Interview with Sofia St John, Student

We’re taking a short break from our series on Dr. Mary Galbraith to present an interview with Sofia St. John, one of the graduate assistants at the NCSCL, who discusses her experience learning creative writing from Matt de la Peña. 

Matt de la Peña is a former MFA student and a visiting lecturer in the Department of English and Comparative Literature. He is "the #1 New York Times Bestselling, Newbery Medal-winning author of seven young adult novels (including Mexican WhiteBoy, We Were Here, and Superman: Dawnbreaker) and five picture books (including Love and Last Stop on Market Street)." 

- (excerpted from https://literature.sdsu.edu/people/bios/de-la-pena.html)

Matt de la Peña reading from his novel Mexican WhiteBoy

Which of Matt de la Peña’s courses are you taking?

English 696: Writing the Young Protagonist. 


How does Matt de la Peña’s expertise inform the way he teaches? Can you share something notable about his teaching style?

One really cool thing about Matt is that he’s a successful, published author, so he knows the ins and outs of publishing. One day he just sat down and explained a bit about what it’s like to publish, which is a topic we will go back to later. He has a ton of experience writing and publishing, so he will just have little tidbits of information he shares with us. He’s very real with us: this is the writing world, and this is how he navigates through it.

Also, because our class is mostly workshopping, he’s giving students the space to voice opinions, whether or not they are ones the entire class agrees on. What I really love is we don’t have to completely have a fully formed opinion, because the rest of the class, both the students and the teacher, will help build on it. We basically are given free rein to discuss anything in someone’s work. I had one workshop where it seemed some of the class loved part of my work, and some of the class really didn’t, and like most aspects of writing, there’s not really a right or wrong. He lets us come to terms with what each of us think is “good” writing, because there’s no real way to define it, no matter how many classes we take or pieces we write. 


What topics have been your favorite so far?

One of the most fascinating (and most difficult) topics was on narrative restraint, which is letting the story carry itself. I admire the writer who has achieved narrative restraint. Maybe because I am also an academic writer, I feel like I need to control the character’s every motion and word, but that’s really not fun for either the reader or the writer. In academic writing, we point out almost every detail we discover which the author has carefully plotted out. In creative writing, however, we are the ones planting those details for the reader or scholar to find, and for me, it’s so difficult to make writing subtle, but he’s really pushing us to let go of what others interpret from our writing and not try to force an interpretation on the reader, which I really am fascinated by. All those subtle little details we read in books are not as easy to write as they look. I really don’t think there’s much that is effortless in writing.


How does it feel to be an MA student taking an MFA course? What are you gaining as a scholar by taking this course?

Honestly it was really intimidating at first, and even now it’s still a little scary. I believe there is one other MA besides me, but the two of us are surrounded by these insanely talented, creative writers who may have been studying creative writing for two years in their MFA. However, I quickly felt at home in the class; we are all scholars who love writing and want to learn how to be better writers. In that class, we’re all writers.

Last week I had my first workshop, where everyone reads your work and talks about it for a while, and it’s honestly the most terrifying and humbling experience. I’m showing what I see as basically my child and it is being examined and discussed by 10+ people, most of who have been studying the art of creative writing for quite a while.

As a scholar, it reminds me how much love and time and effort are put into this work, and also it reminds me how vulnerable authors are to scholars. Last year I spent a couple months pretty intensely writing about and poring over a book I was really passionate about, and I found some interviews from the author about how a lot of the book is based on his real life. I’m a bit wary to use the study of biographical influence sometimes, but I saw this author’s grief in the book that he is putting out for anyone to read. I tend to forget there is a mind, a heart, behind every writing I encounter, whether it be a picture book or an academic, analytical text. On the other hand, when we’re the ones writing it’s really hard to not be emotional about some aspect of our piece.

I’m also reminded how vulnerable my own writing is. I’m experiencing those emotions of writing, and the difficulty of putting those emotions to the page, and after all that, I show it to a class full of people who for the most part I met one month ago. Academic writing can sometimes seem cold and calculated, but it’s not. Academic writing can be just as vulnerable as creative writing, and really, in learning about creative writing, I’m realizing how creative academic writing is.  


As a literature scholar, sometimes it is easy to forget that the author’s lived experiences influence the work that they produce. Having met and studied under an author, how does it impact the way you read his works?

I haven’t read many of his works yet, but I have read “Last Stop on Market Street” by Matt. Knowing Matt humanizes the author of course, and I am able to appreciate all the hard work that goes into his writing. We mostly only see books when they are sold: finished, perfected, every t crossed every i dotted; in this class we get little insights into all of the emotions behind writing a work. It makes the work so much more dimensional; I want to know every meaning behind the words. 


What works have you produced in this course so far? How do you feel about them, as someone who studies literature?

We have only done short works in class, and for my one workshop I submitted a chapter of my novel I finished last year. I’m somewhat happy with my chapter, but after my workshop I am seeing a lot of work that needs to be done. It’s been four days since my workshop, and I’ve been doing a lot of thinking about how it would be perceived by an audience beyond our class, and that’s terrifying to think of. I honestly have really mixed feelings about how my own creative writing is, and I think that might be something a lot of writers experience. Part of me thinks what I have written is good, but another part of me just thinks about how I could make it better.

I feel that my work is never done, there is always something to tinker with in writing, whether it be academic or creative. Honestly, if someone were to ask if reading my book would be enjoyable, I would have no clue how to answer. Overall though, I think getting this strong basis in creative writing, especially by studying young protagonists, I am reminded how dimensional books are, and I hope my writing reflects that. 


Thank you so much, Sofia! We loved hearing about your experience working with Matt de la Peña as an MA student. Matt de la Peña will be speaking alongside Chris Baron, author of All of Me, on Wednesday, October 16th at 7 p.m. in Love Library, Room 430. We hope to see you there!


- (AN)

Yale Grads Looking for Children's Poetry: Join StoryTime and Make a Difference!

Have you ever wondered how you can help change the world? It all starts with an idea, and this idea is truly revolutionary. This team of Yale graduates created an innovative way to allow families across the globe access to literature for children! They have pinpointed a direct way to give children and parents the ability to read with their children- through text messages.

In our society, cell phones are a part of our augmented survival, beyond water and food many families depend on their cell phones. It is through this avenue that this awesome team of teachers and entrepreneurs created a new way to give people access to books. While many families might not be able to get to public libraries, afford children's books, or have access to the Internet, they have cell phones and because of this, StoryTime has discovered a way to reach these families and close the gap. Exposing children to literature at an early age is vital to their development and StoryTime has done their research, this program has already proven to be incredibly valuable. Not only is their program three hundred times cheaper than shipping books, it has been shown to dramatically improve early literacy.

Take a peek at their YouTube video that describes in detail exactly what StoryTime is all about!

This is one of the various ways YOU can become a part of something important.
Here is how you can help!
They are looking for people who are interested in joining their new team and creating content through poetry. This includes things like writing poems and stories, working with their team of illustrators and listening to feedback to continually improve their innovative project. You can find them on their website www.joinstorytime.com to find out more. This is a great opportunity to not only have your poetry and stories heard but also make a lasting impact on the world.

Children's Book Editor Discusses What Makes a "Good Book" on Saturday May 11

The San Diego Chapter of the Society of Children’s Book Writers and Illustrators (SCBWI) will feature Kira Lynn from Kane Miller Books on Saturday, May 11 at 2 p.m.

Ms. Miller will share her definition of a “good book,” offer tips on what writers and illustrators can do to make sure that they’ve submitted their best work, and discuss the state of the children’s book market in general. The event will be held at the University of San Diego in the Hahn School of Nursing building. (See a map of campus here.)

* Contact: 619-713-5462 or pr-sd@sandiego-scbwi.org
* Age limit: 18+
* When: Saturday, May 11, 2 p.m. to 4:30 p.m.
* Where: USD: University of San Diego, 5998 Alcalá Park, San Diego, 92110 (Directions)
* Cost: $7 - $9 (Buy Tickets)

Brave New Girls: What it means to be a heroine in dystopian YA literature

If I were in New York City, I would definitely be going to this talk on May 10. The editors of the forthcoming book Contemporary Fiction for Young Adults: Brave New Teenagers will discuss the intersections between dystopias and pop culture, examining the hows and whys of the dystopian trend in contemporary young adult literature.

This relates to Alya's post from yesterday, where she mused over the popularity of certain kinds of young adult books. In fact, just the other day, Alya and I were chatting and marveling about how the dystopian trend hasn't yet hit a saturation point in the YA market. Why is this, do you think? Is it because audiences were so captivated by the thrilling Hunger Games that they just want more reading experiences like that? Is it because teenagers now live in a post-9/11 America, where a palpable awareness of terrorism gives rise to fear, and teens need to read comforting tales of heroes trumping totalitarian societies? Or is it simply because this is our culture's version of the mythic hero tale? Instead of knights questing to eradicate a monster and bring back some sort of treasure to the ruling party, we now have teenage protagonists (usually female) questing to overthrow a frightening dictatorship and return life to a semblance of "normal."

So the next question is why the teenage girl protagonist? Obviously there is science fiction and dystopian literature that features adult protagonists, but it is the work that follows the teenager's journey that has so populated the market. I might suggest that the fight against authority and the ultimate triumph of the teenage hero is a [wishful] metaphor for the move from adolescence to adulthood, a fantastical one where the adolescent successfully finds her place after the trials and tribulations of "figuring it all out."

Of course, we know that life is never that easy -- the time period between adolescence and adulthood is increasingly murky, and even if one "grows up" successfully (e.g. has a job they don't hate and enough money to live on their own), the story doesn't end there.

But frequently in dystopian literature, the story does end with the ultimate triumph of the female protagonist. She has suffered loss, yes, and she must cope with the drastic changes that her decisions have led to, but she is also wiser, and she has a place of relative power in this new society. Her journey has led her from being acted upon to being the actor.

So maybe what this boils down to (admittedly simplisticly) is that teenagers (and adults, too) are drawn to dystopian young adult literature for the hope they provide. Ultimately, don't we all want to believe that we would be actors and not acted-upon, come the revolution? Even if we know that the majority of people will let change happen TO them, we can read works that allow us to align with the people who CREATE that change.

We can pretend that we are brave new heroes.

Limitless YA Publishing and a Fix of Fantasy

When I was young--or specifically, a young adult (whatever that actually means)--I spent most of my time reading 19th and 20th century classics, some fantasy, the occasional mystery thriller and, when no one was looking, current children's books that my younger brother was assigned from school. Even in my teenage years, I had developed a sense of nostalgia for the books I had read five, six, eight years prior, so it was with that memory that I'd check out the brother's newest assigned reading, curious about the goings on of the children's literary world.

But I was certainly not reading anything printed for me and my age group. Not regularly at least. That is why the Young Adult category intrigues me, as it may most of you. It has catapulted in the past ten years, generating some of the most memorable, and loathed, books of our generation. Is it because they are "easier" to read, venture into more fantastical or currently dystopic areas, or people just can't get enough of the teenage psyche? It's certainly profitable, which is why so many publishers are adopting the genre and creating their own YA imprints. Even Penguin Books India is launching INKED, their own "hip new young adult imprint." A recent LA Times article points out why:

What's the reason? Readers, or more specifically, book-buying readers. It's been obvious since midway through the Harry Potter series that books for kids could sell big -- in part because adults are reading the books as well. The success of the "Twilight" and "The Hunger Games" series proved that what might have looked like a trend is more like a habit. There are young adult book buyers are to be had.

That's wonderful--the book buying industry is on the rise in the children's lit area--and yet there is room for worry, if they all aim to churn out what's "trending" instead of what is innovative, challenging, or just different. Sigh. I'm grumbling to myself, when I should be celebrating all the new and exciting things that have come to pass and do await. But can we just move past the dystopias and all the cavalcade of "mean-girl" high school dramas? Has our storytelling run dry? Not at all. I just hope that these imprints search out the best of the best.

On an entirely separate note, speaking of what awaits us, if you're a fantasy/sci-fi aficionado, this Ultimate Guide to Fantasy and SciFi in May should help you get your fix in May.

New Imprint Resuscitates Forgotten YA of Years Past

I have a question: what is a classic? A children's book classic? Does it fall within a particular genre or time period? Has it evolved or are we glued to the traditional idea of it, forever and ever?  These have been thoughts trampling around my brain the past week, so I found it eerily fitting to come across news about a new imprint aiming to revitalize out of print YA books, to return to the public a variety of "classic" books from bygone eras.

The imprint, explained Ig publisher Robert Lasner, will “bring back the very best in young adult literature, from the classics of the 1930s and 1940s, to the thrillers and social novels of the 1970s and 1980s.”

I was struck by the word choice, "classics of the 1930's...", but not because I doubt the merit of the books slated for return. Rather, I wonder whether a classic would go out of print in the first place, and thus is such a term even relevant or should it start to ebb out of the conversation. I welcome these additions, specifically because the writers in question are predominantly women whose works introduced darkly comedic traits directly to Young Adult audiences. Considering the over-abundance of YA novels now, many of which fall into the thriller and dark territory, it certainly is worth experiencing and exploring the texts of earlier decades that contributed--maybe even helped shape--the status of YA now.

Do you think it will appeal to the young generations now though? The Imprint is not shy of sharing that they are targeting the original generation of readers, not current teens. Will a 70's thriller seem unappealing, or just retro enough to be cool?

Grimm, Haiti, and the Art of Influence

I recently read about a new translation of the Grimm's Fairy Tales, selected and translated by Peter Wortsman and worked from the 1857 edition of the German tales. What makes Selected Tales of the Brothers Grimm worthy of acknowledgement--aside from Wortsman's return to "a tincture of concentrated man-eating ogre and ground hag tooth, diluted in blood, sweat and tears, as a potent vaccine against the crippling effects of fear and fury"--is the artwork included, all done by contemporary Haitian artists. This mixing of two cultures may prove to launch a fascinating and unexplored conversation between the text and the world around it, and I am reminded of Jill's previous post about subversion. What does it take to subvert a text (if we even know what subversion means)? In this case, the words hover closely to the original tales (despite the wall that erupts by the very nature of translating) but by coupling them with the artwork of a vastly different culture, does the result offer an altered mode of viewing, understanding, and applying the text? Maybe, maybe not. will the art nurture or twist the text? We'll have to wait until this book is published to see its particular outcome, but the idea lingers.

This consideration also offshoots into the realm of influence. We never tire of the Grimm Brothers' Tales; new translations, imaginings, and adaptations occur left and right and in every medium (movies, television, art, etc.); their presence in Western Culture cannot be ignored. I'm not very familiar, however, with the nature of their infuence in other regions: Asian, African, South American... So to combine the Grimm tales with Haitian artistry not only makes me curious about new readings, but also about the broader issue of who will bear a greater influence on the interpretation of the other?

A few weeks ago I was caught by the headline of the following article: The Most Influential Publisher You've Never Heard of. Influential? So curious to see who! and how! One click revealed a spotlight on Room to Read, an NGO I have followed for some time and have much respect for. I admit I was slightly concerned about what kind of influence they were imparting, but the article describes their work in creating native language children's books. Rather than translating English stories into other languages, they enlist the work and cooperation of local people to write and publish their own stories. "If the books were to work — to make kids read and want to keep on reading — they had to be culturally relevant."  So in what capacity is Room to Read influential then? Certainly not in terms of Western culture through text (like a translation of the Grimms Tales in Nepal might be received... or not) but within the terrain of literacy and education, yes. And in trying to instill a love of (local) language, probably. Influence as a tool ends up taking many different shapes; are some more acceptable, more appetizing, more ethical than others? How do we know?

Call for Submissions: Jeunesse Special Issue on Consumption

Jeunesse: Young People, Texts, Cultures invites essay submissions for a special issue addressing the many interpretations of consumption and their meanings in relation to youth texts and culture(s). We welcome essays that consider registers of race, class, gender, and disability. Essays should be between 6,000 and 9,000 words in length and prepared for blind peer-review.

Consumption is a vehicle through which we come to understand proprietary relationships with people, places, bodies, and identities. If food is the primary signifier when we think of consumption, how might we read metaphoric consumption (of capital, culture, and place, for instance) in light of notions of necessity and survival?

Submissions are requested by: 15 December 2013.

Topics may include:

- representations of food or the ingestion of food and drink
- eating disorders, the stigma of obesity, and fatphobia
- pedagogy of health
- consumption as disease (ie. tuberculosis)
- obsession or fixation
- symbolic acts of devouring/being devoured
- cannibalism or consuming the self (eg. vampires, fairy tales)
- consumption, purchasing, ownership, and material culture
- discourses of consumption (good/bad consumers)
- young people as consumers, advertising for or about young people
- cultural consumerism/tourism

Inquiries may be directed to Larissa Wodtke, Managing Editor: l.wodtke@uwinnipeg.ca

Further information about submission guidelines is available at: http://jeunessejournal.ca

Links for a Tuesday

Here are a few fascinating reads regarding the world of children's literature and culture...

Girls Gone Missing: Reel Girl takes a look at the movie posters for 2013 and calls out the insidious dearth of representation of female characters, even if the film has a female protagonist. What's up with that? Jezebel.com also featured Reel Girl's piece and posited a few theories.

Top 10 Bizarre Fairy Tale Adaptations: Flavorwire's list includes fantastic short story collections like Angela Carter's The Bloody Chamber and Kate Bernheimer's My Mother She Killed Me, My Father He Ate Me as well as cheeky retellings like Six Gun Snow White and a profound examination of Hansel & Gretel's hunger set during the Holocaust.

SDSU Professor Emeritus Jerry Griswold's latest review for the New York Times examines two middle-grade books set during World War II.


Kansas State Professor (and SDSU friend!) Phil Nel has a rundown and critique of a ridiculous lawsuit occurring in the academic publishing industry.

Is reading a good way for children to learn grammar? (That would be a resounding yes.) The Guardian explores how children's fiction might be a better grammar resource than a textbook.

You need to read this article about Theodor Geisel's relationship with hats. And definitely take note of the picture of Dr. Seuss in the San Diego State band hat.

This Tumblr of gifs of one librarian's response to common library occurrences is hilarious. Hilarious, I tell you!

Publishing Response to Sandy Hook

As an offshoot of Alya's post from Monday, I wanted to share this short piece from Publishers Weekly. The article highlights the books and other goods that publishers and bookstore owners are sending to Newtown. In particular, Tanglewood Publishing is donating hundreds of copies of Audrey Penn's The Kissing Hand, which focuses on the great leap young children take when separating from their parents to go to school.

From Publishers Weekly:

"Kim Pescatelli, a Connecticut mother and knitter, knew that many schools use Audrey Penn’s The Kissing Hand (Tanglewood Books) in kindergarten to help ease children’s anxiety about being separated from their family during the school day. Her idea: to give a copy of the book along with a pair of Kissing Hand mittens with hearts on the palm to children in Newtown." Read the rest of the article here.

From Publisher's Weekly: The 13 Worst Reviews of Classic Books

Publisher's Weekly has pulled their 13 favorite worst reviews from Bill Henderson's recently reissued Rotten Reviews Redux. Check out this link to see scathing reviews of many of the books considered classics today, from Wuthering Heights to The Great Gatsby. My favorite? "[Walt] Whitman is as unacquainted with art as a hog is with mathematics." Now that's a simile.

from Publishers Marketplace, with thanks. Check their job board for other positions in publishing

		Running Press Designer			posted: June 21, 2012
		Offered by:		Running Press - Perseus Books Group
		Salary:		Salary commensurate with experience
		Benefits:		Health, Dental, 401K
		Duration:		Full Time
		Location:		Philadelphia, PA
		Requirements:		The designer must be a college graduate with either a BA or BFA in design. Candidate should have approximately 5 years experience in Publishing, a focus in kids books would be beneficial. Should be proficient in Quark Xpress, InDesign, Adobe Illustrator, and Adobe Photoshop. Designer will work closely with editors, production coordinators, Design Director, and Publisher and should have strong organizational and communication skills as well as a good design portfolio. • Book Design Design and manage a minimum of 7 books a season (2 seasons a year). Designer will be responsible for hiring and managing illustrators and photographers as needed. Interacting with both the editorial and production departments through the book creation process. Strong design sensibility is necessary as well as an ability to work within various formats and cater to different ages (ie. From novelty and picture books to Young Adult and lifestyle). • eBooks Oversee conversion of print books to eBooks. Designer would work closely with editors and production team to coordinate and approve eBooks. Communication with outside vendors will be necessary. • Packagers Communicate with and coordinate packaged projects after they have been acquired. Designer would be required to art direct packager and sometimes create cover design for packaged books. Would work closely with editor and production coordinator • Website and social media Designer should have a good understanding of social media (particularly Twitter and Facebook). Designer will be required to contribute to the new RP Kids website, both in terms of content and design.
		About Our Company:		The Perseus Books Group is an independent company committed to enabling independent book publishers to reach their potential, whether those publishers are Perseus-owned, joint ventures or owned by third parties. Perseus publishing imprints include Avalon Travel, Basic Books, Basic Civitas, Da Capo Press, Da Capo Lifelong Books, Public Affairs, Running Press, Seal Press, Vanguard Press and Westview Press, as well as partnerships with The Newsweek/Daily Beast Company, The Nation Institute, and The Weinstein Company. Through Consortium, Perseus Distribution and Publishers Group West, as well as through its Constellation digital service offering which also supports Argo Navis Author Services and Faber Factory Powered by Constellation, the Perseus Books Group is the leading provider of sales, marketing, distribution and digital services, serving over 300 independent publishers. For more information, visit our websites at www.perseusbooks.com, and www.constellationdigital.com
		Special Instructions:		Please submit a cover letter,resume and salary requirements along with a link to an online portfolio to hr@perseusbooks.com EOE
		Job #		8769

Publishers' Book Fair, March 19, SDSU

Publishers, authors, and others will congregate today in the Leon Williams Room in the library, LL-430, 4th floor, from 4-9 for panels, conversations, and book displays.

The event is free and open to the public.

Join us for this special Living Writers event

from mediabistro.com: Publishing Job

Publicist

Publication Company Timber Press Industry Book Publishing Benefits 401K/403B, Dental, Health Job Duration Full Time Job Location Portland, OR Requirements Basic Function: To create and execute the publicity plans for frontlist and backlist titles Essential Functions: * Plan author tours for select frontlist titles: select cities, book events, hire media escorts, coordinate author travel, plan local media campaigns around the events, coordinate mailings. * Assist in the creation and development of publicity materials for frontlist and backlist titles. * Write press releases and booksheets for individual frontlist titles and promotions. * Develop strong and consistent communication with authors to support their promotional efforts. * Develop and maintain national and local media contacts. * Implement web-based content, written and video, for Timbers website and blog, as well as other websites to promote individual titles. * Implement creative and/or inventive strategies for book and author promotion and presence in the marketplace with Director. * Support Timbers presence at trade shows and coordinate author events. Skills/Qualifications required: *BS or BA from a four-year accredited college. * Minimum two years experience in publicity or marketing, with strong media relationships. *Strong knowledge of MS Word, Excel, Outlook, Adobe, YouTube, and social networking media. * Excellent written and oral communication skills. * Excellent organizational and research skills. * Excellent phone manner. * Energetic, independent, and creative. * Attention to detail and ability to prioritize work load essential. Physical Requirements: * Must be able to lift 25 pounds. * Vision and hearing must be acute enough for phone work and computer operations. * Must be able to travel to local events and to events requiring overnight stays and air travel. About Our Company Timber Press is known worldwide for publishing professional and unique books in the areas of horticulture, botany, and the natural sciences.

March 19, Publishing Info Event Sponsored by MFA Program and the English/CompLit Dept., SDSU

Join MFA and MA students for an afternoon and evening of panels and information from publishers, authors, and agents in LL 430, 4-9, SDSU.

March 15, publishing info event by SDSU English/CompLit Dept. Honors Society

Subject: Publishing Your Dreams - Presented by Sigma Tau Delta (Also Graduation apparel information)

Come one come all to the March 15 Publishing Seminar from 12-1:30 PM in A&L 266. We will be interviewing Quentin Bailey about the process of creating, editing and publishing his book, Wordsworth’s Vagrants, as well as Brendan Mancilla about the process of self-publishing his book, Someone to Remember Me. Anyone interested in writing and publishing is highly encouraged to come and learn!

Also, we will also be taking orders for graduation apparel at the event! This is the site where merch can be perused: http://www.english.org/sigmatd/store.shtml. If you can't make it to the Publishing event, you can drop off money with a note saying what items you'd like us to snag for you. Just slip it under our office door (AL 222) by the end of the week.

If you have any questions, toss us an email and we'll get back to you right quick!

-Sigma Tau Delta Honors Society