Showing posts with label reading. Show all posts
Showing posts with label reading. Show all posts

Thursday, January 24

I confess I wasn't much of a reader in my childhood. From age 4 to almost 9, I lived on a 100-acre farm (most of it forested), where I spent many happy afternoons imagining adventures with a host of imaginary friends, a few barn cats at my heels. Being cooped up inside looking at paper was the stuff of school, the stuff of have-to, must, and you'd better.... Out among the trees was the stuff of color, texture, and life of all kinds. The worlds my imagination built were more real to me than Dick and Jane, cursive, and George Washington.

I suspect this concerned my parents a bit. They were both big readers who filled our house with books and magazines. They often read to me at bedtime, and on long car trips, Mom or one of my sibs would read aloud to us. Several books of the Narnia series got us through the insanely long drive from Pennsylvania to my grandparents' house in western Montana.

My parents rarely, if ever, watched TV. In fact, my oldest siblings grew up without one in the house. I was, according to them, lucky to even have a TV. It was black-and-white in an era when absolutely everyone else had color, and we got only four channels out in the sticks--the three major networks and PBS. The 70s weren't known for realistic programming--aside from the Bionic Man, Wonder Woman,  and Fantasy Island, were the distant luxury worlds of The Love Boat, and the sanitized "Old West" of Little House on the Prairie. These shows, plus The Wonderful World of Disney, and some Saturday cartoons made up my entertainment diet, which was quite time-limited. When I complained about my meager TV time, "Go play," was the usual response. So I did.

We ended up having to sell the farm because my father had a mental health crisis. My ability to get lost in my imaginary world saved me, I think. Out in the woods, I could process my anxieties. Nature soothed me and brought joy in a very dark time for our family.

Our new home was a more manageable three acres, part of it wooded with a creek, so the adventures--and my source of nature therapy--continued there. Through a school friend, I soon got caught up in an obsession with horses. Her family had kept them sporadically, and she took riding lessons from a stable near her house. Many a Saturday, I trailed her around the barn, soaking up knowledge about how to care for these amazing creatures.

My seventh-grade reading teacher somehow caught onto the fact that I didn't really read for pleasure, though I had no struggles other than a lack of interest. One day during study hall, she called me over to her closet at the back of the classroom. "I hear you like horses," she whispered conspiratorially. "Check this out." She handed me a book with a gorgeous bay mare on the cover. "You want to borrow it?" Boy, did I ever.

I read every horse book Mrs. Brooks had. Over the next two years, I read nearly every horse story my public library had, and there were quite a few. When I finished those, I read other books written for middle schoolers, most notably Madeleine L'Engle's work.

During the same period, I was placed in the gifted program, and our advisor got us playing Dungeons and Dragons as a problem-solving and creativity-building exercise. D&D draws on historic and fantastical lore from many, many sources, which opened up even more avenues for reading for me. And the storytelling aspect of role play also captured my imagination.

Soon I was writing my own stories. Not just short works, but the beginnings of full novels with large casts of characters. The itch to create worlds with words was a natural outflow of many, many hours spent in creative play early on. My writing only grew from there, and my love of reading continued to flourish into an English degree and a career in publishing.

So if you have a reluctant reader in your house, take heart.  Not every writer starts out bookish. Model good reading habits. Keep your home full of books that are cool to look at. Read aloud to this child and as a whole family, enjoying and discussing a book together. Limit TV and computer time. Give lots of outdoor playtime in nature. Be patient for the right opportunity to let your child follow their passions in pleasure reading.

Have you seen other reluctant readers go on to become writers? What encouragement would you give to parents of reluctant readers?
Thursday, January 24, 2019 Laurel Garver
I confess I wasn't much of a reader in my childhood. From age 4 to almost 9, I lived on a 100-acre farm (most of it forested), where I spent many happy afternoons imagining adventures with a host of imaginary friends, a few barn cats at my heels. Being cooped up inside looking at paper was the stuff of school, the stuff of have-to, must, and you'd better.... Out among the trees was the stuff of color, texture, and life of all kinds. The worlds my imagination built were more real to me than Dick and Jane, cursive, and George Washington.

I suspect this concerned my parents a bit. They were both big readers who filled our house with books and magazines. They often read to me at bedtime, and on long car trips, Mom or one of my sibs would read aloud to us. Several books of the Narnia series got us through the insanely long drive from Pennsylvania to my grandparents' house in western Montana.

My parents rarely, if ever, watched TV. In fact, my oldest siblings grew up without one in the house. I was, according to them, lucky to even have a TV. It was black-and-white in an era when absolutely everyone else had color, and we got only four channels out in the sticks--the three major networks and PBS. The 70s weren't known for realistic programming--aside from the Bionic Man, Wonder Woman,  and Fantasy Island, were the distant luxury worlds of The Love Boat, and the sanitized "Old West" of Little House on the Prairie. These shows, plus The Wonderful World of Disney, and some Saturday cartoons made up my entertainment diet, which was quite time-limited. When I complained about my meager TV time, "Go play," was the usual response. So I did.

We ended up having to sell the farm because my father had a mental health crisis. My ability to get lost in my imaginary world saved me, I think. Out in the woods, I could process my anxieties. Nature soothed me and brought joy in a very dark time for our family.

Our new home was a more manageable three acres, part of it wooded with a creek, so the adventures--and my source of nature therapy--continued there. Through a school friend, I soon got caught up in an obsession with horses. Her family had kept them sporadically, and she took riding lessons from a stable near her house. Many a Saturday, I trailed her around the barn, soaking up knowledge about how to care for these amazing creatures.

My seventh-grade reading teacher somehow caught onto the fact that I didn't really read for pleasure, though I had no struggles other than a lack of interest. One day during study hall, she called me over to her closet at the back of the classroom. "I hear you like horses," she whispered conspiratorially. "Check this out." She handed me a book with a gorgeous bay mare on the cover. "You want to borrow it?" Boy, did I ever.

I read every horse book Mrs. Brooks had. Over the next two years, I read nearly every horse story my public library had, and there were quite a few. When I finished those, I read other books written for middle schoolers, most notably Madeleine L'Engle's work.

During the same period, I was placed in the gifted program, and our advisor got us playing Dungeons and Dragons as a problem-solving and creativity-building exercise. D&D draws on historic and fantastical lore from many, many sources, which opened up even more avenues for reading for me. And the storytelling aspect of role play also captured my imagination.

Soon I was writing my own stories. Not just short works, but the beginnings of full novels with large casts of characters. The itch to create worlds with words was a natural outflow of many, many hours spent in creative play early on. My writing only grew from there, and my love of reading continued to flourish into an English degree and a career in publishing.

So if you have a reluctant reader in your house, take heart.  Not every writer starts out bookish. Model good reading habits. Keep your home full of books that are cool to look at. Read aloud to this child and as a whole family, enjoying and discussing a book together. Limit TV and computer time. Give lots of outdoor playtime in nature. Be patient for the right opportunity to let your child follow their passions in pleasure reading.

Have you seen other reluctant readers go on to become writers? What encouragement would you give to parents of reluctant readers?

Thursday, June 29

This week marks the 20th anniversary of the publication of Harry Potter and the Philosopher's Stone (know in the US as Harry Potter and the Sorcerer's Stone because publishers assume American readers are too dumb to pick up anything with philosopher in the title, or know anything about medieval history or alchemy...but I digress).

Dumbledore's costume, WB studio tour, London (my photo)
I was first introduced to the series shortly after the first two books became available through Scholastic in the US. A reading specialist in my book group felt we just had to give them a try. She reads heaps of kidlit and knew these books were something special, bringing together tropes from fantasy, mythology, coming of age, and boarding school stories. They're fun and smart and got reluctant readers willing to work through their reading struggles to find out what happens next.

Having my husband read the series aloud to me, so we could enjoy the books together, became one of the defining bonding experiences of my early married years. He has gone on to develop college courses that suss out philosophical themes in the books, and has given a number of conference talks and published books chapters on epistemology and ethics in Rowling's work.

My contribution to Harry Potter fandom has been largely connected with this blog. I've participated in some blog hops, did a series of thematic character analyses, and eventually spun off a short-lived online fan 'zine.

So for your enjoyment, I offer links to my many Harry Potter-themed offerings.

Literary analyses

The Slow Growing Hero (Neville Longbottom)
What Makes a Villain? Part 1: The Dursleys and Malfoys
What Makes a Villain? Part 2: Umbridge and Voldemort
What Makes a Villain? Part 3: A Hero in Villain's Clothing (Severus Snape)

Thestral Gazette


I created this fan-fiction "underground newspaper" with a team, to provide muckraker-style "yellow journalism" pieces about "hidden Hogwarts revealed by those in the know." Pieces are cross-posted HERE.

Mrs. Norris's Secret Identity Revealed
Gilderoy Lockhart's Exciting New Book Release!
Snape's Secret Admirer
Fast, Loose, and Aria-Belting: Professors After Hours
Viktor Krum Reuintes with Former Girlfriend
Discovery: Mer-mating
Umbridge Unmasked
Ask Abby Gabby: Advice for Wizards and Witches (first feature)
Advice for Wizards and Witches (second feature)
Being Bullied? Weasel Your Way Out
Elves Gone Wild
Cauldron Chatter: Cloaked Items (gossip column)
Special Report from Hogwarts Florida Campus

Blog Hop posts

The Benefit of Books First (guest post by the hubs)
Wrock on! About the fandom creation "wizard rock"
Quidditch anyone? About collegiate "muggle quidditch" teams
Spinning New Yarns: Fan Fiction and Fan Art
Ravenclaw Heaven: Harry Potter meets Academia
Who Would Be Your Mates? Create a friend trio with two Hogwarts students

Miscellany

Harry Potter themed party ideas part I and part II
My photos from the Harry Potter WB Studio Tour near London and Hogwarts meme

And for fun, a quick list of my favorites:

Book in series: Harry Potter and the Goblet of Fire
Film: Harry Potter and the Prisoner of Azkaban
Male character: Neville Longbottom
Female character: Hermione Granger
Professor: Remus Lupin
Scene: Escape from Gringott's in Deathly Hallows
Spell: Accio (summoning spell)
Method of transit: aparation
Magical creature: House elves
Magical event: Yule Ball

How long have you been a Harry Potter fan? What are your favorites from the list above?

Thursday, June 29, 2017 Laurel Garver
This week marks the 20th anniversary of the publication of Harry Potter and the Philosopher's Stone (know in the US as Harry Potter and the Sorcerer's Stone because publishers assume American readers are too dumb to pick up anything with philosopher in the title, or know anything about medieval history or alchemy...but I digress).

Dumbledore's costume, WB studio tour, London (my photo)
I was first introduced to the series shortly after the first two books became available through Scholastic in the US. A reading specialist in my book group felt we just had to give them a try. She reads heaps of kidlit and knew these books were something special, bringing together tropes from fantasy, mythology, coming of age, and boarding school stories. They're fun and smart and got reluctant readers willing to work through their reading struggles to find out what happens next.

Having my husband read the series aloud to me, so we could enjoy the books together, became one of the defining bonding experiences of my early married years. He has gone on to develop college courses that suss out philosophical themes in the books, and has given a number of conference talks and published books chapters on epistemology and ethics in Rowling's work.

My contribution to Harry Potter fandom has been largely connected with this blog. I've participated in some blog hops, did a series of thematic character analyses, and eventually spun off a short-lived online fan 'zine.

So for your enjoyment, I offer links to my many Harry Potter-themed offerings.

Literary analyses

The Slow Growing Hero (Neville Longbottom)
What Makes a Villain? Part 1: The Dursleys and Malfoys
What Makes a Villain? Part 2: Umbridge and Voldemort
What Makes a Villain? Part 3: A Hero in Villain's Clothing (Severus Snape)

Thestral Gazette


I created this fan-fiction "underground newspaper" with a team, to provide muckraker-style "yellow journalism" pieces about "hidden Hogwarts revealed by those in the know." Pieces are cross-posted HERE.

Mrs. Norris's Secret Identity Revealed
Gilderoy Lockhart's Exciting New Book Release!
Snape's Secret Admirer
Fast, Loose, and Aria-Belting: Professors After Hours
Viktor Krum Reuintes with Former Girlfriend
Discovery: Mer-mating
Umbridge Unmasked
Ask Abby Gabby: Advice for Wizards and Witches (first feature)
Advice for Wizards and Witches (second feature)
Being Bullied? Weasel Your Way Out
Elves Gone Wild
Cauldron Chatter: Cloaked Items (gossip column)
Special Report from Hogwarts Florida Campus

Blog Hop posts

The Benefit of Books First (guest post by the hubs)
Wrock on! About the fandom creation "wizard rock"
Quidditch anyone? About collegiate "muggle quidditch" teams
Spinning New Yarns: Fan Fiction and Fan Art
Ravenclaw Heaven: Harry Potter meets Academia
Who Would Be Your Mates? Create a friend trio with two Hogwarts students

Miscellany

Harry Potter themed party ideas part I and part II
My photos from the Harry Potter WB Studio Tour near London and Hogwarts meme

And for fun, a quick list of my favorites:

Book in series: Harry Potter and the Goblet of Fire
Film: Harry Potter and the Prisoner of Azkaban
Male character: Neville Longbottom
Female character: Hermione Granger
Professor: Remus Lupin
Scene: Escape from Gringott's in Deathly Hallows
Spell: Accio (summoning spell)
Method of transit: aparation
Magical creature: House elves
Magical event: Yule Ball

How long have you been a Harry Potter fan? What are your favorites from the list above?

Thursday, June 1

True confession. I feel like I ought to like reading romances. I generally prefer a happy ending to a sad one. But each time I've tried one--especially the Kindle First offerings to Prime members--I've been disappointed.

The romance plot model has become so entrenched, it no longer allows room for any genuine surprises. I know there will be some dumb thing that separates heroine and hero at roughly the midpoint and that dumb thing will clear up in a matter of chapters. I know the heroine will be beautiful, as will the hero, though one or both will be clueless about this or insecure in some way. If one of them has a deep, dark secret, the counterpart will have a corresponding one. Even in the hands of a great wordsmith, the formula clunks along as usual, boring me to tears.

I'd love to know if there are established writers out there who have earned a free pass to write plots that don't follow the predictable formula of boy-meets-girl, boy-loses-girl, boy-wins-girl-back-again. I'd like to see some heroines who aren't the usual healthy, educated, white, and beautiful. How about a blind protagonist, or one with a learning disability, or someone biracial or average looking but brainy, or even disfigured (say an amputee veteran)? You find characters like this in literary fiction, women's fiction, romantic comedy, YA and MG. It would be great to see their love stories, and have a departure from the same-old, same-old.


Is there a genre you've tried but just can't connect to? Why do you think that is? 

Is there a romance author doing something unique I might actually enjoy? Do tell. 


Thursday, June 01, 2017 Laurel Garver
True confession. I feel like I ought to like reading romances. I generally prefer a happy ending to a sad one. But each time I've tried one--especially the Kindle First offerings to Prime members--I've been disappointed.

The romance plot model has become so entrenched, it no longer allows room for any genuine surprises. I know there will be some dumb thing that separates heroine and hero at roughly the midpoint and that dumb thing will clear up in a matter of chapters. I know the heroine will be beautiful, as will the hero, though one or both will be clueless about this or insecure in some way. If one of them has a deep, dark secret, the counterpart will have a corresponding one. Even in the hands of a great wordsmith, the formula clunks along as usual, boring me to tears.

I'd love to know if there are established writers out there who have earned a free pass to write plots that don't follow the predictable formula of boy-meets-girl, boy-loses-girl, boy-wins-girl-back-again. I'd like to see some heroines who aren't the usual healthy, educated, white, and beautiful. How about a blind protagonist, or one with a learning disability, or someone biracial or average looking but brainy, or even disfigured (say an amputee veteran)? You find characters like this in literary fiction, women's fiction, romantic comedy, YA and MG. It would be great to see their love stories, and have a departure from the same-old, same-old.


Is there a genre you've tried but just can't connect to? Why do you think that is? 

Is there a romance author doing something unique I might actually enjoy? Do tell. 


Wednesday, October 21

Photo credit: JulesInKY from morguefile.com
I have a somewhat embarrassing habit when it comes to using Goodreads. I really love to read negative reviews of books that are extremely popular. At first I focused on classics, because their haters are quite hilarious. Then I began branching out to books others raved about that just didn't do it for me. It was gratifying to hear others describe problem after problem.

It's also a bit small minded to be wasting time hunting for another dose of schadenfreude. So I've been looking for ways to reform this vice into something more constructive.

One thing that's pretty clear--you can learn quite a lot about what story elements drive readers batty by listening to their harsher critiques. Some comments will, of course, tell you a lot more about an individual reviewer's biases and hobby horses than about general reader expectations, but others can be quite educational. If you write genre fiction, it can be especially helpful to know what elements readers are sick to death of, or feel cheated if they aren't there.

Here are some writing tips I've gleaned from insightful "mean" readers of popular young adult books:

Characterization no-nos

Protagonist who is


  • Whiny 
  • Self-serving
  • Mean-spirited
  • Indecisive and dithering
  • Thoughtless
  • Foolhardy
  • Bland
  • Flawless
  • Skilled only at being attractive
  • Instantly in love after one smoldering glance
  • Unchanged by the story events

Sidekick who is


  • Only comic relief
  • Hateful
  • Jealous
  • Clone of protagonist
  • An ethnic or racial "type"
  • Deeply stupid
  • Foolhardy
  • Disloyal

Love interest who is


  • Instantly in love after one smoldering glance
  • Narcissistic
  • Abusive
  • Stalker-ish
  • Controlling
  • Prone to jealous rages
  • Boring
  • Too dependent
  • Lacking personal goals
  • Lacking outside interests
  • Flawless
  • Constantly pursued by rivals

Other hated character tropes


  • Cheerleader mean girls
  • Athlete bullies
  • Self-absorbed, uninvolved or dead parents
  • Love triangles with bland, flat love interests
  • Romance based only on physical attraction


Plot no-nos


  • Pacing that drags
  • Pacing that races
  • Abruptly dropped subplots
  • Actions aren't motivated
  • Actions aren't realistic
  • Episodic plots
  • Repetitious actions
  • Melodramatic responses


World building no-nos


  • Bland small towns with no character
  • Cookie-cutter suburban settings with no diversity
  • Unrealistic, movie-set settings
  • No clear origins for a society
  • No sense of how society is organized
  • Unclear social strata 
  • Unclear economic system
  • Unclear food sources
  • No one seems to do essential jobs
  • Unexplained divisions among groups
  • Lack of age diversity

Look at another genre, you'd likely gather a different list. But there's no doubt that you can learn a lot about reader expectation by taking a gander at some less than glowing reviews. Just resist the urge to gloat. Instead, use the information to grow.

 What writerly foibles drive you batty? Have you even gleaned writing lessons from online reviews?
Wednesday, October 21, 2015 Laurel Garver
Photo credit: JulesInKY from morguefile.com
I have a somewhat embarrassing habit when it comes to using Goodreads. I really love to read negative reviews of books that are extremely popular. At first I focused on classics, because their haters are quite hilarious. Then I began branching out to books others raved about that just didn't do it for me. It was gratifying to hear others describe problem after problem.

It's also a bit small minded to be wasting time hunting for another dose of schadenfreude. So I've been looking for ways to reform this vice into something more constructive.

One thing that's pretty clear--you can learn quite a lot about what story elements drive readers batty by listening to their harsher critiques. Some comments will, of course, tell you a lot more about an individual reviewer's biases and hobby horses than about general reader expectations, but others can be quite educational. If you write genre fiction, it can be especially helpful to know what elements readers are sick to death of, or feel cheated if they aren't there.

Here are some writing tips I've gleaned from insightful "mean" readers of popular young adult books:

Characterization no-nos

Protagonist who is


  • Whiny 
  • Self-serving
  • Mean-spirited
  • Indecisive and dithering
  • Thoughtless
  • Foolhardy
  • Bland
  • Flawless
  • Skilled only at being attractive
  • Instantly in love after one smoldering glance
  • Unchanged by the story events

Sidekick who is


  • Only comic relief
  • Hateful
  • Jealous
  • Clone of protagonist
  • An ethnic or racial "type"
  • Deeply stupid
  • Foolhardy
  • Disloyal

Love interest who is


  • Instantly in love after one smoldering glance
  • Narcissistic
  • Abusive
  • Stalker-ish
  • Controlling
  • Prone to jealous rages
  • Boring
  • Too dependent
  • Lacking personal goals
  • Lacking outside interests
  • Flawless
  • Constantly pursued by rivals

Other hated character tropes


  • Cheerleader mean girls
  • Athlete bullies
  • Self-absorbed, uninvolved or dead parents
  • Love triangles with bland, flat love interests
  • Romance based only on physical attraction


Plot no-nos


  • Pacing that drags
  • Pacing that races
  • Abruptly dropped subplots
  • Actions aren't motivated
  • Actions aren't realistic
  • Episodic plots
  • Repetitious actions
  • Melodramatic responses


World building no-nos


  • Bland small towns with no character
  • Cookie-cutter suburban settings with no diversity
  • Unrealistic, movie-set settings
  • No clear origins for a society
  • No sense of how society is organized
  • Unclear social strata 
  • Unclear economic system
  • Unclear food sources
  • No one seems to do essential jobs
  • Unexplained divisions among groups
  • Lack of age diversity

Look at another genre, you'd likely gather a different list. But there's no doubt that you can learn a lot about reader expectation by taking a gander at some less than glowing reviews. Just resist the urge to gloat. Instead, use the information to grow.

 What writerly foibles drive you batty? Have you even gleaned writing lessons from online reviews?

Wednesday, May 27


I'm knee-deep in a couple of projects that are requiring a lot of my brain space at the moment, so I thought this week I'd simply share short reviews of some books I've read and enjoyed recently.

Cinders
Michelle D. Argyle

This is a great crossover read for folks who like literary and women's fiction to give fantasy a try. The fantasy elements are light touch; it's the emotions that take center stage here.

I think the novella format was perfect for an expanded reflection on the tenuousness of Cinderella's "happily ever after." Argyle's considerable talent as a short story writer is clear in the emotionally-charged, sensory-filled scenes that hum with tension and subtext. Her gestures toward a larger milieu might make die-hard fantasy fans feel a little shortchanged, but I found the economy of her descriptions refreshing--lush without drowning you in detail.



Just One Day
Gayle Forman

I am often a sucker for a good travel story, but this book is so much more, and goes directions I could not have anticipated. Forman understands the travails of late adolescence/early 20s exceptionally well, and seems to really get millienials and their unique challenges as a generation. While this one isn't as lyrical as If I Stay, it offers so much, I think I love it nearly as deeply, but differently.

I love how the story upends a lot of very naive fantasies about travel romances. While the sheltered girl, Allyson, steps out of her comfort zone and takes a risk, it's not an unrealistically all-positive experience. Growing and changing isn't a seamless process; some bumps and bruises will come along the way. And for some, the task of individuating can be as much an inner war as one with authority figures. Allyson's character frustrated me at times in the best possible way--I so wanted her to fight for a self she could happily own. And she does, eventually. I'm so glad Forman didn't glibly skip over the painful processes that get her there. It makes this story so powerfully real, and one I think will be very encouraging to young women out there in this phase of life, trying to figure themselves out.


The Good Luck of Right Now
Matthew Quick

I've been meaning to pick up one of Quick's books since I heard him speak and give a reading last year. His insight about "voice driven writing" really resonated.

What immediately hooked me in The Good Luck of Right Now was the narrative voice--charmingly awkward and wise at once. Bartholomew doesn't entirely seem like someone you'd ever meet in real life. A good 20 years of his existence seem unaccounted for. (No, seriously, what has this guy done with himself from age 18 to 38? Not even an attempt to hold a job? Really?) But that seems beside the point. This book is far more interested in the future than the past, for some people don't truly live until those who have defined them die, leaving space to individuate.

I enjoyed the quirky cast that assembles around Bartholomew, especially the troubled priest, whose devout heart is admirable in the midst of his suffering. Bartholomew's therapy partner Max is pretty hilarious, if a bit painful to hear (he drops an F-bomb in every single sentence he utters, a sign of his stuckness in rage). Bartholomew's grief counselor-in-training Wendy and "The Girlbrarian," his love interest, are two more wounded souls that round out the ensemble. Together they challenge and begin to heal one another. I found the theme of role-playing--how we pretend with one another as a way of coping, or dodging emotional minefields--well done and thought-provoking.


The Glassblower
Petra Durst-Benning

I'm not a big historical fiction reader, perhaps because so much historical fiction strikes me as stilted sounding or, conversely, full of anachronisms. For the most part, this book did neither. The translation was relatively fluid and didn't use overly modern-sounding idioms. It felt "past" without beating you over the head about it.

This is a lengthy story, and may feel like it drags to those who are accustomed to novels that wrap in 250 pages. Durst-Benning does a fairly good job covering the storylines of all three sisters, though I felt the youngest, Marie, got short shrift compared to her elder sisters.

I really enjoyed watching these three women grow over the course of years and learn new skills that enabled them to become self-supporting in an age when women were largely blocked from being heads of household. Their ups and downs were thoroughly enjoyable to read. I especially appreciated that the first installment of the series wraps up enough that there's a sense of closure, but with tantalizing hints of more drama to come.


Attachments
Rainbow Rowell

Eleanor & Park set my expectations for this author fairly high. While the characters were largely likable, the story itself is a predictable romance plot with little in the way of real tension. A few times I felt a bit impatient and irritated with the characters' stuckness in unhappy situations of their own making. That made me root for them a bit less.

I'd seen other reviewers complain that the newspaper's draconian e-mail policy doesn't seem realistic for 1999. I'd agree if we were talking about a big city on the East Coast, but this story is set in the Heartland, which lagged behind, especially then. I very much remember my employers in Philly being this weird in 1995-96 about the potential for lost productivity and scandalous/illegal Internet use. Gen-X readers will probably like the story more than younger folks, who probably can't entirely fathom just how much tech has changed how we behave in a relatively short time.

What have you been reading lately?
Wednesday, May 27, 2015 Laurel Garver

I'm knee-deep in a couple of projects that are requiring a lot of my brain space at the moment, so I thought this week I'd simply share short reviews of some books I've read and enjoyed recently.

Cinders
Michelle D. Argyle

This is a great crossover read for folks who like literary and women's fiction to give fantasy a try. The fantasy elements are light touch; it's the emotions that take center stage here.

I think the novella format was perfect for an expanded reflection on the tenuousness of Cinderella's "happily ever after." Argyle's considerable talent as a short story writer is clear in the emotionally-charged, sensory-filled scenes that hum with tension and subtext. Her gestures toward a larger milieu might make die-hard fantasy fans feel a little shortchanged, but I found the economy of her descriptions refreshing--lush without drowning you in detail.



Just One Day
Gayle Forman

I am often a sucker for a good travel story, but this book is so much more, and goes directions I could not have anticipated. Forman understands the travails of late adolescence/early 20s exceptionally well, and seems to really get millienials and their unique challenges as a generation. While this one isn't as lyrical as If I Stay, it offers so much, I think I love it nearly as deeply, but differently.

I love how the story upends a lot of very naive fantasies about travel romances. While the sheltered girl, Allyson, steps out of her comfort zone and takes a risk, it's not an unrealistically all-positive experience. Growing and changing isn't a seamless process; some bumps and bruises will come along the way. And for some, the task of individuating can be as much an inner war as one with authority figures. Allyson's character frustrated me at times in the best possible way--I so wanted her to fight for a self she could happily own. And she does, eventually. I'm so glad Forman didn't glibly skip over the painful processes that get her there. It makes this story so powerfully real, and one I think will be very encouraging to young women out there in this phase of life, trying to figure themselves out.


The Good Luck of Right Now
Matthew Quick

I've been meaning to pick up one of Quick's books since I heard him speak and give a reading last year. His insight about "voice driven writing" really resonated.

What immediately hooked me in The Good Luck of Right Now was the narrative voice--charmingly awkward and wise at once. Bartholomew doesn't entirely seem like someone you'd ever meet in real life. A good 20 years of his existence seem unaccounted for. (No, seriously, what has this guy done with himself from age 18 to 38? Not even an attempt to hold a job? Really?) But that seems beside the point. This book is far more interested in the future than the past, for some people don't truly live until those who have defined them die, leaving space to individuate.

I enjoyed the quirky cast that assembles around Bartholomew, especially the troubled priest, whose devout heart is admirable in the midst of his suffering. Bartholomew's therapy partner Max is pretty hilarious, if a bit painful to hear (he drops an F-bomb in every single sentence he utters, a sign of his stuckness in rage). Bartholomew's grief counselor-in-training Wendy and "The Girlbrarian," his love interest, are two more wounded souls that round out the ensemble. Together they challenge and begin to heal one another. I found the theme of role-playing--how we pretend with one another as a way of coping, or dodging emotional minefields--well done and thought-provoking.


The Glassblower
Petra Durst-Benning

I'm not a big historical fiction reader, perhaps because so much historical fiction strikes me as stilted sounding or, conversely, full of anachronisms. For the most part, this book did neither. The translation was relatively fluid and didn't use overly modern-sounding idioms. It felt "past" without beating you over the head about it.

This is a lengthy story, and may feel like it drags to those who are accustomed to novels that wrap in 250 pages. Durst-Benning does a fairly good job covering the storylines of all three sisters, though I felt the youngest, Marie, got short shrift compared to her elder sisters.

I really enjoyed watching these three women grow over the course of years and learn new skills that enabled them to become self-supporting in an age when women were largely blocked from being heads of household. Their ups and downs were thoroughly enjoyable to read. I especially appreciated that the first installment of the series wraps up enough that there's a sense of closure, but with tantalizing hints of more drama to come.


Attachments
Rainbow Rowell

Eleanor & Park set my expectations for this author fairly high. While the characters were largely likable, the story itself is a predictable romance plot with little in the way of real tension. A few times I felt a bit impatient and irritated with the characters' stuckness in unhappy situations of their own making. That made me root for them a bit less.

I'd seen other reviewers complain that the newspaper's draconian e-mail policy doesn't seem realistic for 1999. I'd agree if we were talking about a big city on the East Coast, but this story is set in the Heartland, which lagged behind, especially then. I very much remember my employers in Philly being this weird in 1995-96 about the potential for lost productivity and scandalous/illegal Internet use. Gen-X readers will probably like the story more than younger folks, who probably can't entirely fathom just how much tech has changed how we behave in a relatively short time.

What have you been reading lately?

Friday, December 19

Today, I'm participating in DL Hammmons's Deja Vu Blogfest, in which we share a post from the previous year that we feel got less attention than we'd like. My recycled post is from January.

----

Anxiety of Influence


As a writer, should you be especially careful about what you read?

It's a question that's been plaguing me during a reading binge. My current read isn't an identical scenario to the one I'm currently writing, but there are numerous points of intersection. This puts me in a bit of a quandary. Will continuing to read help me work out my own story, or will it derail me?

Photo credit: dave from morguefile.com
In her nonfiction book on writing, Escaping into the Open, Elizabeth Berg makes an interesting assertion about influence I've never seen anywhere else:

"While drafting, avoid reading books on the same topic as yours." 

Her reasoning? "...no matter how aware or sophisticated or experienced you are, no matter how determined to write your own story, there's a very real danger that you will start to copy. It may be unconscious, but it can happen. And if that happens, it's a shame...because it denies the reading public the pleasure of your originality."

Part of me disagrees. If I don't know how others have tackled this topic, how do I know if my ideas are original? How do I avoid just repeating what has been said before if I'm ignorant of it? How do I not end up leaning on tired clichés? Berg seems to argue here that clichés crop up because you read others' takes on your topic. You can't help but copy.

The funny thing is, I could argue the opposite.  Knowing how others have treated a topic might constrain me to try too hard to take a new direction in order to seem original. In so doing, I risk creating an inauthentic experience with inauthentic emotion.

But either way, the conclusion would be stop reading that similar book.

But other possible good lessons could come from continuing. I can have distance from another's story I can't yet have from my own. I can more easily sense the kinds of details I might include as a writer that as a reader I find superfluous or boring.

Similarly, this other author could open my eyes to dramatic possibilities I'm not yet exploring in my work: places where conflict might erupt or alliances could form; ways of delivering, delaying, or withholding information. Berg would likely say I should learn these latter lessons from books on topics quite different from mine.

What do you think? Is it a help or a danger to read books on a similar topic?
Friday, December 19, 2014 Laurel Garver
Today, I'm participating in DL Hammmons's Deja Vu Blogfest, in which we share a post from the previous year that we feel got less attention than we'd like. My recycled post is from January.

----

Anxiety of Influence


As a writer, should you be especially careful about what you read?

It's a question that's been plaguing me during a reading binge. My current read isn't an identical scenario to the one I'm currently writing, but there are numerous points of intersection. This puts me in a bit of a quandary. Will continuing to read help me work out my own story, or will it derail me?

Photo credit: dave from morguefile.com
In her nonfiction book on writing, Escaping into the Open, Elizabeth Berg makes an interesting assertion about influence I've never seen anywhere else:

"While drafting, avoid reading books on the same topic as yours." 

Her reasoning? "...no matter how aware or sophisticated or experienced you are, no matter how determined to write your own story, there's a very real danger that you will start to copy. It may be unconscious, but it can happen. And if that happens, it's a shame...because it denies the reading public the pleasure of your originality."

Part of me disagrees. If I don't know how others have tackled this topic, how do I know if my ideas are original? How do I avoid just repeating what has been said before if I'm ignorant of it? How do I not end up leaning on tired clichés? Berg seems to argue here that clichés crop up because you read others' takes on your topic. You can't help but copy.

The funny thing is, I could argue the opposite.  Knowing how others have treated a topic might constrain me to try too hard to take a new direction in order to seem original. In so doing, I risk creating an inauthentic experience with inauthentic emotion.

But either way, the conclusion would be stop reading that similar book.

But other possible good lessons could come from continuing. I can have distance from another's story I can't yet have from my own. I can more easily sense the kinds of details I might include as a writer that as a reader I find superfluous or boring.

Similarly, this other author could open my eyes to dramatic possibilities I'm not yet exploring in my work: places where conflict might erupt or alliances could form; ways of delivering, delaying, or withholding information. Berg would likely say I should learn these latter lessons from books on topics quite different from mine.

What do you think? Is it a help or a danger to read books on a similar topic?

Tuesday, September 23

Today I'm taking part in the week-long Follow Fest, hosted by Melissa Maygrove. It's not too late to join the fun! Swing on by Melissa's blog to sign up. Melissa gave us a handful of questions to help us get to know one another, so without further ado, here's all about me:

Name: Laurel Garver


Fiction or nonfiction? 

Mostly fiction, but I'm branching out into nonfiction (writing resources)


What genres do you write?

I write young adult (YA) literary fiction with Christian themes: stories about the places where life and beliefs collide. I also write poetry and, as I already mentioned, writing resources.

Are you published?

Yes: Never Gone, a novel, and Muddy-Fingered Midnights, a poetry collection. Descriptions and links are  HERE. I also have a free, romantic flash-fiction story on Wattpad, "Sketchbook Rapunzel," a prequel to Never Gone.

Do you do anything in addition to writing?

I'm a professional editor with 20+ years experience, and I'm taking new clients. My specialty is line editing: ensuring everything is correct at the sentence level, including grammar, spelling, punctuation, word choice, and idiomatic usage. I also can help non-US writers who write American characters to Americanize not only spelling and punctuation but also vocabulary and usage.

Contact me at laurels (dot) leaves (at) gmail (dot) com to discuss your project.

Tell us a little about yourself

This is how I look on Twitter. 

I grew up rural, but have lived my whole adult life in a city and love it. I’ve had a weird love affair with magazines since I was quite young and pursed magazine editing as a career. I currently work on a scholarly journal--a magazine for academics with literary criticism of modernist era literature by Beckett, Eliot, Fitzgerald, Hemingway, Joyce, Pound, and Woolf (and lots of others you might not have read unless you were an English major). 

I met my husband, a philosophy professor, through a book club at our church, so I have C.S. Lewis to thank for meeting the love of my life. We’ve raised our twelve-year-old daughter in our geeky image of loving Dr. Who, Middle Earth, and Hogwarts. 

Last summer we spent 16 days in the UK, 11 of them in a cottage on a sheep farm in Gloucestershire, taking day trips to castles, museums, ancient barrows and stone circles, Roman ruins, and a coal mine. Our favorite sites were Puzzlewood in the Forest of Dean, The Dr. Who Experience in Cardiff and the Harry Potter Studio Tour in London. This summer we stayed closer to home, traveling to the Hudson Valley and Catskills, in part for my daughter to compete in an Irish dance feis. 


What are you reading right now?

As part of my 2014 "read outside my genre" challenge, I recently picked up a short story collection, This Is How You Lose Her by Junot Diaz. It's literary fiction that explores the Dominican immigrant experience. 

Which authors influenced you the most?

Madeleine L'Engle's books most made me want to write, and I fell hard for funny narrators from Paula Danzinger's early works for teens like The Cat Ate My Gymsuit and Can You Sue Your Parents for Malpractice? But my biggest influence is Susan Howatch, especially her Starbridge series. She writes deeply psychological, edgy stories with spiritual themes that feature complex, flawed characters. She does redemptive fiction better than anyone I know—fast paced, intriguing, never predictable or cloying. Her stories don’t shy away from the darker aspects of life, and because of that, the faith expressed is more profound because of its willingness to get dirty. I emulate Howatch most, though with a heart for the teen experience with touches of humor.

Where can people connect with you?

Blog
Twitter
Facebook
Google+
LinkedIn

Author pages:
Goodreads
Amazon
BN.com
Smashwords

Do you have a newsletter? 

Not currently. Social media keeps me busy enough

Is there anything else you'd like us to know?

I welcome guest posts here, especially those on writing / publishing tips (tie-ins with new releases are fine). I'll happily host giveaways for contemporary fiction (MG through adult) that would earn a film rating of PG-13 or below (moderately edgy and emotionally hard-hitting is okay).

Welcome, new friends! Tell me a little about yourself...
Tuesday, September 23, 2014 Laurel Garver
Today I'm taking part in the week-long Follow Fest, hosted by Melissa Maygrove. It's not too late to join the fun! Swing on by Melissa's blog to sign up. Melissa gave us a handful of questions to help us get to know one another, so without further ado, here's all about me:

Name: Laurel Garver


Fiction or nonfiction? 

Mostly fiction, but I'm branching out into nonfiction (writing resources)


What genres do you write?

I write young adult (YA) literary fiction with Christian themes: stories about the places where life and beliefs collide. I also write poetry and, as I already mentioned, writing resources.

Are you published?

Yes: Never Gone, a novel, and Muddy-Fingered Midnights, a poetry collection. Descriptions and links are  HERE. I also have a free, romantic flash-fiction story on Wattpad, "Sketchbook Rapunzel," a prequel to Never Gone.

Do you do anything in addition to writing?

I'm a professional editor with 20+ years experience, and I'm taking new clients. My specialty is line editing: ensuring everything is correct at the sentence level, including grammar, spelling, punctuation, word choice, and idiomatic usage. I also can help non-US writers who write American characters to Americanize not only spelling and punctuation but also vocabulary and usage.

Contact me at laurels (dot) leaves (at) gmail (dot) com to discuss your project.

Tell us a little about yourself

This is how I look on Twitter. 

I grew up rural, but have lived my whole adult life in a city and love it. I’ve had a weird love affair with magazines since I was quite young and pursed magazine editing as a career. I currently work on a scholarly journal--a magazine for academics with literary criticism of modernist era literature by Beckett, Eliot, Fitzgerald, Hemingway, Joyce, Pound, and Woolf (and lots of others you might not have read unless you were an English major). 

I met my husband, a philosophy professor, through a book club at our church, so I have C.S. Lewis to thank for meeting the love of my life. We’ve raised our twelve-year-old daughter in our geeky image of loving Dr. Who, Middle Earth, and Hogwarts. 

Last summer we spent 16 days in the UK, 11 of them in a cottage on a sheep farm in Gloucestershire, taking day trips to castles, museums, ancient barrows and stone circles, Roman ruins, and a coal mine. Our favorite sites were Puzzlewood in the Forest of Dean, The Dr. Who Experience in Cardiff and the Harry Potter Studio Tour in London. This summer we stayed closer to home, traveling to the Hudson Valley and Catskills, in part for my daughter to compete in an Irish dance feis. 


What are you reading right now?

As part of my 2014 "read outside my genre" challenge, I recently picked up a short story collection, This Is How You Lose Her by Junot Diaz. It's literary fiction that explores the Dominican immigrant experience. 

Which authors influenced you the most?

Madeleine L'Engle's books most made me want to write, and I fell hard for funny narrators from Paula Danzinger's early works for teens like The Cat Ate My Gymsuit and Can You Sue Your Parents for Malpractice? But my biggest influence is Susan Howatch, especially her Starbridge series. She writes deeply psychological, edgy stories with spiritual themes that feature complex, flawed characters. She does redemptive fiction better than anyone I know—fast paced, intriguing, never predictable or cloying. Her stories don’t shy away from the darker aspects of life, and because of that, the faith expressed is more profound because of its willingness to get dirty. I emulate Howatch most, though with a heart for the teen experience with touches of humor.

Where can people connect with you?

Blog
Twitter
Facebook
Google+
LinkedIn

Author pages:
Goodreads
Amazon
BN.com
Smashwords

Do you have a newsletter? 

Not currently. Social media keeps me busy enough

Is there anything else you'd like us to know?

I welcome guest posts here, especially those on writing / publishing tips (tie-ins with new releases are fine). I'll happily host giveaways for contemporary fiction (MG through adult) that would earn a film rating of PG-13 or below (moderately edgy and emotionally hard-hitting is okay).

Welcome, new friends! Tell me a little about yourself...

Friday, January 17

As a writer, should you be especially careful about what you read?

It's a question that's been plaguing me recently, as my reading binge continues (thanks to a respiratory infection I can't seem to shake that leaves me with little energy for much else). My current read isn't an identical scenario to the one I'm currently writing, but there are numerous points of intersection. This puts me in a bit of a quandary. Will continuing to read help me work out my own story, of will it derail me?
Photo credit: dave from morguefile.com

In her nonfiction book on writing, Escaping into the Open, Elizabeth Berg makes an interesting assertion about influence I've never seen anywhere else:

"While drafting, avoid reading books on the same topic as yours." 

Her reasoning? "...no matter how aware or sophisticated or experienced you are, no matter how determined to write your own story, there's a very real danger that you will start to copy. It may be unconscious, but it can happen. And if that happens, it's a shame...because it denies the reading public the pleasure of your originality."

Part of me disagrees. If I don't know how others have tackled this topic, how do I know if my ideas are original? How do I avoid just repeating what has been said before if I'm ignorant of it? How do I not end up leaning on tired clichés? Berg seems to argue here that clichés crop up because you read others' takes on your topic. You can't help but copy.

The funny thing is, I could argue the opposite.  Knowing how others have treated a topic might constrain me to try too hard to take a new direction in order to seem original. In so doing, I risk creating an inauthentic experience with inauthentic emotion.

But either way, the conclusion would be stop reading that similar book.

But other possible good lessons could come from continuing. I can have distance from another's story I can't yet have from my own. I can more easily sense the kinds of details I might include as a writer that as a reader I find superfluous or boring.

Similarly, this other author could open my eyes to dramatic possibilities I'm not yet exploring in my work: places where conflict might erupt or alliances could form; ways of delivering, delaying, or withholding information. Berg would likely say I should learn these latter lessons from books on topics quite different from mine.

What do you think? Is it a help or a danger to read books on a similar topic?
Friday, January 17, 2014 Laurel Garver
As a writer, should you be especially careful about what you read?

It's a question that's been plaguing me recently, as my reading binge continues (thanks to a respiratory infection I can't seem to shake that leaves me with little energy for much else). My current read isn't an identical scenario to the one I'm currently writing, but there are numerous points of intersection. This puts me in a bit of a quandary. Will continuing to read help me work out my own story, of will it derail me?
Photo credit: dave from morguefile.com

In her nonfiction book on writing, Escaping into the Open, Elizabeth Berg makes an interesting assertion about influence I've never seen anywhere else:

"While drafting, avoid reading books on the same topic as yours." 

Her reasoning? "...no matter how aware or sophisticated or experienced you are, no matter how determined to write your own story, there's a very real danger that you will start to copy. It may be unconscious, but it can happen. And if that happens, it's a shame...because it denies the reading public the pleasure of your originality."

Part of me disagrees. If I don't know how others have tackled this topic, how do I know if my ideas are original? How do I avoid just repeating what has been said before if I'm ignorant of it? How do I not end up leaning on tired clichés? Berg seems to argue here that clichés crop up because you read others' takes on your topic. You can't help but copy.

The funny thing is, I could argue the opposite.  Knowing how others have treated a topic might constrain me to try too hard to take a new direction in order to seem original. In so doing, I risk creating an inauthentic experience with inauthentic emotion.

But either way, the conclusion would be stop reading that similar book.

But other possible good lessons could come from continuing. I can have distance from another's story I can't yet have from my own. I can more easily sense the kinds of details I might include as a writer that as a reader I find superfluous or boring.

Similarly, this other author could open my eyes to dramatic possibilities I'm not yet exploring in my work: places where conflict might erupt or alliances could form; ways of delivering, delaying, or withholding information. Berg would likely say I should learn these latter lessons from books on topics quite different from mine.

What do you think? Is it a help or a danger to read books on a similar topic?

Tuesday, November 12

I admit it. I'm starting to give up on books more often than I used to. A wise friend of mine has a rule of thumb about finishing books: "if you're under 30, give every book 100 pages to hook you. If you're over 30, give it 50." I think she understands the natural impatience of youth, and the often natural stick-to-it-iveness of maturity. Sometimes we need to give authors a chance, sometimes we need to cut our losses and move on.

As I've set aside a few books, I got thinking about what makes me, personally, cut my losses. And as I did so, I realized a very helpful blog series might grow around these areas. So today I'll be simply laying out "the problem" and ask for your input as well. In future posts, I'll address how to avoid these pitfalls in your own writing.

Top ten reasons I stop reading


1. Riddled with errors

photo by verbaska, morguefile.com

Frequent errors in spelling, grammar, usage, syntax, punctuation, and formatting immediately pull me out of the story and make me want to reach for my red pen. Frankly, I don't want pleasure reading to feel like work.

2. Annoying voice


I really love witty, sarcastic narrators, but there can be a fine line between sarcasm and obnoxiousness. The ones that make me shut the book rather than read on are deeply mean-spirited types who always put others down, and/or are self-absorbed complainers.

3. No one to root for


Yes, characters need flaws to be realistic. But if every character is all flawed all the time, it's as boring as reading a book full of Mary Sues. As a reader, I simply stop caring if none of the characters has a redeeming quality to give hope for change and growth. Because change is the essence of plot, and hope the one emotion your reader most wants to have stirred. So sure, bring on the scarred and damaged, but if they're all about simply lashing out or wallowing, I'm moving on.

4. Garbled action


To use a theatre metaphor, fiction needs to be properly blocked. That is, the key characters and actions should be put in a focal place (not upstaged by the extras), and all movements should be presented in a manner that makes sense and flows. Action scenes with too much going on all at once, with no clear sense where the characters are, and how they are moving in space--and in relation to one another--is simply confusing rather than exciting.

5.  Cliched


If the story feels like I've heard it before, all the characters are standard types, and no one does anything surprising, I'm bored.

6. Predictable


The predictable plot usually flows out of clichéd characters and scenarios. Or perhaps the plot complications are too obvious and obstacles too easily overcome.Sometimes predictability comes about because the writer hasn't mastered advanced techniques such as narrative misdirection--getting the characters focused wrong information some of the time (aka "red herrings"). If I get to page 50 with no real surprises, I tend to give up.

7. Implausible


Plots that hinge too much on coincidence make my skeptic-ometer alarm peal. Random coincidences seem to happen all the time in real life, but dig deeper and there's often some history that led to the moment. Cheap epiphanies, in which characters "see the light" after one minor shake-up, do not a plausible story make. Real change is slow, incremental, and includes some failure and steps backward.

In this category I also lump things like "insta-love" and "insta-reform" (the latter crops up in religious fiction far too often).

8. Stilted


If the writing lacks naturalness, either the narrative voice or dialogue, it pulls me out of the story. Contemporary stories need to sound like they're recording real people. Historical fiction, fantasy and SciFi similarly need to reflect the milieu in which they are set.

9. Thin


Some novels seem like only the skeleton of a story. There's a plot, but it zips along so fast, I never catch my breath. The characters' personalities and relationships are superficial. Thin stories tend to have only a main plot (no subplots) and secondary characters that are all essentially extras, like Detective #3 in a police procedural TV show.

10. Bad fit for my tastes


I have no stomach for graphic violence, and I prefer not to ingest much foul language or graphic sexual content. The proverb "Guard your heart, for it is the wellspring of life," is something I consider when choosing reading material. I want books to help me become more empathetic, not harden me or encourage my vices. Others have different no-go areas and preferences.

What makes YOU stop reading? Any additional categories to add?
Tuesday, November 12, 2013 Laurel Garver
I admit it. I'm starting to give up on books more often than I used to. A wise friend of mine has a rule of thumb about finishing books: "if you're under 30, give every book 100 pages to hook you. If you're over 30, give it 50." I think she understands the natural impatience of youth, and the often natural stick-to-it-iveness of maturity. Sometimes we need to give authors a chance, sometimes we need to cut our losses and move on.

As I've set aside a few books, I got thinking about what makes me, personally, cut my losses. And as I did so, I realized a very helpful blog series might grow around these areas. So today I'll be simply laying out "the problem" and ask for your input as well. In future posts, I'll address how to avoid these pitfalls in your own writing.

Top ten reasons I stop reading


1. Riddled with errors

photo by verbaska, morguefile.com

Frequent errors in spelling, grammar, usage, syntax, punctuation, and formatting immediately pull me out of the story and make me want to reach for my red pen. Frankly, I don't want pleasure reading to feel like work.

2. Annoying voice


I really love witty, sarcastic narrators, but there can be a fine line between sarcasm and obnoxiousness. The ones that make me shut the book rather than read on are deeply mean-spirited types who always put others down, and/or are self-absorbed complainers.

3. No one to root for


Yes, characters need flaws to be realistic. But if every character is all flawed all the time, it's as boring as reading a book full of Mary Sues. As a reader, I simply stop caring if none of the characters has a redeeming quality to give hope for change and growth. Because change is the essence of plot, and hope the one emotion your reader most wants to have stirred. So sure, bring on the scarred and damaged, but if they're all about simply lashing out or wallowing, I'm moving on.

4. Garbled action


To use a theatre metaphor, fiction needs to be properly blocked. That is, the key characters and actions should be put in a focal place (not upstaged by the extras), and all movements should be presented in a manner that makes sense and flows. Action scenes with too much going on all at once, with no clear sense where the characters are, and how they are moving in space--and in relation to one another--is simply confusing rather than exciting.

5.  Cliched


If the story feels like I've heard it before, all the characters are standard types, and no one does anything surprising, I'm bored.

6. Predictable


The predictable plot usually flows out of clichéd characters and scenarios. Or perhaps the plot complications are too obvious and obstacles too easily overcome.Sometimes predictability comes about because the writer hasn't mastered advanced techniques such as narrative misdirection--getting the characters focused wrong information some of the time (aka "red herrings"). If I get to page 50 with no real surprises, I tend to give up.

7. Implausible


Plots that hinge too much on coincidence make my skeptic-ometer alarm peal. Random coincidences seem to happen all the time in real life, but dig deeper and there's often some history that led to the moment. Cheap epiphanies, in which characters "see the light" after one minor shake-up, do not a plausible story make. Real change is slow, incremental, and includes some failure and steps backward.

In this category I also lump things like "insta-love" and "insta-reform" (the latter crops up in religious fiction far too often).

8. Stilted


If the writing lacks naturalness, either the narrative voice or dialogue, it pulls me out of the story. Contemporary stories need to sound like they're recording real people. Historical fiction, fantasy and SciFi similarly need to reflect the milieu in which they are set.

9. Thin


Some novels seem like only the skeleton of a story. There's a plot, but it zips along so fast, I never catch my breath. The characters' personalities and relationships are superficial. Thin stories tend to have only a main plot (no subplots) and secondary characters that are all essentially extras, like Detective #3 in a police procedural TV show.

10. Bad fit for my tastes


I have no stomach for graphic violence, and I prefer not to ingest much foul language or graphic sexual content. The proverb "Guard your heart, for it is the wellspring of life," is something I consider when choosing reading material. I want books to help me become more empathetic, not harden me or encourage my vices. Others have different no-go areas and preferences.

What makes YOU stop reading? Any additional categories to add?

Friday, May 4

How would you characterize "favorite" books? I tend to think of them as ones I read over and over. Perhaps they take me to wonderful places I want to revisit again and again, or they allow me to spend time with characters I love.

But then there's this other kind of "favorite": books created a shift in my life--either how I understand the world or how I want to live in it. But these are not necessiarily the kinds of books one can read over and over. You read them, they change you. Were you to approach these texts again, you would not experience the same tectonic shift, because you're already different. But by golly, you sure want other people to experience that transformation, too.

Here are just a few of my "tectonic shift favorites," and themes they touch on:

Cry, the Beloved Country, Alan Paton (injustice and atonement)
Dead Man Walking, Helen Prejean (justice)
Glittering Images, Susan Howatch (authenticity)
The Heartbreaker, Susan Howatch (redemption)
The High Flyer, Susan Howatch (authenticity)
Love in the Time of Cholera, Gabriel Garcia Marquez (regret)
Sapphira and the Slave Girl, Willa Cather (powerlessness)
The Tenant of Wildfell Hall, Anne Bronte (courage)
Traveling Mercies, Anne Lamott (grace)
Witchwood, John Buchan (deceitfulness of sin)

What are some of your "tectonic shift favorites"?
Friday, May 04, 2012 Laurel Garver
How would you characterize "favorite" books? I tend to think of them as ones I read over and over. Perhaps they take me to wonderful places I want to revisit again and again, or they allow me to spend time with characters I love.

But then there's this other kind of "favorite": books created a shift in my life--either how I understand the world or how I want to live in it. But these are not necessiarily the kinds of books one can read over and over. You read them, they change you. Were you to approach these texts again, you would not experience the same tectonic shift, because you're already different. But by golly, you sure want other people to experience that transformation, too.

Here are just a few of my "tectonic shift favorites," and themes they touch on:

Cry, the Beloved Country, Alan Paton (injustice and atonement)
Dead Man Walking, Helen Prejean (justice)
Glittering Images, Susan Howatch (authenticity)
The Heartbreaker, Susan Howatch (redemption)
The High Flyer, Susan Howatch (authenticity)
Love in the Time of Cholera, Gabriel Garcia Marquez (regret)
Sapphira and the Slave Girl, Willa Cather (powerlessness)
The Tenant of Wildfell Hall, Anne Bronte (courage)
Traveling Mercies, Anne Lamott (grace)
Witchwood, John Buchan (deceitfulness of sin)

What are some of your "tectonic shift favorites"?

Thursday, March 22

Thanks, blogging pals, for all the well wishes. As I enter my third week of recovery post-surgery, I can tell you it has been an eye-opening experience. And sometimes an eye-closing one. (Thank you, Percocet, for making me sleep 14 hours a day.)

Some random things I've discovered:

~One of my husband's students was having surgery at the same time. In the surgery-prep area (where they give you your stylish hat and put in your IV), he tried to chat with me, but I couldn't see him because they'd made me give up my glasses. Poor kid was about to have his face reconstructed after a rugby injury, so maybe it's a blessing I couldn't see.

~Robotic surgery is cool. I had a four-pound benign tumor removed through an incision that's less than an inch long. (It was removed in pieces, if you're wondering how that trick was achieved.)

~I'm a lightweight when it comes to anesthesia. The nurses wanted to send me home and I couldn't stay awake.

~Nausea and abdominal incisions are a bad combo. Ow.

~Best diet when the idea of food grosses you out: jello, apple juice, animal crackers.

~There are way too many steep stairs in my 3-storey, historic, urban townhouse. What gives? Weren't people shorter in 1907?

~Reading is actually more restful that watching movies or TV. Less data to process at once.

~You can't beat a Kindle if you frequently doze off while reading. It powers down on its own and never loses your page.

~The hardest thing to give up was managing my daughter. I was sure her teeth would go unbrushed, her homework unfinished or lost. She was fine, even if she got more screen time than I'd like.

~It's good for one's spouse to experience how the house runs without you (or more accurately, which things don't get done).

~When your ability to achieve is taken away, you realize how much being busy is actually a choice. And often it's a shabby substitute for deeper relationships.

How have your last few weeks been? What's new?
Thursday, March 22, 2012 Laurel Garver
Thanks, blogging pals, for all the well wishes. As I enter my third week of recovery post-surgery, I can tell you it has been an eye-opening experience. And sometimes an eye-closing one. (Thank you, Percocet, for making me sleep 14 hours a day.)

Some random things I've discovered:

~One of my husband's students was having surgery at the same time. In the surgery-prep area (where they give you your stylish hat and put in your IV), he tried to chat with me, but I couldn't see him because they'd made me give up my glasses. Poor kid was about to have his face reconstructed after a rugby injury, so maybe it's a blessing I couldn't see.

~Robotic surgery is cool. I had a four-pound benign tumor removed through an incision that's less than an inch long. (It was removed in pieces, if you're wondering how that trick was achieved.)

~I'm a lightweight when it comes to anesthesia. The nurses wanted to send me home and I couldn't stay awake.

~Nausea and abdominal incisions are a bad combo. Ow.

~Best diet when the idea of food grosses you out: jello, apple juice, animal crackers.

~There are way too many steep stairs in my 3-storey, historic, urban townhouse. What gives? Weren't people shorter in 1907?

~Reading is actually more restful that watching movies or TV. Less data to process at once.

~You can't beat a Kindle if you frequently doze off while reading. It powers down on its own and never loses your page.

~The hardest thing to give up was managing my daughter. I was sure her teeth would go unbrushed, her homework unfinished or lost. She was fine, even if she got more screen time than I'd like.

~It's good for one's spouse to experience how the house runs without you (or more accurately, which things don't get done).

~When your ability to achieve is taken away, you realize how much being busy is actually a choice. And often it's a shabby substitute for deeper relationships.

How have your last few weeks been? What's new?

Tuesday, January 3

I hope you all are having a delightful Christmas. What? You're not still celebrating? Come on, the party doesn't wrap till Jan. 6, peeps. We're still in the heart of the Twelve Days, so whoop it up!

I was delighted (truthfully, shocked and awed) to receive a Kindle this season. In addition to some gift books, I've been loading up some free classics as well.

So far, what I have is the most ridiculous hodgepodge of eras and styles. I was an English major undergrad and also for a year of grad school, so I'd like to think I've ready pretty widely. But here are a few of the gaps I'm filling in.

Sister Carrie by Theodore Dreiser
Agnes Grey by Anne Bronte
Robinson Crusoe by Daniel Defoe
Anna Karenina by Leo Tolstoy

I also hope to bone up on Jean Rhys, Djuna Barnes and some of the other 20th century women novelists. My modernist course covered mostly men; some, like Nathanael West, aren't particularly core figures either. Ah, sexist professors, how you warp us.

Anyway, I'm just loving how easy it is to have multiple books going at once. I can switch to the particular mood I'm in and not have to haul extra weight or lose my page. I think this will be particularly helpful in tackling the likes of Tolstoy and Dostoevsky, known for their hefty tomes. I think the backache factor has scared me off the Russians for years, but now I feel equipped to dive in. Yeah, I'm looking at you, War and Peace.

What new horizons could or has an e-reader opened for you?
Tuesday, January 03, 2012 Laurel Garver
I hope you all are having a delightful Christmas. What? You're not still celebrating? Come on, the party doesn't wrap till Jan. 6, peeps. We're still in the heart of the Twelve Days, so whoop it up!

I was delighted (truthfully, shocked and awed) to receive a Kindle this season. In addition to some gift books, I've been loading up some free classics as well.

So far, what I have is the most ridiculous hodgepodge of eras and styles. I was an English major undergrad and also for a year of grad school, so I'd like to think I've ready pretty widely. But here are a few of the gaps I'm filling in.

Sister Carrie by Theodore Dreiser
Agnes Grey by Anne Bronte
Robinson Crusoe by Daniel Defoe
Anna Karenina by Leo Tolstoy

I also hope to bone up on Jean Rhys, Djuna Barnes and some of the other 20th century women novelists. My modernist course covered mostly men; some, like Nathanael West, aren't particularly core figures either. Ah, sexist professors, how you warp us.

Anyway, I'm just loving how easy it is to have multiple books going at once. I can switch to the particular mood I'm in and not have to haul extra weight or lose my page. I think this will be particularly helpful in tackling the likes of Tolstoy and Dostoevsky, known for their hefty tomes. I think the backache factor has scared me off the Russians for years, but now I feel equipped to dive in. Yeah, I'm looking at you, War and Peace.

What new horizons could or has an e-reader opened for you?

Monday, July 11

Today I have a guest post from my husband Joel, an assistant professor of philosophy at La Salle University who teaches a course, Harry Potter and Philosophy. He also contributed a chapter to a collection of "philosophy for beginners" essays that engage Rowling's world--The Ultimate Harry Potter and Philosophy: Hogwarts for Muggles.

Because of this, his university PR department often send reporters his way that are covering Harry Potter topics. Joel kindly let me post his response to a reporter at the Hartford Courant (not sure when/if his comments will appear in the planned article).

She had asked,
"How does the experience of readers today differ from the generation of readers who were growing up as the books first came out?"

Joel replied:

I've taught Harry Potter to college students who grew up with them and I have an elementary school-age daughter who is now reading through the books, so I've seen both generations of readers and movie-watchers.

It seems to me that Rowling always intended the books to be taken slowly, over an extended time -- and that is how we are guiding our daughter in her reading. The books are intended to grow up with the children who read them, as they in fact did by necessity with the first generation of readers.

After all, with each successive book the volumes get longer, the plots become increasingly more complex, the main characters grow up, the wizarding world becomes darker and scarier, the stakes become higher, and the themes of the books -- love, death, relationships, sacrifice -- become more mature. There are matters to be puzzled out, problems to be pondered, and realizations to be fought for.

So, these are not books meant to be read by a precocious youngster all in a single summer. Rather, the volumes reward delayed gratification and re-reading. A rapid read will miss too much and fail to absorb all that is going on.

This seems to me part of the genius of Rowling's work -- taking young readers, carrying them along through the character's experiences, and growing them up and helping them mature right along with Harry, Ron, and Hermione. The magic of that sort of literary and personal transformation requires time and patient reading.

Another difference today is that many readers of the books will have begun with the films rather than the books. For those of us who read the books first and then viewed the films afterwards, there was always a certain disappointment with the films. Given the limits and strictures of film-making, they could not help but fall short of the rich tapestry of Rowling's world, the depth of her characterizations, and the complexity of her plots.

The relationship between the films and the books is now reversed for many children (and adults!). There's nothing wrong with that in principle and I'm sure new readers who have seen the films will be impressed by how much of the books is left off the screen.

But what will be lost in reading the books after the films is the sense of discovery the first readers enjoyed -- getting to know these characters and imagining Rowling's world. For many new readers, Hogwarts will always be the place director Chris Columbus imagined and Harry will always be Daniel Radcliffe. Furthermore, these new readers will also lose the experience of being surprised again and again by plot twists, mistaken identities, and startling revelations. And that's a sad loss, I think.

What was your experience with reading the books and watching the films? What are your thoughts on taking the series slowly, books first?
Monday, July 11, 2011 Laurel Garver
Today I have a guest post from my husband Joel, an assistant professor of philosophy at La Salle University who teaches a course, Harry Potter and Philosophy. He also contributed a chapter to a collection of "philosophy for beginners" essays that engage Rowling's world--The Ultimate Harry Potter and Philosophy: Hogwarts for Muggles.

Because of this, his university PR department often send reporters his way that are covering Harry Potter topics. Joel kindly let me post his response to a reporter at the Hartford Courant (not sure when/if his comments will appear in the planned article).

She had asked,
"How does the experience of readers today differ from the generation of readers who were growing up as the books first came out?"

Joel replied:

I've taught Harry Potter to college students who grew up with them and I have an elementary school-age daughter who is now reading through the books, so I've seen both generations of readers and movie-watchers.

It seems to me that Rowling always intended the books to be taken slowly, over an extended time -- and that is how we are guiding our daughter in her reading. The books are intended to grow up with the children who read them, as they in fact did by necessity with the first generation of readers.

After all, with each successive book the volumes get longer, the plots become increasingly more complex, the main characters grow up, the wizarding world becomes darker and scarier, the stakes become higher, and the themes of the books -- love, death, relationships, sacrifice -- become more mature. There are matters to be puzzled out, problems to be pondered, and realizations to be fought for.

So, these are not books meant to be read by a precocious youngster all in a single summer. Rather, the volumes reward delayed gratification and re-reading. A rapid read will miss too much and fail to absorb all that is going on.

This seems to me part of the genius of Rowling's work -- taking young readers, carrying them along through the character's experiences, and growing them up and helping them mature right along with Harry, Ron, and Hermione. The magic of that sort of literary and personal transformation requires time and patient reading.

Another difference today is that many readers of the books will have begun with the films rather than the books. For those of us who read the books first and then viewed the films afterwards, there was always a certain disappointment with the films. Given the limits and strictures of film-making, they could not help but fall short of the rich tapestry of Rowling's world, the depth of her characterizations, and the complexity of her plots.

The relationship between the films and the books is now reversed for many children (and adults!). There's nothing wrong with that in principle and I'm sure new readers who have seen the films will be impressed by how much of the books is left off the screen.

But what will be lost in reading the books after the films is the sense of discovery the first readers enjoyed -- getting to know these characters and imagining Rowling's world. For many new readers, Hogwarts will always be the place director Chris Columbus imagined and Harry will always be Daniel Radcliffe. Furthermore, these new readers will also lose the experience of being surprised again and again by plot twists, mistaken identities, and startling revelations. And that's a sad loss, I think.

What was your experience with reading the books and watching the films? What are your thoughts on taking the series slowly, books first?

Thursday, April 14

In her nonfiction book on writing, Escaping into the Open, Elizabeth Berg makes an interesting assertion I'd never seen anywhere else:

While drafting, avoid reading books on the same topic as yours.

(Notice she says topic, not genre. I don't think she'd pooh-pooh knowing your wider genre well.)

Her reasoning? "...no matter how aware or sophisticated or experienced you are, no matter how determined to write your own story, there's a very real danger that you will start to copy. It may be unconscious, but it can happen. And if that happens, it's a shame...because it denies the reading public the pleasure of your originality."

My initial thought was WHAT? If I don't know how others have tackled this, how do I know if my ideas are original? How do I avoid just repeating what has been said before if I'm ignorant of it? How do I not end up leaning on tired clichés?

Berg seems to argue here that clichés crop up because you read others' takes on your topic. Huh. It hadn't occurred to me that this might be an actual danger. Berg would call me naive, I suppose.

I kind of get what she's saying, and agree somewhat. However, my reasoning is different. Knowing how others have treated a topic might constrain me to try too hard to take a new direction in order to seem original. In so doing, I risk creating an inauthentic experience with inauthentic emotion. Some overlap is simply natural, especially when it comes to universal truths.

What do you think? Should you avoid reading books on your story's topic? Why or why not?
Thursday, April 14, 2011 Laurel Garver
In her nonfiction book on writing, Escaping into the Open, Elizabeth Berg makes an interesting assertion I'd never seen anywhere else:

While drafting, avoid reading books on the same topic as yours.

(Notice she says topic, not genre. I don't think she'd pooh-pooh knowing your wider genre well.)

Her reasoning? "...no matter how aware or sophisticated or experienced you are, no matter how determined to write your own story, there's a very real danger that you will start to copy. It may be unconscious, but it can happen. And if that happens, it's a shame...because it denies the reading public the pleasure of your originality."

My initial thought was WHAT? If I don't know how others have tackled this, how do I know if my ideas are original? How do I avoid just repeating what has been said before if I'm ignorant of it? How do I not end up leaning on tired clichés?

Berg seems to argue here that clichés crop up because you read others' takes on your topic. Huh. It hadn't occurred to me that this might be an actual danger. Berg would call me naive, I suppose.

I kind of get what she's saying, and agree somewhat. However, my reasoning is different. Knowing how others have treated a topic might constrain me to try too hard to take a new direction in order to seem original. In so doing, I risk creating an inauthentic experience with inauthentic emotion. Some overlap is simply natural, especially when it comes to universal truths.

What do you think? Should you avoid reading books on your story's topic? Why or why not?