This YA supernatural thriller is a huge leap forward in quality from Healey’s first novel, Guardian of the Dead – and I liked Guardian. Its solid characterization, precise depiction of emotion, and the slow insinuation of evil magic into a modern New Zealand town reminded me of Margaret Mahy’s classic novel The Changeover.

Half-Maori teenager Keri likes to plan for all contingencies. But her older brother’s shocking suicide shatters her carefully organized world, leaving her grieving and baffled. Then she learns that his death is part of a pattern. Every year in her lovely tourist trap town, a teenage boy with younger siblings and no history of depression commits suicide, just like clockwork. Or someone else’s careful plan.

Joined by socially awkward Samoan teenager Sione, who is also mourning an older brother, and brash musician Janna (whose band is called Vikings to the Left), Keri begins to investigate the pattern of deaths. Each of the three main characters gets their own POV, which was well-done and added a lot to my enjoyment of the book. (It was a bit distracting that Keri’s was in first person and the other two were in third.)

In Guardian, I appreciated the inclusivity but felt that some of the execution was heavy-handed. Here, characters of various classes, races, cultures, and sexual orientations are handled in a much more natural manner, giving the book and the characters realism, richness, and depth. Another thing that bothered me in Guardian was how a number of likable characters were pushed to the side and literally not allowed by other characters to take an active part in the unfolding story. Here, everyone of importance has their own story, and demands – and gets – a part in the powerful, moving climax.

The depiction of grief was sensitive and realistic, the story was exciting, and I came to care a lot about the characters. (Sione was my favorite. What can I say, I am a sucker for shy boys.) While the general outline of the evil plot was predictable, the details of how the story unfolded were not. I was not expecting the gut-punch of a certain late reveal, though in retrospect it was quite thoroughly foreshadowed.

Spoilers welcome in comments. Don’t read if you don’t want to be spoiled.

The Shattering.
rachelmanija: (Text: She runs lunatic)
( Sep. 12th, 2011 09:53 am)
If anyone is going to Sirens, or knows anyone who is going to Sirens, I am in desperate need of a roommate or several. I have not yet registered with the hotel, and must do so by September 15.

I have already contacted everyone who posted to the Sirens forums, but can't post there myself because some computer glitch won't let me register there.
rachelmanija: (Default)
( Sep. 12th, 2011 12:29 pm)
Sherwood Smith and I have a post up at Genreville, about how an agent offered to represent a YA novel we'd written on the condition that we make a gay character straight or remove him from the book.

I have copied the post here for the benefit of people who'd like to discuss it here. However, please note that Geneville offers a form of pseudonymity which I cannot replicate. If you are a writer who has been pressured by agents or editors to change a character's identity, you must go to Genreville to tell your story pseudonymously!

We thank everyone who has supported us in this matter, and helped us come to the decision to go public. It was not an easy decision, and your support was invaluable. We also give special thanks to Rose Fox for offering us a platform, to Mme Hardy for line-editing our post, and to Tanuki Green for hosting the book lists.

If you want to Tweet this, the tag is #YesGayYA.

Note to new commenters: Please be civil to each other, and please do not insult or label people based on group identity, as opposed to individual actions or beliefs. ("All LDS/Muslims/Christians/etc are homophobes" is not okay. "Homophobes are ruining America" is okay.)

Say Yes To Gay YA

By Rachel Manija Brown and Sherwood Smith

We are published authors who co-wrote a post-apocalyptic young adult novel. When we set out to find an agent for it, we expected to get some rejections. But we never expected to be offered representation… on the condition that we make a gay character straight, or cut him out altogether.

Our novel Stranger has five viewpoint characters; one, Yuki Nakamura, is gay and has a boyfriend. Yuki's romance, like the heterosexual ones in the novel, involves nothing more explicit than kissing.

An agent from a major agency, one which represents a bestselling YA novel in the same genre as ours, called us.

The agent offered to sign us on the condition that we make the gay character straight, or else remove his viewpoint and all references to his sexual orientation.

Rachel replied, “Making a gay character straight is a line in the sand which I will not cross. That is a moral issue. I work with teenagers, and some of them are gay. They never get to read fantasy novels where people like them are the heroes, and that’s not right.”

The agent suggested that perhaps, if the book was very popular and sequels were demanded, Yuki could be revealed to be gay in later books, when readers were already invested in the series.

We knew this was a pie-in-the-sky offer – who knew if there would even be sequels? – and didn’t solve the moral issue. When you refuse to allow major characters in YA novels to be gay, you are telling gay teenagers that they are so utterly horrible that people like them can’t even be allowed to exist in fiction.

LGBTQ teenagers already get told this. They are four times more likely than straight teenagers to attempt suicide We’re not saying that the absence of LGBTQ teens in YA sf and fantasy novels is the reason for that. But it’s part of the overall social prejudice that does cause that killing despair.

We wrote this novel so that the teenagers we know – some of whom are gay, and many of whom are not white – would be able, for once, to read a fun post-apocalyptic adventure in which they are the heroes. And we were told that such a thing could not be allowed.

After we thanked the agent for their time, declined the offer, and hung up, Sherwood broke the silence. “Do you think the agent missed that Becky and Brisa [supporting characters] are a couple, too? Do they ever actually kiss on-page? No? I’M ADDING A LESBIAN KISS NOW!”

This Is Not About One Bad Apple

This isn't about that specific agent; we'd gotten other rewrite requests before this one. Previous agents had also offered to take a second look if we did rewrites… including cutting the viewpoint of Yuki, the gay character. We wondered if that was because of his sexual orientation, but since the agents didn’t say it out loud, we could only wonder. (We were also told that it is absolutely unacceptable in YA for a boy to consensually date two girls, but that it would be okay if he was cheating and lying. And we wonder if some agents were put off because none of our POV characters are white.)

We absolutely do not believe that all our rejections were due to prejudice. We know for a fact that some of them weren’t. (An agent did offer us representation, but we ended up passing due to creative differences that had nothing to do with the identities of the characters.)

This isn't about one agent's personal feelings about gay people. We don't know their feelings; they may well be sympathetic in their private life, but regard the removal of gay characters as a marketing issue. The conversation made it clear that the agent thought our book would be an easy sale if we just made that change. But it doesn't matter if the agent rejected the character because of personal feelings or because of assumptions about the market. What matters is that a gay character would be quite literally written out of his own story.

We are avoiding names because we don’t want this story to be about one agent who spoke more bluntly than others whose objections were more indirectly expressed. Naming names can make it too easy to target a lone “villain,” who can be blamed and scolded until everyone feels that the matter has been satisfactorily dealt with.

Forcing all major characters in YA novels into a straight white mold is a widespread, systemic problem which requires long-term, consistent action.

When we privately discussed our encounter with the agent, we heard from other writers whose prospective agents made altering a character’s minority identity – sexual orientation, race, disability— a condition of representation. But other than Jessica Verday, who refused to change a character’s gender in a short story on an editor’s request, few writers have come forward for fear of being blacklisted.

We sympathize with that fear. But we believe that silence, however well-motivated and reasonable from a marketing point of view, allows the problem to flourish. We hope that others will speak up as well, in whatever manner is safe and comfortable for them.

The overwhelming white straightness of the YA sf and fantasy sections may have little to do with what authors are writing, or even with what editors accept. Perhaps solid manuscripts with LGBTQ protagonists rarely get into mainstream editors’ hands at all, because they are been rejected by agents before the editors see them. How many published novels with a straight white heroine and a lesbian or black or disabled best friend once had those roles reversed, before an agent demanded a change?

This does not make for better novels. Nor does it make for a better world.

Let’s make a better world.

What You Can Do

If You’re An Editor:
Some agents are turning down manuscripts or requesting rewrites because they think that the identities of the characters will make the book unsalable. That means that you, who might love those characters, never even get to see them.

If you are open to novels featuring LGBTQ protagonists or major characters, you can help by saying so explicitly. When agents realize that LGBTQ content does not lead to a lost sale, they will be less likely to demand that it be removed.

The same goes for other identity issues. If you are interested in YA fantasy/sf with protagonists who are disabled, or aren’t white, or otherwise don’t fit the usual mold, please explicitly say so. General statements of being pro-diversity don't seem to get the point across. We ask you to issue a clear, unmistakable statement that you would like to see books with protagonists or major characters who are LGBTQ, people of color, disabled, or any combination of the above.

If You’re An Agent: If you are open to manuscripts with major or main LGBTQ characters, please explicitly say so in your listings and websites. Just as with editors, simply saying “we appreciate diversity” could mean anything. (In fact, the agent who asked us to make our gay character straight had made such mentions.) You can throw the gates open by making a clear and unmistakable statement with details. For instance: “I would love to see books whose characters are diverse in all or any respects, including but not limited to gender, sexual orientation, race, ethnicity, religion, disability, and national origin.”

If You’re A Reader: Please vote with your pocketbooks and blogs by buying, reading, reviewing, and asking libraries to buy existing YA fantasy/sf with LGBTQ protagonists or major characters. If those books succeed financially, more like them will be written, represented, and sold. Your reviews don’t have to be positive – any publicity is good publicity. Review on blogs, Amazon, Goodreads, anywhere you yourself read reviews.

An annotated list of YA sf/fantasy with main or major LGBTQ characters is available here, with links to Amazon. Please bookmark this list for reference – it will continue to be updated as new books are released.

Characters of color/non-white characters are often also relegated to the status of sidekicks in YA sff, and are depicted as white on the covers of the few books in which they do star. Please vote with your pocketbooks and blogs to support novels in which they are protagonists.

An annotated list of YA sf/fantasy with protagonists of color is available here, with links to Amazon. Part I: Author surnames from A – L.

An annotated list of YA sf/fantasy with protagonists of color is available here, with links to Amazon. Part II: Author surnames from M – Z. Please bookmark these lists for reference – they will continue to be updated as new books are released.

The usual protagonist of a YA sf/fantasy novel is a heterosexual white girl or boy with no disabilities or mental/neurological issues, no stated religion, and no specific ethnicity. Reading and reviewing novels whose characters break that mold in other ways would also be a step forward.

If You’re A Writer: If you have had a manuscript rejected because of the identity of the characters, or had an agent or editor request that you alter the identity of a character, please tell your story. If you want to use your real name, comment here, or leave a link to your own blog post. If you want your name to remain private, you can publish your story here under a pseudonym, verified in general terms by Rose Fox. (Such as, “I verify that the author of this comment is indeed a published YA author.”) You can also comment with complete pseudonymity.

Instructions for commenting pseudonymously are here.

If You’re Anyone At All: Please link to this article. If enough people read it and take the suggestions, enormous and wonderful changes could take place.

Who We Are

This article was written by Rachel Manija Brown and Sherwood Smith. Rachel Manija Brown is a TV writer, poet, and author of the memoir All the Fishes Come Home to Roost: An American Misfit in India. Sherwood Smith has published more than thirty fantasy and science fiction novels, including the adult fantasies Inda and Coronets and Steel, and the YA fantasy Crown Duel. Together, we created an animated TV series, Game World, which we sold to the Jim Henson Company.

Our YA post-apocalyptic novel, Stranger, remains unsold.

ETA: To be clear: Sherwood and I were trying to find an agent specifically for our co-written works, which are quite different from what we write solo. My agent for nonfiction, Brian DeFiore, is not the agent in question!
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