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This week, Oxford University Press (OUP) and The Reader announced an exciting new partnership, working together to build a core classics library and to get great literature into the hands of people who need it most, with the Oxford World’s Classics series becoming The Reader’s "house brand" for use in their pioneering Shared Reading initiatives.

The post What do the classics do for you? appeared first on OUPblog.

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I'm going to write about the second thing first, because it was more recent and I still feel geeked out by it.

The names have been censored to protect the innocent :)

But, it was cool to see she posted a picture of the flowers on Twitter! :)


The other and FIRST cool thing was that I attended a one-day writing workshop. I LOVE going to those things. They are so inspiring. Gets me really pumped up and in the writing groove again.

I have to say, though, that writing conferences contain some of the most introverted attendees in the world! (It is possible other conferences, such as those for actors, singers, musicians, or anything dealing with the artistic side of the brain contain introverts as well, but I have never seen more people less willing to cause a scene in real life than I see at writing conferences.)



The speaker is giving the opening speech, all crazy-confident and funny. (Obviously, he is experienced. The public speaker in me suffers some serious envy.)
Mid-sentence, the speaker pauses and asks, "Are you looking for a seat?"
All attendees shift in their chairs, and cast surreptitious glances back.
The person in question hunches up like she's trying to disappear into a sweater and waves a don't-worry-about-it-hand. "It's okay, I'm just going to stand in the back."
Speaker:  "There are seats available, if we could get people to point them out?" Questioning glance around the room.
Timorous hands come up, pointing to empty seats. Nearly inaudible voices say, "There's one here."
Person in question sort of drifts to a chair in the back and goes invisible as she settles.
Speaker goes on like nothing happened, while everyone else breathes relieved sighs that THAT awkwardness is over!

And this happened a couple times, not just once. In retrospect, it was super funny, but at the time there was this camaraderie of commiseration at BEING SEEN IN PUBLIC. It was especially bad when people had to leave to attend their 10-minute query pitch. Standing up in a room of people is hard, you guys! So many muttered regrets of "What was I thinking?" and "Should I go now, or wait another minute, since it's still five minutes before I have to pitch?" and "I wish I was sitting in the back! I'll know better next time."



I had a 10-minute pitch of my own, wherein I verbally pitched my query to a really awesome agent. Like, awesome. She was incredibly nice, and actually seemed to like what I had to say. For a writer, that is just really nice, to get the affirmation that your writing isn't as bad as you sometimes feel it is. (Just so you know, a verbal pitch is WAY harder than a round-table critique. At least with a round-table critique, you have your MS in your hand and you can read the printed word aloud and not really make eye contact with anyone. With a verbal pitch, it's just you tooting the merits of your manuscript, and I think most writers are very precious about their ideas. They cradle them close and don't share. Ever. So, saying, "this is what my story is about" and ENGAGING... is hard.)



Guys, I could literally world-build all day and not write a lick of story. I love to figure out why MY world is the way it is (such as someone in the far distant history of a particular world making such an enormous mistake that the hero in the present day now has an issue with adamant), and I love to study how other people sprinkle in backstory and implement that into my novels, so I don't have the ever-present problem of INFO-DUMPING (oh cursed words!) or people scratching their heads and saying, "I don't understand what's going on..."

My first ever cityscape - be impressed. This was HARD

I love creating the history of my world. I also find it interesting that, for the most part, a lot of fantasies tend to have a sort of creation element. Like, this world exists, and while there may not be a One God figure (mine tend to have those, because that's the way I roll), there is often a strong draw from Roman or Greek myths, folktales, legends, and fairytales. I think it's because fantasy reveals a truth. Myths, legends, and fairytales contain that same kernel of truth.
What is your favourite fantasy book/series?
Do you prefer Greek or Roman myths? (If you answer other, what's the other myth you prefer?)
Favourite fantasy artist?
What's the coolest thing that's happened to you this year?

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I'm really excited to be part of the group exhibition Let it Snow! at the Bruce Museum in Greenwich, CT! The show is now open, and will run through most of the winter. If you are near Greenwich, stop by and check out the art and books. As a part of this exhibition, the museum will also be running programs for teachers, parents and kids between now and Feb. 24, 2013. Hooray for snow!

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Code Name Verity
Elizabeth Wein
YA

I have the very distinct impression I may be coming a little late to the Code Name Verity fan club, it's that good. Nonetheless, I can't not write about this story either. It's that riveting. It's historical fiction solidly based in history. It's storyline is so genuine, the reader is left wondering, "did it really happen"? Yet its characters are so relatable to today's young adults, there is no disconnect due to time period. Plus, the author put together an amazing author's note that explains what's real and what's not.

Basic plot line - two young British women, one a pilot, the other nobility, become friends while working in the British war effort. Queenie, the Scottish noble, becomes a spy whom Maddie, the pilot, flies her - as well as broken and repaired planes, other spies, soldiers, etc - around England and ultimately, over the Channel to France, where Queenie is caught and interrogated - first half of the book. The second half is about how Maddie, who had to crash land in France, tries to escape back to England.

The book is brimming over with fast-paced plotting and harrowing, edge of your seat, reading. 

The format is interesting in that it is essentially a journal novel written from Queenie's and Maddie's POV. By alternating POV, the reader gets a more well-rounded, yet intimate viewpoint of what is going on both behind enemy lines and allied ones.

One of the aspects of the writing that most appealed to me is that Wein made each character human. That is, each has wants and desires, both abominable and universal. It's an interesting aspect to this particular novel. It wasn't easy to hate anyone flat out, except one secondary, but high-ranking Nazi official. Wein did a great job of character development, and in so doing, in bringing to life the intricacies of war and how enemy and ally aren't as one-dimensional as the history books of my young adult years painted them. The effect is something akin to that of The Reader, remaining long after the story itself is finished and begging for further discussion.

For other great Fall diversions, stop by Barrie Summy's website!

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