off to my editor and await her comments and revise again, of course, but right now I get to take a breather and eat pie!

And just in time, too. There's a little trip the Sasquatch and I have been planning...and also this other blog I occasionally participate in, The Enchanted Inkpot asked me (and the other members) to sum up their current work-in-progress. Here is my summary/teaser for the new novel:

A companion book to "Where the Mountain Meets the Moon," "The Starry River of the Sky" (title still TBD) is also interwoven with Chinese mythology and folktales, this time following an angry chore boy with an unknown past who believes only he has noticed that the moon is missing.

I hope you are intrigued!!

Friday, September 02, 2011

BALTO FILM

I've been working on this for months!!!! Finally, part one is done. I'm relieved. Now I can move on with my life.

Don't forget the Moon Festival!



Thanking the Moon, my book about the Moon Festival!

Before I forget,  I wanted to mention that the Moon Festival is coming. This year the holiday will be celebrated on September 12th!

Don't forget to make some time to celebrate this very special holiday. Buy some mooncakes, make a bunny lantern and eat some tea eggs. And read my book, Thanking the Moon!

Wednesday, August 31, 2011

ambition and my new six



my scrawled notes!

Writing this newest novel has been a rather intensive process. Yesterday,  I told the Sasquatch that I felt like this novel was "squeezing the juice out of me," and I really meant it! Perhaps because it was just the memorial and this book is a companion to Where the Mountain Meets the Moon which meant so much to me, I've been feeling this overpowering desire to make this book "really good."

Which is how I try to be with all my books, of course. The difference with this book is, as I mentioned before, I'm afraid that my ambitions might be greater than my abilities.  But if dogged determination and will power can do it, I might have a shot. I've been in a state of overwhelming, constant, concentration, scrawling notes in my notebook wherever I am--the subway, the bathroom, the grocery line--if I'm not at the computer. When I can't sleep at night, I tell myself if the book is bad, at least it won't be from lack of effort!

One of the things I've been thinking about is my new six, the six things that are important for me to write about in this book. Now, they are:

PEACE
HARMONY
BALANCE
FORGIVENESS
ACCEPTANCE
EMPATHY

Interesting to see how they changed from my original six and I wonder what they'll end up being when the book is done!