Today, we have the blogger Kari talking about her favorite genres and how they work!
~~~
One of the best things about YA is that while it is a genre… in some ways… there are so many genres within it, that people can find some niche of it that fits them. I admit, a few years ago when I first started reading it, I primarily stuck to fantasy/paranormal. After awhile of tearing through those, I started branching out. I slipped into the books that deal with the issues, then to the happier contemporary and the chick lit… and now, I will read most anything in YA as long as the book itself appeals to me, rather than having a personal stigma against any subset of it. And with that in mind… for those of you still interested… you now get an expanded version of book recs from me, by subgenre and why each rocks.
Contemporary: My personal favorite. I know the fantasy escape of the supernatural/fantasy books is nice, but I also like the glaring dashes of reality in the contemporary books. Not to mention, many fantasy books have a very contemporary, current setting, with just a bit of the supernatural thrown in. But these books really challenge me, make me question things, and make me really feel. They bring in so many family dynamics, backgrounds and situations… ones that someone, somewhere, just might be going through. Some of my favorites: Anything by Laura Wiess, Lisa Schroeder, CK Kelly Martin. Tell Me A Secret by Holly Cupala, Compromised by Heidi Ayarbe, Split by Swati Avasthi and Hate List by Jennifer Brown.
Dystopian: I have a huge amount of respect for anyone who writes dystopian. It is creating your own world that is, in my opinion, in a different way than the world building in fantasies. You are building an entirely new construct, setting, living experience… and there are so many ways that this can just not go right. But when it’s done well… these books have a powerful, lingering effect. Patrick Ness’ Chaos Walking trilogy is phenomenal, as is, of course, The Hunger Games. Caragh O’Brien’s Birthmarked and James Dashner’s The Maze Runner are also some striking dystopians.
Historical: I admit, this is the genre I read the least of. For me, what works the best, are the ones that while being clearly historical, it’s easy for me, as a chick in 2010, to read, and it’s got enough connection to me to still get into it. Some great ones: Everlasting by Angie Frazier and Crossing the Tracks by Barbara Stuber.
Chick Lit: I think I actually read more of this than I realize. But I have read some great fluffy books that still had some deeper things going on, not to mention they were just, well, light and fun. I’m going to put the romancey books into this category, since I can’t really see many boys picking them up… call me sexist on that, but all the guys I know, even the ones who read YA, won't pick up a romance. The ones recommended by me: The Naughty List by Suzanne Young, anything Jennifer Echols and Simone Elkeles, and Kiss It by Erin Downing. I would even put the Gallagher Girls books by Ally Carter into this section, despite the spy girls aspect.
Fantasy/Supernatural/Paranormal: Honestly, I couldn’t tell you what the difference between these three are, and I think many books blur the lines with it… so we are going to mix them all together for this post. This is definitely the most popular category in YA, but considering not only how rapidly these subsets are growing and the great quality of them, it’s really no surprise. Authors are free to create their own world, or simply twist the one we already know. There are books where it’s all new, and ones where it is pretty much a contemporary, except for that one supernatural type twist. This subset has expanded so much that people can read only this and never run out of books, not to mention there is likely going to be something for everyone unless the person just doesn’t want to read fantasy, etc. Some great ones that I loved: Strange Angels series, Vampire Academy, Angelfire by Courtney Moulton, Firelight by Sophie Jordan, Paranormalcy by Kiersten White, Shadow Hills by Anastasia Hopcus, Shiver by Maggie Stiefvater… this list is pretty endless.
So… that’s my views on the main categories of YA and some recs to get your feet wet in each. There really is something for everyone, and there is a reason YA has exploded in the past few years.
Showing posts with label Guest Post. Show all posts
Showing posts with label Guest Post. Show all posts
9.02.2010
What's Your Genre? Week: Lauren Baratz-Logsted on Historical
Today, we have Lauren Baratz-Logsted talking about Historical Fiction!
~~~
Of the 23 books I've sold to publishers since 2003 the overwhelming majority have been set in contemporary times. Only three have been historical, all set in Victorian England: the adult novel Vertigo and the YA novels The Education of Bet and The Twin's Daughter. In each case I never made a decision first, "Oh, I want to write a historical novel!" Rather, setting was dictated by story idea. Vertigo is about a society wife who strikes up a correspondence with a man in prison for murdering his own wife who ultimately decides that the only way to get the life she wants is for her husband to get out of the way. The Education of Bet is about a teenager who will go to drastic lengths to get an equal education. The Twin's Daughter is about a teen who discovers her gorgeous mother has an identical twin who was raised in the workhouse. For either social or forensics reasons, all three stories only work if set in a time period other than our own.
In the case of Vertigo, I did no research before sitting down to write the first draft. Rather, I was guided by a lifetime of reading many novels set in that time period and a love of Masterpiece Theatre. It was only after the first draft was completed that I went back and read some 10 books on Victorian architecture and design and penal law so those details would be as accurate as I could make them.
For The Education of Bet, I re-read the classic novel of English boarding school life, Tom Brown's Schooldays by Thomas Hughes, to get an overview of what constituted bullying at that time and to remind myself of details of that very specific setting. I also researched how Will, the boy Bet is raised with, might go about secretly joining the military.
Finally, for The Twin's Daughter, since Lucy is essentially home-schooled, I did a lot of research on what she might be reading in the 1800s. I also researched British military involvements of the time for Lucy's love interest, Kit, and a lot on Victorian fashion.
That's it, really! Except before closing I would like to clear up two points. I've seen a few bloggers, when discussing The Education of Bet, quoting something that says that girls weren't allowed to go to school in Victorian England. I have no idea where they're getting that because I never said that, the book never says that, and it's simply untrue. The reason Bet is denied an education is because of social status. Could girls go to school? Of course. Would the deceased maid's daughter be given an expensive education? Of course not. Another mistake I've been seeing is a few sites saying The Twin's Daughter takes place during WWI. Again, there's nothing I've ever written in the book or said about the book to indicate anything other than that it takes place in the 1800s so I don't know where this is coming from either. Not complaining - an author should never do that! - but I am explaining for once, something I normally caution authors against, because while I don't mind at all being taken to task for errors I have made, I rather prefer not being so for things I've never said.
And now that really is it - thanks for having me!
~~~
Of the 23 books I've sold to publishers since 2003 the overwhelming majority have been set in contemporary times. Only three have been historical, all set in Victorian England: the adult novel Vertigo and the YA novels The Education of Bet and The Twin's Daughter. In each case I never made a decision first, "Oh, I want to write a historical novel!" Rather, setting was dictated by story idea. Vertigo is about a society wife who strikes up a correspondence with a man in prison for murdering his own wife who ultimately decides that the only way to get the life she wants is for her husband to get out of the way. The Education of Bet is about a teenager who will go to drastic lengths to get an equal education. The Twin's Daughter is about a teen who discovers her gorgeous mother has an identical twin who was raised in the workhouse. For either social or forensics reasons, all three stories only work if set in a time period other than our own.
In the case of Vertigo, I did no research before sitting down to write the first draft. Rather, I was guided by a lifetime of reading many novels set in that time period and a love of Masterpiece Theatre. It was only after the first draft was completed that I went back and read some 10 books on Victorian architecture and design and penal law so those details would be as accurate as I could make them.
For The Education of Bet, I re-read the classic novel of English boarding school life, Tom Brown's Schooldays by Thomas Hughes, to get an overview of what constituted bullying at that time and to remind myself of details of that very specific setting. I also researched how Will, the boy Bet is raised with, might go about secretly joining the military.
Finally, for The Twin's Daughter, since Lucy is essentially home-schooled, I did a lot of research on what she might be reading in the 1800s. I also researched British military involvements of the time for Lucy's love interest, Kit, and a lot on Victorian fashion.
That's it, really! Except before closing I would like to clear up two points. I've seen a few bloggers, when discussing The Education of Bet, quoting something that says that girls weren't allowed to go to school in Victorian England. I have no idea where they're getting that because I never said that, the book never says that, and it's simply untrue. The reason Bet is denied an education is because of social status. Could girls go to school? Of course. Would the deceased maid's daughter be given an expensive education? Of course not. Another mistake I've been seeing is a few sites saying The Twin's Daughter takes place during WWI. Again, there's nothing I've ever written in the book or said about the book to indicate anything other than that it takes place in the 1800s so I don't know where this is coming from either. Not complaining - an author should never do that! - but I am explaining for once, something I normally caution authors against, because while I don't mind at all being taken to task for errors I have made, I rather prefer not being so for things I've never said.
And now that really is it - thanks for having me!
9.01.2010
What's Your Genre? Week: Caragh M. O’Brien on Dystopian
“Dystopia” sounds like a kind of near-sighted vertigo, but actually it’s worse. In essence, a dystopia is the opposite of a utopia, an ideal society. It’s a society where something has gone very wrong. If you ever read Orwell’s 1984, Rand’s Anthem, Atwood’s The Handmaid’s Tale, Lowry’s The Giver or more recently McCarthy’s The Road, Collins’s The Hunger Games or Ness’s The Knife of Never Letting Go, you’ve read a dystopian novel.
Beyond that definition--the opposite of an ideal society--the parameters are pretty wide open. What makes a dystopian novel (often simply called “a dystopia,” or “a dystopian”) interesting is that it calls into question what makes a society work at all, and it holds up a twisted mirror to our own society so that we’re likely to squirm at a freshly seen truth, even if it’s extreme in the novel. Cloning, climate change, plastic surgery, suburbia, and child warriors are all fair game. The action can take place in the future or in an alternative reality, and because of this, dystopian novels often are categorized with Sci-fi.
Dystopian novels have conflict inherently built in, because any self-respecting protagonist is certain to start resisting the warped society sooner or later. Even a small, private action like keeping a diary or a list of baby names becomes political, with bigger repercussions. Such novels are fun to write for this reason, and at the moment, popular to read as well.
In the recent surge of middle grade and young adult dystopian novels, gutsy young protagonists abound. They’re smart. Like Katniss Everdeen, they’re survivors, even if they aren’t literally fighting for their lives in a deadly arena. Under pressure, these survivors discover what matters to them: the people they love, their own morals, and what’s worth living for. They often laugh and act like regular kids along the way, so it’s easy to love them.
In short, a dystopia brings out the best in us. Maybe we should try living in one. Just kidding.
Are you already a dystopia fan? Can you match the following mini summaries to the titles further below? This is an eclectic compilation of some of my favorite middle grade and young adult dystopian novels, recent and classic.
1. A boy clone exists to provide genetically matching organ transplants for El Patron.
2. A teen midwife from outside the wall tries to save her parents arrested by the Enclave.
3. Twelve districts each donate two children who will fight each other to the death on TV.
4. Families are allowed to have two children maximum, but a third child lives in secret.
5. A young boy discovers choice and color in a world where they’ve been eliminated.
6. A boy and a dog, who read men’s and animals’ minds, run with a girl to evade killers.
7. A girl on an orchid farm receives a plea for help from across the forbidden borderline.
8. At sixteen, everyone has an operation to become beautiful, until one girl rebels.
9. A girl wakes post-coma with amnesia, an awkward body, and a family full of secrets.
10. A boy’s brain chip connects him to ads, other teens, and a girl who resists her chip.
A. The Adoration of Jenna Fox (2008) by Mary E. Pearson
B. Among the Hidden (1998) by Margaret Patterson Haddix
C. Birthmarked (2010) by Caragh M. O’Brien
D. Feed (2002) by M. T. Anderson
E. The Giver (1993) by Lois Lowry
F. The House of the Scorpion (2002) by Nancy Farmer
G. The Hunger Games (2008) by Suzanne Collins
H. The Knife of Never Letting Go (2008) by Patrick Ness
I. The Line (2010) by Teri Hall
J. The Uglies (2005) by Scott Westerfeld
Answers: 1-F, 2-C, 3-G, 4-B, 5-E, 6-H, 7-I, 8-J, 9-A, 10-D.
-Caragh M. O’Brien is the author of the dystopian novel Birthmarked, recently nominated for the YALSA Best Fiction for Young Adults. For more info, see www.caraghobrien.com.
Beyond that definition--the opposite of an ideal society--the parameters are pretty wide open. What makes a dystopian novel (often simply called “a dystopia,” or “a dystopian”) interesting is that it calls into question what makes a society work at all, and it holds up a twisted mirror to our own society so that we’re likely to squirm at a freshly seen truth, even if it’s extreme in the novel. Cloning, climate change, plastic surgery, suburbia, and child warriors are all fair game. The action can take place in the future or in an alternative reality, and because of this, dystopian novels often are categorized with Sci-fi.
Dystopian novels have conflict inherently built in, because any self-respecting protagonist is certain to start resisting the warped society sooner or later. Even a small, private action like keeping a diary or a list of baby names becomes political, with bigger repercussions. Such novels are fun to write for this reason, and at the moment, popular to read as well.
In the recent surge of middle grade and young adult dystopian novels, gutsy young protagonists abound. They’re smart. Like Katniss Everdeen, they’re survivors, even if they aren’t literally fighting for their lives in a deadly arena. Under pressure, these survivors discover what matters to them: the people they love, their own morals, and what’s worth living for. They often laugh and act like regular kids along the way, so it’s easy to love them.
In short, a dystopia brings out the best in us. Maybe we should try living in one. Just kidding.
Are you already a dystopia fan? Can you match the following mini summaries to the titles further below? This is an eclectic compilation of some of my favorite middle grade and young adult dystopian novels, recent and classic.
1. A boy clone exists to provide genetically matching organ transplants for El Patron.
2. A teen midwife from outside the wall tries to save her parents arrested by the Enclave.
3. Twelve districts each donate two children who will fight each other to the death on TV.
4. Families are allowed to have two children maximum, but a third child lives in secret.
5. A young boy discovers choice and color in a world where they’ve been eliminated.
6. A boy and a dog, who read men’s and animals’ minds, run with a girl to evade killers.
7. A girl on an orchid farm receives a plea for help from across the forbidden borderline.
8. At sixteen, everyone has an operation to become beautiful, until one girl rebels.
9. A girl wakes post-coma with amnesia, an awkward body, and a family full of secrets.
10. A boy’s brain chip connects him to ads, other teens, and a girl who resists her chip.
A. The Adoration of Jenna Fox (2008) by Mary E. Pearson
B. Among the Hidden (1998) by Margaret Patterson Haddix
C. Birthmarked (2010) by Caragh M. O’Brien
D. Feed (2002) by M. T. Anderson
E. The Giver (1993) by Lois Lowry
F. The House of the Scorpion (2002) by Nancy Farmer
G. The Hunger Games (2008) by Suzanne Collins
H. The Knife of Never Letting Go (2008) by Patrick Ness
I. The Line (2010) by Teri Hall
J. The Uglies (2005) by Scott Westerfeld
Answers: 1-F, 2-C, 3-G, 4-B, 5-E, 6-H, 7-I, 8-J, 9-A, 10-D.
-Caragh M. O’Brien is the author of the dystopian novel Birthmarked, recently nominated for the YALSA Best Fiction for Young Adults. For more info, see www.caraghobrien.com.
8.31.2010
What's Your Genre? Week: Sarah Ockler on Contemp!
Today, we have Sarah Ockler talking about reading Contemporary Realistic Fiction!
~~~
How do I love contemporary realistic fiction? Let me count the ways!
Characters
For me, as both a writer and a reader, contemporary fiction is very much about characters. Whatever the primary issue or plot in the book -- death, first love, teen pregnancy, addiction, best friendships, faith, divorce, sibling rivalry, crime, self esteem, and countless others -- it's not usually a broad commentary on how that issue affects the world, but an in-depth look at how a particular character experiences it. When I develop characters, my goal is to create someone that readers feel they know, or could know, in real life. Someone authentic and recognizable, someone in whom readers can see themselves or their own friends and family. I spend so much time with the characters that by the end of a book project, if I don't feel like they really *are* real people with real stories to tell, I haven't succeeded.
Setting
Another thing I love about writing contemporary fiction is that because the basic setting (somewhere on planet earth, present day) is already familiar, I don't have to spend a lot of time orienting readers to a strange new world with magical rules, mystifying history, or other special circumstances. Instead, I can focus on bringing the characters and their relationships to life, showing the setting primarily in terms of how the characters interact with and respond to it. I can also build fictional places based on real towns and cities, drawing from memory or even maps and pictures that already exist (thank you, Google!). The drawback in this approach is that if a setting is supposed to be a real place, say New York City or Disneyworld, then writers open ourselves up to lots of criticism if we don't get the details exactly right. I try to work around this by loosely disguising real places with fictional names and similar features, leaving myself some creative wiggle room. Again, my primary goal in creating a contemporary story is to let the characters shine through the backdrop of a realistic, believable setting.
Research & Authenticity
My research for contemp stories is generally limited to very specific elements and doesn't require a lot of time, allowing me to focus more on the storytelling itself. For example, in Twenty Boy Summer, I only needed to research the geography of Northern California and the location of certain sights in San Francisco. In Fixing Delilah, I researched a bit about Vermont geography, maple syrup production, and seasonal flowers, all of which contributed more to the background of the story than to the plot and characters. In my current project, the main character is an ice skater, so I researched technical ice skating, terminology, equipment, and the lifestyles of teen competitive skaters. In each book, I probably could've written the stories without doing such research, but for me, research -- however limited -- is a key component in creating authentic, believable tales. When someone picks up one of my books, I want that person to become immersed in the story, not distracted by little factual errors or flaws that yank her away from the characters and their struggles.
Memories & Shared Experiences
Because I write YA stories, I rely on memory a lot. I close my eyes and revisit things that happened in my own teen years, whether it's a specific event like graduation or summer break, or just the vast sea of emotions and feelings that come with things like best friendships and fights, first love and broken hearts, family dynamics, peer and parental pressure, sexuality, choices... so many amazing and frightening experiences! There were wonderful times as well as downright painful ones, but through contemporary stories and characters, writers and readers share those experiences together. Like we've said over at The Contemps, contemporary fiction lets us all know that we're not alone in this very real world. Contemporary, realistic stories connect people on a very human level, and that's something I've always loved about the power of books.
Thanks for hosting me today, Harmony! I hope everyone will check out more contemporary stories and join the ongoing discussion and celebration at The Contemps!
XOXO
Sarah
- Sarah Ockler, author of Fixing Delilah and Twenty Boy Summer and member of The Contemps, a group of YA authors putting realistic fiction in the spotlight.
~~~
How do I love contemporary realistic fiction? Let me count the ways!
Characters
For me, as both a writer and a reader, contemporary fiction is very much about characters. Whatever the primary issue or plot in the book -- death, first love, teen pregnancy, addiction, best friendships, faith, divorce, sibling rivalry, crime, self esteem, and countless others -- it's not usually a broad commentary on how that issue affects the world, but an in-depth look at how a particular character experiences it. When I develop characters, my goal is to create someone that readers feel they know, or could know, in real life. Someone authentic and recognizable, someone in whom readers can see themselves or their own friends and family. I spend so much time with the characters that by the end of a book project, if I don't feel like they really *are* real people with real stories to tell, I haven't succeeded.
Setting
Another thing I love about writing contemporary fiction is that because the basic setting (somewhere on planet earth, present day) is already familiar, I don't have to spend a lot of time orienting readers to a strange new world with magical rules, mystifying history, or other special circumstances. Instead, I can focus on bringing the characters and their relationships to life, showing the setting primarily in terms of how the characters interact with and respond to it. I can also build fictional places based on real towns and cities, drawing from memory or even maps and pictures that already exist (thank you, Google!). The drawback in this approach is that if a setting is supposed to be a real place, say New York City or Disneyworld, then writers open ourselves up to lots of criticism if we don't get the details exactly right. I try to work around this by loosely disguising real places with fictional names and similar features, leaving myself some creative wiggle room. Again, my primary goal in creating a contemporary story is to let the characters shine through the backdrop of a realistic, believable setting.
Research & Authenticity
My research for contemp stories is generally limited to very specific elements and doesn't require a lot of time, allowing me to focus more on the storytelling itself. For example, in Twenty Boy Summer, I only needed to research the geography of Northern California and the location of certain sights in San Francisco. In Fixing Delilah, I researched a bit about Vermont geography, maple syrup production, and seasonal flowers, all of which contributed more to the background of the story than to the plot and characters. In my current project, the main character is an ice skater, so I researched technical ice skating, terminology, equipment, and the lifestyles of teen competitive skaters. In each book, I probably could've written the stories without doing such research, but for me, research -- however limited -- is a key component in creating authentic, believable tales. When someone picks up one of my books, I want that person to become immersed in the story, not distracted by little factual errors or flaws that yank her away from the characters and their struggles.
Memories & Shared Experiences
Because I write YA stories, I rely on memory a lot. I close my eyes and revisit things that happened in my own teen years, whether it's a specific event like graduation or summer break, or just the vast sea of emotions and feelings that come with things like best friendships and fights, first love and broken hearts, family dynamics, peer and parental pressure, sexuality, choices... so many amazing and frightening experiences! There were wonderful times as well as downright painful ones, but through contemporary stories and characters, writers and readers share those experiences together. Like we've said over at The Contemps, contemporary fiction lets us all know that we're not alone in this very real world. Contemporary, realistic stories connect people on a very human level, and that's something I've always loved about the power of books.
Thanks for hosting me today, Harmony! I hope everyone will check out more contemporary stories and join the ongoing discussion and celebration at The Contemps!
XOXO
Sarah
- Sarah Ockler, author of Fixing Delilah and Twenty Boy Summer and member of The Contemps, a group of YA authors putting realistic fiction in the spotlight.
8.30.2010
What's Your Genre? Week. Andrea Cremer!
As promised, I have another themed week for you guys! Last months I had bloggers here and THIS month, I have AWESOME authors here to talk about the different type of genres they write!
Today we have Andrea Cremer talking about writing Fantasy and Paranormal Romance!
~~~
I’m often asked if I would write in a genre other than paranormal/fantasy. It’s hard to imagine doing so. Fantasy was my bread and butter from my earliest books. Even in non-fantasy genres I related the most to fantasy elements. For example, I loved Anne of Green Gables for the creative worlds she constantly dreamed up. It’s not many a heroine you’ll find who ends up stranded in a river because she was pretending to be the Lady of Shalott (and to be rescued by Gilbert Blythe! Sigh, Gilbert Blythe).
For as long as I can remember I’ve been dreaming up other worlds, other times, fantastical scenarios, and supernatural gifts that would make life more interesting. When writing, creating characters and places that lacked those magical elements and extraordinary events would likely leave me a little bit sad.
What I love about fantasy is its longevity and flexibility. Fantasy and paranormal tales are tied up in human culture. Our mythologies going back as far as histories – both oral and written – record include episodes of magic, mystery, miracle. Fantasy seems to be a vital part of the human condition. And I’m glad for it.
I also am committed to the ways in which fantasy has been on the leading edge of social issues. Questions about gender and sexual power, racial ideologies, and hot-button political topics have long found expression in sci-fi and fantasy. I think that the realm of the impossible makes writers and readers less fearless when it comes to timely and challenging subjects. Fantasy writers give a voice to the voiceless in ways that characters in other genres aren’t able too, forecasting social change well before it takes root in contemporary cultures.
Finally, fantasy and paranormal offer the gift of escape. There’s nothing quite like being transported into a world where you’re forced to relearn all the rules, encounter new ways of thinking and being, and might just discover a few amazing powers that you didn’t know you had.
~~~
Squee, I love reading Andrea's posts. =P Hoped you liked it!
Happy Reading!
-Harmony B.
Today we have Andrea Cremer talking about writing Fantasy and Paranormal Romance!
~~~
I’m often asked if I would write in a genre other than paranormal/fantasy. It’s hard to imagine doing so. Fantasy was my bread and butter from my earliest books. Even in non-fantasy genres I related the most to fantasy elements. For example, I loved Anne of Green Gables for the creative worlds she constantly dreamed up. It’s not many a heroine you’ll find who ends up stranded in a river because she was pretending to be the Lady of Shalott (and to be rescued by Gilbert Blythe! Sigh, Gilbert Blythe).
For as long as I can remember I’ve been dreaming up other worlds, other times, fantastical scenarios, and supernatural gifts that would make life more interesting. When writing, creating characters and places that lacked those magical elements and extraordinary events would likely leave me a little bit sad.
What I love about fantasy is its longevity and flexibility. Fantasy and paranormal tales are tied up in human culture. Our mythologies going back as far as histories – both oral and written – record include episodes of magic, mystery, miracle. Fantasy seems to be a vital part of the human condition. And I’m glad for it.
I also am committed to the ways in which fantasy has been on the leading edge of social issues. Questions about gender and sexual power, racial ideologies, and hot-button political topics have long found expression in sci-fi and fantasy. I think that the realm of the impossible makes writers and readers less fearless when it comes to timely and challenging subjects. Fantasy writers give a voice to the voiceless in ways that characters in other genres aren’t able too, forecasting social change well before it takes root in contemporary cultures.
Finally, fantasy and paranormal offer the gift of escape. There’s nothing quite like being transported into a world where you’re forced to relearn all the rules, encounter new ways of thinking and being, and might just discover a few amazing powers that you didn’t know you had.
~~~
Squee, I love reading Andrea's posts. =P Hoped you liked it!
Happy Reading!
-Harmony B.
8.13.2010
Steam What? Guest post by Suzanne Lazear aka Lolita Suzanne
Steampunk. You’ve probably heard the term.
But what is Steampunk, anyway?
There are plenty of witty quips put there – Steampunkers party like its 1899, Steampunk is what happens when Goths discover brown, it’s Jules Verne on crack.
Basically, it’s alternate history. It’s imagining what modern technology would look like if we used Victorian materials and aesthetic – think airships and brass robots. Think of a world filled with adventure, mad-scientists, brass goggles, difference engines, air pirates, corset-and bustle wearing Vampire hunters, and zeppelins. That’s Steampunk.
Steampunk worlds often have a Victorian feel--think Neil Gaiman’s Stardust or The League of Extraordinary Gentleman. But they don’t need to take place in Victorian London. They can be set in any place or time – the distant past, modern-day America, or even another planet all together. Leviathan is an alternate version of World War I Europe. Steampunk stories can be any genre from mystery to paranormal; they can be dark and gritty, or light and fluffy.
Steampunk is also all about the gadgets and embracing the Victorian attitude of makerism. For example, Leanna Hieber refers to her book The Strangely Beautiful Tale of Miss Percy Parker as “Gas-Lamp Fantasy” and not Steampunk because it lacks “gadgets.”
Okay, I get the steam, but why the punk?
The term “Steampunk” was coined as a bit of a joke in the 1980’s and stuck. I’ve heard several people say that “Steampulp” would be more accurate. In Cyberpunk, Biopunk, and to some extent, even Elfpunk, there’s usually a whole dystopian/anarchy theme to the stories--hence, the “punk”. These themes are usually missing in Steampunk, but there’s still often themes of rebellion and the stories can get gritty – the Victorian era wasn’t all balls and bustles and an alternate Victorian-esque society probably isn’t either.
The things I like the most about Steampunk is the sheer variety. No two Steampunk worlds – or stories – are going to be alike. There literally is something for everyone. There is so much room to be creative and mash up genres.
Steampunk is also more than books and movies. There’s great Steampunk music from bands like Abney Park and Emilie Autumn, there’s Steampunk art, Steampunk clothes from places like Clockwork Couture and the Steampunk Emporium, and even Steampunk jewelry. Just take a look at Etsy, there are so many fabulous things, many of them handmade and one-of-a-kind. There are even Steampunk conventions--Steamcon2 in Seattle, anyone? Steampunk is many, many things.
Most of all, Steampunk is fun. Have a ball and don’t forget your brass goggles.
Lolita Suzanne’s Young Adult/Middle Grade Steampunk Reading list
• The Looking Glass Wars by Frank Beddor
• “The Society of Unrelenting Vigilance” series by Glenn Dakin
• Stardust by Neil Gaiman
• Worldshaker by Richard Harland
• The Strangely Beautiful Tale of Miss Percy Parker by Leanna Hieber
• The Boneshaker by Kate Milford
• Airborn by Kenneth Oppel
• Boneshaker by Cherie Priest
• “His Dark Materials” series by Phillip Pullman
• “Hungry City Chronicles” series by Phillip Reeve
• “Larklight” series by Phillip Reeve
• The Invention of Hugo Cabret by Brian Selznick
• Leviathan by Scott Westerfeld
Bio: Lolita Suzanne is Chief Mayhem Officer of the Steampunk Group Blog, Steamed! She likes Steampunk for the shoes and clockhand tiaras. Suzanne also writes Steampunk books for teens, with her first releasing in 2012. Sometimes she can be found wearing a bustle, but she has yet to make a ray gun.
But what is Steampunk, anyway?
There are plenty of witty quips put there – Steampunkers party like its 1899, Steampunk is what happens when Goths discover brown, it’s Jules Verne on crack.
Basically, it’s alternate history. It’s imagining what modern technology would look like if we used Victorian materials and aesthetic – think airships and brass robots. Think of a world filled with adventure, mad-scientists, brass goggles, difference engines, air pirates, corset-and bustle wearing Vampire hunters, and zeppelins. That’s Steampunk.
Steampunk worlds often have a Victorian feel--think Neil Gaiman’s Stardust or The League of Extraordinary Gentleman. But they don’t need to take place in Victorian London. They can be set in any place or time – the distant past, modern-day America, or even another planet all together. Leviathan is an alternate version of World War I Europe. Steampunk stories can be any genre from mystery to paranormal; they can be dark and gritty, or light and fluffy.
Steampunk is also all about the gadgets and embracing the Victorian attitude of makerism. For example, Leanna Hieber refers to her book The Strangely Beautiful Tale of Miss Percy Parker as “Gas-Lamp Fantasy” and not Steampunk because it lacks “gadgets.”
Okay, I get the steam, but why the punk?
The term “Steampunk” was coined as a bit of a joke in the 1980’s and stuck. I’ve heard several people say that “Steampulp” would be more accurate. In Cyberpunk, Biopunk, and to some extent, even Elfpunk, there’s usually a whole dystopian/anarchy theme to the stories--hence, the “punk”. These themes are usually missing in Steampunk, but there’s still often themes of rebellion and the stories can get gritty – the Victorian era wasn’t all balls and bustles and an alternate Victorian-esque society probably isn’t either.
The things I like the most about Steampunk is the sheer variety. No two Steampunk worlds – or stories – are going to be alike. There literally is something for everyone. There is so much room to be creative and mash up genres.
Steampunk is also more than books and movies. There’s great Steampunk music from bands like Abney Park and Emilie Autumn, there’s Steampunk art, Steampunk clothes from places like Clockwork Couture and the Steampunk Emporium, and even Steampunk jewelry. Just take a look at Etsy, there are so many fabulous things, many of them handmade and one-of-a-kind. There are even Steampunk conventions--Steamcon2 in Seattle, anyone? Steampunk is many, many things.
Most of all, Steampunk is fun. Have a ball and don’t forget your brass goggles.
Lolita Suzanne’s Young Adult/Middle Grade Steampunk Reading list
• The Looking Glass Wars by Frank Beddor
• “The Society of Unrelenting Vigilance” series by Glenn Dakin
• Stardust by Neil Gaiman
• Worldshaker by Richard Harland
• The Strangely Beautiful Tale of Miss Percy Parker by Leanna Hieber
• The Boneshaker by Kate Milford
• Airborn by Kenneth Oppel
• Boneshaker by Cherie Priest
• “His Dark Materials” series by Phillip Pullman
• “Hungry City Chronicles” series by Phillip Reeve
• “Larklight” series by Phillip Reeve
• The Invention of Hugo Cabret by Brian Selznick
• Leviathan by Scott Westerfeld
Bio: Lolita Suzanne is Chief Mayhem Officer of the Steampunk Group Blog, Steamed! She likes Steampunk for the shoes and clockhand tiaras. Suzanne also writes Steampunk books for teens, with her first releasing in 2012. Sometimes she can be found wearing a bustle, but she has yet to make a ray gun.
7.29.2010
Love is a temple, Love is the higher law: 'Breaking Up Reading Week'
The lovely Julie from Blogger Hearts Books (also a critique partner, fellow blogger, and awesome friend!) is here as part of
Breaking Up Reading Week
to talk about.....
A cliché is a trite or overused expression or idea. Clichés are in every book we read, but sometimes we don’t mind them. It all comes down to two factors.
A cliché is a cliché for a reason, we all know that. At one point it was an original idea and became popular and everyone loved seeing it. But today we see it and go “…Really? Really, AGAIN?” Other times, we don’t even notice it.
We could look at Twilight for example. It’s not an original idea, yet Stephenie did take a unique twist with it. I mean, who had ever seen a sparkling vampire? Now any vampire book is considered over done and worn out. But this process didn’t happen overnight. Several vampire books came out around the same time and also became extremely popular. But the vampire books I’ve read since Twilight, I don’t consider cliché because they were all well written and had very different plots (Vampire Academy, Blue Bloods, etc.). Not everyone feels the same way.
Then there’s the whole romance aspect. The supernatural creature that can’t be with their human lover but they do it anyway. It’s a plot some people complain about. It’s a cliché. Yet, there have been a couple books recently where I look at them and think “This is Twilight if Twilight had been written better.” And we come back to the execution completely changing my thoughts on a cliché. But not everyone feels the same way I do about them.
Yet other times, it doesn’t work. Another book I read recently had the book as a manwhore and the girl who just moved and they have an instant attraction but she doesn’t want to date a player and the mean girls convince her to play him. It worked in John Tucker Must Die. But the characters and writing just annoyed me to the point where I couldn’t even finish the book. Yet others loved this book.
A cliché is a cliché for a reason, yes. But whether it’s a good cliché or not depends on both the execution and the reader of the book.
-Julie *hides*
Breaking Up Reading Week
to talk about.....
A cliché is a trite or overused expression or idea. Clichés are in every book we read, but sometimes we don’t mind them. It all comes down to two factors.
A cliché is a cliché for a reason, we all know that. At one point it was an original idea and became popular and everyone loved seeing it. But today we see it and go “…Really? Really, AGAIN?” Other times, we don’t even notice it.
We could look at Twilight for example. It’s not an original idea, yet Stephenie did take a unique twist with it. I mean, who had ever seen a sparkling vampire? Now any vampire book is considered over done and worn out. But this process didn’t happen overnight. Several vampire books came out around the same time and also became extremely popular. But the vampire books I’ve read since Twilight, I don’t consider cliché because they were all well written and had very different plots (Vampire Academy, Blue Bloods, etc.). Not everyone feels the same way.
Then there’s the whole romance aspect. The supernatural creature that can’t be with their human lover but they do it anyway. It’s a plot some people complain about. It’s a cliché. Yet, there have been a couple books recently where I look at them and think “This is Twilight if Twilight had been written better.” And we come back to the execution completely changing my thoughts on a cliché. But not everyone feels the same way I do about them.
Yet other times, it doesn’t work. Another book I read recently had the book as a manwhore and the girl who just moved and they have an instant attraction but she doesn’t want to date a player and the mean girls convince her to play him. It worked in John Tucker Must Die. But the characters and writing just annoyed me to the point where I couldn’t even finish the book. Yet others loved this book.
A cliché is a cliché for a reason, yes. But whether it’s a good cliché or not depends on both the execution and the reader of the book.
-Julie *hides*
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