Writerly Wednesdays

Thoughts on the Common Core Standards: English Edition

There’s been a lot of chatter about the new Common Core Standards. We have a set for English and a set for mathematics. As a math teacher who writes novels, I have thoughts about both, but I’ll focus on the English standards for this post.

The big attention-getter for these new standards is that it calls for more reading of informational, non-fiction texts, going from 50% of reading material in elementary school and gradually increasing to 70% in high school.

That’s where the chatter comes in. Many are upset about the units on classic literature, beloved favorites, and poetry getting cut from the curriculum, as noted in articles here and here.

I have thoughts on both sides of this. I’ve seen personally that students are definitely lacking in their ability to read text for factual information, to reason through technical material. I agree that more focus on developing these types of reading skills is necessary.

I also agree that nurturing a love of reading for pleasure is important. Reading fiction has boundless benefits, especially for children and teenagers.

I’ve heard some say that technical reading is for science class. Basically, let the science teachers handle all that, along with the social studies teachers for historical documents. Leave the English teachers to focus exclusively on the fiction side.

On the other side, content area teachers say they don’t teach reading and writing—that’s the English teacher’s job.

Which side do I fall on? Both, or neither.

From my time working in a school for the deaf, I have it ingrained in me that all teachers are language arts teachers. We don’t all cover all aspects of language equally, but we all have parts we can build up, develop, and reinforce. I see no reason that shouldn’t carry over to non-deaf education.

At the same time, English teachers are in more of a position to focus deeply on the nuances of non-fiction, informational writing without splitting as much attention with the concepts and other skills to be mastered. They also have more training in the teaching of reading and writing.

So ideally, a balance between both. Teachers brainstorming about texts that fit within their curricula, including English class. Working together. Supporting each other.

As much as I love fiction, it’s not the be-all, end-all.

As much as I love math and science, they’re not the be-all, end-all.

So my first step? Try to open some dialogue with the English teachers at my school … because without Twitter, I wouldn’t have even known as much as I do about these new standards.

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‘Tis the Season for Good News from Friends!

It’s been a good week for several of my friends on AgentQuery Connect.

First off, MarcyKate Connolly finally got to shout from the rooftops about news she’s been sitting on for-e-ver. (At least, I imagine it feels like it to her.) Her debut Monstrous will be published by Harper Children’s in 2014. Oh, and in the process, it’s going to morph from young adult to middle grade. I read and critiqued for her before she started querying, and I’m looking forward to seeing the changes. MarcyKate definitely has the chops to pull it off.

The same day, Stephanie Diaz announced her own book deal. Extraction, the first book of her YA sci-fi trilogy, will be published by St. Martin’s in 2014. I read some of this early on in a critique group, and I’m RIDICULOUSLY excited to read the whole thing.

Why do we have to wait?! (Yeah, I know, you have to wait for mine, too.)

Speaking of waiting, we also know exactly how long we have to wait for Mindy McGinnis‘s debut, Not a Drop to Drink. She has a release date of September 9, 2013. If you haven’t heard how her editor describes it, think Little House on the Prairie … on steroids.

As for someone who doesn’t have to wait much longer, Robert K. Lewis (no relation, a.k.a. Thrownbones) got his very first ARCs for Untold Damage. (Those are advance reader copies.) They’re real, tangible objects with pages and covers and everything!

If you’re on Goodreads, you can add the books to your To Be Read list using the links below.

Monstrous by MarcyKate Connolly

Extraction by Stephanie Diaz

Not a Drop to Drink by Mindy McGinnis

Untold Damage by Robert K. Lewis

Who’s going to be next with some good news?

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Why I Don’t Review Books

In the past week, I’ve read two books. This is very exciting, considering how little time I’ve found to read lately. I’m hoping to dive into more from here on out (and you can take a peek at what I’ve read and what’s on-deck over here).

I use Goodreads to keep track of what I have read and want to read, but if you take a look over there, you’ll see I don’t post reviews. I don’t even assign stars, generally.

Why not? It’s something I’ve struggled with a bit. As a reader, I definitely have opinions. Maybe too many sometimes. And I’ve seen how it can look when authors get super-critical of other books—not pretty.

But authors should be allowed to voice their opinions, right? We’re readers, too—maybe first and foremost. At the least, most of us have been reading longer than writing.

There’s validity to that, and I would never tell others what to do on that front. Here are some of my thoughts that led me to just refrain from public reviewing.

Who would I be writing the reviews for? If my friends know I read a book and ask what I thought, I’ll tell them. So I would post for strangers, for the random internet shopper. Why should a stranger care what I think of a book? (I admit, this is a weak reason, but it speaks more to my lack of motivation about writing reviews.)

Writing thoughtful reviews takes time. I can barely find time to read the books in the first place.

But giving stars on a site like Goodreads hardly takes any time, right? True, but if I hate the book and give it a low star rating, I wouldn’t want to click one star and leave no reason why.

Maybe I could only give stars/reviews to books I really like. But I have a lot of friends with books out—everything from self-published to Big-6-published. If I review some and not others, it’s easy to infer I didn’t like those others. It gets iffy from there.

These reasons probably don’t hold much water for anyone other than me, but it comes down to something simple for me. I’m a book-writer and a book-talker, but I’m not a book-reviewer. At least, not for now. I imagine I’ll make some exceptions, and maybe I’ll change my mind someday. Until then, this works for me.

How do you feel about authors reviewing books? Do you have a policy of your own? What considerations went into it?

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If I Say "Voice," You Run Away Screaming, Right?

Today we have another installment of “RC attempts to sum up an AQC chat for those who couldn’t make it.”

The topic this week was Voice. When it was suggested, Mindy McGinnis (BBC) said, “That’s pretty much impossible to discuss. Okay, let’s go for it!” (I may be paraphrasing.) She also shared an experience that pretty well encapsulates why it’s such a maddening topic for writers.

Mindy was watching an agent/editor panel at a conference. A writer asked for a definition of voice, and not to say you know it when you see it.

The agent grabbed the mic and said, “I know it when I see it.”

So what is this elusive thing called Voice? Mindy did some leg-work and found this from agent Natalie Fischer:

Language is diction: the word choices, the literal language of nationality. Style is the form: short, choppy, flowing, poetic, lyrical. Voice is the personality, the person behind the words that makes the reader forget about the author, and dive into a life. It’s what you remember about the characters long after you’ve forgotten their names.

And then there’s this from agent Rachelle Gardner:

It’s the unfettered, non-derivative, unique conglomeration of your thoughts, feelings, passions, dreams, beliefs, fears and attitudes, coming through in every word you write.

Okay, that’s all well and good. How do we do that? Again from Ms. Fischer, her thoughts on what not to do:

I think the biggest mistake is to try and show voice through style or language. Using heavy slang or methods like “Southern dialogue” are annoying, not effective. Voice is a point of view, a perspective that is unique to only one person. It has emotion, history, a sense of place, and senses. These things are shown in unison with style and language, but not reliant on them to be clear.

Those are some words from the experts we used as a launching point. As usual, we went in a lot of directions from there. I’ll try to hit a few highlights.

Character Voice vs Authorial Voice
Characters each have their own voice (should, anyway). Here you’re primarily talking about dialogue. Then there’s your voice as an author. That shows throughout the whole work (and to varying degrees, across works). Narrative voice can be a combination of the two, particularly when you’re writing in first person.

Good vs Bad
This is tricky. Personally, I think there’s a somewhat objective level of has/doesn’t have distinctive voice. Beyond that, there’s the more subjective voice you do/don’t find engaging/enjoyable/compelling. Several times in chat, someone said, “I read this bestseller, and it had NO voice.” Or, “This book had no voice, but I still read because of the plot/characters/something else.”

I haven’t read the books they’re referring to, but I strongly suspect those books have distinctive voice. That reader just didn’t like the voice.

So is it possible to have a story without voice? Tricky, but I think so. I’ve seen it, primarily in some student writing. Nothing technically “wrong,” but it reads dead. The words are getting in the way of the story’s life. That’s okay—they’re still learning.

Should We Worry?
One AQCer posited that we don’t need to worry about Voice. We need to worry about everything else—grammar, structure, plot, characterization, etc. If we do all that, the voice will be there.

Some of us had a hard time deciding whether we agreed or disagreed with that. Certainly all of those things play into establishing the voice of a piece. But personally, I believe voice is greater than the sum of its parts.

Worry isn’t all that productive, though. So worry? Not so much. Be mindful of? Definitely.

Can We Learn It?
This is an argument that goes back to my Authonomy days. There are those who believe voice can be taught, and thus learned. Others (and I tend to fall in this camp) think voice is innate.

So you have it or you don’t, and if you don’t, too bad? Not exactly. I just think of it less as a taught/learned thing and more a matter of development. We all have “voice potential” inside us. We need to develop it, find out how to uncover it. How to get those pesky words out of the way and let the story live.

As usual, I probably missed several salient points, but that’s the gist of the discussion. Do you have any further thoughts on voice?

Speak up:

‘Fall’-ing for Apocalyptic Fiction

As some of you may remember, last spring I mentioned the release of a short-story anthology titled Spring Fevers. Elephant’s Bookshelf Press has put out their second offering in their seasonal series—The Fall: Tales from the Apocalypse. I just did some tech work on the first anthology, but this time, I have a story included, titled “Trust.”

Apocalypse? Sounds kind of dark and depressing, right? Nope. At least, not always. There’s a full range of stories in this collection. Some intense, some twisted, some hopeful, some bittersweet … and wait ’til you see Mindy McGinnis’s one-act play. Ever wonder what would happen if God got His hands on an iPhone? Mindy has.

It’s available in both Kindle format and paperback. Hopefully more eBook formats will be available soon. (If you don’t have a Kindle, remember that you can read Kindle books on many electronic devices—tablets, smartphones, computers—using the free Kindle app.)

We’d love to know what you think. And when you think of the end of the world (literally or metaphorically), what kinds of stories come to mind?

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A Primer on Critique Partners … and Maybe Dating

Last Monday, we had one of our weekly chats on AgentQuery Connect (9pm Eastern, come for great writerly conversations). The topic was critique partners—choosing and using them—which seems to have been popular around the blogosphere in the last week. Nevertheless, because some AQCers missed the chat, I’m going to go ahead with a revamped recap.

Being critique partners is a lot like establishing and maintaining other relationships. In fact, it’s a lot like dating, when you think about it. Here are some Dos and Don’ts.

• Don’t commit to marriage before the first date. Swapping full manuscripts when you hardly know someone? Maybe it’ll be a match made in heaven … or maybe you’ll be stuck in a 300-page pickle. It’s not a bad idea to get to know someone and their writing before making a big commitment. Try swapping a chapter or two. See how it goes.

• Do communicate your needs/expectations. Chances are, your new critique partner isn’t a mind-reader. If you don’t mention that you don’t want grammar nits pointed out, you can’t really complain if that’s all your partner focuses on. Worried about plot holes and consistency? Character development? Historical authenticity? Say so.

• Don’t tear your partner down. This can be a tricky one, especially in conjunction with the next. The point of a critique partner is to help us improve our work. But if it’s all, “Fix this, fix that,” we can get discouraged to the point of not moving forward. When something works well, be sure to let your partner know.

• Do be honest. In my opinion (well, all of this is my opinion), if all we want is cheerleading, there are other ways to get that. Critique partners need to do more for each other. That means pointing out when we feel there may be issues in the manuscript. Pretending problems aren’t there won’t make them go away.

• Don’t feel locked in. If the relationship isn’t working, you can walk away. There’s nothing saying that great writer-friends will necessarily make great critique partners. Amicable break-ups are possible. It’s okay to play the field until you find the right match.

• Do have an open relationship. Er, I guess I could mean this in a couple of ways. It can be good to have more than one critique partner—long- or short-term. Some might be more suited to certain manuscripts. Some you might rely on for their particular strengths (which likely match up with your weaknesses). But also, within a single relationship, be open and receptive to what your partner says. If a critique is a little hard to hear, step away for a bit, then come back to it. Your partner may be right or wrong … or their feedback might trigger something entirely different in your mind that’ll make your story better.

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