Readers serious about writing for young people could do far worse than start here.
An industry leader offers a manual for aspiring writers of fiction for children and teens.
As executive editor at the Arthur A. Levine Books imprint of Scholastic, Klein has edited such well-regarded titles as Millicent Min, Girl Genius, by Lisa Yee (2003), Marcelo in the Real World, by Francisco X. Stork (2009), and If I Ever Get out of Here, by Eric Gansworth (2013). With this substantial volume, she distills years of experience into an intensely practical, appealingly conversational manual. Klein discusses what makes good writing, parses the differences between the middle-grade and young-adult markets, and identifies the many different points an author must consider in making choices that affect characterization, plotting, worldbuilding, voice, pacing, and more. She assumes that her readers are themselves readers, speaking to them with collegial authority and confidence in their familiarity with touchstones of the literature. Presenting real-world examples, she then analyzes what makes them work, showing readers how Suzanne Collins establishes Katniss as a character readers can empathize with in The Hunger Games (2008), for instance, and how David Levithan and Rachel Cohn balance narration and dramatization in Nick and Norah’s Infinite Playlist (2006). Discursive analysis is complemented by exercises that frequently challenge readers to analyze how they introduce characters or to rewrite a dramatized scene as a narrated one. Klein’s prose can sometimes overwhelm, as in her description of creating a bookmap, a seemingly daunting task that may send readers to her website to see an example that could bear out their first impressions. Her use of technical terminology can also get in the way, as in a paragraph on plotting in which the seven uses of the word “obstacle” become itself an obstacle. Still, there is wisdom aplenty in this book, and the discussion of writing outside one’s own culture is worth the price of admission all by itself.
Readers serious about writing for young people could do far worse than start here.Pub Date: Sept. 6, 2016
ISBN: 978-0-393-29224-4
Page Count: 384
Publisher: Norton
Review Posted Online: June 21, 2016
Kirkus Reviews Issue: July 1, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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