Tag Archives: Tu Books

Out Today: Rose Eagle

The prequel to the award winning Killer of Enemies is finally here! Rose Eagle by Joseph Bruchac is Tu Books’ first e-novella.

Ten years before the events in Killer of Enemies, before the Silver Cloud, the Lakota were forced to work in the Deeps, mining for ore so that the Ones, the overlords, could continue their wars. But when the Cloud came and enveloped Earth, all electronics were shut off. Some miners were trapped in the deepest Deeps and suffocated, but the Lakota were warned to escape, and the upper Deeps became a place of refuge for them in a post-Cloud world. Continue reading

Native American Heritage Month: 10 Children’s Books By Native Writers

November is Native American Heritage Month! Native American Heritage Month evolved from the efforts of various individuals at the turn of the 20th century who tried to get a day of recognition for Native Americans. In 1990, President George H.W. Bush approved a resolution that appointed November as Native American Heritage Month. You can learn more about Native American Heritage Month here.

For many years, Native people were silenced and their stories were set aside, hidden, or drowned out. That’s why it’s especially important to read stories about Native characters, told in Native voices. Celebrate Native American Heritage Month with these great books by Native writers: Continue reading

Thirteen Scary YA Books: Diverse Edition

Thirteen Scary YA Books (diverse edition)
Halloween is right around the corner. There’s no better way to celebrate than by reading books that will scare you to pieces! Here’s a lucky thirteen list of our favorites (all featuring diverse characters or by diverse authors):

  1. Half WorldHalf World by Hiromi Goto – Melanie Tamaki lives with her mother in abject poverty. Then, her mother disappears. Melanie must journey to the mysterious Half World to save her.
  2. Vodnik by Bryce Moore – Sixteen-year-old Tomas moves back to Slovakia with his family and discovers the folktales of his childhood were more than just stories.
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Ask an Editor: Hooking the Reader Early

In this series, Tu Books Publisher Stacy Whitman shares advice for aspiring authors, especially those considering submitting to our New Visions Award

Last week on the blog, I talked about the importance of following submission guidelines and basic manuscript format. This week, I wanted to go into more detail about why a reader might stop reading if they’re not hooked right away. Here are some comments I’ve heard our readers make about manuscripts that didn’t hook them:

  • Story does not captivate in first few chapters
  • Boring
  • Writing not strong, or not strong enough to hold a young reader’s (or teen’s) interest
  • Parts of the writing are very strange (not in a good way)
  • Sounded too artificial
  • Reminds me too much of something that’s really popular
  • Too Tolkienesque or reliant upon Western European fantasy tropes
  • Concept cliche

How do you get your writing to have that “zing” that captivates from the very beginning? This is a little tougher than just following the directions—this is much more personal to each reader and each writer.

Is your writing boring readers?

There are a couple different issues in the list above. Some readers lost interest simply because they were bored. If you find yourself telling readers of your book, “Don’t worry! It gets really good in chapter five!” consider whether you’re starting your book at the right moment in time. The phrase “late in, early out” is one to remember—perhaps you don’t need all the information that leads to the “really good” part. Or perhaps you need to revise to make that information more interesting and faster paced.

I don’t recommend simply dumping this information into a prologue. Many young readers skip prologues entirely, and many more readers will lose interest if your prologue is long and boring—it’s the same principle as saying “just wait till chapter five!”

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Ask an Editor: Worldbuilding in Speculative Fiction, Part II


Stacy Whitman photoStacy Whitman is Editorial Director and Publisher of 
Tu Books, an imprint of LEE & LOW BOOKS that publishes diverse science fiction and fantasy for middle grade and young adult readers. Parts of this blog post were originally posted at her blog, Stacy Whitman’s Grimoire

Last week, I discussed why worldbuilding in speculative fiction can be so challenging for authors. How do we introduce a completely new world without infodumping or confusing readers? I gave some examples of worldbuilding done well in popular YA science fiction and fantasy: The Hunger Games, Divergent, and Twilight. In all these cases, the starting point is in some way relatable, or there is something about the character (Tris, Katniss) that hooks the reader. First pages should be character- and plot-driven, and worldbuilding should support rather than dominate. That gives these books an easy entry point and wide appeal.

There are three primary approaches to worldbuilding:

Reader learns world alongside character

Readers of Harry Potter, Percy Jackson, and Twilight figure out the world alongside the main character. Information is spooled out as the character learns it, so the reader doesn’t have to absorb everything at once. This is a low bar for entry, not requiring much synthesis of information. The character is almost a stand-in for the reader.

Exposition: questions raised, then answered

What about Hunger Games? Now it gets a little tougher. Suzanne Collins starts out with a perfectly relatable (if a tiny bit cliche) situation, the main character waking up and seeing her family. We get some exposition on Katniss’s family and the cat who hates her.

But it becomes non-cliche by page 2, when we learn about the Reaping. Ah! What’s the Reaping, you ask? We don’t know yet. Now the bar for entry is raised. There is a question, the answer for which you’re going to have to read further to find out. The infodumpage level is low, but there is still some exposition in the next few pages, letting us know that Katniss lives in a place called District 12, nicknamed the Seam, and that her town is enclosed by a fence that is sometimes electrified—and which is supposed to be electrified all the time.

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20 YA Novels for Thinking Adults: A Diverse List

There has been a lot of controversy this week surrounding that now-infamous Slate article saying that adults should be embarrassed to read YA. Here at LEE & LOW, we couldn’t disagree more. We don’t think your enjoyment of a book should be limited by your age (or anything at all, really). YA novels are great. They can be entertaining, literary, thought-provoking, funny, sad, or all of the above at the same time.

There have been several excellent lists of YA recommendations floating around this week, so we thought we’d add our own. Here is a list (a diverse list, of course!) of YA novels that made us think, featuring some great books from LEE & LOW and some of our favorites from other publishers:

1. Summer of the Mariposas by Guadalupe Garcia McCall (Tu Books)

When Odilia and her four sisters find a dead body in the swimming hole, they embark on a hero’s journey to return the dead man to his family in Mexico. But returning home to Texas turns into an odyssey that would rival Homer’s original tale.

2. How the Garcia Girls Lost their Accents by Julia Alvarez (Algonquin Books)

Uprooted from their family home in the Dominican Republic, the four Garcia sisters – Carla, Sandra, Yolanda, and Sofia – arrive in New York City in 1960 to find a life far different from the genteel existence of maids, manicures, and extended family they left behind.

3. Under the Mesquite by Guadalupe Garcia McCall (Lee & Low Books)Under the Mesquite

As the oldest of eight siblings, Lupita is used to taking the lead—and staying busy behind the scenes to help keep everyone together. But when she discovers Mami has been diagnosed with cancer, Lupita is terrified by the possibility of losing her mother, the anchor of her close-knit Mexican American family.

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Ask an Editor: Worldbuilding After the Apocalypse

Stacy Whitman photoStacy Whitman is Editorial Director and Publisher of Tu Books, an imprint of LEE & LOW BOOKS that publishes diverse science fiction and fantasy for middle grade and young adult readers. This blog post was originally posted at her blog, Stacy Whitman’s Grimoire

Yesterday, Sarah Hannah Gómez wrote about people of color in dystopias. Today I thought we’d look at the post-apocalyptic genre (which overlaps with, but is not always the same as, dystopias) from the craft side. A while back, as I was going through submissions, a few thoughts formed for me about worldbuilding in the genre due to things I was seeing again and again. This isn’t by any means a comprehensive list of things to think about—just a few things that struck me as a pattern in some recent reads (and something I notice when it’s done well).

I guess everything I want to say actually falls under the old (and very useful) “show, don’t tell,” – which of course is relevant whether or not your novel is set after the apocalypse. So, here you go:

inverted pyramid

  • If you include newspaper clippings/stories as metatext to support the main narrative, make sure that it actually sounds like a news clipping. Use inverted pyramid structure, starting with the most important details and filling in backstory and history only once important details have been included. Who, what, why, where, when: these are the most important things to focus on in the first paragraph.
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Where are the people of color in dystopias?

Hannah GomezSarah Hannah Gómez has an MA in children’s literature and an MS in library and information science from Simmons College. Currently Guest bloggershe works as a school librarian in Northern California. An aspiring novelist and screenwriter, she is passionate about social issues in literature and social media engagement with books. She spends the rest of her free time singing, reading, and learning to run. Visit her blog at http://mclicious.org.

I was going to start this post with something pithy like, “How to survive the apocalypse: Be white. Or Morgan Freeman. Or, 2012 onwards, be a Kravitz!” I was going to tell you how dystopian and post-apocalyptic fiction and film allow creators to act out a future and explore countless possibilities that could ruin or save the world. And that is kind of what’s happening, though it’s a lot more complicated than that…

Have you noticed that every movie trailer that talks about Earth after some catastrophic event displays a civilization of white people (and to have a future with no diversity, when there is so much right here on the ground today, is disingenuous, odd, and patently false.*Morgan Freeman) speaking American English? Sure, some of that is unavoidable and practical–you can’t make a movie about everyone and in every language at the same time–but it’s also ethnocentric and exceptionalist of us. Not to mention problematic in myriad ways, because the lack of diversity goes utterly unacknowledged.

Generally in dystopia, the reader understands everything about the society in the story as a copy of their own, except when the author specifically points out the rules that make it different. So to have a future with no diversity, when there is so much right here on the ground today, is disingenuous, odd, and patently false.*

As it’s the United States that is driving the current success of dystopian genre, let’s look specifically at our diversity. White people will no longer be the majority within thirty years, says the Brookings Institution. And in the meantime, people of color are rising to positions of power (hey, Obama!) all over, and while we have a long way to go, old bastions of whiteness and power are being dismantled. While I can’t say this from experience, since I’m a woman of color, I can imagine that this is terrifying to people who are in a position to lose their power. If I were someone with lots of privilege and power, I would want to hold onto it, and it would be very nice to create a world in which I could.

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Is My Character “Black Enough”? Advice on Writing Cross-Culturally

Stacy Whitman photoStacy Whitman is Editorial Director and Publisher of Tu Books, an imprint of LEE & LOW BOOKS that publishes diverse science fiction and fantasy for middle grade and young adult readers. This blog post was originally posted at her blog, Stacy Whitman’s Grimoire

I recently got this question from a writer, who agreed that answering it on the blog would be useful:

My hero is a fifteen-year-old African American boy [in a science fiction story]. A few of my alpha readers (not all) have said that he doesn’t sound “black enough.” I purposely made him an Air Force brat who has lived in several different countries to avoid having to use cliche hood-terminology. I want him to be universal.

Do you have thoughts on this either way?

Is there a possibility that my potential readers could really be offended that a) I am “a white girl writing a book about black people” and b) that my character doesn’t sound black enough? I’ve looked through your blog and website and haven’t found anything specific to my needs on this particular question. Perhaps I missed it?

…should I use Ebonics or not use Ebonics?

First of all, black people—just as white people or Latino people—are a very diverse group of people. There are people who speak in Ebonics (which I believe would be more accurately referred to as BVE–Black Vernacular English) and people who speak plain old suburban English, people who speak with any of a variety of Southern accents and people who have Chicago accents, people who speak with French or Spanish accents (or who speak French or Spanish or an African language). So the question of whether a particular character in a particular situation sounds “black enough” is a complicated question, one that even the African American community can’t necessarily agree on. Within the community (and I say this because I asked a coworker who is African American, who can speak with more authority on the subject than I can) it’s often a question that draws on complicated factors, such as money, privilege, “selling out,” skin tone (relative darkness or lightness—literally, being “black enough”), and hair texture, which all relate to how much a part of which community a person might be.

The question, then, is fraught with loaded meaning not only to do with stereotypes, but also socioeconomic meanings. The question can also tend to be offensive because of that diversity and the loaded meaning the question carries.

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Publishing Advice: Pitching, Querying, and ‘We don’t know how to market this’

Stacy Whitman photoJoseph BruchacA few weeks ago, Tu Books Publisher Stacy Whitman and author Joseph Bruchac (Killer of EnemiesWolf Mark) answered questions about writing, publishing, science fiction and fantasy, and everything in between for a special Reddit Ask Me Anything (AMA) session. We rounded up their best advice for aspiring authors in Part 1. Today in Part 2, we share some of their advice on pitching, querying, and marketing:

Q: Joseph, when you sit down to write a query letter, what do you think the most important thing is to get across? I’ve heard a lot of advice, from getting the character’s voice in there to making sure the plot ends on a juicy cliffhanger. What do you do that made you so successful?

Joseph Bruchac: Writing a query letter is an art in itself. You need to get across both your idea and that you are the one who is qualified to write it.

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