Posts Tagged children’s books

Indie Spotlight: Curious Iguana, Frederick, MD

By on July 30, 2015   /   Book Lists, Fiction, For Parents, For Teachers, Indie Spotlight  

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I don’t know which is a greater delight to feature, a veteran independent bookstore that has survived the ups and downs and dire predictions of the last few years, or one that is new and also doing well. Today we’re talking with Marlene England, co-founder and co-owner with Tom England of Curious Iguana (www.curiousiguana.com) in Frederick, Maryland.
(Have you ever noticed how founders of independent bookstores like to give them animal names: Blue Manatee, Bear Pond, Flying Pig, Mockingbird, Velveteen Rabbit? )

MUF: Marlene, your shop has been open just two years, and already it is thriving! Tell us how you came to found Curious Iguana and what you think accounts for its early success?
Marlene: My husband Tom and I opened Dancing Bear Toys and Gifts in September 2000, and a couple of years ago we started dreaming about what a new curius iguana frontretail adventure might look like. Children’s books had been a consistently strong category at the Bear, so we originally planned to open a children’s bookstore. But the message we heard over and over again from our customers was how much downtown Frederick needed an independent bookstore for all ages, not just kids. When we found out a larger retail space was available around the corner from Dancing Bear, we relocated the toy store there in the summer of 2013 and opened the Iguana in the Bear’s former location just two months later.

Our local community, as well as out-of-towners who visit Frederick, has demonstrated so much love and support for the Iguana. I think it helps that Tom and I already had strong ties to the community—because of the toy store, we were a known entity and never the ‘new kids on the block,’ so to speak. We are also extremely fortunate to have a fantastic team of booksellers who are curious (of course!), passionate about reading, and dedicated to providing exemplary customer service.

MUF: The shop name is wonderful, as is the subtitle, “get to know your world.” In what ways do you encourage young readers to do that?
Marlene: We are very thoughtful in our selection of books, being sure to include titles that are diverse and globally focused.

MUF: How do you choose the books you carry at Curious Iguana?Marlene: It’s a team effort that involves staff (particularly Kari, our children’s book buyer), publishing reps, online research, recommendations and reviews from other indie bookstores, and lots and lots of reading!

MUF:As middle-grade authors, we’d love to know what titles old or new, fiction or nonfiction, you find yourselves recommending most to 8-12 year olds these days?  Crious Iguana CartwheelingCruous iguana echo
Marlene: Although classics are always a staple, new midgrade fiction is flourishing at the Iguana. Kids seem to be really interested in strong, Curious Iguana revolution
character-driven stories—books that open their eyes to the experiences of others and help them understand the world around them. Wonder (RJ Palacio) is still a big hit, but also Echo (Pam Munoz Ryan), Cartwheeling in Thunderstorms (Katherine Rundell)Curious Iguana Butterfly Hill, El Deafo (Cece Bell), Brown Girl Dreaming (Jacqueline Woodson), The Crossover Curious Iguana War(Kwame Alexander), I Lived on Butterfly Hill (Marjorie Agosin), Revolution (Deborah Wiles), and The War that Saved My Life (Kimberly Brubaker Bradley). We’ve been really impressed with our midgrade readers—their appetite for reading, their interest in heavier topics.

MUF: Have favorite middle-grade authors appeared at Curious Iguana? Do you have other activities or events designed to appeal to this age group?

Marlene: Last year, we hosted Tom Angleberger (of Origami Yoda fame) and were filled to capacity. I’m not sure we could have squeezed one more person in the bookstore! We’ve also welcomed Deborah Wiles (a longtime friend of our bookstore and toy store) and Grace Lin (who braved treacherous weather to greet 60+ fans on a very snowy Saturday morning).curious iguana Lin Several of our middle-grade customers attended a Q&A with a panel of authors from We Need Diverse Books, and we have hosted a Kids Go Global book club for ages 8-12, as well as several intergenerational book discussions at the Iguana and at our county libraries for middle-grade readers and their favorite adults.

SRO crowd for Origami Yoda

SRO crowd for Origami Yoda

MUF: Curious Iguana is a “benefit corporation.” Please tell us what that means for you, for your customers, and for the recipients of your donations.
Marlene: All benefit corporations have unique goals and objectives; ours is to be a successful business that also makes a difference in our world—that’s why we donate a percentage of monthly sales to global nonprofits that are making a world of difference. Recent recipients include Kiva, The Malala Fund, Room to Read, CamFed, and Children of Promise, Children of Hope, a nonprofit in the Dominican Republic that was started by a longtime customer and friend. This commitment to giving back helps us keep our priorities straight. It’s a constant reminder that helping others is a big part of why we do what we do. Our customers seem to respect our vision and appreciate that the money they spend at the Iguana is having a broad impact far beyond downtown Frederick.curous iguana interior

MUF: If an out of town family on a day trip visits Curious Iguana, would there be family-friendly places near buy to get a snack or meal? Are there other unique Frederick sights or activities they shouldn’t miss?
Marlene: Definitely! Our historic downtown is a thriving ‘Main Street’ community with all kinds of independent specialty stores and restaurants. There really is something for everyone. Of course, we’re just a tad biased and would encourage visitors to stop by our sister store, Dancing Bear Toys and Gifts, just around the corner from the Iguana. Many families add some history to their shopping and dining with a visit to the National Museum of Civil War Medicine, which is also located in downtown Frederick. Two helpful websites to check out when planning a trip to Frederick are http://downtownfrederick.org and http://visitfrderick.org.

curious iguana round logoThank you Marlene, for telling us about your bookstore and its mission!  Readers, have you visited this popular shop? (Hmmmmm. I wonder if Curious Iguana is acquainted with Reading Reptile?  Seems like they might have a lot  in common. )

Sue Cowing is author of the middle-grade puppet-and-boy novel, You Will Call Me Drog (Carolrhoda 2011, Usborne UK 2012}.

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We Need Diverse Books!

By on July 8, 2015   /   Book Lists  

Miranda Paul has published more than 50 short stories for magazines and digital markets and is the author of several picture books from imprints of Lerner, Macmillan, and Random House. Her debut, One Plastic Bag: Isatou Ceesay and the Recycling Women of the Gambia, and her second book, Water is Water were both named Junior Library Guild selections. She is a Co-Regional Advisor for the Wisconsin Chapter of SCBWI and the administrator of RateYourStory.org, a site for aspiring writers.

Miranda Paul

I’ve invited Miranda to our blog to talk about her work with We Need Diverse Books™.

What is your role in WNDB, and how did you get involved?

My official title is VP of Outreach. I got involved at first by chatting on Twitter about diversity issues in literature with several of the individuals who became the force behind WNDB. The conversation moved off of Twitter and collectively, the grassroots team decided to launch a three-day awareness and action campaign. That’s how WNDB got started, really. We were trending days before the official campaign start date, and after the hashtag (#WeNeedDiverseBooks) took the world by storm, BookCon invited us to present in New York. From there, we launched our own website, filed for non-profit status, raised over $300,000 and began implementing several initiatives ranging from awards and grants to internship program and booktalking kits.

What does WNDB hope to accomplish and how?

Our official mission is to advocate essential changes in the publishing industry to produce and promote literature that reflects and honors the lives of all young people. To accomplish this, we recognize all diverse experiences, including (but not limited to) LGBTQIA, people of color, gender diversity, people with disabilities*, and ethnic, cultural, and religious minorities. We have continued a strong social media presence, and in 2015 we’ve expanded our presence on the ground and in communities through attending literary events, distributing kits, and bringing on more team members who live in different geographic areas.

Some of our upcoming goals include a mentorship program, a diversity festival, and more ways in which we can serve readers through helping them discover great diverse books that are already out there. The Walter Dean Myers Awards will recognize some of those books, and the Walter Grants will help new voices emerge.

*We subscribe to a broad definition of disability, which includes but is not limited to physical, sensory, cognitive, intellectual, or developmental disabilities, chronic conditions, and mental illnesses (this may also include addiction). Furthermore, we subscribe to a social model of disability, which presents disability as created by barriers in the social environment, due to lack of equal access, stereotyping, and other forms of marginalization.

What resources does WNDB offer to teachers and librarians?

Our “Where to Find Diverse Books” links page, our Summer Reading Series and our Booktalking Kits come to mind. Our links page is a quick go-to guide when looking for recommendations in particular diverse categories. The Summer Reading Series includes Picture Book, Middle-Grade, and Young Adult titles using a comparative graphic model. Some of the Chapter book & Middle-Grade novels included so far summer are:

The Jumbies by Tracey Baptiste

Gaby, Lost and Found by Angela Cervantes

The Lulu Series by Hilary McKay

The Truth About Twinkie Pie by Kat Yeh

The Undertaking of Lily Chen by Danica Novgorodoff

Unusual Chickens for the Exceptional Poultry Farmer by Kelly Jones

More titles will be posted throughout the summer at: http://weneeddiversebooks.org/summer-reading-series/

WNDB_Booktalking_Kit_Logo (2)

Our Booktalking Kits are wonderfully visual, and are being utilized by school and public librarians in addition to booksellers. The #WeNeedDiverseBooks Booktalking Kit is a project that was developed with the American Booksellers Association and School Library Journal. This kit helps teachers, librarians, and booksellers promote non-majority narratives in children’s literature and includes:

PB, MG and YA diverse booklists designed to help shed light on lesser known books that are about diverse characters and/or written by diverse authors

Comparative title suggestions and corresponding comp title shelftalking mini-posters

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A We Need Diverse Books sign to create your own WNDB display

The great thing about these Booktalking Kits is that we plan to come out with new ones every year, so it’s a resource that will grow over time. Currently, there are ten Middle Grade titles including (just to name a few) Tim Tingle’s How I Became a Ghost, Zeina Abirached’s A Game for Swallows and Alex Gino’s George. Teachers, librarians, booksellers, and bloggers can request the full kit download at: http://weneeddiversebooks.org/edkit/

Booktalking_Kit_Sample_WNDB (2)

How can people get involved?

  • First of all, sign up for our newsletter, because that’s where we periodically send out calls for help/volunteers.
  • I also urge people to download our Booktalking Kits, which are now available online and share them with their local bookstore owners, librarians, and teachers.
  • If you’re part of an organization or business that wants to sponsor or support WNDB in a more significant way, we have a partnership request form and we review those quarterly.
  • Consider inviting WNDB to your literature festival, conference, or event as well.
  • Our success hinges on the keeping the diversity discussion alive and productive, so keeping WNDB news in the spotlight serves all of us. We’re grateful for the re-tweets, shares, and shout-outs.
  • We’re also extremely grateful for continued financial support as we implement our programming. (The “Donate” button is right on our navigation bar at diversebooks.org!)

Jacqueline Houtman is the author of The Reinvention of Edison Thomas (Front Street/Boyds Mills Press 2010) and coauthor, with Walter Naegle and Michael G. Long, of Bayard Rustin: The Invisible Activist (Quaker Press of FGC 2014).

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Oh, the Drama! Novel Writing from a Playwright’s Perspective

By on June 15, 2015   /   Book Lists, Fiction, Writing  
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Images are from a recent production of Peter Pan which I directed, but unfortunately, did not write.

As a director and resident playwright at my local children’s theater, I came into novel writing from a script writer’s background. There are drawbacks of coming from the stage to the page. But there are benefits, too. I think the lessons I’ve learned and am still learning apply to writers from all backgrounds, and I look forward to reading how you deal with these areas when writing.

Pitfalls: 

Seeing the Scene: “Could we have a little more description of this location?” My editor wrote this several *cough* times in my first novel manuscript. I call it the plague of the playwright: I “see” all my scenes as if they’re on stage or in a movie, often forgetting the reader can’t see them as well. I’ve had to make conscience decisions to describe “the set” of each scene, realizing that setting is what grounds the reader in the character’s world. This usually happens during the second draft.

Disoriented: “Orientation.” That’s another comment that occasionally still pops up in edits. Related to the first pitfall, in a script, I’d put the character’s position and movement on the set in parenthetical stage notes. I see it in my head when I write, but have to remember to help the reader see it by describing it for them.

Lost in Transition: As a director, I’m used to beginning and ending scenes via light cues and curtains. But that won’t work in fiction. It doesn’t always take much, just showing the passage of time or giving a character some internal dialogue (another thing it’s easy for this playwright to forget to include), but it’s the difference between a confused reader and one who can suspend disbelief.

Pluses:

PP2 (1)What’s That You Say? Dialogue is probably the playwright’s number one vehicle, and most of my first drafts consist of the characters talking. If I’m writing a script, I will often hand a copy to my husband so I can hear how a scene sounds aloud in comparison to how it sounded in my head. A strong internal ear is valuable for a novelist, but when in doubt, read it out!

Hands Free: I recently saw a contest for a short story written entirely in dialogue-no tags allowed. If I weren’t working on other projects, I’d probably enter for the fun of it. Body and dialogue tags aren’t a bad thing, and I use them often, but they can clunk up an otherwise snappy conversation. Playwrights have to rely solely on words in a script and let the actors fill in the rest. I think a stretch of dialogue without any tags gives the reader a chance to connect with the characters in a deeper way, utilizing the imagination to fill in the blanks. Jane Austen was a master of this. A conversation between Mr. and Mrs. Bennet in Pride and Prejudice:

“Of what are you talking?”

“Of Mr. Collins and Lizzy. Lizzy declares she will not have Mr. Collins, and Mr. Collins begins to say he will not have Lizzy.”

“And what am I to do on the occasion? It seems a hopeless business.”

“Speak to Lizzy about it yourself. Tell her you insist upon her marrying him.”

“Let her be called down. She shall hear my opinion.”

Now, I would have been tempted to at least used one physical description of Mrs. Bennet flailing about or pulling at her cap, but Jane trusts that she’s painted the characters well enough for us to see it all in the theater of our minds. Also noteworthy is that she doesn’t use a single exclamation point.

I’m Hearing Voices: Nobody wants to see a play with characters who sound like echoes of each other, and the same holds true in fiction. I like to give characters varying sentence construction and one or two key words or phrases that they say without thinking, especially in conversations.

PP3It’s All About the Timing: There’s no time for lags in action or dialogue in theater. If you’ve ever been to a play with a seemingly eternal scene change or worse, where an actor forgets lines, you know how it pulls you out of the show. Pacing is priority in fiction, too. Varying sentence structure, giving readers time to “breathe” after intense scenes, and knowing how to end a chapter with a page turner will all keep your audience fully invested in your characters’ journeys.

I’d love to hear from other script writers on how you make the transition from script or screenplay to story, and from anyone else who has insight on how to improve a novel’s setting, orientation, and transitions.

LGBioPicture copyIn addition to writing, directing, and occasionally acting in plays and musicals, Louise Galveston is the author of BY THE GRACE OF TODD and IN TODD WE TRUST (Penguin/Razorbill). She resides in Kansas with her large family and a noisy parrot, who supply plenty of comedy and drama. 

 

 

 

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