Author Interviews

Interview & Giveaway – Pixie Piper author Annabelle Fisher

By on May 30, 2017   /   Author Interviews, Giveaways, MUF Contributor Books  

Book jacket for Pixie Piper and the Matter of the BatterI’m so excited to chat with Mixed-up Files’ own Annabelle Fisher and celebrate the release of her newest middle grade, Pixie Piper and the Matter of the Batter. This is the sequel to her 2016 release, The Secret Destiny of Pixie Piper. Read all the way to the end for a chance to win a copy of this fun, Mother Goose-inspired two-book set.

JA: How long did it take you to write Book Two?

AF: I spent over two years writing and revising The Secret Destiny of Pixie Piper before it ever went to my editor, Virginia Duncan at Greenwillow. But I’d only written a couple of paragraphs of description for Pixie Piper and the Matter of the Batter. However, Virginia gave me a contract for two books and the second book was scheduled to be published one year after the first! That meant I had to work on all the different stages of getting the first book ready—revising, responding to copyediting, proofreading, checking chapter illustrations, etc.—while writing and revising the second book. Sometimes I felt like Taz, the whirling, maniacal Looney Tunes character. But I turned in the sequel on May 16th, 2016 and it releases today. Phew!

JA: How was it different than writing the first book?

AF: When I finish a book I always have trouble letting my protagonist go, so I was excited to be able to follow Pixie into her next adventure! But as a writer I don’t outline; I like to see where the story takes me. Except that in a sequel, you have many of the same characters and you’ve already started them on a journey. The trick was to stay open to the possibilities of plot while keeping the promises of Pixie’s magical mission.

JA: Did any feedback you received on the first book impact your writing in the sequel?

AF: Yes! The kids I spoke to in classes and libraries loved the funny parts of Pixie Piper best. So I worked hard to make sure the sequel had plenty of humor too.

In Pixie Piper and the Matter of the Batter, I gave Pixie’s Goose cousins and Aunts humorous traits. For example, the head Aunt is ancient and wears a Mother Goose hat the size of a traffic cone. She never takes it off. She’s snarky, but she loves her goose, La Blanca, who greets Pixie by biting her backside. There are also humorous baking accidents—one of which produces flying biscuits. And as in the first book, lots of humorous rhymes. I won’t give away anymore specifics, but I do use some ‘can’t-miss humor tools’ such as hyperbole, metaphors and similes, and villains that are a mix of scary and absurdly silly.

JA: Was it harder to write the sequel?

AF: Well, I thought it would be easier!

The arc over the two books was always clear to me: How would Pixie Piper change from a girl resisting her Mother Goose heritage (so that she can be ‘normal’) to one who yearns to join her magical Goose family and take up their mission? But of course an arc isn’t a plot. The arc is the overarching structure and the story’s goal. The plot is the motor that keeps it running. For plot, you need to know what is at stake for your protagonist.

The first book takes place on the estate where Pixie lives. (She’s the caretaker’s daughter). Once she is enticed by a Goose Lady Aunt to become a Goose Girl apprentice, she must prove herself ‘braver than brave’ and ‘truer than true’. Pixie helps hatch a magical gosling that she must protect from Raveneece Greed, an old enemy of the Goose Ladies. She must also protect her rhyming power, which Raveneece is trying to steal. So the first book is about proving herself worthy to become a part of Mother Goose’s “legacy.”

The second book takes place at Chuckling Goose Farm, where the Goose Ladies and their apprentices use their rhyming powers to bake magical birthday cakes that make wishes come true. Once again, I needed to figure out what was at stake. After a rocky start, I went back to the idea of family and how the generations work together to preserve Mother Goose’s legacy. They are passionate about the rule that their magical cakes be distributed randomly, so that all people have a chance to get their wish. The ancient Goose Lady Aunt who heads the family is a direct descendant of Mother Goose and she seems to hate Pixie right from the start. The bond they finally form is hard won. But after the two begin to love each other, their old enemy returns. Once again, Pixie must be braver than brave to save her great-great-great grandmother and the legacy of Mother Goose.

Thanks for joining us, Annabelle. Readers, please comment below for a chance to win a set of Pixie Piper books!

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Finding Mighty by Sheela Chari

By on May 29, 2017   /   Author Interviews, Diversity, Fiction, For Kids, For Librarians, For Parents, For Teachers, For Writers  

Summer is a great time to read a new mystery and FINDING MIGHTY is the epitome of a great summer read. Even better it’s written by Edgar Award nominee Sheela Chari. Sheela and I met several years ago when her first book VANISHED and my SECOND FIDDLE were out in the same year. Both books had a musical element and so we did some events together with a group of MG and YA authors on the Stages on Pages tour. One of the real delights of writing is the people you meet on the journey, and I’m thrilled that my path has crossed Sheela’s again.

 Let’s start with Parkour and why you chose it. Are you a practitioner of this sport?

I came to learn about parkour in a roundabout way. While writing FINDING MIGHTY, I envisioned that some of the graffiti tags that appear as clues in the story were up very high off the ground. I wondered how someone would reach such heights without being slowed down by equipment. So in my research, I came across parkour, and I thought of course! So that’s how some of my characters ended up being practitioners of both graffiti and parkour.

But then as I kept writing, I found myself being drawn to this art form more and more. And I specifically refer to parkour as art because even though it’s an urban movement sport, parkour runners use their bodies in efficient ways that emphasize the beauty of their form. I began to go past the stereotypes we normally associate with parkour – daredevils climbing bridges and jumping off buildings – and see how, like yoga, parkour is about controlling your movement and negotiating physical space. As someone who is fascinated by bridges and yet incredibly afraid of heights, it makes sense to me that I would find parkour beautiful and thrilling. For me, the ability to jump and fall gracefully, and land on your feet is the ultimate superpower. So a not-so secret admirer of parkour? Yes. A practitioner? No. Well, not yet.

If you are curious about what a parkour run looks like here’s a video of one of the more extreme practitioners of the sport James Kingston.

Tell us about the relationship between Myla and Peter and how the racial element of that friendship plays out. I think MG kids are both more relaxed about interracial friendships but also more aware of nuances. Is that your experience as well?

In thinking and writing about Myla and Peter, I came across their characters very differently. In the simplest way – Peter started off as plot and Myla as character. With Peter, his story began with an “Omar” tag I would see on the highway near my home. I would wonder who wrote it and why. Eventually I shortened the tag to “Om” and Peter’s story emerged, not as the person who wrote the tag, but the younger brother searching for his missing brother, Randall, and the tag’s mysterious role in Randall’s disappearance. Myla was more like me as a young person – a highly observant girl who feels largely unnoticed by the world. Because she was so much like me, it made sense to make her Indian-American, with a family and lifestyle similar to my own. With Peter, I wasn’t sure who he was yet – I had to write to find his character. As I did, he evolved into someone part Indian, but also a mixture of other communities (Peter’s mother is Indian and his father is half African-American and half white). And I liked the way that organically came to the story. Myla’s and Peter’s racial identities are not the basis for their friendship, but it was a nice meeting ground – the fact that they were sort of alike but not completely. It gave them each something to learn from the other. In the end, FINDING MIGHTY is really about what happens when these two different people meet and become friends, and how their qualities become so important to the other person, whether it is help in finding a lost sibling, or in finding your sense of self.

Tell us a little bit about this gorgeous cover. As a bookseller in a diverse community I love it that you can tell from the cover that the characters are not white. Did you have any input on the cover?

 

 

 

 

Thank you! I like this cover a lot. Myla is modeled after my close family friend’s daughter. The original drawing of Myla was good but she didn’t look Indian to me. So I sent in a photo of my friend’s daughter, and then the cover artist, R. Kikuo Johnson, used that to create the final Myla on the back cover. He did an amazing job, both with Myla, and the whole cover.

Can you share some tips for MG mystery writers. I, for one, think it’s hard to write a mystery when your detectives can’t drive.

  1. MG characters make great snoops. They can be present during conversations and overhear without giving themselves away, because adults don’t often realize just how smart or intuitive kids are. So don’t be afraid to put your characters where the action is.
  2. Lists are a great way to keep track of information. Some of my favorite mysteries, such as THE LONDON EYE MYSTERY, use lists to describe theories or clues. Lists are also a very visual and quick way to remind readers what they already know.
  3. Know that as crime solvers, your MG detective will have to take risks. It’s what makes her different from the rest of the mold. At the same time, not every sleuth has to scale a building to prove herself. Although in my case, Myla does, because she’s scared of heights. Which is why climbing out of her bedroom window one night to find Peter’s brother becomes necessary for both the plot and her character. So have your main character take risks, but make sure that they’re risks that test her qualities the most.
  4. It’s true that middle grade kids can’t drive. But they can walk and take the train or bus. Keep those options available – make your characters savvy enough (or brave enough) to understand a train schedule or know which stop to get off on the bus. In both my MG mystery novels, VANISHED and FINDING MIGHTY, my characters have to rely on public transportation to get them where they need to be. And in FINDING MIGHTY, two characters walk 50 blocks in Manhattan to track down a clue!
  5. Even if you’re a “pantser,” try to have a sense of the end of your book before you start. It’s not always possible – I didn’t know the ending with VANISHED until I got to the end. But even if you don’t, it’s important to know what happens during the “Big Reveal.” If you divide your story into beginning, middle, and end, I like to call this point the end of the middle. It’s when your main character finally finds out what they’ve been searching for. The more you know about this moment of revelation, the easier it will be for you to write towards it – like moving to the light at the end of the tunnel. This tip holds true for writing any mystery, or for writing a book in general.

Terrific advice! I’m going to keep it in mind for my next project. Thank you Sheela for sharing your thoughts with our MUF readers. Sheela is giving away a copy of FINDING MIGHTY. Leave us a comment to enter the drawing. A winner will be chosen in three days.

Sheela Chari is the author of FINDING MIGHTY, a Junior Library Guild Selection, and VANISHED, which was an APALA Children’s Literature Honor Book, an Edgar Award nominee, and an Al’s Book Club Pick on the Today Show. She has an MFA in Fiction from New York University and teaches creative writing at Mercy College. Sheela lives in New York. Visit her online at sheelachari.com and @wordsbysheela.

 

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Interview and Giveaway with Pura Belpré Honor Author Alexandra Diaz

By on May 24, 2017   /   Author Interviews, Diversity, Fiction, Giveaways  

 

Alexandra Diaz is the author of The Only Road, a Pura Belpré Honor book and Américas Award winner, which she also co-translated into Spanish, El único destino. She is also the author of the YA novels, Of All the Stupid Things (re-titled When We Were) which was a ALA Rainbow List book, and Good Girls Don’t Lie. For her day-job, she teaches circus arts to children and adults. She can be found at alexandra-diaz.com, facebook.com/AlexandraDiazAuthor, or on Twitter @alexandratdiaz.

(Photo credit: Owen Benson)

From Indiebound:

Twelve-year-old Jaime makes the treacherous and life-changing journey from his home in Guatemala to live with his older brother in the United States in this gripping and realistic middle grade novel.

Jaime is sitting on his bed drawing when he hears a scream. Instantly, he knows: Miguel, his cousin and best friend, is dead.

Everyone in Jaime’s small town in Guatemala knows someone who has been killed by the Alphas, a powerful gang that’s known for violence and drug trafficking. Anyone who refuses to work for them is hurt or killed–like Miguel. With Miguel gone, Jaime fears that he is next. There’s only one choice: accompanied by his cousin Angela, Jaime must flee his home to live with his older brother in New Mexico.

Inspired by true events, The Only Road is an individual story of a boy who feels that leaving his home and risking everything is his only chance for a better life. It is a story of fear and bravery, love and loss, strangers becoming family, and one boy’s treacherous and life-changing journey.

PURA BELPRE HONOR BOOK
ALA NOTABLE BOOK
“Powerful and timely.” —Booklist (starred review)
“An important, must-have addition to the growing body of literature with immigrant themes.” —School Library Journal (starred review)

Congratulations on the Pura Belpré Honor! Tell us what it was like to find out about it. How did you celebrate?

I was driving a friend to Tuscan and didn’t hear the phone ring. It wasn’t until 11 o’clock that night that I checked my messages. I was very excited and thrilled and couldn’t really believe it. In the morning I double-checked the messages and sure enough it was still there! Once back in Santa Fe, my mom and sister took me out for lunch, and the ladies in my writing group brought cake and ice cream to our following meeting. It was awesome and such an honor!

In your Author’s Note, you tell us that you are the child of Cuban refugees. How does that inform your writing in The Only Road?

I grew up hearing stories of what it was like to leave family and home behind. Though my parents’ experience was different than what my characters went through, the thoughts and feelings remained the same: what was going to happen, would they make it, would they ever come back, and so forth. But mostly it was the sense of not having any other choice.

How did you decide to depict the uglier, more violent aspects of the journey and still make the book appropriate for middle-grade readers?

I wanted a book true to the current immigration status and the experiences of real people. But yes, I also didn’t want to introduce situations that readers weren’t prepared to understand. For example, I mentioned that if the gangs thought Ángela was pretty enough, she would become one of the gang members’ girlfriends and left it at that. The reader could then interpret that to whatever level they felt comfortable.

Why did you choose to have Ángela and Jaime travel together, rather than Jaime going it alone?

By traveling together, they could help each other out, it adds compassion, and it also ups the tension. I love characters and characters’ relationships with each other. As a writer, I think I would have been a bit bored if Jaime were on his own, especially as other characters come and go.

A Spanish version of The Only Road was also published. Can you tell us about the process?

I think I had just finished writing the English version when I was asked if I wanted to translate it. The prospect excited and scared me as my brain shifted continuously from “I’d love to!” and “I can’t do it!” I never learned Spanish in school so my writing abilities are not very strong. But my mom said we had to do it and I’m so glad we did. We worked on the translation together—her focusing more on the grammar and vocabulary and me on the narrative/character voice and structure. I chose the title El único destino because “destino” has a double meaning of “destination” and “destiny”. Hopefully the overall effect worked well!

What kind of research did you do to get the details right?

I read a lot of biographies, autobiographies, and other nonfiction material that discussed the immigrants’ journey. I also interviewed a few people who had either immigrated themselves or worked with immigrants or along the migration trail. I knew I wouldn’t want to experience it for myself, but I did want to remain true to what happens and several resources expressed similar events. Thank goodness for the internet, which allowed me have access to much more than I would have found otherwise, including a map of the cargo train routes through Mexico. I did visit Mexico a couple of times to get a feel for the country and what it looks like and translate that sense into the book.

If there was one single thing that you wanted readers to get from The Only Road, what would it be?

Young people read about slavery and the Holocaust but not so often about what is happening with immigration today. I would like readers to know this is something that is going on in the world today, possibly even happened to classmates or neighbors. And for those readers who have experienced something similar, I wanted to remind them that they are not alone and there’s always hope.

How is writing middle-grade fiction different from writing for young adults?

When I write YA, I tend to write in first person, while middle grade comes out in third. Most of the differences I noticed were around that: first person is more internal and limited to what that one character is experiencing while third person allowed me to move into an occasional omniscient or different characters’ point of view. Also, when writing for young adults, anything goes in terms of language, sex, violence, etc. but middle grade fiction requires a few more filters. That said, I never felt restricted or frustrated in terms of what content to include. If anything, I feel I’m a better and more diverse writer as a result.

What other books do you recommend to readers who enjoyed The Only Road?

The Red Umbrella by Christina Diaz Gonzalez is a great historical novel about Cuban immigration in the 1960s that is truthful and compassionate.

 

I also enjoyed The Arrival by Shaun Tan, which is a wordless graphic novel that truly captures the feel and emotions of an immigrant or refugee.

What’s your favorite thing about middle-grade fiction (as a reader or a writer)?

I love getting involved in the story and situations of youth. I feel I can connect better with them than I do adults or fiction for adults. I also enjoy that for the most part middle-grade fiction is fast-paced with good action and generally has some funny lines.

What advice do you have for someone who wants to write middle-grade fiction?

It’s important to know your audience, how they behave and interact together. Some of the biggest mistakes I’ve noticed is talking down to your reader, or having the protagonist seem too young or too good. Read a lot of middle grade and write even more. If there are people you trust who can give you constructive criticism, that’s great, keeping in mind that your work can always be better, but not every bit of feedback has to be applied. Remain true to yourself while striving to make your writing better. Above all, keep writing and keep going no matter what setbacks you might find.

 

Alexandra has kindly offered a copy of The Only Road as a giveaway. Enter below (USA/Canada only, please).

a Rafflecopter giveaway

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