The Authors - Part 1F

LEC: You have three children's books coming out this year - two early reader comedies and a serious middle grade novel. Did you write or edit them all at once? How did you keep track of each story's unique voice? 

CAROLINE ADDERSON: Actually, it’s only two, but two is quite enough! Jasper John Dooley, Star of the Week, is the first book in a series. Originally Book Two, Jasper John Dooley Left Behind, was going to be published in fall 2012 after the spring publication of Book One until the publisher, Kids Can, decided to bring the books out over four consecutive springs. I wrote the first two Jasper books several years ago. They were already finished by the time I began Middle of Nowhere. But because I’m also a writer of books for adults, and because I write novels, short stories, and even a little non-fiction, I’m quite accustomed to switching narrative voices. That being said, I began writing for children when my son was five. He’s just about thirteen now and I worry that as soon as he hits those teen years and I’m no longer surrounded by waist-high people, my kid-lit voice will fall silent. 

LEC: All of your books for teens involve mature themes and challenging subject matter, which may be one reason they're so popular with readers. Do these choices make you vulnerable to parental censure? What do you think about the constant parade of book challenges taking place in the US, for authors as diverse as Sherman Alexie and Lauren Myracle?

DON AKER: Yes, mature themes and challenging subject matter definitely make my books vulnerable to censure, but not only by parents. Despite the fact that my novel The First Stone earned strong reviews and two major awards, a superintendent of a school district here in Nova Scotia initially refused to allow copies of it in his schools when he saw that it contained the F-word. Fortunately, though, the teachers in that district championed the book and it’s now in every high school in the province as well as in many across the country.

I write realistic fiction, so I believe it’s my job to reflect the reality I see around me. Pick up any issue of any newspaper and you’ll see that today’s teens face problems that didn’t even exist when their parents were their age, and these problems place tremendous pressure on them during an incredibly vulnerable period of their lives. This is the very reason I choose to write about tough issues like domestic violence, suicide, sexuality, youth crime, bullying, and others—what safer place can there be for a young person to experience them than in the pages of a book? In an article that my friend and fellow author Janet McNaughton wrote for Teaching Librarian Magazine, she affirmed, “Young adult literature is one of the most appropriate ways for young people to explore [mature themes]. There's no peer pressure, they can see consequences without having to take risks, and literature allows them to gain a deeper understanding of complex emotional issues.” I could not agree more.

It’s no secret that low literacy levels impact young people in devastating ways—mounting evidence points to the fact that our prisons are filled with struggling readers. If we don’t provide young people with books they truly want to read and talk about, why should they attempt to read at all? Teenagers want to see reflected in the literature they read the very struggles they face themselves, which is why my novels focus on those struggles. I routinely receive emails from teachers who tell me how their students have reacted to them, and here are just a few of the comments they’ve shared:

“My students, many of whom are reluctant readers and often brag about having never finished a book, have thoroughly enjoyed [The First Stone]. I have even had some read ahead in the novel, which was virtually unheard of.” (A.A., Ontario) 

“While I am loathe to stereotype kids, many of those who come into my classroom are either struggling readers or, more likely, completely disengaged from it, but the authentic voice of The First Stone resonates brilliantly with them. Writing that speaks to them and lets them see that someone “gets it” doesn’t come along very often. Keep writing!” (K.B., Nova Scotia)

“One of my students bought a copy of The Fifth Rule last night and proudly walked in with it today. She is halfway through and has been unable to put it down. This girl is 17 years old and it is the first book that she has ever read on her own. I think you should be very proud of that.” (C.H., Ontario)


The most compelling personal argument I can offer in support of mature themes in young adult literature was illustrated in an encounter I had with an RCMP officer who came to one of my book-signings. Speaking with me afterwards, she said that she routinely buys copies of The First Stone to give to teens whose actions have brought them into conflict with the law and, after they’ve read it, she dialogues with them about the story and its characters. She told me that every one of those teens has been moved in some way by that novel, whose main character is forced to face the tragic consequences of his bad choices, and that’s her starting point as she attempts to turn these street-hardened young people toward a better path. Wouldn’t it be a shame if something as insignificant as an author’s use of the F-word kept stories like these out of the hands of the very readers who need them most? Strong young adult literature has the power to change lives. Regardless of where they live, teenagers should be able to read and respond to it in meaningful ways, and adults have the responsibility to ensure that they have the opportunity to do so.

LEC: You've written award-winning books for both children and adult audiences. What's special about writing for younger audiences? 

VIVIEN BOWERS: Many things are the same, of course: the most important thing being to write for your audience, whether they are adults or children. But Bill Waterston, creator of the Calvin and Hobbes cartoons, once talked about his process of taking a topic, and then looking at it through the eyes of a little boy called Calvin. That's what I do – I take a topic, and see it through the eyes of my 8-12-year-old readers. That means that I'm looking at the world in a mentally playful way, picking up on odd, intriguing facts, noticing absurdities, playing with words, and generally finding things that will appeal to the pre-adolescent funny bone. It's fun, and puts me in good humour. You have to be real with kids - with anyone actually, but kids see through falseness or a patronizing manner immediately. And you can't be long-winded around kids; they'll cut you no slack. I remember watching children's performer Rick Scott observe a couple of kids leave their seats and go racing up and down the theatre aisles, about an hour into his concert. He looked up and said, "The wonderful thing about performing for kids is that you always know when to stop!" 

LEC: On your website there's a quote from Einstein - "The secret to creativity is knowing how to hide one's sources." What sources (or influences) have you drawn on through the years?

MARTY CHAN: Anything can be a source of inspiration. I spy on people to learn how they act in different situations. I eavesdrop on conversations to learn how real people talk. I listen to non-fiction podcasts to learn how things work. Everything will eventually find its way into my writing.

LEC: As a nonfiction writer, you're vastly outnumbered in the TD Book Week pantheon. What special insights and expertise do you bring to the mix? 

JOAN MARIE GALAT: I love being outnumbered! Nonfiction books can trigger great amounts of genuine interest in a topic. And the bonus is that curiosity lasts long after a visit.

Who can resist discovering they have a constellation to match their birthday? How can you not be curious about space travel when I pass around food samples from the Internationsal Space Station? And if I could get published at age 13, maybe someone in my audience can too!

Another benefit of nonfiction is that students with an aversion for reading often find themselves intrigued. Other students may enjoy reading but have a discomfort associated with learning science. My use of storytelling can engage these students and draw them into topics that may have previously felt overwhelming.

I think my unique expertise falls under the ability to take complicated subjects and make them approachable. By using storytelling to introduce science, I’m able to gain my audience’s attention and respect. I like to think that my enthusiam is contagious when I start spouting off about exploding stars, black holes, and looking light years back in time! 

LEC: The Grave Robber's Apprentice is a major departure from your critically acclaimed contemporary fiction. What prompted the change of direction, and how did you like your first foray into fantasy?

ALLAN STRATTON: I write what comes me, and that's what came to me, perhaps as a break from realism. The truth is, my career began as a comic playwright, so I feel like I'm returning to my roots. Also, I was taken to the Stratford Festival when I was five, and ever since have loved Shakespearian and medieval tales -- families separated by the sea, usurping uncles, prophecies, etcetera, the very kind of worlds that inform this book. And even though it's a different genre, my major themes are present: identity, coming of age, and the way secrets change our lives.

BTW, here's the link to a fun video trailer of The Graverobber's Apprentice and an author video about the book.


LEC: You've worked as a bookseller, a book reviewer, and in the marketing department of a publishing house. Which of these, if any, would you recommend as good training for aspiring authors?

VIKKI VANSICKLE: All of them, for different reasons! As a bookseller I got an amazing education in children's books. I got to see the variety of genres and styles of writing and what kids were interested in. As a reviewer I discovered intimately how a book worked and was forced to think about structure and audience and what makes a book successful. In marketing you learn about all the other stuff that makes a book successful (promotion, reviews, events, buzz, and so much else) and how important it is to make sure the right audience knows about a certain book.

Thanks to everyone for visiting today, and have fun on tour!