Book Review: Dreams of Gods and Monsters

Book Review: Dreams of Gods and Monsters by Laini Taylor 

Goodreads Description: By way of a staggering deception, Karou has taken control of the chimaera rebellion and is intent on steering its course away from dead-end vengeance. The future rests on her, if there can even be a future for the chimaera in war-ravaged Eretz.

Common enemy, common cause.

When Jael's brutal seraph army trespasses into the human world, the unthinkable becomes essential, and Karou and Akiva must ally their enemy armies against the threat. It is a twisted version of their long-ago dream, and they begin to hope that it might forge a way forward for their people.

And, perhaps, for themselves. Toward a new way of living, and maybe even love.

But there are bigger threats than Jael in the offing. A vicious queen is hunting Akiva, and, in the skies of Eretz ... something is happening. Massive stains are spreading like bruises from horizon to horizon; the great winged stormhunters are gathering as if summoned, ceaselessly circling, and a deep sense of wrong pervades the world.

What power can bruise the sky?

From the streets of Rome to the caves of the Kirin and beyond, humans, chimaera and seraphim will fight, strive, love, and die in an epic theater that transcends good and evil, right and wrong, friend and enemy.

At the very barriers of space and time, what do gods and monsters dream of? And does anything else matter?


My Review: Goodreads ate my last review and I've had trouble summoning motivation since then, so hopefully this all comes out coherent.

Dreams of Gods and Monsters picks up just after the nail biting ending of the previous book, with Karou and Akiva trying to unite their rebel armies within the Kirin Caves. Laini Taylor beautifully mastered the tension it takes to join two opposing forces. It did not feel too easy, nor did the squabbling armies take away from the deeper story. The tension not once let up throughout the whole story, much like the previous novels in the trilogy, which made this book incredibly difficult to put down.

What delighted me most, at the end of the day, was the way Taylor continued to add more to her plot and deepened her story right up until the end. We were introduced to new characters, and old characters have their roles completely transformed. I must admit, I didn’t see Razgut having such a big role in the final book and was so pleased to see it. Though it was probably because I underestimated the story, which is my own fault, as the hints and character progression had been there since day one. Possibly, because there's so much more to this book and this series, it was easy to overlook him as a minor character with an interesting backstory.

And ultimately, his backstory is what made the book interesting, as it led into a deeper stories with the other parallel worlds, not just Earth and Eretz. After all, if there are two worlds, why not more? Taylor delves into this and more, which left almost an unfinished feeling to this book. It was my biggest and probably only problem with the series. Taylor dug deep into lore in the last quarter of the book, and it was due to how late the information came that made it so surprising and unusual. It's difficult to introduce a whole shwack of new information at the end of the story, as it often opens things up to more conflict and plot points. After reading the last page, the first thing I did was hop online and search for any news of a sequel, another series, something, because all the information that was introduced felt like the beginning of something new.

I think that's what frustrated me. I loved every bit of the worldbuilding and the plot, as most of the set up had been there from the very beginning and was obviously well-thought out. But with such a grand story, I wanted a grand ending, and it felt like I got that and just a bit of a taste of more to come. It sounds nice, but at the end of the day I wanted a resolution, not the introduction to another new series. Now, if Laini Taylor wrote a series about the godstars and what it all means, I would be thrilled and devour every book she put out, but it almost feels like a bit of a money grab, in the sense that the author is trying to sell me another book while I still haven't finished the one in front of me. But that's a whole 'nother blog post.

At the end of the day, the story comes back to Karou and Akiva, the main figures and driving force behind all that's happened. I was very pleased with the way their relationship was handled in the wake of miscommunication and war. Karou, much more than in previous books, feels incredibly fragile and almost bested by the events and traumas that have taken place over the last three books, and though she still had some serious kickass in her, it was great to see a main character actually affected by what was happening around them and show the wear of a battle-heavy life. In contrast, Akiva's character loosened up and became the kind of lovable partner you'd want to envelope and never let go. In this, too, I was extremely pleased. Most often with YA, it seems like the boys are brooding and the girls are peppy and sassy. Though Akiva and Karou came off that way at the beginning of the series, their characters have pretty much done a complete 180 by the end of this book, and the way they've changed is both believable and a step outside the YA formula. And we all know how formulas make us yawn.

Nearly everything about this book made me extremely happy. Laini Taylor is a magician with words and makes me believe in magic. The only thing that really disappointed me was that it didn't feel like a final book to me. Though all the plot and worldbuilding worked wonderfully, it left too many questions and opened too many doors for me to get a sense of closure for this story. I guarantee we'll see more Smoke and Bone books in the future, and though I will devour them with fervor, I still feel a little cheated, a little like the only way this follow up series could sell is if it had a strong lead in from Gods and Monsters, which is silly. If readers loved the first series, they'll read the second, without having to include the YA version of, "Next time on Daughter of Smoke and Bone..."

TL;DR: 4.5/5 stars. I wish I could have had a sense of closure. Otherwise, it left me in awe of Laini Taylor's writing skills.

When Books Take Flight

Photo help/credit goes to Adrian Gaucher (@nobodieshero). He's got skillz!

In meme theory, there's this idea that ideas are alive, subject to evolution, reproduction, death and extinction like any other creature. The theory can sometimes be questionable at best, but I think in the case of stories and books, it is absolutely true. Any reader will tell you a novel is alive, that a story has the ability to completely transform them and their worldview, as well as remain alive in them for many years.

A good book, story, snippet, quote, semblance of words, whatever, has the ability to touch on deep human emotions. It inspires and sparks something in you, even if it's as simple (and "simple" is of course taken with a grain of salt) as your enjoyment or a love of a character's witty or sassy voice, something resonates there. The best books stay with you for years, you dwell on their ideas and characters, spend time creating fanart or participating in discussions, write fanfiction, reread the book, and most importantly, talk about it with those you care about. When we find something really special, we want to share it with others around us. This is where the meme theory comes in. Truly well-composed books that resonate and inspire want to be shared, and meme theory argues that it is not us sharing them, but the stories controlling us in order to live on and reproduce, like any other creature.

Not long ago I took a look at my bookshelf and noticed something odd. Almost all my shelves were filled with books I didn't particularly enjoy, or that I had given up on, or that I read but hated. But, when I thought about my reading experience, I didn't remember bad books. I remembered all the wonderful stories that I had read, the ones that truly made me feel and motivated me, and realized that, one by one, I had given them all away.

There are some collectors out there that are probably aghast at the thought that I have lost so many books simply by "lending" them out to people and then never seeing them again. Some were given away with the knowledge that they weren't coming back, such as with giveaways, where I get so excited about a book that I have to give it to someone, anyone, so long as they'd appreciate it. I like to think of it as the best books growing wings and taking flight, ideas growing and wanting to spread and evolve. The ones that are the most alive, the most vivid, end up flying off in the hopes that someone else will be touched and inspired by the story.

A book is often not born of one person anyway. Sure, there is someone who sits down and pens the story, but writing a book, as the acknowledgements will show, is never a one man job. There are editors involved, agents, beta readers, friends and significant others and writing partners that offer tips and ideas and changes. All of these edits and ideas are offered through so many different lenses. Seemingly, a writer doesn't write the book at all, and it comes to being all on its own. Wouldn't that be nice. The metaphor definitely ends there, as any writer knows that though sometimes the ideas seem to come together out of nowhere, it definitely takes a butt load of uphill work before anything looks remotely story-like.

It may seem like a whimsical and silly way to look at writing and creativity sometimes, but often when I get touched by something really special, like Dreams of Gods and Monsters and the rest of the Smoke and Bone trilogy, it makes me want to believe in whimsy and magic. At the end of the day, behind every bit of magic, there is hard determination and passion. And as a fellow writer, I'm always trying to dissect what about a book makes it so magical, and how I can achieve similar responses in my readers. After all, isn't it every writer's dream to write something that has that bit of magic in it?

I've learned a lot of things from studying the books that have really touched me. What makes them so magical? Of course, they need to have the fundamentals down.

1) A solid plot with little to no flaws or holes with intricate devices that keeps the story interesting and interwoven. Loose ends and holes can sink even the strongest stories.

2) Dynamic characters with conflicts between each other that are both interesting and sympathetic. The best characters are those with well thought out flaws and strengths with places to grow and fail as the story progresses.

3) A consistent tone/voice that sets it apart from the competition.

4) They must touch on something real.

Real? What is real? It's that bit of magic that turns a good book into a great book. That bit of heart that takes it to the next level. Donald Maass, literary agent, once wrote that it involved touching on timeless human experiences that many people can understand or relate to. A superhero book by Perry Moore called Hero did this by touching on the real lives behind his superhero characters, the wounds in their lives, whether they were physical, emotional or otherwise, and his main character who learned the true strength of his healing powers. Though this story was told through the lens of a superhero world, it still involved real world issues that people can relate to, even just emotionally.

In Dreams of Gods and Monsters, many could say that Laini Taylor's Eretz and its struggles of independence are no different than any other major fantasy story out there. What truly sets it apart, of course, is the originality, tone, and its ability to really touch on why this dream is so important to these characters. Yes, they want to save their world, but at the end of the day they just want to be together, in peace, in a world where people didn't have to hide and fight and die. But the way Taylor presents it is such a raw, emotional way that you really feel the loss of war and the yearning for the dream. The heart behind it is what elevated this book out of good to great, from bookshelf quality to taking flight.

Whenever I sit down in front of my computer, or my typewriter (nerd alert) I always ask myself what feeling I intend to inspire with my writing. What piece of humanity am I trying to touch on? In this scene, right now, what is the reader feeling? Are you only focusing on entertaining them? Because that will always leave you on the bookshelf.

They say every idea has been done. And it has. The difference is the execution, and how much of a heart you give the creature you're creating. A story with a strong heart will fly from reader to reader so it can spread and live on for a long, long time. No heart? No life, and your book will face plant before it can ever take flight.

Peace,

-Katie

The Death of Icons

Am I a good person?

It's a question the Doctor asks Clara in the most recent episode of Doctor Who, which if you know anything about me, you know I'm a little obsessive about the man in the blue box. But I found that question returning to me as I watched the responses to Joan River's passing today.

For the most part, many responses involved the typical RIP, people reminiscing on how she touched their lives. And, of course, I saw the negative side creep out, which seems to rear its ugly head whenever it has its chance. Some people tweeted about how glad they were that she passed, that she was truly a horrible person who made a living out of criticizing others. There were people sending out links to crude sites like isjoanriversdeadyet.com or claiming how they were "crying tears of happiness."

Now, we don't have to like everyone. After all, there are people who do unspeakable things in this world. But why do we use things like social pressures, criticisms, even insults to try and correct "wrongful" behaviour exhibited by other people? When you see a man hitting a dog, you call it disgusting, tell him to stop, describe his actions as abhorred or inhumane. And why? All in the hopes of altering behaviour, if not his then others, by showing how this behaviour is unacceptable. It's the same way that governments impose sanctions on other countries when they're taking actions they, or the UN, think of as unethical. On a smaller scale, we preform social sanctions on those who, in our view, have done wrong. We osctricize them from groups, shame their behaviour, and are guarded around them, which puts pressures on them to alter their behaviour.

But what happens when they pass away? What about Joan Rivers, Robin Williams, and dozens of others who have passed away? Is Joan Rivers still a she-bitch? Did her death wipe her conscience clean? The answer to both questions is no. Because Joan Rivers is dead, no amount of social sanctions will change her behaviour-- we cannot change the past-- but in this way, by continuing to impart social sanctions on a dead person, we're becoming no different from her, who built a career around antagonizing others. Our comments, however true or untrue they may be, now only fall on her family and those close to her. Suddenly, we're stepping from an attempt to correct behaviour to antagonizing others, from defensive to seeking out vengence.

Of all of us, Joan Rivers has got the shortest end of the stick. Her life is over, she will never change another person's life or affect the world in any way. However, we still can. I'm not saying that the thing to do is sing her praises-- quite the opposite. Learn what can be learned from her life and leave all else at rest. Focus on the positives her life brought-- because no person's life is wholly negative-- and lay the negative to peace. If the thing that bothered you the most was her attitude and how she treated people, how are you any better by lowering yourself to that standard?

Peace,

-KE Carson

Infodumping: The Whats and Whys

What is an Infodump? 

I'm sure many of you have heard of the term "infodump." But what it is exactly? Why do so many people regard it with scorn?

Infodumping is a literary term (sort of) that refers to an author inserting a large amount of information into their story, of "dumping" it onto the reader all at once. Most often, it interrupts the story as it is not woven into the action and slows the reader down. Most writers use it to introduce a chunk of worldbuilding, backstory, or even trying to get across description or a character's personality. As writers, we have to get information across, and sometimes it's not as simple as to be condensed into a sentence or two. So is it all a bad thing to "infodump"?

Infodumping is not defined by quantity. There is no set number of words you're permitted to explain something. It's considered infodumping when the writing becomes irrelevant to the task at hand-- getting your reader to follow where you're going and keep their attention. As writers, we spend months and even years stewing over our worlds and characters, but the reader has only a few hours or days in which to process your novel. Therefore, when you try to force a lot of information at them at once, it can be difficult for them to follow and causes them to lose interest.

But how do you know when you have infodumps in your writing? Often it can be hard to see, especially if you see what you've written as necessary to the story-- and perhaps it is. But infodumping violates one of the most important writer creeds: Show, Don't Tell. When you're infodumping, the information is not woven into the story, and so it is not being "shown" to the reader. This is what makes it awkward. The same information can be revealed through the action of the story, often pieces at a time, at times when it becomes necessary.

Infodumps can take various forms. They can come as a prologue with long histories of fantasy worlds or excessive backstory that spells out the main character's entire personality and childhood. They can also come across as newspaper articles or newscasts that spell out a danger or upcoming plot point. There are also the blatant "As You Know, Bob," troupe, where characters will over-explain things to each other in order to catch up the audience. It's a lazy way to pass off information to the reader, but it will almost always come off as dull and clunky. In video games, infodumping can take the form of characters explaining things in long, awkward monologues filled with information that may or may not be actually useful to the player.

Is it Ever Okay to Use an Infodump? 

Generally, most readers find infodumps to be rather annoying. Though it has been used in the past and in published novels, it's generally frowned upon in current marketplaces. Even the most literary and languid novels tend to shy away from infodumping, in part also because it can often reveal too much information too soon and take away intrigue.

Current publishers, editors and agents shy away from a lot of infodumping because they're looking for more action driven narratives with quick paces and high tension to hook the reader in and keep them reading, in the hopes that they will purchase the book.

But It's Been Done Before

Some writers have managed to use infodumps, and sometimes effectively (though that will vary based on personal taste.) Douglas Adams, Terry Pratchett and JRR Tolkien are among a few. Adams and Pratchett managed to weave their copious amounts of information into their narrative by using humor and keeping the reader entertained, which refers to the point I made above. Infodumps are defined by quantity, but by whether you can keep the reader engaged. Many other writers have used humor or voice to keep readers engaged while they carry them through the information.

Tolkien, however, is another matter. Tolkien wasn't necessarily writing a traditional narrative, as his focus was not on the story or the characters, but on the world and its history. Tokien used his characters to move the reader through the world and the landscrape, rather than had them as the focus. LOTR was also written during a time when writers tended to be more omniscient, which allowed them to step out of character's heads and make observations and judgments that weren't about the immediate situation. Even then, Tolkien went above and beyond for his time, though he had already published before this epic, including the Hobbit, which has much less infodumping.

Infodumping is not popular to do in the marketplace these days for the same reason that high fantasy and long epics are no longer in demand—the need for more tension and story, with less details is what the readership, or at least the publishers, are looking for.


So How Do You Avoid It? 

The most important thing when communicating information is to weave it into the story. Reveal information only when it becomes necessary. Usually this means heading straight into action, and then saving the big whys for later. The whys and questions are what keep readers turning the pages. Using small tidbits to hint at the bigger picture will keep readers invested to find out more. Sometimes teasing is the best policy. And, of course, sometimes the best ways is to have a beta reader look it over, because they'll be happy to let you know which parts are dragging. 

Sometimes the best ways to get across things like description is to weave it into the action. Explain what they're wearing by snagging their jacket on something. Have them brush hair out of their face. Describe a room by focusing on how your character feels about it, and let it color their description. But for the love of god, please don't use a mirror to describe appearance. Some tactics have already been beaten to death. 

Hope you enjoyed my infodump on infodumping. Happy writing!

-KE Carson

Book Review: Once We Were

Book Review: Once We Were by Kat Zhang

Goodreads Description: Eva was never supposed to have survived this long. As the recessive soul, she should have faded away years ago. Instead, she lingers in the body she shares with her sister soul, Addie. When the government discovered the truth, they tried to “cure” the girls, but Eva and Addie escaped before the doctors could strip Eva’s soul away.

Now fugitives, Eva and Addie find shelter with a group of hybrids who run an underground resistance. Surrounded by others like them, the girls learn how to temporarily disappear to give each soul some much-needed privacy. Eva is thrilled at the chance to be alone with Ryan, the boy she’s falling for, but troubled by the growing chasm between her and Addie. Despite clashes over their shared body, both girls are eager to join the rebellion.

Yet as they are drawn deeper into the escalating violence, they start to wonder: How far are they willing to go to fight for hybrid freedom? Faced with uncertainty and incredible danger, their answers may tear them apart forever.


My Review: Once We Were picks up just after What’s Left of Me, where our main characters have settled into hiding. They’ve escaped the institution that wanted to destroy their recessive souls and have set their sights on trying to combat the oppressive government. I was not as fond of this book as I was the first book. I found the tension to be lacking and the pace to be particularly slow for the first 2/3 of the book. While What’s Left Of Me focused more on Addie and Eva and was a very character-driven story, there was a definite shift in tone for Once We Were. This book still focused on Addie and Eva, the relationship between them and the other hybrids, but began branching out and started to almost seep into dystopian territory. It was a natural progression to the story, and though it fits, I found myself a little disappointed that the story seemed to be going in that direction, as I felt the first book was so much more successful in endearing the characters to the reader and creating strong stakes.

For the majority of the book, Addie and Eva are living in an apartment building being hidden away with some of the other hybrids that broke out of the institution. She begins sneaking away to join meetings with some of the other hybrids who are plotting ways they can stop the upcoming “cure” for hybridity. The stakes are really low for a majority of the book, and though a threat of capture or exposure is high, it doesn’t feel like a pressing concern. Throughout the book, we get to see the progression of Eva and Ryan’s romance and see some tension creeping in between Addie and Eva. IMO, the relationship between Addie and Eva is the best part of the book, and in Once We Were we begin to see some shifting between them. Suddenly they’re keeping secrets, are able to go into a coma-like sleep to give each other privacy, and Eva is hyper-focused on making her own decisions and trying to live for the first time in however many years that she begins to take Addie for granted. All this makes for a great conflict between them.

I didn’t get excited about the book until later in, when stakes are actually put in place. Once it is revealed that the empty institution the hybrids plan on blowing up won’t be so empty, the book really kicks off and it’s a quick paced ride to the end. Despite the low stakes, Kat Zhang has really beautiful prose and a way of balancing between character and plot to create a really full, well-developed story. Her characters are fully fleshed out, though there wasn’t anyone, besides Addie and Eva, who I really overly loved.

Overall, the lack of tension did disappoint me, but every time I picked it up I found myself fully engaged in the story and characters. I’m interested to see how the third book will play out, and I hope Kat Zhang can continue to keep the balance between character and plot, as to not fall too deep into the dystopian atmosphere.

TL;DR: Slow but solid. 4/5 stars

Book Review: Confessions of a Sociopath by M.E. Thomas

Book Review: Confessions of a Sociopath by M.E. Thomas

Goodreads Description: The first memoir of its kind, Confessions of a Sociopath is an engrossing, highly captivating narrative of the author's life as a diagnosed sociopath.

She is a charismatic charmer, an ambitious self-promoter, and a cunning and calculating liar. She can induce you to invest in her financial schemes, vote for her causes, and even join her in bed. Like a real-life Lisbeth Salander, she has her own system of ethics, and like Dexter, she thrives on bending and occasionally breaking the rules. She is a diagnosed, high-functioning, noncriminal sociopath, and this is her world from her point of view.

Drawn from the author's own experiences; her popular blog, Sociopathworld.com; and scientific literature, Confessions of a Sociopath is part confessional memoir, part primer for the curious. Written from the point of view of a diagnosed sociopath, it unveils for the very first time these people who are hiding in plain sight. The book confirms suspicions and debunks myths about sociopathy, providing a road map for dealing with the sociopath in your life.

My Review: To start here, I believe the issue most people have when reading this book is a dislike of the author and her voice as she goes through her narrative, and I think it really highlights the differences between sociopaths and what M.E. Thomas refers to as "empaths." There is nothing in this book that will make you like M.E., and I don't think that's purposeful, simply a result of her laying out how she views herself and the world in the plainest terms possible. She is very cutthroat about a lot of social situations, and at times I was disturbed by the flippancy in which she cared for the others around her. There is no "soft blow" language here, and what I mean by that is when most people talk about something bad they've done, they will justify it, soften the blow, lower the risk or lessen the severity of their own actions to seem more "human" or sympathetic to those listening to their story, but M.E. doesn't bother with such fluff. She doesn't try to endear her to you, doesn't justify her actions beyond the straight "I did it because I enjoyed it" or "I did it to get X result." Because of this, I can see many readers being put-off by her and shutting down anything she has to say on the subject, which is a big mistake, in my opinion.

If you intend to read Confessions of a Sociopath, you must do so with an open mind and the understanding that everything M.E. writes is through a warped view. She has some great arguments, but everything must be taken with a grain of salt. However, if you go in with the right mindset, this book is absolutely eye-opening.

Confessions of a Sociopath is part memoir, part psychological research. M.E. looks at the history of study done on sociopaths way back into the 1800s and presents it in a very wonderful and informative way. She illustrates the faults in our tools for finding sociopaths, showing that most research and testing is done on the prison population. While many sociopaths do end up in prison, this only highlights one thread of sociopathy, and neglects to look at successful sociopaths who manage to immerse themselves in an empathetic culture and stay above the law. Looking at sociopaths as all murderers or serial killers is no different than looking at all Mexicans as lazy or all black people as criminals-- it is just not reality. She goes on to show the study of the brain and that sociopaths have been proven to have a different brain make-up, and explains the theories and research behind why sociopaths are so unempathetic, looking at something such as inattention to be the cause of this lack of empathy.

M.E. builds a wonderful case for how a sociopath may be a "successful" member of society. She insists that sociopathy is not as much of a "mental illness" as a different brain structure or personality type. Her description of sociopathic thought processes certainly brought the 4% statistic into reality for me, took away the stereotype of the "serial killer" and illustrated a very real person, whose personality traits I could see in people around me. But the thing that made this book so wonderful was the argument she raised on what should be done with sociopaths. All books and journals and readings about sociopaths indicate a need to find them, expose them, and avoid them. But if we come to a place where we can identify sociopaths, what would we do with them? Would we ship them off to camps to be put to death, because they are "beyond saving" or "monsters"? How is this any different from the way Jews were treated in WW2?

Confessions of a Sociopath is a fascinating read, and really opens up this topic to another perspective. Are sociopaths really monsters, or are we the monsters for thinking of them in such a way? Are they not just another structure of the human form, like autistics or geniuses? Sociopaths, much of the time, thrive in our world. They are our CEOs, our lawyers, friends and coworkers. They are people who are doomed to repeat the same destructive cycles time and time again because they lack the ability for self-reflection and introspection, and would have to work to obtain any level of self-improvement. But when autistics need this outside help, does anyone say they should be "avoided" because of their differences? Do we toss them to the curb because of the way they were born?

If you are at all interested in sociopathy, mental illness and psychology, I highly suggest the read. However, I'd advise readers to calm that emotional knee-jerk response when reading, and reserve judgement. The experience will be so worth it. 

TL;DR: 4/5 Stars. If you can put aside your own judgements, it is such a fascinating ride. 

Follow my reviews on Goodreads here! 

Meet Soman Chainani and win a copy of School of Good and Evil!

I cannot express my love enough for this book. If you want to check out my review of School of Good and Evil, you can find it here. From page one it was a wild ride and I'm so happy to be able to host the author, Soman Chainani today on my blog! I could talk up this book all day, so in anticipation of the sequel, A WORLD WITHOUT PRINCES, which comes out April 15, I'm doing a fantabulous giveaway!! I can't thank Soman enough for agreeing to chat with me.





1) What or who inspired you to become a writer?

Writing is a truly meditative activity, in the sense that it feels like you're breathing thoughts onto a page. Growing up, I always felt like I had to write. If I didn't, I'd either explode, go mental, or stagnate. Even now, if I go more than a few days without writing, I feel myself slipping into a sad fugue. It just is at the core of who I am. Perhaps, for that reason, it's impossible to say what exactly inspired me to be a writer. Because I was a writer long before inspiration ever arrived.


2) You've had a lot of success with film over the years. What kind of challenges did you face when writing SCHOOL FOR GOOD AND EVIL?

The publishing process happened with alarming speed. I had been adapting the novel The Pushcart War into a film for legendary producer, Jane Startz, who has adapted practically every major kids’ book of our time – Tuck Everlasting, The Indian in the Cupboard, The Babysitter’s Club, etc. I told her the idea for SGE and she immediately loved the idea of growing a series from the ground up as both novels and films. Once I had the proposal for the series ready and a few sample chapters, she sent it out to 16 publishers, but Harper preempted it and bought worldwide rights within 48 hours. The challenges all came after I sold it, rather than before, which is highly unusual. That said, you can imagine the pressure I felt to deliver once the series was sold. I wasn’t a particularly pleasant person for the better part of a year and a half. God bless Jane and my phenomenal editor, Phoebe Yeh, for their wisdom and calm. Now that I’m on Book 2, I’m more relaxed and secure in just spreading my wings.


3) What was your favorite part of writing SGE?

I love writing Sophie's scenes with Agatha. They're the ultimate odd couple, so they usually end up churning into high comedy -- even camp at times. Sophie, in particular, can be ludicrous, so I'm always pushing the boundaries of what even I find appropriate for a children's novel. Agatha's certainly the heart of the series -- but Sophie, perhaps, is the fun.


4) Since you do come from a background of film, did you ever see SGE becoming a movie, or did you intend to leave it as a novel?

Hollywood is a different world. If you ever have ANY presumed expectations of success there or having your book turned into a movie, you're an absolute fool. You can only navigate the rocky waters as best you can and hope it works out for the best. To that end, I wrote SGE purely as a novel, but knew it would make a fantastic movie if anyone had the courage for it. Right now, it's slated to be a film for Universal (I just delivered the script). So here's hoping the tide stays in our favor...

5) We all have personal challenges when it comes to writing. Do you have any bad habits as a writer you've had to shake?

I tend to want to control the story as much as I can and come at it consciously. But I think that's probably the worst habit of all, because if you can plot something ahead of time and just execute a linear outline for a novel, chances are the reader will predict what's going to happen as well. If I'm not surprised, then the audience won't be either. So it means I've had to write more from a place of the unconscious, just letting the story unfold on its own.


6) When do you take the time to write? Do you have any routines or rituals?

My routine is pretty simple – I get up at about 7am, then either go to yoga or spinning or play tennis until 9. I start writing by 9:30 and write until 3:30 or 4, with a lunch break in there (during which I watch a bad episode of reality TV to calm down). Then I run errands before I teach at nights. There are two keys to my writing process, I’d say. One, that I stay super fit, because the stamina required to write, edit, and promote SGE, where I’m doing both the books and movies at the same time, is absolutely inhuman. And two, that I don’t work too late. I need time for my brain to solve the problems of the day so I can move forward the next morning clear-headed.


7) What kind of responses have you gotten from kids about SGE? Have any stories?

The tour for Book 1 was beyond belief. I spoke to over 8000 kids, got to perform on massive stages, and had moments where I felt like a member of One Direction, simply because of the nature of school presentations. You have an hour, a captive audience of anywhere from 200-400 kids, and you have to bring it or the kids will either go to sleep or boo you off the stage. So instead of a traditional reading, I try to put on a full-scale theatrical 'show', with videos and slides and interactive games, and all kinds of little surprises that will help kids get access to what it's like to go to the School for Good and Evil.

Every school I went to, something absurd happened. But my favorite was one school where the boys had all read the book and were totally into it -- but had all taken the jacket covers off so no one would see the 'girls' on the cover. God forbid anyone know there were girl characters in their book!


8) Do you have any advice for aspiring authors?

I think worrying about the end goals -- when a book will be published, how much money you might make, a sliver of hope for fame -- will only destroy you as a writer. Write because you love it. Live your story only for yourself. The audience will come when it and you are truly ready.

9) Can you share anything about the upcoming A WORLD WITHOUT PRINCES?

It's a darker, more emotional and more ferocious experience than Book 1. But that isn't surprising, since instead of the schools warring as Good versus Evil, this time its Boys versus Girls. Only as we learned in Book 1, sides are never all that clear in this world... It's a battle of the sexes like you've never imagined.


10) If you had been dropped into either the School of Evil or the School of Good as a kid, would you have tried to escape or would you have worked for your fairy tale?


Wow. Brilliant question. I'd like to say that I'd have missed my family so much that I would have tried to escape… But truth is, I'd likely stay and try to find as happy ending as I could. I'm a sucker for adventure.


I know what you guys are waiting for now. No doubt you're all pumped up for the book now, and I know I'll be first in line for the sequel. So, to make sure that you're right up there with me, I'll be giving away a copy of SCHOOL OF GOOD AND EVIL.

 

HOW TO ENTER:

1) Comment on this post with your email address and you will be given one entry.
2) Follow me on Twitter here for another entry.
3) Every tweet you send out about this contest (preferably with link) that is @katieEcarson will earn you an extra entry. Tweet 50 times? Get 50 entries. 
4) On April 15, I will be drawing a winner and will email that person for their mailing address. Not only can you celebrate the release date of A WORLD WITHOUT PRINCES, but you'll end up with a free copy of the first book, which ain't a bad deal if you ask me.

Ready, steady, GO!!