Author Authorly and the Terrible, Horrible, No Good, Very Bad Book Signing (that turned out all right)

I had my debut book signing yesterday. I learned few things. Here's the obligatory blog post :P

My book officially "came out" on Sept 1st, 2012 and a book signing was scheduled for October 27th. I was excited and ready to barrel ahead and take over the world. I ordered postcards and author copies and rack cards and other such Authorly Behavior. I figured I would get a story in the paper and hand out all my postcards plenty early. I thought maybe I would even take a day or two off work the week before and do nothing but write on my current project, just to celebrate. But when the time finally rolled around, it was clear the master plan was straying from my carefully drawn lines.

About two weeks before, a library co-worker asked what I had to set up on my tables and how long I would need before. I stopped. I thought. Set up? I had books. Books and pens. Surely that's all I would need for a book signing. They were going to have food. I just needed the books, right? Well, it was suggested that maybe I get some antiques to put around or some reenacting gear, since it is an historical fiction. A table cloth might be nice too. All right.

I haven't reenacted in over 5 years and I gave away everything antiquey when I moved, so I was sure I was out of luck. Still, I went home and rummaged through the closets thinking perhaps I'd left a victrola or something somewhere and forgotten about it. Nope. But I still had time. I'd figure it out later.

Awhile before this I asked the newspaper for a story. They said no because I was self-published. (Even though I know of other self-published authors and bands that had independently recorded their albums having had stories in the paper. Maybe they were just as stubborn as I was.) At any rate, since it was a community event, sponsored by the library, I got an interview. I hoped the story would be out at least a week before the signing.

The week of my book signing arrived and when I went to sign a day off I was offered more hours. Being the starving artist I am I couldn't say no, so I just figured I'd work a lot and have my book signing as a reward. No problem.

Yes, problem.

Monday night I woke up ill. Not just ill. Beloved coming back from the dead crawling up out of the river ill. I had 8 hours scheduled Tuesday and I almost cried when I called in sick since I had taken Saturday off for my book signing. So I wallowed in despair under the covers and dragged myself out Wednesday.

It was then I checked around and found that no story had been published yet in the paper. I would have to wait until Friday, the day before the event. I also realized I only had two days to find display pieces for my table. Panic set in.

Thursday night I was emailed a proof of the story that would run in the paper. Sure it would be a day before, but at least it was in. No problem.

Yes… Problem.

There was some incorrect information about my freelance work, my protagonists name was spelled wrong and I was quoted as having used "Creative Space" to publish my book. I immediately called the editor and asked if changes could be made. No, it had already gone to print. But a correction could be put in at a later date.

I was upset but even I knew I was being somewhat petty. I mean, what would the headline read? Author Angry that Name of Person She Made Up Spelled Wrong. No, no correction. At least the date and time of the signing was correct.

So, I was still sick the day before and at work someone at the grocery asked if I was excited about the big book signing. "Oh," I said, "Honestly I'll be happy when it's over."

He then told me that was a sad attitude to have and I couldn't possibly expect people to pay money for something I wasn't even proud of.

Well, I wanted to go on a longwinded explanation that I was high as a kite on meds, had been misquoted in the only press about the book, and still didn't even have a table cloth. Not to mention I had gone from typing 700 words a day on my current project to 0 words a day in a stagnant pool of literary doom. But I was losing my voice so I shortened it to something like, "Here are your bananas, have a nice day."

I went on break and took more pills and stewed over the comment. Then I decided he was right. There was nothing I could do about the newspaper article, but I should definitely take some action to show pride in the book and the signing. I began picking every crevice of my brain for interesting, fall or history themed items to spice up my table. In a fit of medicinal desperation I bought the only thing I could think of at the grocery: a basketful of decorative gourds.

When I got them home I laid out the bumpy alien monstrosities over the coffee table and had a nervous breakdown. GOURDS? What was I thinking? I went to take a nap and recollect my thoughts, but the best I got was gluing googly eyes on one and setting it on my table in front of my books. Then I would sneak off into a corner with cookies and a bottle of peach schnapps and have an enjoyable time. Then maybe if Author Gourd said anything, people would listen close enough to get its quotes right.

Upset that I was actually wanting to send a googly-eyed gourd in my place to my first ever book signing I placed a text to fellow local author Laurie Hartman who I have worked with at events and always has a spectacular table. I asked to borrow some book stands. She texted back that indeed I could and she'd bring some antiquey things to set around. Hallelujah! I collapsed in a heap of neurosis for the night.

I got up on Saturday and didn't have to take medicine. Good sign. And then my husband surprised me with an electric blanket that I've been wanting for awhile. (Best husband ever, I would like readers to know).

I luckily had the foresight to make a list and unlike every other big event in my life (graduations, wedding) I didn't forget anything! And Laurie swooped in with her gear and she and my family set up a beautiful display while I was helping/pacing around like a maniac/playing with gourds.

The signing itself went well. I sold 11 books off the table and several people that came in had already bought books. In all I'd say I signed between 25-30 books. My voice held out for a reading and some people pleasantly surprised me by having had already read the book! One or two also commented on the newspaper article, so all was not lost on that.
Most of my RSVP's didn't show up, which wasn't much of a surprise since A) they were mostly on Facebook and B) 1/3 of the RSVP's to my wedding a few years ago didn't show so I was prepared. People get sick, things come up, and some people may have just not planned to come anyway. So my best advice is to plan for the RSVP'd people but don't be too sad if they don't show up.
Also, after some postings on Facebook I got some requests from both friends and through my email to order a book after the signing, so don't think that you won't sell after the signing's over.

I will definitely want to promote more beforehand for my next book, in more creative ways and at more places. I was happy with the turnout especially as busy as I have been and that I did not promote as much as I could.

The experience cemented the fact that I will have to build on events and get creative with promotions. Also that it takes more than gourds and I'm lucky to have a great support system of family, friends and readers.

I am starting out small but mighty, and I can't wait for the next step.

The Unenthusiasm for my book runneth under

One of the first people to buy my print book "19 Years 10 Months 24 Days" after I got my first shipment was my mom-in-law. She texted me that she could stop at the library when I was at work there and buy it quick. I said, sounds good. The next day, mom-in-law comes in. "Hi," I say, "How are you?" "Great," she says. "I'm here to buy your book!" "Oh!" I say, "I totally forgot it!"

When I was a Freshmen in college, I'd always imagined this epic elation I would feel about having a book out. I'd tell everybody and it would be so amazing and wonderful and I'd skip through fields of Literary Poppies.

And now I just forget about it when I actually have someone willing to give me real money for my book?

I did get her a copy, but the completely un-Authorly Behavior on my part continued.

A day or two later I set up a facebook event for my book signing and invited some people. At work at the grocery the next day one of my co-workers asked me, "Oh hey, whose book is that you're promoting?" So, I told her it was mine. No one at work knew I'd published my book. They were all surprised and excited, but I felt kind of weird about the attention. I'd brought some book cards and book signing invites to put in the break room, but I ended up not leaving them there.

Then yesterday a friend came through my grocery line and was all, "Tell me about your book!" I told him about it, YA Underground Railroad time-travel. I then said to look for my next book, a zombie book, I planned to publish in a few months. He kind of laughed and said I didn't seem very excited about this book if I was already trying to promote the second one.

Even before all this has happened, and when my book became available, my first move was to write this blog post, "Don't buy my book, unless you want to."

So, what's the deal? Am I really that ashamed of my book that I'm not posting a million status updates about it or plastering posters all over town?

For the most part it's because I've been too busy with my pen name Matilda's first book that I plan to publish in February/March. Now that I know how this whole publishing thing works the way I want it to for my goals, it's on and I've been working non-stop on this other book. I'm in a whole different mindset. But, there is more to it than just that.

I wrote 19 Years to learn how to write a novel. I published it to learn how to publish. I think there are some painfully obvious literary devices I learned in school in it (parallel characters, I got those), the history is a tad romanticized (though I tried to be historically accurate), and the beginning relies heavily on my own experiences (it isn't until the main character Sophie starts jumping back in time that the tone turns from memoir-ish to fiction).

I knew all these things and I published it anyway because I still think it's a good story and one that is well put together. Things like structure and character development were important to me in the book and I spent time with these things. But honestly, I didn't go into publishing the book really expecting to promote it right away or for it to even have better sales than the other books I have lined up. I know the regular patrons at the library are interested in local history so a book about the Underground Railroad in Nebraska works for them, and I've gotten a nice reception there. However, the majority of my friends and peer authors are more in the blood/action/guts/horror/kick-ass protag category. So, I'm not spending much time promoting my super-PC time travel book to them. You can't market to everyone.

Now, if someone in the blood/action camp wants to look into 19 Years, that's great. I'm not saying that I think all readers are trapped into the box of genre and can't enjoy a book they wouldn't typically read. I'm just not spending much time promoting it to them. And right now, I'm groovy with that, even if I've sold less than 30 books.

My plan is to write a majority of my books under Matilda Loveshack (and yes, I will write about why I chose that name), mainly because they all fit into a horror/supernatural category with naughty words. Under my AJ name I plan to write more non-fiction, and explore writing about disability and maybe try to get some of the articles on literary criticism I've written into academic type journals. But I will keep the naughty words down when I write under AJ. Lastly I have some romance/erotica storylines that I plan to begin a third pen name for.

All this may seem very complicated and annoying. And on paper (or screen), it kind of is. For all my plotlines I have put together "project folders" − a folder containing a rough outline, some written scenes and potential character profiles stuck together with the working title taped to the front. AJ has two, Matilda has seven and my romance name has three. And each has some short stories I've assigned them to publish for free as short story ebooks.

My goal is to have books in many "genres" out so when I go to events (flea markets more likely, let's not lie) I can have all my pen names out and readers that want romance, or historical fiction, or zombies can have their picks. Then as I build, I will promote in line with what the pen name is all about rather than individual books. Of course I'll always have to promote individual books, but I see them more as building blocks right now, and my energy is going into constructing the books as they will work together under the pen name.

Will my grand plan work out like the fortress I have in mind or be more like an unstable, lopsided sandcastle? Who knows. But I do know it works for me, and the pen names have given me focus with my work, and a sense of purpose and organization.

19 Years means a lot to me. When I'm feeling down or lost or trapped I pull out the first handwritten draft in the huge three-ring binder that has snippets I wrote in high school. And it makes me feel better. It is worth something to me. Writing and publishing the book is a huge first step and one that I'm very proud of. But no, I don't carry my business card/book card in my pocket to hand out to whoever might come through my grocery line. I may be a little reserved when explaining my YA Underground Railroad story to certain people. It doesn't mean I think it's bad and I'm not confident or that I don't want to "make it" as an author. I just see the book as having its own place. All my books will have their own place, and I will do them the best by knowing where that place is.

But seriously, stay tuned for the zombie book. It is made of awesome.

Post Script: I wrote this then had to run to work at the grocery. I hadn't been there five minutes when someone brought up my book and a couple people wanted more info. Luckily I had exhibited some Authorly Behavior and stuck a few of my book rack cards in my glove box so I had some to give out. I even acted (gasp!) excited. It kind of woke me up to the importance of at least having my business card on me, or the book, should the topic arise. There is hope for me yet!

Proof myths debunked

With the publishing of my first full-length novel, "19 Years 10 Months 24 Days," I learned a lot about publishing that had up to that point been much theorizing and philosophy. One of the most interesting discoveries was the function of a proof in the publishing process. Here are a few misconceptions that I had. I shall call them myths, and debunk them accordingly.

I used createspace in a DIY fashion, formatting the ebook and directing the cover with my own photo and online tools. When I got the proof in the mail, it was very groovy and pretty much "that" experience that an author has. However, I had to run off to work, so I left the proof to look at later. I closed that night, and I got home an hour and a half later than usual, so I was dead tired. I ate some food and went to bed with my flashlight to read under the covers (so as not to wake the spouse unit) and wind down, as usual. For the fun of it, I decided to go ahead and read my proof, not expecting to edit, just to read. I got five sentences in and realized that reading in bed was a much, much different experience than going over my manuscript poised at my desk with a cup full of something caffeinated. Which brings me to…

Myth #1 − A digital proof is just as good as a physical one.

Now this is only a partial myth as the online and digital proofs generated on createspace were, in my opinion, very good. There was nothing in the physical proof that was not shown in the digital/PDF proofs. If you understand the PDF and digital layouts, you can make all the changes needed to have a well-formatted proof. I would have no problem approving a book for distribution after only seeing the digital proofs, if I had to.

The reading experience, however, was very different in print. I was amazed at how many things I caught that I had not found in my digital editing. I had even read the manuscript backward, five pages at a time to try to isolate emotional ties and dissect the passages from the holistic view that made me skip over words. Even more, things that I had left in intentionally trying to be artsy and descriptive did not work in my brain at midnight in bed with my flashlight. It took seeing a print version to realize many changes to make the book more reader friendly. It's very psychological. It soon became clear that there would be more than one proof to be ordered. Which debunks…

Myth #2 − Your proof is so close to done that it’s just kind of a formality/fun thing for an author to have.

I thought that I would order my proof, fix a few things here and there, and be ready to distribute in a week.

Three months later…

The first proof ended up having edits on almost every page. Having the physical proof gave me a whole new perspective, and one I really needed. I think some authors are so excited to be at the final stages of publishing that they get their proof looking to not find things to change instead of seeing the proof as a stage in the editing process. From this experience I will be ordering a physical proof earlier in the process to use specifically for editing, just because it helped me so much. I know all authors are different and with the rise of ebooks, some authors may have a better eye for screen-editing, but it's good for me to know that the print proof makes a big difference. But if you want my advice, print or screen, don't ever say "Oh, it's okay, I'll leave it" when going over your proof. Your proof is the chance to make changes before there's a copy in the library or people have bought it and you are confessing that there were too many mistakes and you will be uploading a newer version. And yeah, if I order a proof earlier, it will mean ordering more proofs. At CS, to print my book was $3.68 and another $4.00 or so to ship. To me, $7.00 a proof is worth what it allows me to do, editing-wise. And with the DIY capabilities with CS, the only costs I had directly with publishing the book were proofs. Around $21.00 when it was done. Another bit of advice: it will take more than one proof, but, don't fall prey to…

Myth #3 − It doesn’t matter how many times you go over it, you will always want to keep changing things in an endless spiral of doom.

As a writer, I've heard a million times, "Oh, I could never write a book, I'd never be happy with it and just need to keep changing it!" That's great, but my personal experience was, it did shape up the way I wanted it. The first proof was a disaster, but the second proof was much better. The third was even better and I was happy with where it was at. At that point, I took advantage of the digital proofs and formatting the ebooks for my final edits and then approved the proof for distribution. Changes and edits are good, but don't let some artistic cliché like that statement interfere with the process, because if you believe you will never be happy with it, you'll be more likely to skip over changes that do need to be made.


I'm gearing into the editing phase on Matilda's first print book, and I'm eager to put my new knowledge to the test and learn some more. Any other experiences out there with the wonderful, beguiling proof? Share in the comments!

Banned Books Week 7 Day Blog/Facebook Challenge

Happy Banned Books Week 2012!

To celebrate I've made up a 7-day post challenge. Take a look and play along!

Day 1. My favorite banned book.
Day 2. Banned book I read in school.
Day 3. Banned book that makes me laugh because it was ever even challenged.
Day 4. Banned book I really didn't like/didn't finish.
Day 5. Book I didn't know had been banned.
Day 6. Book I've seen challenged in local school/library.
Day 7. Banned book I will always stand up for.

There are many lists online of books that have been challenged or banned in the US and around the world. I probably won't stick to just the 2012 list. I'm interested to see everyone's responses!

Don't buy my book (Unless you want to)

I know this pitch sounds like the epitome of reverse psychology marketing, but I’m sincere when I say, if you don’t want to buy my book… don’t.

I think books should be like toasters. You want a toaster because it serves a purpose. To deliver delicious, yummy, gooey poptarts, strudels, or warmed bread on a cold morning or just whenever you want a damn piece of toast. It must work, and you must enjoy it. Otherwise, it’s just a hunk of metal taking up counter space where you could have something you really want, like a waffle maker or a Fry Daddy.

I feel the same way about books. If a reader isn’t enjoying reading a book, they have every right not to read it. (Literature majors, you are excluded this right. Go finish Billy Budd and stop whining.) But even more so, if they know that some genre/topic/era isn’t for them, they shouldn’t feel obligated to buy the book just because the author wrote it. Now I’m not saying don’t try something new -- I’ve been to book signings initially believing I would not enjoy the book the writer wrote only to have a new favorite author a few weeks later. I’m open minded. But if nothing − the cover, the blurb, the author’s philosophy/promo manners − makes me tick, I have no use buying their book if I’m not going to even read it, let alone enjoy it.

I’m not saying I think my book sucks and I’m protecting you and me from a heap of embarrassment by saying don’t read it. Contraire. I happily invite any book club that wants to rip my book to shreds with scrutiny of what makes an enjoyable read and give me the good, bad, awesome and putrid. (You think I’m joking, but book clubs can be vicious.)

What I’m saying is I wrote a historical time travel concentrating on the Underground Railroad in Nebraska and not everyone is going to be into that premise. If you do enjoy that premise, and like a little mystery and more character development, then I’ve taken my time and written you a good story and I hope you enjoy it. If you think you might be interested, by all means, check it out. But if you’re looking at the cover with a tombstone and an 1851 pistol wondering “Where’re the zombies?” wait until my next book. There will be zombies.

Sales don't matter as much to me as readers. I have a pile of books that I haven’t read, but felt obligated to buy at the time because the author gave me that sad, longing “you don’t support the arts unless you buy my book” look as they held out their blood-and-guts ink-and-paper baby to me and I caved. Really, it does no one any good, and I don’t want to be that author.

So there you have it. Seven years, a billion (give or take) drafts and read throughs, and if it’s not your thing, I’m cool with that. If it is your thing, any feedback is greatly appreciated. Let me be your toaster. I won’t let you down.

-AJ

Print book cover. No, the dead people in the cemetery do not rise and conquer. Well, not the way you're thinking.

My response to "that" Sue Grafton quote, and self-pub philosophy in general.

So, I'm a little late on this topic, but I feel it's time that I sat down and assembled my philosophy of self-publishing in wordage. And the topic/quote is a springboard for just that.

So, bestselling author Sue Grafton made a lot of independent and self-published authors angry when she basically called self-publishers lazy wannabes. I originally saw the quote in this Forbes article by David Vinjamuri, and soon after on writer's blogs. Grafton has since issued some damage control and explanations about her quote, but the embers still burn.

Here is the quote, I found here:

"The hard work is taking the rejection, learning the lessons, and mastering the craft over a period of time. I see way too many writers who complete one novel and start looking for the fame and fortune they’re sure they’re entitled to. To me, it seems disrespectful…that a ‘wannabe’ assumes it’s all so easy s/he can put out a ‘published novel’ without bothering to read, study, or do the research. Learning to construct a narrative and create character, learning to balance pace, description, exposition, and dialogue takes a long time. This is not an quick do-it-yourself home project. Self-publishing is a short cut and I don’t believe in short cuts when it comes to the arts. I compare self-publishing to a student managing to conquer Five Easy Pieces on the piano and then wondering if s/he’s ready to be booked into Carnegie Hall."

So, here we go.

Honestly, getting mad about "wannabe" writers is the third in the Big Three, as I like to call them, of Things Every New Writer Thinks. One is needing to put a © symbol on everything they submit/don't submit for fear of having their work stolen. Two is honestly believing that their book's themes are universal themes, so everyone will want to read it. Third, I reiterate, "Omg, I bleed ink better/harder/longer that that guy. I'm mad now." (And I'm speaking from experience as well as observation.)

I ran into the same thing in college. I was a lit major, and I took lit classes. I had peers who never read the books assigned. (That's all lit classes are. Reading books. And they didn't. Why. No idea.) Or the scope of their literary criticism/critical thinking was, "Yeah, I didn't really like that book. That wasn't a good book." Well, guess what. I loathed "Cry, the Beloved Country" but that thing is underlined and noted on every other page, and I learned a lot from reading it. At the end of the day, it didn't really matter that they just read Sparknotes and got C's or B's, when I stayed up every night reading 300 pages and got A's. We graduated with the same degree. And since it doesn't really matter if you can list Dante's circles of hell when applying for jobs in telecommunications or customer service, I guess everyone wins. (I mentioned writing literary criticism as a hobby at my interview for the grocery store. Express cashier, baby.)

But it's everywhere. In every job I've had, in every hobby I've seen, there are people standing around lamenting over the wannabes. Fearing they may be thought of as a wannabe. Pointing the finger at the wannabe, haha, wannabe! But let's not dwell on the wannabes. Wannabe's gonna wan..na.

The main point that has ruffled so many feathers is "Self-publishing is a short cut and I don’t believe in short cuts when it comes to the arts." Like many of the angered self-pubbers out there, I do not see self-publishing as a shortcut. I have spent hours (Blood! Tears!) teaching myself formatting. I have honed my skills as an editor, because, honestly, good editors are very hard to find. I've read graphic design and art books to learn about cover design and have actively been trying to sharpen my skills in photography. Not to mention that I spend hours in between my three jobs reading fiction, non-fiction, blogs and articles. I take notebooks with me everywhere I go. I write on napkins, in texts, on my breaks, late at night. And many self-publishers do that. They work diligently to polish their product and get better at their craft. But it doesn't matter to anyone else that I'm sitting at my patio feverishly trying to get a page written before I have to go to work. No one's life is changed by me staying up too late again to write this blog post. We're all doing our own thing, to cope, to live, to survive, to escape, to whatever. And we get great books out of it all, that we all enjoy and share. We also get bad books.

Because, yes. The stereotypes can be true. Self-publishing can be a shortcut. Authors are people and people come up with a million annoying marketing schemes and will always feel entitlement for attention and praise. Many out there believe their 30,000-word piece can change souls and minds and make them rich without even taking off their slippers. And some don't edit. I read a self-published book… where the narrator kept making… dramatic… pauses. And one ellipses… had 14 periods. Fourteen. Not, "Oh, typo, there's four," or even "Um, didn't anyone tell you five dots is too many?" Fourteen. It begged to question if the author had ever even read a book, let alone why this person thought s/he had the qualifications to write one.

But that's not to mean a junky self-published book was put together hastily under visions of grandeur. I worked as a tutor in lit when I was in college and I worked with some students who loved literature, wanted to write and critique. But they had a hard time. Even when they read and read and discussed and we went over themes and symbols and everything, on tests they were lucky to pull B's and their writing took several rounds of editing to get to something workable. But they were bleeding more ink into it than students who easily read something once and wrote decent essays. So even if you do work really hard for years and years, your execution might be off, or you just might not be able to tell a story in a way that readers can palate. And there's nothing wrong with that. I'm on the brink of taking the plunge with my first book, and could very well not have executed the way seven years of work should have. But I'll publish again. And again. Which, in my world is exactly "taking the rejection, learning the lessons, and mastering the craft over a period of time."

I want to rally around good self-published books, because I like them, because they're well done, and because I respect the work it takes. But I will be honest, I don't want to give 5-star reviews to books I think are badly written, and don't want to review books in a positive light just because they're self-published. I want to read good books. And that starts with us, as writers.

I think self-publishers have to be on their best game to do well, or even all right. Because traditional publishers have a whole team of people and ideas crafting a product, not to mention money and resources that will far overshadow the capabilities of a softcover POD book as far as physical product goes. But with ebook and even better print technology, it still comes down to what's inside the book.

A wannabe is always going to shine through. Annoying people with self-centered selling strategies are only going to get so far. So, let's be honest. The fact that 50 Shades has allegedly sold more copies than the Harry Potter series makes me want to drink mustard and milk mixed together to induce vomiting. (A guy did that in my high school biology class once. It worked.) Not because of the sex (I want a sociology degree. I have many a sex book.) Nor because I don't think she didn't spend hours working on the book. I think she did. I just think it has the structure of a malformed plastic sack at the bottom of the stack we throw away at the grocery. But that's my opinion. It's a book. Let's look at books and quit worrying over who bleeds more, or who needs to fill a void in their life for whatever reason by writing books. I'm sure we all have one, deep and dark.

If you think a book is bad, say it's bad. If you're a self-pubbed author, for everything lovely and nice, don't solicit reviews or try guerilla tactics by shoving your book/business card in someone's face just because they're in a library. Don't try to force readers to be into something they just aren't interested in.

If you think a book is good, say it's good. Does it irk me that I stay up until 2 a.m. formatting an ebook and someone else is all, "Yeah, I paid my computer friend to format my ebook, she'll get it back to me next week and I'll be published!" Yes. It does. But if it's a good book, well-written and fresh, I will gladly say so.

So, this is where I stand. Research the writing world, but don't get too caught up in it. Work hard, read books, write, and edit every day. A pot always fills one drop at time.

Reading isn't just words

I had a problem at the library today. We had a kid’s program in the morning, and even though I get anxious and flinch more than usual around large groups of children, that was not my problem.

My problem was a boy that kept bringing graphic novels up to the desk only to have his mom take them back and tell him to “get real books.” We have some short chapter books that are about Spiderman and Yoda and all those characters guys like no matter what age they are, but even those didn’t pass her scrutiny of the authentic state of “book.”

Eventually the kid got frustrated, threw his arms out and said, “What am I supposed to do, I’m not interested in anything else!”

To which I think his mom said something along the lines of “Well, get interested in something else.”

I’m with the kid here. Granted he was calling them “comic books” which is fine and I doubt his mom would have been swayed by the slightly snobby-sounding “graphic novel.” Unless maybe I said it with an English accent... Anyway.

So what if the kid isn’t reading Hawthorne yet? If you start telling him some books aren’t real and things he’s interested in aren’t put in books then he won’t want to read when he’s older.

And seriously. Look around at all the books in the children’s library… books about police cars or how bulldozers work or bat-eared foxes. Books on colors and numbers and feeling sad or making decisions. Getting dressed, saying please, sharing with others.

Up until we’re teenagers (and probably beyond that into adulthood) we use books to learn how the world works, and most importantly how we feel and interact with our world.

Reading is psychological, social, emotional, and intellectual. So maybe some people feel that authors can cram their agenda or people blindly follow the protagonist’s lead without contemplating how they really feel, but at least there’s an opportunity to explore how you react to situations and social schemas.

Let the kid get swept away in a comic book if he wants to. He’ll be interpreting the images just as much as the words. He will find moral dilemmas, be incited to use his imagination, and give his range of emotions a little workout in a safe place between paper pages. Which is exactly what any other “real book” does.