Tag Archives: YA

DYI MFA: Wuthering Heights and Pride and Prejudice, Post #2

Pride and Prejudice by Jane Austen
I’m continuing my DIY MFA by writing about Wuthering Heights and Pride and Prejudice and, though I’ve already discussed each book’s central relationship in a previous postmy thoughts are still on romance. I think there are two types of book romances. First, there’s the type of romance in which the author tells the reader that the characters are in love, usually from the first scene in which the characters lay eyes on each other, and the stated fact of that love is supposed to be enough to get the reader interested and invested in their love story.

The other kind of romance, the kind I prefer, is the Pride and Prejudice, Eleanor and Park variety, in which the characters develop deep love and understanding over time. By showing us how the relationship develops, the author earns our investment in that love working out in the end. I’ve noticed that this kind of romance frequently begins with the two characters actively disliking each other. Is the dislike a necessarily component of the romance? Do the characters ever feel ho-hum, just okay about each other, then fall in love?

The characters beginning with active dislike is an incredibly effective narrative device. First, it gives the characters’ feelings more runway, so they get to change more over the course of the book. It’s more satisfying for a character’s feelings to travel the long distance from dislike to love, than if they were to change from ambivalence or mild like to love.

Secondly, the initial dislike shows an attraction, and is itself the kernel of the connection that will later develop. My mother used to always say, “Hate is not the opposite of love,” which was a way of saying that a person who inspires us to love him or her can more easily inspire other strong feelings, like hate. For instance, Elizabeth’s dislike for Mr. Darcy is still a connection; he occupies her thoughts because he aggravates her. But she is thinking of him, much more so than she would be if she’d hardly noticed him, or thought nothing of him one way or another.

It might seem odd to think of dislike as an attraction, but in our own lives this is very true. Just think about when you’re mad at someone. You might tell all your friends about the unbelievable thing that person said, the way he or she betrayed you, or the way you plan to get back at the object of your anger. The person you’re mad at occupies your thoughts and energy, just as a person you’re falling in love with does.

The more books I think consider, the more I find this to be true, that two characters dislike each other upon first meeting. Furthermore, the initial dislike or distrust is often most strong on the female protagonist’s side. My hunch is that a story in which the boy’s affection is constant while the girl’s affection must be earned appeals heavily to girl readers, who are probably the intended audience in romance-heavy Young Adult novels.

Other examples of this pattern:

  • Anne of Green Gables by L.M. Montgomery – In this book (well, really, in the series) Anne and Gilbert start out as competitive and argumentative with each other.
  • The Raven Boys by Maggie Stiefvater – In this series, Gansey is rich and entitled, and embodies all that Blue dislikes.
  • The Hunger Games by Suzanne Collins - Katniss dislikes Peeta because at first he appears to be playing along with the games, and because he doesn’t seem to have any skills that will help him survive. She questions his motives when he befriends some of the other competitors.

I still have lots to say about the narrative voice of Wuthering Heights and Pride and Prejudice, so there will be a future post about that. It’s just that right now I still have romance on the brain. I’m going to be paying a lot more attention as I read to see which stories fit into or break this “hate first, love second” mold.

DIY MFA: Texts #2 and #3, Wuthering Heights and Pride and Prejudice

Pride and Prejudice by Jane Austen
The next two texts in my DIY MFA are Elizabeth Bronte’s 1847 book Wuthering Heights and Jane Austen’s 1813 book Pride and Prejudice. I think of these texts as grandmothers to the modern Young Adult genre, and I wanted to read them through the lens of comparison to contemporary YA texts (especially romance stories).

The shape of these 19th century stories closely resembles contemporary YA narratives. Just as modern YA romances do, the older stories focus on women in their teens and early twenties, their search for love and romance, and the troubles that romance brings into their lives.

In Wuthering Heights, Catherine and Heathcliff are childhood friends, deeply connected souls who are passionately devoted to each other. Because Heathcliff has no property or social standing, Catherine knows she could never marry him, so she marries a kind, caring, though rather boring man named Edgar. Devastated, Heathcliff launches a vendetta against Edgar that brings about the ruin of almost every other character in the book. Catherine’s misery is equally destructive; she has fits and makes herself ill in order to manipulate those around her.

I had never read the story before, but I knew of Catherine and Heathcliff; their names are synonymous with passion. So, I was surprised to find that the book doesn’t show why Catherine and Heathcliff loved each other so strongly, except for the fact that they’d grown up together and knew each other so well. Their love is stated as a fact, rather than developed throughout the book. Not only was their love not explored and shown clearly in the story, the characters weren’t shown either. Readers don’t know much about either character except that they are in love with the other. Romances of this kind aren’t satisfying. It’s not enough for me to simply know that the characters are in love. I don’t care about love as a concept; I care about love as a specific feeling between two human beings. Without the specificity, without the humanity of the characters, my investment in the outcome of their story is very low.

Pride and Prejudice tells the story of Elizabeth Bennett and her sisters, who must secure their futures by marrying as well as they can. Because Austen has created a character in Elizabeth who is warm and intelligent, it is not hard to see why Mr. Darcy becomes fond of her. And, over the course of the book, Darcy’s actions reveal a goodness and generosity of spirit. Though I’d read the book years ago, the language and characters drew me in again, and I was moved by the satisfying conclusion of this beautiful book.

The richness of the romance in Austen’s book makes me think of Rainbow Rowell’s recent novel Eleanor and Park, in which the love and the characters are believable and unique. Other books which do a lovely job of developing authentic romantic connections are Grave Mercy, The Impossible Knife of Memory, The Fault in Our Stars, Divergent, and Graceling. (This is an off-the-top-of-my-head list of recently read YA books, but they could be a good place to start for studying what make for good book romance.)

This is everything: to make sure the reader has reason to believe in the relationship at the core of the romance. It’s not enough simply to state that there is deep passion. There have to be reasons for it, and it’s better if readers see those reasons.

As I read Wuthering Heights and Pride and Prejudice, I noticed a big difference between them and their modern counterparts: the narration itself. I’ll explore the narrative voice more in a future post.

The Quiet Books

I Capture the Castle by Dodie SmithHow delicious it can be to pick up a book without any expectations. No rave reviews or weeks on the bestseller list setting up high expectations. No preview for the upcoming movie playing in my head.

I knew nothing about I Capture the Castle before I read it. I don’t even know why I bought it, except that I liked the title (I’m a sucker for titles). The cover art on my edition of the book, unlike the romantic scene on this book, wasn’t the slightest bit appealing, nor did it reveal anything about the story. But I did pick it up, and within the first pages I was lost in the beautiful ruins of an old English castle with the most wonderful narrator, teenaged optimist Cassandra Mortmain.

Cassandra lives with her family in dire poverty, in the crumbling, cold remains of a castle. Yet Cassandra is far from depressed. Her romantic and rosy view on life stems from her love of her family, her love of the castle, her love of words, and her bright intellect. The book is her journal, which she keeps so that she can improve her writing, and in which she is constantly seeking to capture these fleeting moments of her life, and to set down on the page the exact ways in which they happened. She also sets down her own responses to life, which are sometimes funny or touching, and always interesting.

Cassandra’s older sister Rose does not accept their poverty so lightly and, when two wealthy American brothers move into their town, Rose is determined to marry one of them.  While Cassandra can’t stand the girls who are always talking about finding a man to marry (she mentions her annoyance with the fictional Bennett sisters, which is humorous because she and Rose remind me of Eliza and Jane Bennett), she understands that such a marriage could make her sister happy – and that it could, even, improve the situation for them all – and so she decides to help. As she is pulled deeper into her sister’s plans, Cassandra’s own feelings develop with a power and intensity that surprises even her. She tastes for the first time the sweetness of love, the bitterness of disappointment and heartache. All the while, her voice rings with honesty, and Cassandra continues to take great pleasure in the world around her, particularly in those simple childhood pleasures that are already colored by the knowledge that they are almost at an end for her. This is the start of growing up.

I loved this book, and felt drawn to pick it up anytime I didn’t have it in hand. Granted, there were no scenes of high action. There were only two kisses described throughout, and these very chaste. It was set in a quiet place, narrated by a quiet girl who mostly did quiet things. This was a quiet book, and it made a huge impression on me nonetheless.

A friend of mine wrote a manuscript that we workshopped in our critique group. It was a lovely book about a young girl whose family is broken, a girl who has very few people on whom she can rely. Yet the story is full of light and hopefulness. The main character, through her generosity, her loving acts, and her humor, pulls a makeshift family around her. Even though my friend already had one novel published, her agent wouldn’t send this book around, saying the story was “too quiet.”

We don’t live in a time of quiet books. Many of the most popular YA books take place in a time of post-apocalyptic intensity, feature superhuman heroes, and deal with questions of life and death. And I like those books. But, I also like the quiet ones. As a child, I adored Anne of Green Gables (and all the other books by L. M. Montgomery). I sobbed over Where the Red Fern Grows. I read the Little House books, the Boxcar Children books. Without these books, the landscape of my reading life would have been barren. It makes me sad to think that today’s children might be missing out on some of these quieter stories.

Quiet books whisper in our ears, touching our hearts, suggesting new ways of looking at our own very plain and quiet worlds. Let’s make room for the quiet books on our shelves, and listen closely to what they have to say.

 

Book Notes: Eleanor and Park by Rainbow Rowell

Eleanor and Park by Rainbow Rowell“If Shakespeare wanted you to believe they were in love he wouldn’t tell you in almost the very first scene that Romeo was hung up on Rosaline… It’s Shakespeare making fun of love.” Eleanor, from Eleanor and Park by Rainbow Rowell

If Romeo and Juliet is Shakespeare’s joke about the fickle nature of love, Eleanor and Park is Rainbow Rowell’s testament to its power. From start to finish, the book is a heartbreaking, passionate song about and for love.

Eleanor and Park is an unabashed romance, and falling in love is the central plot. Eleanor and Park meet on the school bus, though they, unlike their Shakespearian counterparts, do not fall in love at first sight. Park thinks Eleanor is weird, chubby, and pathetic, and knows with certainty that associating with her would crush his carefully constructed, under-the-radar existence. Eleanor lumps Park in with the other mean kids on the bus, though she has bigger problems to deal with in her troubled family life. These two fall in love the way real teenagers often do – bit by bit, then all in a rush. They also talk and act the way real teenagers do. They tease each other, piss each other off, get jealous, and feel insecure. In the safety of their love, they explore this unfamiliar emotional territory, and, as they do, they grow into their real selves. They become stronger where they were weak, and vulnerable where they were closed off.

This novel is a great read for teens because it respects and celebrates authentic experiences and voices, not characters with airbrushed personalities. In Rowell’s book, even the minor characters are dealt with honestly. The parents, teachers, and fellow students live on these pages in all their imperfect humanity, sometimes acting so horribly that I cringed, and other times showing compassion and understanding. The story is entertaining and funny in moments, deeply romantic in moments, and also deals with real hardships. Many adult readers will also enjoy Eleanor and Park, especially since this story is set in the 1980s (though not aggressively so). Any readers for whom cellophane-wrapped Maxwell tapes, bangs arranged in high fans, or Walkmans prompt a sense of nostalgia will likely recognize some aspect of their high school experience in Rowell’s descriptions.

Rainbow Rowell writes about falling in love from deep inside our brains and bodies. The natural, flowing cadence of her descriptions and dialogue ring with the truth of the way first love awakens and changes us, right down to our nerve endings. At one point in the book, Park looks at Eleanor and tries to remember how he felt about her at first. It seems impossible to him that there was ever a time she was a stranger to him, and that he didn’t love her. What a simple statement, and so very true. It’s one of the miracles of being alive, that someone we once didn’t even know becomes the person at the very center of our universe, at the heart of our heart.

Once there was a day when I hadn’t read this book. In the span of a day, the story and its characters went from being strangers to me to being in my heart, nestled deep among my very favorite literary loves. Eleanor and Park broke my heart again and again, and I loved every minute of it. A miracle.

Acceptable Forms of Cheating

A novel is a big project, is what I’m learning. Overwhelming. Unwieldy. And, sometimes, wickedly elusive.

I suppose this is why, until I finished the draft of my first YA book, my notebooks and hard drives were a graveyard of half-baked ideas, fragments of scenes, and chapters that never saw the light. I didn’t have the stamina to see a novel through to the end.

In finishing the draft of Weaving the Sea, I learned a couple of things. First, I learned to write, even when I didn’t feel like it. Even when I was 100% certain that everything coming out of my pen or keyboard was pure, unusable garbage. This was harder than I thought it would be, but my critique partners helped. They were my cheerleaders, and believed in my project even when I did not.

Another thing I learned is that sometimes, when my novel gets particularly cantankerous, I have to put it away and do something else. I admit it: I cheat on my novel.

There are unacceptable forms of cheating, distractions that become almost irresistible when my mind is grappling with a story problem. The Internet calls – loudly – to me in those moments, and that is a dark form of cheating that takes all the wind from my writing sails, and robs me of precious work hours.

Other forms of cheating do the opposite. Doodling, painting figures, writing a short story, writing a poem, writing a blog post, and playing with an idea for another project all give me new energy, new oxygen so that I may submerge myself back in the world of my novel.

I cheat with a deadline. After a few juicy hours (or days) of cheating, I feel warm and fuzzy toward my novel. I can be kind toward it (and myself) again.

Book Notes: The Fault in Our Stars

This book came from a friend with this warning: Don’t read it in public (unless you like crying in front of strangers).

I expected a book about kids with terminal cancer to be sad. I didn’t necessarily expect it to be so irreverent, truthful, hilarious, smart, and universal.

Hazel is dying, and she knows it. Although a miraculous cancer drug (imagined by the author) keeps her cancer under control, she lives each day with the knowledge that this drug merely extends her life. The fact that her cancer is incurable informs everything that she does. Or does not do. Hazel is waiting to die, and while she does, she is trying to minimize her contact with the living.

Hazel and Augusts meet at a cancer support group. Living in the moment takes on a very literal meaning. They get through the physical and emotional pain in their lives by fiercely loving the people, books, sunshine, trees, and laughter that life also offers. Hazel and Augustus quote from their favorite book: “Pain demands to be felt.” John Green’s book shows us that love demands to be felt, too. Hazel and Augustus could deny themselves the pleasure of the other’s company, but they could no sooner turn off their feelings for each other than they could choose to make the sun set at will. Many things in this life are out of our control, and must be accepted. Green’s characters live with that vivid reality more so than most of the rest of us do.

“The world is not a wish-granting factory,” Hazel and Augustus remind each other throughout the book, a joke referring to the “cancer perks” that kids with cancer receive. No number of perks can take the sting out of the injustice in their situation. Hazel and Augustus have experienced a life’s worth of grief and disappointment in their short time, and it has made them honest in ways that I can only describe as brave, even though Hazel and Augustus would both roll their eyes at my use of the “b” word.

The title of the book comes from a Shakespearian line: “The fault, dear Brutus, is not in our stars/ But in ourselves.” No, argues the fictional author Peter Van Houten in a letter to Augustus, “there is no shortage of fault to be found amid our stars.” Our stars are flawed, our stars are beautiful, and these two qualities are very much dependent on the other. Life – whether it is a minute or a century long – demands that we experience both. And that we learn to trust in our own strength, and in the strength of those we love, to get us all through.

Through his empathy and imagination, John Green understands what it might be like to face one’s own death before having had the chance to experience so much of what the rest of the world thinks of as life. The truly genius thing about this hopeful and surprising story is that Green shows how we each have the opportunity – each day, each moment – to live. Hazel and Augustus don’t so much inspire as instruct us to start now.

This post was first published on the Girls Leadership Insitute blog.

Book Notes: Bitterblue

Bitterblue by Kristin Cashore has beautiful woodblock-style illustrations, maps, and decorations throughout.

Queen Bitterblue is no ordinary girl. She is, after all, the ruler of Monsea. Yet, compared to the protagonists of Kristin Cashore’s previous novels she’s practically run-of-the-mill. Unlike Fire and Katsa, Bitterblue has no superpowers. Of course her life and her role are uniquely privileged and burdened with responsibility, but Bitterblue is a real girl, someone to whom I can truly relate.

In Bitterblue, we find ourselves eight years after the end of Graceling. Bitterblue has become the queen of Monsea, a kingdom broken and suffering from the legacy of her father Leck’s cruelty. Barely more than a girl and still suffering herself, Bitterblue struggles to understand her people’s problems while her advisors keep her out of the city and all evidence of the city out of the palace. When, finally, she decides to educate herself about the land she governs, she finds an alarming state of violence and deception. She also begins to find the strength that she needs to pull her people through this state.

Bitterblue is amazing in part because of the threads that Cashore expertly picks up from her previous two books. Somehow the characters that we revisit such as Katsa, Po, Giddon, and Fire all seem true to their original selves while at the same time we learn more about them because now we see them through Bitterblue’s perspective. For example, while she loves Katsa and Po dearly, she occasionally feels excluded when she’s around them because of the intensity of their connection. This doesn’t make me dislike Katsa and Po, it only makes them more faceted. Bitterblue is so recognizable in these moments. Like all of us, she sometimes feels self-conscious and lost in the world, sometimes longs for the bond that others have and doubts whether someone could love her that way.

Bitterblue’s story is not a romance in the way that Katsa’s and Fire’s stories are. There is a romantic element, but the relationships that matter most to Bitterblue – that ultimately support and save her – are her friendships. Bitterblue has not had much trust in her life, and we see the damage that this has done to her as clearly as we see the broken down buildings that Cashore describes throughout the city. Bitterblue could not trust her father, and even developed intricate mental exercises to protect her mind from his influence. Bitterblue learns that she can not trust the people who are supposed to be her advisers. Even the tentative friendships that she forms with a group of rebels in the city are founded on deceit. As Bitterblue begins to shape her rule in earnest, trust and friendship are the are the balms that mend her wounds, and those of her city.

In The Writing Life, Annie Dillard says that  a writer must “spend it all.” Cashore spends it all in Bitterblue, as she does in her previous novels. Reading it, I got no sense that she held anything back – not the beauty of her language nor the twists of the plot, both of which make Bitterblue a compelling story both as an emotional journey for the characters and as an exciting adventure. All of the characters and plot turns unfold in their fullness and feel powerfully, satisfyingly complete at the book’s end. This is what I truly appreciate about Cashore’s writing. She doesn’t manipulate or tease her reader, leaving cliff hangers or unnecessary complications designed to make us hunger for a sequel (something that more and more writers are doing these days). Instead, she trusts her work to recommend itself. Which it does. Just as Bitterblue finds trust to be essential in her relationships, readers find a mutual trust with Cashore. She will continue to write heartfelt, complex, exciting stories. And we, of course, will continue to read them.

Playing with Dolls

Two rather serious looking character dolls.

On Mother’s Day, Win presented me with a kit for making wooden figures. She hovered as I unpacked the teeny wooden dolls and acrylic paints, eager to get started. I decided to indulge her; clearly, this was a gift she’d given me with her own enjoyment in mind.

Win had no shortage of ideas for her doll. In fact, she painted it quickly and started on another. Soon, a small flock of wooden figures accumulated on the table, while I was still starting at one bare wooden piece. Finally, I conjured an image of Marin, the main character of the Young Adult book that I’m writing.  I dipped my brush in brown paint and started with the hair.

I have been writing the novel, called Weaving the Sea, for two years. I thought that I knew what Marin looked like. I knew that her clothes would be the plain, rough peasant clothes she chooses over the splendid finery that would be more appropriate for a girl of a noble family.  I knew that her hair would fall in unruly curls.

But, there were other details that I didn’t know until I began painting. For example, I didn’t know that she would wear a red cape, which had, of course, belonged to her father. More interestingly, I didn’t know that her curls would be streaked  with thick ropes of silvery white, a physical manifestation of the mysterious magic that hums through her.

This was such a fun way to explore and discover my character that I repeated the process with Brocht, another important character from the same story. I found that, similarly, there were details that I knew would be present (his dark hair) and others that I hadn’t expected (his bright blue military uniform and his general emo look).

The Marin and Brocht dolls have become an inspiring presence on my writing desk. The characters feel real to me now in a way that they didn’t before because making the dolls forced me to make choices about the characters. And, even though the process felt too playful to be called work, the dolls have moved my writing along in important ways.

I went to the craft store and bought more paints and more dolls so that I could bring this project to my writing group. If I was still teaching in a classroom, I would do this with students, too. I’d ask them to make dolls of the characters in their own writing and of the characters in the books they read, as a creative envisioning practice. It might not be a powerful tool for every writer, but approaching a story from a different direction, and in a different medium, will at the very least give the writer a break and a fresh eye on her work.

Book Notes: Chains

There are historical fiction books that feel like glorified textbooks, with the story functioning as the carrot to get you to learn your history. And then there are engrossing stories with historical settings that always feel like the backdrop; they never quite become three-dimensional.

And, then, there are stories like this.

Laurie Halse Anderson’s book Chains is a page-turner of a story. The main character Isabel and her sister Ruth are slaves, sold to wealthy Loyalists in New York City just as the American Revolution is starting to generate heat. Having experienced the death of both her parents, Isabel has already shed any semblance of a childhood. She plays the role of mother and protector to Ruth, and tries to shield her from the critical glare of Mrs. Lockton, who is always looking for an excuse to insult or abuse the two girls.

Other characters – both Patriots and Loyalists – show some kindnesses to Isabel and Ruth, in particular Mr. Lockton’s aunt Lady Seymour, who tells Isabel that she’d wanted to buy her from her nephew’s household. Through Isabel’s eyes these clumsy kindnesses are disappointing. “I tried to be grateful but could not,” she says. “A body does not like being bought and sold like a basket of eggs, even if the person who cracks the shells is kind.” The only friend that Isabel has is Curzon, a slave who is convinced that fighting side by side with the Patriots will secure his own freedom. Isabel is less wiling to tie her chances for freedom or survival to anyone else.

The characters are rich and compelling, and the story is fast-paced. But, Halse Anderson does not skimp on historical details. She creates a richly detailed and fascinating world, and brings its nuances alive through the politics, geography, events, and people of the time. Even the cadences of the characters’ speech rang true in my mind’s ear. The historical setting and characteristics have a rich interplay with Isabel and her story, with the events of the war and the city affecting Isabel’s prospects deeply. For example, the fire that ravages much of the city gives Isabel the chance to save Lady Seymour’s life, a fact which prompts the woman to protect the slave later in the story. However, it also forces Isabel back into the Lockton’s home, where she is again subjected to Mrs. Lockton’s cruelty. When the British take Fort Washington and force the rebel prisoners into a downtown prison, it brings Curzon back into the city, desperately in need of help. Isabel’s decision to come to his aid not only strengthens their bond, but also brings out Isabel’s boldness. She learns how to break the rules, a skill that comes in handy for her much later.

As the Americans fight to liberate themselves, so does Isabel. Her battle mirrors theirs in many ways, with its urgency, its low odds of success, and its grave setbacks.  After reading her story, I felt more intrigued by this time in our country’s history than ever before. Halse Anderson’s beautiful writing and Isabel’s urgent story are a compelling combination.

Her follow-up to this book Forge will be on sale next month, and I can’t wait to get my hands on it.

I finished reading Common Sense the night before the ball. The bookseller was right; the words were dangerous, every one of them. I ought throw it in the fire but could not bring myself to do it. Mr. Paine knew how to stir up the pot; he went right after the King and attacked the crown on his head…

‘Twas a wonder the book did not explode into flames in my hands.

-Chains by Laurie Halse Anderson

Five Must-Read Blogs


Young Adult Fiction – YA, to those of us in the know – is all the rage right now. With Suzanne Collins’ Mockingjay recently released and following in the age group-transcending footsteps of Harry Potter and Twilight, everyone seems to agree that it’s okay for a grown-up to read a kid’s book. Even the New York Times Book Review concedes that adults – even smart, literary adults – need have no shame about enjoying YA.

What a relief.

As someone who has been reading YA books for quite a while (I started when I was about ten and I haven’t stopped yet), I’m glad that my reading habits are finally on trend. I’m very much enjoying watching some of the most talented storytellers in the publishing business get the rockstar treatment.

Sometimes, I can’t get enough of my favorite authors between the covers of their books. Fortunately, many authors write wonderful blogs. Here are five of my favorite blogs by YA authors. These are a must-read if you are interested in YA fiction, want to learn more about how to be a fiction writer, or simply love reading the musings of interesting folks.

  1. Kristin Cashore, author of the best-sellers Graceling and Fire (Graceling), blogs about everything from the fun – trapeze lessons – to the political – gay rights – at This Is My Secret. Her blog is always thought-provoking and has, I’ll admit, sometimes even moved me to tears.
  2. Maggie Steifvater’s newest book Linger (the follow-up to the wonderful Shiver) debuted at #1 on the New York Times Bestseller List this summer. Read her blog The World According to Maggie for funny, inspiring, and PRACTICAL advice on how to draft, revise, write a query letter, and, most importantly, make the time to be creative.
  3. Laurie Halse Anderson’s writing is powerful and haunting – from her YA fiction like Wintergirls
    to her historical thrillers like Fever 1793. And her blog Mad Woman in the Forest is pure inspiration. It is a community of writers with Anderson herself at the helm, equal parts teacher and cheerleader. In August, Anderson encouraged her readers to join her in a month-long challenge to write for fifteen minutes each day. If you have a writing project that’s stalled or you’d like to jump start your creativity, I highly recommend partaking. The challenge can happen any time at all – just start with Day 1.
  4. You know Sarah Dessen for her best-selling books such as The Truth About Forever and Along for the Ride. But do you know Sarah Dessen? Her blog is a personal and funny account of motherhood, writing, and life. She doesn’t sugar coat or pretend that she doesn’t watch TV. In fact, she’s a very vocal fan of Friday Night Lights. Like I said, she’s real. And I love her for that.
  5. John Green is the author of several books including Looking for Alaska and the co-author (with David Levithan) of the recent Will Grayson, Will Grayson And he happens to have the funniest and smartest vlog (that’s video blog to you) in the world. John and his brother Hank – the “nerd fighters” – roam the world making stream of consciousness videos “to decrease the overall worldwide level of suck.” They also post videos to their  vlogbrothers YouTube channel.

It is important to have heroes and mentors, and the writers listed above are a few of mine. I hope you all know – or know of – people who are doing something that you aspire to do, perhaps a few steps (or, in my case, a few hundred steps) ahead of you. Seek out people who inspire you to be better at whatever you aim to do – whether it’s writing a book, running a faster race, baking a cake, or standing up for your beliefs.