Review: Tapped Out

Tapped Out
By Natalie M. Roberts
The Berkeley Publishing Group
October 2007
261 pages

Jenny Partridge is back and she’s up to her dancing shoes in another mystery with hunky Detective Wilson in tow.

The Hollywood StarMakers Convention is in town and Jenny’s old boyfriend Bill is the owner. When he asks her to work as a fill-in dance instructor for the weekend, Jenny jumps at the chance to make some extra cash. But after a threatening phone call, an explosion, and an ugly confrontation with a snowplow, there’s no question someone really wants her to back out of the gig.

Any normal person would do just that. But not Jenny. Hell bent on proving to Bill and his first-class bitch of girlfriend that she’s no slouch – and of course broke as usual – Jenny puts her heart and soul into making the convention happen. As her own dumb luck would have it, Jenny gets snared in a multi-layered trap and can’t tell the good guys from the bad guys. Who knew there was a seamy underbelly to the dance world? 

Through it all there’s still her own dance academy to run, complete with the usual psycho moms, and James the drama queen instructor, who once again seems determined to drive her insane. And just when she thought her relationship with Tate Wilson was doomed to the waste bin of missed opportunities, the romance heats up. And Jenny is more attracted than ever to the danger. But is this a good thing?

In Jenny Partridge, Roberts has created not so much a larger-than-life hero, but a true-to-life hero, who – like the rest of us – feels like she’s being pulled in six different directions at once while cleaning up everyone else’s messes. Jenny’s wit and willfulness are endearing qualities that keep you turning the pages to see how she muddles through each and every predicament. Once you get to know her, you can’t wait to see how things work out for this wacky dance detective.

This second book in the Jenny T. Partridge Dance Mystery series is again the perfect crossover novel for teens. They’ll be star-struck by the behind-the-curtain look at the dance world. They’ll relate to Jenny’s cold feet as her romance with Tate sizzles. And they’ll totally get into putting together another puzzle in the Jenny T. Partridge Dance Mystery series.

Learn more about this hot new series at Jenny T. Partridge.com

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How should we structure our critique group?

A group of us children’s writers got together at a recent conference and decided to form a critique group. We agreed to meet once a month since some of us will have to drive quite a distance, but other than that we don’t really have any structure and don’t really know what to do next or how to set up our meetings. Could you please give us some suggestions?

Your question reminds me of the first-ever critique group I joined. There were five members. It was before the internet so we met once a month at the local college, hardly often enough to get to know and trust one another. The woman who started the group appointed herself as Madam President and charged 50 cents dues each meeting. She also pounded a gavel liberally, much to my amusement. Every month we read and critiqued Madam President’s work and if there was time, someone else got a turn. She also made up her own rules, which meant we were expected to praise her work while she belittled everyone else’s efforts.

Therefore Lesson #1 in how NOT to conduct a critique group is: Avoid choosing a leader, or appointing yourself as the leader. It’s important for every member to be involved in making decisions about the structure and guidelines so you can address individual concerns and needs. The structure of your sessions will depend on how many members you have, their experience, and whether they write novels or picture books.

Look at how other critique groups are structured and borrow from them. At the Children Come First (CCF) website you can find their Writers’ Group Guidelines and the guidelines from another critique group in Colorado Springs. I like these structures because both groups stress the importance of “no homework”, meaning it’s not advisable to spend your time reading and editing other writers’ work between meetings. Writers should spend their time writing. 

The CCF Writers’ Group also has a private listserv. Since you will be meeting only once a month and some of your members are driving quite a distance, I suggest that you set up a private Yahoo group for your members. That way you can keep in touch as a group and begin planning your structure without anyone having to drive to a meeting. Once you establish your group online, you can begin exchanging manuscripts by email and mail.

Online critique groups are an efficient addition to in-person meetings. You can still meet once a month to discuss the writing process, contests, and markets. Incorporating an online connection will give your members more options and a quicker response. For example, let’s say an editor asks you to make some changes in your picture book manuscript and invites you to re-submit. You wouldn’t want to wait a month to run the suggestions by your members and get their advice. You would want to have their input as soon as possible. If you establish an online critique group, you can get almost instant feedback to help you through the revision process.

Your members will probably bring many different levels of experience to the group. So it’s a good idea for them to read and understand how to offer a critique and how to receive it. At the Short Story Group web site you will find detailed guidelines for making the most of your critiquing sessions, including how to consider character, pacing, and dialogue, among others. The Rocky Mountain Fiction Writers Group web site also publishes Critique Guidelines with suggestions for good critique etiquette. Your group can avoid a lot of hassles and misunderstandings by adhering to firm guidelines when it comes to discussing each other’s work.

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Review: Evacuation Plan

 

Evacuation Plan
By Joe M. O’Connell
Dalton Publishing
August 2007
192 pages

Does how you live your life reveal how you will deal with your death? If life is for the living and death is for the dying, then somewhere in between must be hospice.

Aspiring screenwriter Matt volunteers at a local hospice facility in search of a good story for his screenplay. What he discovers is that the stories of peoples’ lives, like memories drifting in the ether, haunt the halls and rooms like the music from the violinist who plays for the residents.

While the architect Mr. Wright and his family’s story is the focal point of Matt’s attention, the reader also peers almost voyeuristically into the past lives of everyone he encounters. There’s the guy in the hall who screwed up his life so miserably all he has left to look forward to his taking over his dying mother’s house. The mortician who lost everything before he even knew what he had. The male nurse who watched his sister die from a broken heart. O’Connell weaves the characters’ stories together to create an intimate mosaic that reveals how we are all connected by the mysteries of life and death.

In Matt’s dream the banjo player jokes, “Know the difference between death and an electric eel? People aren’t afraid to talk about electric eels.” In Evacuation Plan, death is as much a character as it is a resident at the hospice. But this book is no funereal dirge. Instead, O’Connell has employed masterful storytelling skills to compose an achingly captivating symphony from all these life stories that could very possibly change the way you view your own life – and death.

Copyright (c) 2007 by Peggy Tibbetts

Visit Joe O’Connell’s blog

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What does the term “reluctant readers” mean?

I am trying to find a publisher for my young adult novel. Several publishers say in their submission guidelines that they are looking for books for “reluctant readers”. I’ve never heard of the term “reluctant readers” before. Can you define it for me?

According to the experts there are several different types of reluctant readers. They can be intelligent children or teens who are interested in reading, but lack good reading skills, such as speed and comprehension. Some kids simply have no interest in reading and are at risk of falling behind. Other kids have specific learning problems that impede their ability and desire to read. The most challenging kid is one with excellent skills but has no interest in books or reading. There are no vocabulary lists or restrictions when writing for reluctant readers.

YA fiction geared for reluctant readers is usually fast-paced, action driven, and about 220 pages or less. Reluctant readers are always attracted to adventure, fantasy, teen romance, and diaries and letters. Currently popular with teen reluctant readers are nonfiction books about celebrities, sports, or are reality-based, such as true stories of the weird or supernatural. Publishers also entice reluctant readers with graphic novels and comic books.

Hi/Lo books – high interest/low reading level – are geared toward teen readers with learning disabilities, so they are much shorter from 400 to 1,200 words. According to Eugie Foster in her article Hi/Lo Books: Writing for Reluctant Readers: “Demographically, reluctant readers are three times more likely to be boys than girls. They also tend to have a narrower reading focus, subject matter-wise.”

Understanding the reluctant male reader: implications for the teacher librarian and the school library, by teacher librarian Lyn Pritchard is an in depth look at boys’ reading habits and how to stimulate their interest in books.

The Young Adult Library Services Association (YALSA), a division of the American Library Association (ALA), publishes an annual list of Quick Picks for Reluctant Young Adult Readers. According to YALSA, the Quick Picks committee “seeks books that teens, ages 12-18, will pick up on their own and read for pleasure. The list is geared to the teenager who, for whatever reason, does not like to read. Teen input is a vital aspect in the final decision of the committee. The visual appearance of a book and the standard considerations in the quality of content is equally important when selecting books for reluctant young readers.”

You can find the complete list of YALSA recommended books for reluctant readers at their web site.

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Vicki Taylor’s dream became her latest novel

Award-winning author Vicki Taylor writes stories with strong women as her main characters.

Her first novel, Not Without Anna won 2nd place in the 2003 Florida Writers’ Association’s Royal Palm Literary Awards and was published in January 2004. She won an honorary award for her short story, “And Justice for All” in the Fire to Fly contest from Futures Mysterious Anthology Magazine.

 

A prolific writer of both novel length and short stories, she brings her characters to life in the real world. Her memberships include the National Association of Women Writers, Short Fiction Mystery Society, Romance Writers Association, and many more. She has had hundreds of articles published in electronic and print publications. She is one of the founders and past President of the Florida Writers Association, Inc. and speaks to local writing groups.

Vicki’s latest novel, Trust in the Wind is available at Amazon. She graciously took the time for an interview.

Me: Where did the main character, Joanne in Trust in the Wind come from?

Vicki: A dream. I dreamed the entire book one night and woke up and hurried to write it down before I forgot it. Joanne was a great character to write. She really loved her son Joey and only wanted to protect him and make like better for him. She worked hard. She didn’t trust many people, because those she put her trust in before betrayed her.

Me: Your novel, Not Without Anna won 2nd place in the 2003 Florida Writers’ Association’s Royal Palm Literary Awards. How has that affected your career?

Vicki: It was a big deal to my publisher. They even put the award design on the back cover of the book. It helped with marketing a bit. To me, it made me realize I could write something that people thought was award winning material. That gave me a confidence boost.

Me: Where do call home and how has that setting influenced your writing?

Vicki: I live in Tampa, Florida with my husband and my dog and my parrot. I’ve set my books in Florida, usually around the Tampa Bay area. I’ve lived her for thirteen years. Tampa’s a great city. Really full of character, as is Florida itself. That’s why so many people use it as a background in their books. Tim Dorsey is a really good example. He sets all his Serge Storm books in Florida. They’re really good.

Me: What do you do when you’re not writing?

Vicki: I read. I love to read and I try to take a break from my writing when I’ve finished a book and need to let it cool before I go back and start editing. During that cooling time, I’ll devour as many books as I can. And watch movies. I record them on my DVR and then watch them when I’m ready.

During the day, when I take little breaks from my computer, I play with my dog and my bird. My husband says I’m obsessed with them. I don’t know about that. Just because they each have their own website, is that obsessed?

Me: What’s on your desk?

Vicki: Oh, you don’t really want to know, do you? Okay here goes: a phone, extra ink cartridges for my printer, my lap top, a flat screen monitor, a tape dispenser, my external hard drive, my digital card readers, a calculator, miscellaneous scraps of paper with various notes, quotes, etc. A food journal (I keep track of what I eat every day). Some Ice Breakers Sours. About a dozen or so disks with backups of documents on them. My current manuscript journal. (I keep weekly track of how many pages I edit, write, and the number of words.) Umm, what else? Let me move something around. Oh, the empty box for Office 2007, a peppermint, speakers, some pencils, a pen, a highlighter, some business cards and my credit card for online shopping. Oops, and a tube of chapstick. I guess I need to clean my desk, eh?

Me: Hah! Don’t we all. I keep a shovel nearby.

Thank you, Vicki for taking the time to share a little bit of yourself with my readers. I hope your Virtual Book Tour is a huge success!

Buy Trust in the Wind at Amazon!

Watch the book trailer:

Visit Vicki Taylor’s website.

Vicki’s virtual book tour was brought to you by Pump Up Your Book Promotion Virtual Book Tours.

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Is the educational market for teachers only?

I am interested writing educational materials. I have also written picture books, easy-readers, and early chapter books, although as yet unpublished. I am well-educated but I’m not a teacher. Is the educational market for teachers only?

No, the educational market is not for teachers only. However many teachers do write for the educational market, which means you will be competing with their knowledge and skills. You must be familiar with school curriculum for the various grade levels, especially vocabulary.

According to Elaine Grannis in her article, Freelancing for the Educational Market: “[I]f you have studied what the needs are, and know the national standards for curriculum, you have a chance if you are able to place them in the right format. The format today is guided reading.” Her article also provides links to curriculum standards, suggested books to read, and a general overview of the freelance opportunities in the educational market.

Writing for the Educational Market by Barbara Gregorich looks like an excellent reference book based on an interesting technique called branching. Here’s how she described it: “[O]f all the educational writing I did, the assignment that intrigued me the most was that of writing branching stories. In order to figure out how to branch a story, I wrote single sentences on a long roll of brown wrapping paper, boxed each sentence, and drew connecting lines (branches) between various sentences, hoping to end up with a story that had one beginning but five or six different endings — all the while listening to Baroque music because I had read somewhere that Baroque helps the mind solve mathematical and logical problems. One of these stories, ‘Crandall the Hermit Crab’, is reproduced in Writing for the Educational Market, along with its branching chart.”

Barbara Gruber and Sue Gruber are teachers who conduct online courses for teachers. Over the past 20 years they have developed and sold over one hundred fifty products to educational publishers. Their article, Secrets of Success — Writing for Educational Publishers is a step-by-step guide to creating products from good ideas and how to present your product to educational publishers.

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Can you recommend any good reference books?

I am interested in learning how to write for children. Can you recommend any good reference books?

I have recommended The Complete Idiot’s Guide to Publishing Children’s Books by Harold Underdown for several years. It truly is a must-have for beginning children’s writers. Underdown covers all the layers of children’s publishing business, and offers a lot of excellent advice. From how to write a query letter to who draws the pictures, this book truly does contain everything you wanted to know but were afraid to ask about writing for children.

If you want to write for children, it’s a good idea to know about the publishing world. Olga Litowinsky is a former children’s book editor, agent, and publisher. Her book, It’s a Bunny-Eat-Bunny World: A Writer’s Guide to Surviving and Thriving in Today’s Competitive Children’s Book Market is an insider’s look into the world of children’s book publishing today, and told with tongue-in-cheek good humor.

Writing Children’s Books for Dummies by Lisa Rojany Buccieri and Peter Economy is more than a how-to manual. It covers everything from what motivates you to write for children to genres to the children’s book market. Readers will find plenty of advice such as, how to craft your story, write nonfiction, find a publisher, and market your book. With the help of the thorough table of contents and index, information on a specific topic is easy to find.

I was particularly impressed with Chapter 2: Children’s Book Formats and Genres, and also Chapter 3: Understanding the Children’s Book Market. The biggest mistake prospective children’s writers make is that they simply do not know enough about the age group or market they’re writing for. Until now, I lacked a single reference – but this is definitely it. Lisa Buccieri is a publishing executive with over 15 years’ experience in the business, so readers can take her word for it.

But wait — there’s more! Experienced authors will find plenty to sink their teeth into. Authors Buccieri and Economy dish up the real meat of children’s writing by including chapters on plot, dialogue, point of view, and the awesome task of editing your own work. Authors will love the chapters on agents, contracts, and Ten Best Ways to Promote Your Story.

A wannabe writer once wrote to me: “I’d like to write for children but I can’t think of any story ideas. Where can I find story ideas?”

Well, guess what — Chapter 20 offers More than Ten Great Sources for Storylines, which is more like 12 full pages of story ideas.

Rich Tennant’s “The 5th Wave” cartoons, plus interviews with authors, editors, and agents generously sprinkled throughout contribute to the excellence of this book and catapults it to the top of my list of recommended reading for children’s writers.

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What is magical realism?

I’ve heard that magical realism is a hot new genre. What is magical realism exactly? Can you tell me where to find more information about this genre? Can you give me any examples of children’s books that are considered magical realism?

You’ve probably heard that because of the buzz surrounding the new TV show Pushing Daisies, which has a magical realism theme, although I have seen the show yet.

There are many different definitions, but in general magical realism is when elements of the supernatural are interjected into a normal, modern world setting.

In his article, What is Magical Realism, Really?, Bruce Holland Rogers writes: “Magical realism is not speculative and does not conduct thought experiments. Instead, it tells its stories from the perspective of people who live in our world and experience a different reality from the one we call objective. If there is a ghost in a story of magical realism, the ghost is not a fantasy element but a manifestation of the reality of people who believe in and have ‘real’ experiences of ghosts.”

For a fascinating analysis of the many different aspects of magical realism, be sure to read the entire article.

Also, I happen to love Wikipedia. So be sure to check out their in-depth historical and literary perspectives on magical realism.

Serendipity is a new free online ezine of magical realism for adults.

MR Central is an online magical realism interactive community. At the website you can find the archives for Margin, the online magical realism ezine for kids, which is no longer published. You can also find an alphabetical list of children’s magical realism fiction, including such popular favorites as: Holes by Louis Sachar, James and the Giant Peach by Roald Dahl, and Tuck Everlasting by Natalie Babbitt.

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Is it a good idea for writers to review books?

I am a volunteer at my son’s school library. The librarian knows I’m an aspiring children’s writer and she has asked me to do book reviews for the school newsletter. I was wondering, do you think it’s a good idea for children’s writers to also review children’s books? Or would this be a conflict of interest?

In order to be a good writer, it’s important to read a lot of books. What better way to get those books read than to become a reviewer? So yes, of course I think it’s a great idea to review books. Many authors also review books. Doing book reviews puts you in contact with authors and publishers. It keeps you up-to-date with what’s new, and also gives you a chance to network with other authors.

Because your son’s school newsletter has a limited audience, consider posting your book reviews at Amazon. You can also create a web site and publish your reviews to gain more exposure. Once you complete a review, look up the author’s web site and the publisher’s web site. Email a copy of your book review to the author, and also to the publisher’s publicity or marketing department. This will help you generate publicity about your reviews and it will get you on the publisher’s mailing list for new book announcements.

Have the school librarian help you choose recently released titles. Once you have written two or three reviews, go to the Children’s Book Reviewers page at Writing World. Send an email to the editors that review the type of books you review, and inquire whether they might be looking for new reviewers. When your reviews are published regularly on the internet, publishers will send you books to review, which you can in turn donate to your school library.

* Please note that Readers Room is no longer publishing new reviews. I don’t review for them anymore. I only review a few books each year.

My reviews are published at Bookideas.com, Midwest Book Review, and Amazon.

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Review: Tutu Deadly

 

Tutu Deadly
By Natalie M. Roberts
The Berkeley Publishing Co.
April 2007
248 pages

The Brits have their Bridget Jones, now we have Jenny T. Partridge. As if Jenny’s life wasn’t chaotic enough running a dance academy, one of the psycho dance moms is poisoned with cookie dough from the fundraiser – and all hell breaks loose. But – can murder be funny? It is in Jenny’s world.

Even though the death of the dance mom is connected to her dance studio, the show must go on. Jenny has her annual Nutcracker performance coming up, so her strange life must go on, too. Only now she’s tailed by not one, but two hunky detectives.

The murder plot twists and turns through her life which is complicated by a cast of zany characters from a gay dance instructor, to a neurotic costume designer, to her nosy Mormon family, and of course those psycho dance moms. They all seem like they’re out to get her. 

Tutu Deadly is the first book in the Jenny T. Partridge Dance Mystery series. The star of the series, Jenny is a lovable, witty sitcom-like character who is sort of all your BFFs rolled into one. Roberts does a superb job weaving humor into a complex murder plot that keeps the reader guessing right up to the climax. All of this is spiced up with just enough romance to keep readers wanting more fun – and frolic!

Tutu Deadly is also a perfect crossover novel for teens. They’ll get caught up in the quirky mystery of who killed the dance mom. They’ll laugh with Jenny as she stumbles through her love life. And if they’ve ever been part of any organized sports activity – or just like to watch So You Think You Can Dance – they will totally relate to the characters at the dance studio. Roberts’ engaging storytelling and hilarious take on the dance world make the Jenny T. Partridge Dance Mystery an outstanding new series for young adult readers. 

Copyright (c) 2007 by Peggy Tibbetts

Learn more about this hot new series at Jenny T. Partridge.com

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