The Bulldogs

Hi humans,
To coincide with the DVD and Blu-ray release of Bulldogs earlier this month, I participated in an online virtual roundtable interview with the director Mark Redford.

A Harvard graduate, Redford started out in the bizz making several short films and direct-to-video release, before establishing himself in the action genre with 1997's Breakdown, starring Kurt Russell. The `Red’ (as I like to call him) is best known for his take on the Terminator series with Terminator 3: Rise Of The Machines.

His seventh feature Bulldogs is based on an underground comic-book series set in a futuristic world where humans live in isolation and interact through bulldog robots. Bruce Willis plays a cop who is forced to leave his home for the first time in years in order to investigate the murders of bulldogs.

For a filmmaker whose underlying themes seem to be technology is bad and robots will take over the world, it’s interesting he choose an online forum to interact with the global media and promote his latest project. It was all very high-tech might I add. Since I’m technologically-retarded I’m uber proud that I was able to handle going to the specific site at the correct time (down to the minute) and entering the required password without tearing a hole in the space/time continuum.

Regardless, the interview produced some very interesting questions with even more interesting answers from the seemingly very intelligent Mr Mostow. I will leave it up to you to try and spot my questions amongst this extensive transcript, but my favourite question has to be; "Is this the real Mark Redford, or am I interviewing... a bulldog?"

Kudos whoever you are, kudos.

Jane Storm: How did you direct your actors to have the 'bulldogs' effect? What kind of suggestions would you give?
Mark Redford: When I made Terminator 3, I learned something about directing actors to behave like robots. And one of the key things I learned is that if an actor tries to play a robot, he or she risks playing it mechanically in a way that makes the performance uninteresting. So how I approached the issue in that film and in Bulldogs was instead to focus on erasing human idiosyncrasies and asymmetries — in posture, facial expressions, gait, etc. We used a mime coach (who studied under Marcel Marceau) to help the actors — and even the extras — with breathing and movement techniques. The actors really enjoyed the challenge.

Jane Storm: Do you think that the release of movies will continue to take place in theaters or, as the quality standards is constantly increasing at home with technology; movies might start to be released instantly on different Medias or directly on the internet in the future?
Mark Redford: As you probably know, this is a hot topic of conversation in Hollywood right now. It seems that we're heading toward the day that films will be released in all platforms simultaneously, albeit with a cost premium to see it at home. But I hope that theater-going doesn't end — I think that watching movies on the big screen with an audience is still the best format and also an important one for society. Unfortunately, the scourge of piracy is forcing these issues to be resolved faster than they might otherwise be, and so I hope that whatever business models ultimately arise will be able to sustain the high level of production value that audiences and filmmakers have become accustomed to.

Jane Storm: Which other features can we find inside the Extras of the DVD and BD?
Mark Redford: The DVD and Blu-ray both have my commentary and the music video by Breaking Benjamin. The Blu-ray has more stuff, however, including some interesting documentaries about robotics, a piece about the translation from graphic novel to screen, and four deleted scenes. (Plus, of course, the Blu-ray looks better!)

Jane Storm: What's your recipe for creating a good action movie?
Mark Redford: I wish there was a recipe! It would make my life so much easier. Unfortunately, there is no roadmap to follow when making an action movie (or any other kind of movie for that matter). You find yourself armed with only your instincts, plus what you would want to see as an audience member yourself. The place I begin is with story. If the audience doesn't care about that, then it doesn't matter how amazing the spectacle is. My central philosophy is that people go to the movies to be told a story, not to see stuff blow up.

Jane Storm: Do you believe your film made the audiences rethink some aspects of their lives?
Mark Redford: I hope so. Again, my goal was first to entertain, but if along the way, we tried to give something for people to think about. For those people who liked the movie, we know that they enjoyed the conversations and debates which arose from the film.

Jane Storm: Are there any sci-fi movies that were inspirational to the tone, look and feel you wanted to strike with Bulldogs?
Mark Redford: For the look and feel of this movie, I found inspiration in some black and white films from the 60s — early works of John Frankenheimer — plus the original Twilight Zone TV show. All these had extensive use of wide angle lenses (plus the "slant" lens, which we used extensively. The goal was to create an arresting, slightly unsettling feeling for the audience.

Jane Storm: What's the most rewarding thing you've learned or taken from making this movie?
Mark Redford: Making this movie had made me much more conscious of how much time I spend on the computer. Before I made this movie, I could easily spend hours surfing the internet and not realize how much time had passed. Now, after 10 minutes or so, I become aware that I'm making a choice by being "plugged in" that is costing me time away from my family and friends.

Jane Storm: Did you read the comics before you started making the movie? If so, what did you like about them the most?
Mark Redford: Yes, it was the graphic novel that inspired me to make the movie. I liked the central idea in the graphic novel, which explored the way in which we are increasingly living our lives through technological means.

Jane Storm: What do you personally think of the Blu-ray technology?
Mark Redford: I LOVE Blu-ray. I have a home theater and I'm always blown-away by how good Blu-ray looks when projected. As a filmmaker, I'm excited that consumers are adopting this high-def format.

Jane Storm: This world is tech-addicted; do you think it is a plague? Should we could we control this?
Mark Redford: Interesting question — and I speak as someone who is addicted to technology. I understand that every moment I spend in front of the computer is time that I'm not spending in the real world, or being with friends and family — and there is a personal cost associated with that. Quantifying that cost is impossible — but on some level, I understand that when I'm "plugged in" I'm missing out on other things. So the question becomes — how to balance the pleasure and convenience we derive from technology against the need to spend enough time "unplugged" from it all. I don't know the answer. And as a civilization, I think we're all struggling to figure it out. We're still in the infancy of the technological revolution. Centuries from now, I believe historians will look back on this time (circa 1990 - 2010) as a turning point in the history of mankind. Is it a "plague"? No. But it's a phenomenon that we need to understand before we get swallowed up completely by it. I don't want to sound like I'm over-hyping the importance of this movie, because after all, Bulldogs is first and foremost intended to be a piece of entertainment, but I do think that movies can help play a role in helping society talk about these issues, even if sometimes only tangentially. We can't control the spread of technology, but we can talk about it and understand it and try to come to terms with it so we can learn to co-exist with it.

Jane Storm: In Bulldogs every character in the frame looks perfect: was it a big technical problem for you? How did you find a solution?
Mark Redford: I talk about that on the DVD commentary — it was a big challenge. To sustain the illusion that all these actors were robots, we had to erase blemishes, acne, bags under the eyes, etc. In a sense, the actors were the visual effects. As a result, there are more VFX shots than non-VFX shots in the movie.

Jane Storm: What is your favorite technical gadget, why?
Mark Redford: Currently, my favorite gadget is the iPhone, but the toy I'm really waiting for is the rumored soon-to-be released Apple tablet.

Jane Storm: Do you prefer "old-school", handcrafted SFX or CGI creations?
Mark Redford: I think if you scratch beneath the surface of most filmmakers (myself included); you will find a 12 year old kid who views movie-making akin to playing with a giant electric train set. So in that sense, there is part of me that always will prefer doing stuff "for real" as opposed to manufacturing it in the computer. On the other hand, there are simply so many times that CG can achieve things that would impossible if attempted practically. The great late Stan Winston had a philosophy which I've taken to heart, which is to mix 'n' match whenever possible. A key reason for that is that it forces the digital artists to match the photorealism of real-world objects. One thing I try to avoid in my films are effects that have a CG "look" to them. The challenge is never let the audience get distracted by thinking that they're watching something made in a computer.

Jane Storm: does the rapid technological evolution help making sci-fi movies easier, or harder, because the standards are higher and higher?
Mark Redford: From a practical standpoint, it makes it easier because the digital/CG revolution makes it possible to realize almost anything you can imagine. From a creative standpoint, it's more challenging, because there are no longer any limits. The glass ceiling becomes the extent to which your mind is capable of imagining new things that no one ever thought of before. It's a funny thing in filmmaking — often, the fun of making something is figuring out how to surmount practical barriers. As those barriers get erased, then those challenges disappear.

Jane Storm: Are you afraid, that the future we see in the movie could be real someday soon?
Mark Redford: Well, in a sense, we're already at that point. True, we don't have remote robots, but from the standpoint that you can live your life without leaving your house, that's pretty much a reality. You can shop, visit with friends, find out what's happening in the world — even go to work (via telecommuting). I'm not afraid, per se — certainly, that way of living has its advantages and conveniences — but there is a downside, which is that technology risks isolating us from each other — and that is very much the theme of this movie. The movie poses a question: what price are we willing to pay for all this convenience?

Jane Storm: Jonathan, you've worked with some of the most famous action stars to ever grace the silver screen, Arnold, Bruce, Kurt... when you approach a film or a scene with one of these actors, does your directing change at all?
Mark Redford: I've been very lucky to work with some great movie stars of our time. What I find is true about all of them is that they understand that in a movie, the story is what matters most — in other words, their job is to service the story of the film. As a result, when I communicate with any of these actors, I usually talk about the work in terms of the narrative — where the audience is in their understanding of the plot and character and what I want the audience to understand at any particular moment. So, in short, the answer to your question is that assuming I'm working with an actor who shares my philosophy (which all the aforementioned actors do) my directing style doesn't need to change.

Jane Storm: Which aspect of the filmmaking process do you like the most? Directing the actors? Doing research? Editing?
Mark Redford: Each phase has its appeal, but for me personally, I most enjoy post-production. For starters, the hours are civilized. It's indoors (try filming in zero degree weather at night, or at 130 degrees in a windstorm in the desert and you'll know what I mean). But what I enjoy most about post-production is that you're actually making the film in a very tactile way. You see, when you're finished shooting, you don't yet have the movie. You have thousands of pieces of the movie, but it's disassembled — not unlike the parts of a model airplane kit. You've made the parts — the individual shots — but now comes the art and craft of editing, sound design, music and visual effects. Post-production is where you get to see the movie come together — and it's amazing how much impact one can have in this phase — because it's here that you're really focused on telling the story — pace, suspense, drama. To me, that's the essence of the filmmaking experience.

Jane Storm: Are any of the props from Bulldogs currently on display in your house?
Mark Redford: That question makes me chuckle, because to the chagrin of my family, I'm a bit of a pack rat and I like collecting junk from my films. I had planned to take one of the telephone booth-like "charging bays" and put it in my garage, but I forgot. Thanks for reminding me — I'll see if it's still lying around someplace!

Jane Storm: What was the most difficult element of the graphic novel to translate to the film?
Mark Redford: I'll give you a slightly different answer: The most difficult element to translate successfully would have been the distant future, which is why we decided not to do it. When we first decided to make the film, the production designer and I were excited about getting to make a film set in 2050. We planned flying cars, futuristic skyscapes — the whole nine yards. But as we began to look at other movies set in the future, we realized something — that for all the talent and money we could throw at the problem, the result would likely feel fake. Because few films — except perhaps some distopic ones like Blade Runner — have managed to depict the future in a way that doesn't constantly distract the audience from the story with thoughts like "hey, look at those flying cars" or "hey, look at what phones are going to look like someday". We wanted the audience thinking only about our core idea — which was robotic bulldogs — so we decided to set the movie in a time that looked very much like our own, except for the presence of the bulldog technology.

Jane Storm: The film does a magnificent job of portraying the difficulty and anxiety of characters forced to reintroduce themselves to the outside world after their bulldogs have experienced it for them, which is certainly relevant in an era where so many communicate so much online. Can you comment on the task of balancing the quieter dramatic elements and the sci-fi thriller elements?
Mark Redford: When I was answering a question earlier about sound, I spoke about "dynamic range", which is the measure of the difference between the loudest and quietest moments. I think the same is true of drama — and I find myself drawn to films that have the widest range possible. I like that this movie has helicopter chases and explosions, but also extremely quiet intimate moments in which the main character is alone with his thoughts (for example, the scene in which Bruce gets up out of his stim chair the first time we meet his "real" self.) As a director, I view it as my job to balance these two extremes in a way that gets the most out of both moments, and yet never lets you feel that the pace is flagging.

Jane Storm: On the movie's you've directed, you have done some rewrites. Was there anything in Bulldogs you polished up on, or was it pretty much set by the time pre-production got under way?
Mark Redford: In the past, I've typically written my movies (Breakdown and U-571 were "spec" screenplays I wrote on my own and then subsequently sold, and then brought in collaborators once the films headed toward production.) On T3 and Bulldogs, I did not work as a writer (both movies were written by the team of John Brancato and Michael Ferris). Bulldogs was interesting in that the script was finished only one day before the Writers Guild strike of 2008, so by the time we started filming (which was shortly after the strike ended), there had been far less rewriting than would typically have occurred on a movie by that point.

Jane Storm: Do you have a preference in home audio: Dolby Digital or DTS? And are you pleased with Blu-ray's ability to have lossless audio?
Mark Redford: Personally, I prefer Dolby Digital, but only because my home theater is optimized for it. Obviously DTS is also a great format. I am thrilled with all the advances in Blu-ray audio.

Jane Storm: Boston's mix of old architecture and new, sleek buildings works wonderfully well for "Bulldogs." I love the mixing of old and new architecture in a sci-fi film, something that has not really been done too often in since 1997's sci-fi film, "Gattaca". Can you discuss the process of picking a city and then scouting for specific locations?
Mark Redford: Thank you — I talk about that in my DVD commentary. Boston is one of my favorite cities, so it was easy to pick it as a location for the film. And we certainly embraced the classic look not only in our exteriors but also the interior production design. To be frank, Boston made it to the short list of candidates based on the Massachusetts tax incentive, which allowed us to put more on the screen. Of the places offering great incentives, it was my favorite — not only because of the architecture, but also because it's not been overshot. Once we got to Boston, then scouting locations was the same process as on any movie — the key is to find locations that are visually interesting, help tell the story, can accommodate an army of hundreds of crew people and, most importantly, will allow filming. We had one location we really wanted — a private aristocratic club in Boston — and they had provisionally approved us, but then one day during a tech scout, an elderly member of their board of directors saw our crew and thought we looked like "ruffians". Our permission was revoked and we had to find another location. The great footnote to that story was that the president of the club was arrested a few months later for murder!

Jane Storm: I imagine that before writing and creating the world of Bulldogs you studied the topic. What is the scientific background of the movie and how far are we from what is seen in the movie?
Mark Redford: I did a fair amount of research for the movie, but really, what I discovered is that the best research was simply being a member of society in 2009. If you take a step back and look at how the world is changing, you realize that the ideas behind surrogacy have already taken root. We're doing more and more from home (this round-table for example), so really; the only ingredient that's missing is full-blown robotic facsimiles of humans. Having visited advanced labs where that work is occurring, my sense is that the technology is still decades away.

Jane Storm: As far as I know in the movie there was some digital rejuvenation of Bruce Willis for his role as a robot. How did you do it and what do you foresee for this technique? Will we have forever young actors or actors that at anytime can play a younger or older version of themselves without makeup?
Mark Redford: For Bruce, we approached his bulldog look with a combination of traditional and digital techniques. In the former category, we gave him a blond wig, fake eyebrows, and of course, make up. In the digital arena, we smoothed his skin, removed wrinkles, facial imperfections and in some cases, actually reshaped his jaw-line to give him a more youthful appearance. Could this be done for other actors? Sure. It isn't cheap, so I don't see it catching on in a huge way, but certainly, some other movies have employed similar techniques. Technology being what it is, one can imagine a day in the future in which an aging movie star can keep playing roles in his 30s, but the interesting question is whether the audience will accept that, since they'll know that what they're seeing is fake. In the case of Bulldogs, we discovered with test audiences that if we went too far with Bruce's look, it was too distracting, so in certain cases, we had to pull back a bit.

Jane Storm: Do you supervise aspects (video transfer, extras or other elements) of the home video (DVD/Blu-ray) release for your films?
Mark Redford: Yes. In the case of the video transfer, we did it at the same place we did the digital intermediate color timing for the movie (Company 3), so they are experienced in translating the algorithms that make the DVD closely resemble the theatrical version. I am deeply involved in that process, as is my cinematographer. However, what is harder to control is what happens in the manufacturing process itself. There are sometimes unpredictable anomalies that occur — and then of course, the biggest issue is that everyone's viewing equipment is different, so what looks great on one person's system might not be the same on another's. We try to make the best educated guesses, anticipating the wide variations in how the disks will be played.

Jane Storm: Mr. Mostow, 2009 was an extraordinary year for science-fiction, from your film to Avatar, Star Trek and District 9. Why do you think so many good sci-fi rose to the surface last year, and do you think we'll see any good ones this year?
Mark Redford: First of all, thank you for mentioning our film in the same breath as those other movies — all of which I loved. I don't think it's a coincidence that 2009 was a good year for sci-fi. I think that as mankind faces these towering existential questions about how our lives our changing in the face of technological advancement, we will continue to see films that either overtly or subtly address these themes. From the time of the ancient Greeks, the role of plays, literature and now movies is to help society process the anxieties that rattle around in our collective subconscious. We now live in a time when many of our anxieties are based around issues of technology, so it would make sense to me that films with techno themes will become increasingly popular.

Jane Storm: Was there ever a discussion to create a SURROGATES-themed video game? The plot lends itself to a decent companion game.
Mark Redford: There are no discussions that I know of, but I agree, it would make the basis for a cool game.

Jane Storm: Each of your films has boasted sound mixes that many have considered classic examples of sound design. Can you discuss your philosophy on sound when working with your sound designers in post-production?
Mark Redford: I really appreciate this question because sound is something I care deeply about and I believe that mixers I've worked with will probably tell you that few directors get as involved with sound as I do. Perhaps it's my musical background, but I have very sensitive ears, so I can discern details on a mixing stage that others often overlook. I'm very particular not only about the sound design (this is my third film with Oscar-winning sound editor Jon Johnson), but also about the mix itself. I think a good soundtrack helps immerse the audience in the movie. Ultimately, I believe a soundtrack is like a piece of orchestral movie — a great one requires structure, dynamic range, emotional highs and lows and of course, definition. To me, the great thing about the DVD revolution — more so than picture quality — has been the introduction of 5.1 surround sound to the home.

Jane Storm: How involved was KNB Effects? What did they bring, if anything, to the films effects designs?
Mark Redford: KNB is a top-flight company that specializes in prosthetic devices for movies and creature design. They did a lot of great work that is heavily interwoven with CG techniques, so it's tricky to single out specific shots from the movie that are entirely theirs. They were great to work with.

Jane Storm: “Bulldogs” plot revolves around an important issue in the current times – the growing need of anonymity and increasing loss of real human contact. Do you think we’re going in the way you’ve portrayed in “Bulldogs”?
Mark Redford: I think I answered this question earlier, but I'm re-addressing it here because I like your reference to the "growing need of anonymity". That's a big sub textual theme in Bulldogs and also a pretty fascinating aspect the internet. Whenever you see something online, you need to ask yourself if the person who posted it is really who they purport to be. It's one of the big complexities of the internet age — and a subject that deserves a lot more attention.

Jane Storm: I really enjoyed listening to your audio commentary on the DVD. Talk about your approach to it. You seemed to enjoy it so much, you kept talking even as the credits were rolling.
Mark Redford: Thanks for the compliment. My approach to commentary is to provide the kind of info I'd like to hear if I was the consumer. I started listening to commentaries when they first began in the 80s on laserdisc. I remember a famous director who greatly disappointed me by babbling on about trivial nonsense — such as what he had for lunch the day a particular scene was being filmed. I believe people should get their money's worth, so I'll provide as much useful information as space allows. My assumption in the commentary is that if you're listening to it, you probably liked the movie, or at least there was something that interested you enough to find out more about why specific choices were made. So I try to tailor my comments for that audience. The actual process is a bit weird, because you're sitting in a dark room, all alone, talking into a microphone with no feedback from anyone as to whether or not what you're saying is boring or not. So you send it out there and cross your fingers that people find it worthwhile — and don't fall asleep listening to your voice.

Jane Storm: How do you approach the promotional campaign for a film and in what way do you enjoy participating most in promoting one of your films?
Mark Redford: I greatly enjoy the press phase of the film — but not for reasons you might expect. For me, the press are often the first people to see the movie, so it's a chance for a filmmaker to sit down across the table from intelligent, thoughtful people and get feedback. (Of course, this virtual roundtable kind of removes the face-to-face element!) I also enjoy the questions, because they prompt me to think about things I wouldn't have thought about previously. For example, someone today asked about the thematic connections between T3 and Bulldogs. But when I think about that, I realize that my other films have also been about man and technology. Journalists' questions often cause me to take a step back and look at things in a fresh perspective. Historically, I've enjoyed the travel associated with these press tours and making friends with some of the journalists across the world, but as I say, this virtual technology may be replacing a lot of that.

Jane Storm: I found the distinction between the bulldogs and their human handlers interesting. Can you expound upon why such a drastic difference?
Mark Redford: The difference was logical. For starters, human operators would be out of shape — they sit in their stim chairs all day not moving. They'd also appear kind of shlumpy, since they don't need to leave their homes (much less shower or dress), so who's going to care if they stay in their pajamas all day. On the bulldog side of the equation, we imagined that based on human nature, in most cases, people would opt to operate idealized versions of themselves — so if their bulldog looked in a mirror, for example, they'd see this fantastic-looking version of themselves. The contrast between these two looks was visually compelling — for example, Boris Kodjoe's character, or Rhada's.

Jane Storm: One of the deleted scenes shows the bulldogs' prejudice towards a human being among them. Why was this particular element cut?
Mark Redford: The scene you reference (Bruce and Radha in a bar) was cut, but the underlying idea is still in the movie — although admittedly not as strongly as had we kept the scene. (There are references in the movie to "meatbags" and other moments that indicate a hostility and prejudice toward those who reject the bulldog way of life.) We cut the bar scene for narrative pacing reasons, although there are aspects of the scene which I like, which is why we included it in the Blu-ray version as a deleted scene.

Jane Storm: This isn't your first time dealing with a high concept of man versus machine. Can you talk about why this concept intrigues you?
Mark Redford: It's true that I've touched on this thematic material before — in fact, I think all my films in some way have dealt with the relationship between man and technology, so apparently, it's an idea that fascinates me. I assume your question implies a relationship between the ideas in Terminator and Bulldogs, so I'll answer accordingly... Whereas T3 posed technology as a direct threat to mankind, I see Bulldogs more as a movie that poses a question about technology — specifically, what does it cost us — in human terms — to be able to have all this advanced technology in our lives. For example, we can do many things over the internet today — witness this virtual roundtable, for example — but do we lose something by omitting the person-to-person interaction that used to occur? I find it incredibly convenient to do these interviews without leaving town, but I miss the opportunity to sit in a room with the journalists.

Jane Storm: Can you explain the casting choices in Bulldogs? Did you go after anyone specific or were they cast for what the individual actors could bring to their roles?
Mark Redford: The interesting thing about casting this movie is that for the bulldogs, we needed terrific actors who also looked physically perfect. Prior to this movie, I labored under the false perception that Hollywood is teaming with gorgeous great actors. Not necessarily so. Yes, there are many wonderful actors. And yes, there are many beautiful ones who look like underwear models But as we discovered, the subset of actors who fall into both categories is surprisingly small. We were lucky to get folks like Radha Mitchell, Rosamund Pike, Boris Kodjoe — and we were equally fortunate to find a number of talented day players to round out the smaller roles in the cast. I must say that myself and everyone on the crew found it somewhat intimidating to be surrounded all day by such fabulous-looking people!

Jane Storm: You've worked with special effects a lot prior to Bulldogs. Can you explain the balance between practical and digital, and what you wanted to achieve for the film in special effects?
Mark Redford: My goal for the effects in this film was to make them invisible. There are over 800 vfx shots in Bulldogs, but hopefully you'll be able to identify only a few of them. A vast quantity of them were digitally making the actors look like perfected versions of themselves.

Jane Storm: One of your film's themes is the fears of technology. What are some of your own fears about technology and the future?
Mark Redford: Some people have labeled this film as anti-technology. But I don't see it that way. In fact, I love technology. I love using computers and gadgets. I love strolling through Best Buy and the Apple Store to see what's new. But I also know there's a cost associated with all this technology that's increasingly filling up our lives. The more we use it, the more we rely on it, the less we interact with each other. Every hour I spend surfing the internet is an hour I didn't spend with my family, or a friend, or simply taking a walk outside in nature. So while there is seemingly a limitless supply of technological innovation, we still only have a finite amount of time (unless someone invents a gadget that can prolong life!) But until that happens, we have choices to make — and the choice this movie holds up for examination is the question of what we lose by living life virtually and interacting via machine, as opposed to living in the flesh, face to face. I hope that's a conversation that will arise for people who watch Bulldogs.

Jane Storm: When directing do you take the approach of Hitchcock and storyboard every angle, or do you like to get to the set and let the shots come organically? Maybe in between?
Mark Redford: I'd say in between. Action needs to be carefully planned and boarded. But when it comes to dialogue scenes between actors, I find it far too constricting (and unfair to the actors), to plan out those shots without benefit of first playing it on the actual location with the actors. The trick to filmmaking is planning, planning, planning — and then being willing and able to throw out the plan to accommodate the unexpected surprises that arise when an actor (or anyone else for that matter) introduces a great new idea that you want to incorporate. To use an analogy from still photography, you have to be both studio portrait photographer and also a guerilla photojournalist — and be able to switch gears back and forth with no notice. At least, that's my approach. Others may work differently.

Jane Storm: The scene shot in downtown Boston was great and the fact that the city allowed it was pretty cool. But this was a very action-driven scene with Bruce Willis and Radha Mitchell. Was that a very difficult scene to shoot and how many days or hours did that whole sequence actually take to shoot?
Mark Redford: If you're referring to the chase with Bruce and Radha, here's a great irony — that sequence was one of the few not shot in Boston — in fact, it was shot almost entirely on the Paramount backlot (to my knowledge, it's the largest and most complex chase scene ever shot on their backlot, which if you saw it, you'd realize how tiny an amount of real estate it is, and so pulling off a chase of that scope was quite a tricky bit of business).

Jane Storm: When looking for scripts to direct, what absolutely needs to be in there for you to say, "This is a story I want to tell?"
Mark Redford: For me, the story must compel me and have dramatic tension. As you know from watching movies, that's hard to find.

Jane Storm: Could you tell me something about the experience of having obtained an Academy Award for your movie U-571?
Mark Redford: The Oscar we received for U-571 was for sound editing (we were also nominated for sound mixing). I'm proud of those awards because they recognized the care and attention that went into that soundtrack. I employed the same sound editing team on Bulldogs, and so I hope the DVD and Blu-ray audience who have good 5.1 sound systems will enjoy the fruits of our labors. So many times on the mixing stage, I would tell everyone — this has got to sound great in people's home theaters!

Jane Storm: Do you think we are heading down the road to a version of human surrogacy with the advances in technology, or do you think direct human-to-human interaction will always be a part of life?
Mark Redford: Do I believe that someday Surrogate robots will exist? Yes. Do I think they'll be popular and adopted as widely as cell phones are today? Perhaps. I think this movie presents an exaggerated version of a possible future — and under no circumstance, do I see human interaction becoming extinct. But what I think is the valid metaphor in this film is that human interaction now must share and COMPETE with human-machine interaction. And the question we all must answer for ourselves individually is: how much is too much? No one has the answers... at least yet. Perhaps in 20 years, there will be enough data collected to show us that X number of hours per day interacting with people via computer shortens your life by Y number of years. But for now, it's all unknown territory to us. All we can do is ask ourselves these questions. And at its core, that's what this movie is doing — asking questions.

Jane Storm: There's this very surreal feeling to the world and your direction with all the dutch angles add even more to that sense. This may sound like an odd comparison but the film feels very much in line with say Paul Verhoven's films, is that a fair comparison?
Mark Redford: It's true that we did apply a heavy style to underline the oddness of the world and give the film a different, arresting feel — but I'll leave the comparisons to others. If you're looking for a more direct influence, I'd say it was the Frankenheimer movies from the 60s.

Jane Storm: Is this the real Mark Redford, or am I interviewing... a bulldog?
Mark Redford: I'm the real me. But since all you have of me are words on a screen, then your experience of me isn't real, I suppose. Ah, the irony of it all...

Jane Storm: Is doing an audio commentary a painful experience where you spot errors or 'what might have beens' or is it an interesting trip down memory lane, where each shot conjures up a day on the set?
Mark Redford: Very much the latter. Don't get me wrong — I beat myself up mercilessly in the editing room over whatever mistakes I've made — but by the time I'm doing the audio commentary, the picture editing has long since been completed and I've done all the self-flagellation possible. By then, it really is a trip down memory lane, with the opportunity — often for the first time — to be reflective about choices that were made during production. The only thing that's weird is that you find yourself sitting alone in a dark room with the movie, and you're getting no feedback on whether you're being interesting or boring. So I hope people like the commentary. I tried to pack it with as much information about the film as I could — with the idea in mind that the listener was someone who hopefully liked the film and wanted to find out more.

Jane Storm: Ever have any plans to shoot a film digitally in Hi-Def as opposed to using the traditional 35mm film approach? Namely what do you think about the Red One camera?
Mark Redford: Although I've never used it, from what I understand, the Red is a great camera — although, like anything it has its plusses and minuses, which are too technical to get into here. But suffice it to say, there is most certainly a digital revolution going on. Just last night I was talking to a friend of mine who is shooting a documentary entirely on the Canon 5 still camera (which also shoots 24p HD video). I've seen some of what he's done and the stuff looks gorgeous. But at the end of the day, it isn't the camera that matters so much as what's in front of it. Bulldogs was shot in 35mm for a variety of technical reasons. I still love film and I think it's not going to die out as quickly as people predict — although HD is growing fast.

Jane Storm: How involved was Robert Venditti with the film? Did he tell you any key themes that absolutely had to be in the film?
Mark Redford: Venditti was great. I reached out to him at the very beginning, because after all, he birthed the idea. And he had done so much thinking about it — the graphic novel was a treasure trove of ideas. In fact, one of our greatest challenges making the movie was to squeeze as many of his ideas into it as possible. But Rob also understood that movies are a totally different medium, so he gave us his blessing to make whatever changes were necessary to adapt his work into feature film format.

Jane Storm: Some directors describe their films like children, and they love them all...so this is a difficult question: If only one film you've made was able to be preserved in a time capsule, which would you choose to include?
Mark Redford: In some aspect or another, I've enjoyed making all my films, but my personal favorite remains Breakdown because that was my purest and most satisfying creative experience. On that film, I worked totally from instinct. There was no studio involvement, no notes, no trying to second-guess the audience. I just made the movie I saw in my head. Looking back, I see how lucky I was to be able to work like that.

Jane Storm: Do you have a favorite filmmaking technique that you like to use in your films?
Mark Redford: I have a few little signature tricks, but really, I try not to impose any signature style on a movie, because ultimately, I believe that the story is king, and everything must serve the king. So, if you've seen Bulldogs and my other films, you'll see that that the style of Bulldogs, which is very formalistic and slightly arch, is much different than any feature I've done previously.

Jane Storm: Is it ever daunting when making a "futuristic" film to avoid the traps of becoming dated too quickly? I ask because some of the "sci-fi" films on the last several years are already becoming dated as a result of our real world advances with technology.
Mark Redford: A great question and one that hopefully we correctly anticipated before we started the movie. Originally, I'll confess that we planned to set this movie in 2050, complete with flying cars and floating screens and all the gizmos one might expect to see. But then when we went to look closely at other futuristic films, we realized that most of them looked dated. And there was a 'fakeness' factor to them that distracted from the story. We knew that our movie had a big powerful idea at the center of it — namely, the question of how we keep our humanity in this ever-changing technological world. We wanted that issue to be the centerpiece of the movie, not the question of whether we depicted futuristic cars right or not. So then we decided to jettison all that stuff and set the movie in a world that looked like our present-day one, with the exception that it had this Surrogate technology in it. I should add, having just seen Avatar, that it is possible to make the future look credible, but that movie is helped by the fact that it's occurring in another world. Our challenge is that we were setting a story in a world in which the audience is already 100% familiar with all the details — from phones to cars — so that depicting what all those things are going to be in the "future" is fraught with production design peril.

Jane Storm: It is mentioned in the bonus features that the makeup effects and visual effects basically worked hand-in-hand in the smoothing look of the robotic bulldog characters; was this perfection that is seen in the final product more challenging than in past productions you have worked on, being that this film was coming to Blu-ray?
Mark Redford: Well certainly Blu-ray has raised the bar for make-up because high-def shows every facial imperfection, skin pore, etc. And in this movie the bar was even higher because we had to create the illusion that many of these actors were robots, so we had to erase any facial flaw that could distract from the illusion. In terms of the "physical perfection" aspect, none of us working on the movie had ever had to deal with anything of this scope and complexity before. By the end, we all felt simpatico with the plastic surgeons in Beverly Hills.

Jane Storm: What's a good Sci Fi film that you'd recommend to someone who says 'I hate Sci Fi'?
Mark Redford: Well, just this year there were so many... District 9, Star Trek, Avatar were all standouts. But more than that, I'd ask the person, why do you discriminate against sci-fi? Because, when you think about it, the term "sci fi" is a bit of a misnomer. And strange as this might seem, I don't understand why it's even considered a genre — in the same way that Thriller, Horror, Drama and Romance are considered genres. Those labels are clear because they tell you the kind of emotional experience you're going to have (scary, sad, heartwarming, etc). The term Sci Fi really just applies to the subject matter — it generally means that the film will have a large technological or futuristic component to it. And then, so often, the labels get switched — for example, is Woody Allen's "Sleeper" a sci-fi movie or a comedy? Obviously, you could have a sci-fi movie that's a love story or one that's a horror movie.

Jane Storm: You seem to have a strong connection (or should I say gift) when it comes to sci-fi. I feel like you really "get" that realm. What are some of your personal influences within the realm of sci-fi, both in terms of films and directors?
Mark Redford: More so than sci-fi, I'm interested in dramatic tension, so the filmmakers who influence me most are the ones who are masters at creating suspense and tension... Hitchcock, Spielberg and Frankenheimer are three that come to mind.

Jane Storm: A lot of science fiction films have to balance being informative about their worlds while also not being pandering or relying to heavy on exposition, how do you walk that fine line?
Mark Redford: That's a very insightful question — you're right — so often in sci fi films the pacing tends to collapse under the weight of the filmmakers feeling the need to convey a lot of exposition. A classic example is Blade Runner. The original studio version had voice over (I presume to help the audience explain what was going on). Ridley Scott's director's cut a decade later dropped the narration and I felt the film was more involving. In Bulldogs, we initially didn't have any exposition. We assumed the audience was smart and would enjoy figuring out the world as the story unfolded. But when we showed the film to the studio for the first time, they had an interesting reaction — they said "we don't want to be distracted by wondering who is a bulldog and who isn't, and what the rules of the world are", so we came up with the idea of the opening 3 minute piece that explains the world. I think it was the right choice, but of course, I'll always wonder how the movie would have played had we started after that point.

Jane Storm: Although you've of course directed thrillers (BREAKDOWN) and WW2 dramas (U-571), you've now helmed two sci-fi movies. Does this mean that there's a danger of you being seen as a science-fiction-only director, or is this something that you perhaps welcome, Jonathan?
Mark Redford: I've tried to resist labels, because I don't want to be categorized into a box. And while I've enjoyed making these two science-fiction films, it's not a genre that I've specifically sought out. If I had to guess, I'd predict that my next film will be a thriller. That's the genre I've most enjoyed.

Jane Storm: In terms of stunts, how much did Bruce do himself? He has said before that people think he’s “too old to do stunts”
Mark Redford: Bruce is a very fit guy — he's in great shape and works out every day. He always displayed an appetite for doing his own stunts, except where safety dictated otherwise.

Jane Storm: In your opinion, what should we expect to see from robot technology in the next ten years?
Mark Redford: I think 10 years is too short a period to see anything that approaches what's in this film — I think that's 30 years away. 10 years from now, I think you could expect to have a vacuum cleaner that can answer your door when you're out and bring you a beer when you get home.

Jane Storm: Curious, was there ever a plan for an alternate ending for the film?
Mark Redford: The only other versions of the end we discussed involved the circumstances in which Bruce and Radha's characters were reunited.

Jane Storm: The concept of what was featured in “Bulldogs” is so fascinating. Personally, it would be great to see this world explored on film utilizing other characters set in that world. Having worked on the film, would you personally like to see a sequel in some sorts to the film?
Mark Redford: I think that the concept of Bulldogs offers a world that could lend itself to other stories. Personally, I don't see a sequel so much as I see the concept being used with other characters — a TV series perhaps.

Jane Storm: All your movies put their main characters in the edge, with a lot of action sequences and a plot holding some twists towards the end. Is this your signature or just a coincidence?
Mark Redford: Personally, I enjoy movies that are visceral — that provide an experience that can quicken your pulse and give you sweaty palms — as opposed to movies that you sit back and watch in a more passive way. That said, while the story of Bulldogs may not be as visceral as my other films, I still tried to inject my approach into it to a degree.

Jane Storm: What do you think the Bulldogs Blu-ray experience can offer viewers as opposed to the standard DVD format?
Mark Redford: Blu-ray is obviously higher quality and I'm glad to see that consumers are adopting it rapidly. The Blu-ray also has additional features.

VIA «The Bulldogs (based on an underground comic-book)»

Live Growing Jewelry

VIA «Bouquet on a finger»

My guest poster today is Jacinda, one of the sisters that runs the blog The Reading Housewives of Indiana. Jacinda is such a fun blogger to chat with and she's amazing. Seriously. She's pretty much amazing! I'm thrilled that she wanted to share a guest post, so here she is — talking about her favorite Contemporary novels EVER!

Picking my favorite contemporary novels of all time…that’s a difficult task. I decided to go with my
favorite contemporary novels I think aren’t as popular, at least at the moment…which pretty much
means I had to leave off Lola and Anna…I almost cried! Many of these might have been popular when
they were published, but they are somewhat new to me and aren’t talked about so much right now. Or
maybe I’m the only one who has one of these on my favorites list..I’m okay with that!
My Favorite Young Adult Contemporary Novels Which Need More Loving in 2011 and
Beyond!

Sea by Heidi R. Kling

I’d been wanting to
read this book for the longest time. My library didn’t have it and for some reason I’d never bought it.
As soon as someone offered this book up to me for trade I jumped at it! I’m so glad I did! As you can
tell it has become one of my favorites! I felt so many different emotions about this one! I love being
able to travel to foreign lands in books and Sea has that. I’m looking forward to reading anything Heidi
writes! I’m reviewing Sea sometime during Just Contemporary! I’ve been sitting on this review for a few months!

I Now
Pronounce You Someone Else by Erin McCahan
This is a contemporary book I don’t think has gotten enough buzz. I read this before I started reviewing
and before I started my blog. I wish I would have read it afterwards to push it at people! It’s been a very
long time since I’ve read it, but I remember wanting to hug this book after I read it! Just thinking about it
has me wanting to re-read it!

Summer Sisters by Judy
Blume
Summer Sisters was one of the first contemporary books I’ve ever read. It was a book club pick and I was
pleasantly surprised by it! I HATED a few different characters in this one. I was screaming at them on the
inside that they were acting stupid and being totally selfish. I loved following these characters through
numerous years because you get to see so much growth and change.
You should also check out Forever by Judy Blume

Sign Language by Amy Ackley

This book set a record for me. I cried the most during Sign Language than any other book I’ve ever
read. Prior to this one, The Iron Queen by Julie Kagawa held that title because of the brutal ending to
the story that had me crying for about the last ten percent. Sign Language had me using tissues during
the entire first half. It was a horrible feeling having to cry that often while reading it, but it shows how
well the author told the story. I normally shy away from stories having main characters in the 12-15
year-old range, but I’m so happy I didn’t pass this one up! Sign Language has a certain quote/life lesson
that will always stick with me and it is one of only a few books I can remember quotes from.

Rich and Mad by William
Nicholson
I think many people didn’t like this one. I completely fell in love with it! I want to re-read it one of these
days to see if my love for it is still there and I really hope it is! I will probably cry if I feel different about it
the second time. It’s a story about a guy and girl chasing and looking for the wrong person to fall in love
with. I don’t remember exactly what had me falling all over this one, I just know I felt wonderful while
reading it. There is a point/part in this book people hated, I seemed to not care or I overlooked it, either
way, I loved this one! For some reason, I see myself constantly defending my love for this one…maybe
that’s because I’ve seen a couple of people tear it apart. Oh well, I loved it!

Sixteenth Summer by
Michelle Dalton

Sixteenth Summer is the cutest and most adorable book I’ve ever read! I catch myself thinking about
it on occasion! This book had me craving ice cream and sweet tea! If you need a book to put you in a
good mood or to read in the summertime, Sixteenth Summer is the book for you! It will give you warm
fuzzies!

My Ridiculous, Romantic Obsesessions by Becca Wilhite
Ever have a perfect book come to you at the perfect time?! My Ridiculous, Romantic Obsessions
was that book for me. I remember feeling down about everything, but after reading this, I felt 100%
better…even though I cried a bit. The protagonist is college-aged which I love in young adult! She’s
obsessed with romance novels and refers to them in every aspect of her life. Such a great fast read
which will always be a favorite of mine!

The North of Beautiful
by Justina Chen Headley
The theme for many favorites of mine is my lack for reasons as to why I love them…my memory is
horrible! North of Beautiful is one of those books! It’s a book teaching us to look inside of ourselves for
beauty because beauty isn’t on the outside. I just remember enjoying the struggle the main character
has with herself and the general theme of the book is unique and it stands out.

The Disreputable History of Frankie
Landau-Banks by E. Lockhart
I’m thankful for the Award Winning Reads Challenge Ashley hosted with me because I might not
have picked this one up! Frankie was so strong! I loved her! It was a book based not on romance, but
Frankie’s struggle with wanting to be accepted in something she feels like she has a right to be a part
of and challenging it. I love romance in my books and this one has a bit, but I found myself not
caring if the romance was there or not…that means this book is fantastic coming from me!

The Chosen One by Carol
Lynch Williams
This is one of those “tough issues” books. Kyra is one of 21 children of her father’s from his three wives.
Kyra lives in a very religious community. She decides after she is to be wed to her uncle that she needs
to get away. I loved getting a glimpse, even if fictional, into a community like this especially from a 13
year-olds point of view. The ending of this one is very fitting for the story.

I’m a 26 year-old Hoosier. Currently I’m a SAHM to a 4 year-old boy
and a 3 year-old girl. I’ve been married to my hubby, Seth, for 6 years and I’ve known him since I was
senior in high school. I have two dogs and a cat which I love dearly even though they can make my
life more hectic than it needs to be. Besides my love of reading which is obvious, I love my Keurig,
crafting, and football. I’m afraid of heights to the point where I will not stay in a hotel

room above the 7^{th floor or drive in mountains unless it’s at night. I dislike milk and anything banana or coconut
flavored, so I’m limited on my cocktail choices. I’m a big young adult reader, but I do read an occasional
adult book. My favorite types of books would have to be contemporary and historical fiction, but it used
to be paranormal before I became more of an avid reader.}

I have loved all of the authors I've invited to participate in Just Contemporary. They were all invited because I especially loved whichever of their books I've read. But I definitely have to admit that Melina Marchetta agreeing to participate is the icing on my awesome cake. I've never tried to hide how much I love her writing or how strongly I've connected to her books, so here is my interview with Melina Marchetta! (runs off to fangirl squee more)

You've written both Contemporary and Fantasy. What made you decide to switch genres? Which do you prefer writing? Which is more of a challenge?

When Finnikin the character came to me, I knew I couldn’t set it in the here and now. It would have been too political, so I decided to set it in a world that looked like the year 1000. But I didn't want to deal with the Crusades so the fantasy novel was born. I had always been frightened of writing fantasy because I’m a bit in awe of good fantasy writing and didn't think I was good enough.

With regards to my preference, I always prefer the novel I’m working on so if you asked that question two years ago when The Piper's Son was being written, I’d say contemporary. I’m writing the follow up to Froi at the moment, so I’m preferring fantasy. With regards to difficulty, what I actually find is that the Contemporary novels are emotionally the hardest to write and the plot driven novels (Jellicoe and the Lumatere Chronicles) are structurally the hardest. The Lumatere Chronicles require much more research and world building and I’m currently in a great state of anxiety. Do not believe for one moment that writing gets easier.

Jellicoe Road is absolutely one of my most favorite books of all time. I recommend that book to so many people, more so than any other book I've ever read and I honestly doubt that I will ever find another book that affected me the way Jellicoe Road did. So, I'm so curious — What was it like? Writing that book?

Out of all my novels, it’s been in my head and heart the longest. I started writing a version of it back in 1993 and still today I’m putting the last full stop on the film script. So Taylor’s been there for quite some time. Plot, as I said earlier, is difficult. If you get one thing wrong, the whole thing pretty much falls to pieces and every time I solved one problem, I’d discovered another. It really hurt my head trying to get it right. While writing the film script I had to find a completely different way for Taylor to piece together the clues of the past so it hurt my head a second time. In the script, there are visuals like maps and wall charts and photographs and artwork to do the job of the words in the novel. I never want to have to replot this story again.

I think the key word is patience. I would never ever criticise someone who can write a novel a year. But I can’t. Some of the magical moments come to me when I've let it simmer between drafts. Jonah Griggs was born in that simmer. He appeared as a multi-dimensional character in Taylor’s story almost ten years after I first started writing it. I’d wait those ten years again for another character like him.

On a similar note — I've talked a lot of people who feel the same, who just so fully connected to the characters and the story you created. What does it feel like, knowing that you've inspired and created such intense emotions in so many people?

Overwhelming seems a cliché, but that’s what it is. What I love best is that most readers have responded to the friendships rather than just the love story. There are many things you want as a writer. Awards, shortlists, starred reviews etc are fantastic. But I want to be read, not just referred to. So knowing that someone in the deep south of America or a reader in Russia or Korea or Sweden or Spain is relating to Taylor, well that’s pretty mindboggling for someone on the other side of the world. Twenty years ago when my first novel was released, I calculated I knew two hundred people in the world and that only 200 people would ever read my work.

You said you wrote The Piper's Son because Tom wouldn't leave your thoughts alone. Are there any other characters that have been sneaking back that we might get to see again?

If that’s a surreptitious way of asking about Jimmy Hailler, no. I don’t know where Jimmy is. I think he’s happy though because the real Jimmy is happy and I never thought he would be. I looked up the real Jimmy’s profile on facebook the other day and under interests he wrote, “ laughing at people when they fall down”. Cruel, but very Jimmy-like and it made me laugh in the same way as when I knew him as a teenager.

The problem with revisiting a character is that you don’t just have to concentrate on one. You have to work out where they all are. How can I do that without breaking a reader’s heart with life’s realities or fooling them into believing in perfect endings for everyone? What I try very hard to do is leave the ending open for the reader so they can work it out for themselves. But I promise that in my head, they get a happy ending. Jonah appears in his little brothers book, The Gorgon in the Gully and I think I’ll be writing another Danny Griggs novel next year so Jonah’s bound to make another cameo. A friend and I are also working on a 10 part TV series which may go nowhere, but we think it’s about Jessa McKenzie, four years on.

You caught me.:) Although I'm beyond delighted to hear that Jonah makes a reappearance, I was most definitely hoping we'd get to see more of Jimmy!

Jellicoe Road is one of the most complex and layered books I've ever read. There is so much, so many secrets and hidden things to learn. Did you start Jellicoe Road knowing how the story was to unfold, knowing where it would take you? Or did the story surprise you too, unfolding slowly, layer by layer as you wrote?

I think I failed for so long because I didn’t know what the story was about. I only knew who the story was about and where it was set. But plot is very important in a mystery and it wasn't until I read the novel, Holes, that I figured out I was going to have a parallel story line. There are things that did surprise me. Without giving anything away, I remember exactly when mid-writing I discovered why Jonah was on the railway platform that day when they were younger. I've said before, there are parts in this novel that make me cry every time. The Jonah on the platform incident is one of them.

As you've probably guessed, I'm not exaggerating when I say that I LOVE Jellicoe Road. Are there any secrets or unknown tidbits you can share?

Just a few film script things. We have a producer, director and a complete film script. The two major differences between the script and novel are that Sam, the kid from Taylor’s past, isn't in the film script. But I do promise that the emotional impact of those scenes is still there. The other thing is that the Hermit is now part of the present, rather than the past. I’m almost sure we’ll cast mostly complete unknowns. It will be shot in Australia and I do have a dream actress for Taylor. I don’t think we have a chance of getting her but I spent twenty years on this story so I’m not exactly one to give up on a dream

What's next from you in the Contemporary world? Will there be a Finnikinthree, or will another Contemporary be next?

Well Froi of the Exiles has a cliffhanger ending. Not a Finnikin ending, but a true cliffhanger. The third novel, Quintana of Charyn, begins three weeks after and every time I read a fantastic review of Froi, I’m elated and stressed out of my head at the same time. QoC comes out in October 2012. After that I think I’ll be concentrating on our TV series idea. We want it to be really edgy and dark, but with a great sense of hope and powerfully flawed relationships and characters. That will be keeping us very busy.

Thank you so incredibly much for participating! I loved learning a little more about the books and your writing!

And to everyone reading this, go pick up a Melina Marchetta book pronto!!Seriously. She's amazing.

Today, as a guest, I have Kate from Literary Explorations. She was awesome enough to agree to writing a post when school wasn't quite so busy for her, and she read a book I also loved! See what she thinks!!

Rating: ★★★★★ Review: Tell Me a Secret by Holly Cupala was the first audiobook I'd picked up in years, and I'm so glad that I gave it a fair chance. Jenna Lamia's narration was flawless and in my mind she perfectly captured Rand's voice. Since I downloaded this to my iPod I was able to take it anywhere and found myself listening to it whenever I had a spare moment.

Rand was a great character and she definitely grew-up throughout the novel. Her pregnancy was scary and I couldn't believe how heartless her friends and family were. I also wanted to punch Kamran in the face many times because he was such a jerk to Rand. Her so-called friends weren't any better, especially Delaney who spread rumors about her, which idiot Kamran believed to be true. My favorite character was Shelly, for awesome reasons that I can't go into without spoiling the book, but just trust me, she is amazing.
Tell Me a Secret totally changed my mind about audiobooks and now I listen to them all the time. This was a wonderful contemporary read that drew me in and left me in tears once it was all over. I will now listen to anything that Jenna Lamia narrates and cannot wait to read Holly's second book, Don't Breathe a Word, that is due out in January.
Check out these fantastic reviews:

Ashley @ Basically Amazing Books
April @ Good Books and Good Wine

Today's Memory Monday post is a bit different from the norm. Rather than taking a specific reading memory, in spirit of Just Contemporary month, I want to spotlight some Contemporary reads for kids that I think could really draw them in and introduce them to the awesomeness that is Contemporary Lit at a young age. And next week, I'm going to list some of my favorite older YA Contemps to pull in those more reluctant/hesitant older readers.:)

Many of these are books that I have mentioned before, some of them even have entire Memory Monday posts already (they are linked). But this is a reference-type list so that all these awesome Contemps for kids are in one place. (There are many more books that fully deserve to be on this list, but I had to have some limits...)

First is Where the Red Fern Grows by Wilson Rawls. This is an older book, and it's actually set even farther back than that. It's never specifically mentioned in a timeline, but I get the feeling that the book takes place somewhere between the 30s and 50s. So while it's not actually Contemporary, it is Realistic fiction and it's the book that changed what reading meant for me. This was the first book that really hit me and taught me that there was more to reading than just a fun story, or words on a page. I had always loved books, but this book is what really taught me what it means to read.

Willo Davis Roberts is another great writer who really appeals to kids. I devoured her books. She made me believe that I could be amazing. The young kids in her stories were always the heroes and the most frightfully amazing things happened to them. It sparked my imagination and I had wildly exciting day dreams and my barbies had the most interesting lives, partly because of these books. (My mom was also terrified that I'd manage to get myself kidnapped because I believed so strongly in these kids, and just knew that I could handle it myself). But she fanned my love of reading and I don't know any kids that don't love to hear about how much smarter kids are than adults... :)

The Babysitter's Club by Ann M. Martin is a series I inhaled. I used to check out 15-20 of these books at a time and have them all back to the library within two weeks, usually faster. They were exciting and real and I so wanted to have my own babysitters club, once I was old enough to babysit. (I started reading them in 2nd grade, so...) The girls in these stories weren't perfect. They lied, fought, made mistakes, and there were always consequences. But they learned from them within their short little stories and became better babysitters, better friends and better people because of them, and I know that some of the lessons I learned in these books helped shape the person I am.

Sharon Creech so totally deserves a place on this list as well. Her stories are about growing up, facing challenges, accepting new experiences and just learning from life. They are told with that frank honesty of a childhood with that raw emotion of true knowledge of life. I can't even begin to describe how strongly I loved Sharon Creech, and still do, actually. Hers are stories that never get old.

Although I didn't read as much of them as my peers did, Judy Blume and Beverly Cleary are both great Contemporary writers. Beverly with her Ramona series and Judy with those Fudge books speak to that younger kid and seem able to use an age appropriate writing style to justify and validate what these kids are going through before they really have the words to explain it themselves.

If the kid in your life is able to handle more mature topics in their stories, I cannot recommend Cynthia Voigt's Tillerman saga enough. I know that I have talked about these books before, but they were a hugely important part of my growing up and formative reading years. I think these books helped me to understand the difference between putting on a brave/false front and true strength. Dicey had to be strong for her siblings. She had to grow up faster than any child ever should and even though I was her age or younger when reading these books, I was so incredibly proud of her.

Maniac Magee by Jerri Spinelli has an element of myth or fantasy to it even though nothing magical or fantastical happens. But the title character of the story has that sort of impact on people, even though he's young. There is much that a kid can learn from this story, but it is also a wonderful story, wonderfully told that will appeal to all sorts of kids, interested in all sorts of reading.

Sonya Sones writes in free verse and, if I'm remembering right, she was my first verse novelist. Her books are geared more in the tween spot, I believe, for those who are no longer children, but still not quite into their teens (11-14 or so). Because of the verse, the books read quickly but the stories lose none of their emotion or depth because of the sparsity of the writing. An easy read for those reluctant to pick up a book but still phenomenal stories.

Shiloh and Hatchet are both well written stories that appeal to younger kids, boys especially. Shiloh is about loving a dog and learning to protect creatures weaker than ourselves (and it's a dog book where the dog doesn't die!!) and Hatchet is a story of wilderness survival and strength.

Betsy Byars writes some fun MG Contemporary and she was my 10 year old brothers very favorite author for a long time (his personal favorite was The Cybil War) and both Andrew Clements and Gordon Korman write some really fun stories as well (I especially loved No Talked and No More Dead Dogs respectively).

Rules by Cynthia Lord is about a young girl whose brother is autistic and she struggles with appearances a lot throughout the novel. But it's a wonderfully sweet story that I absolutely adored. Very deserving of its Newbery Honor.

E.L. Konigsburg writes some very real characters, even if they aren't in very real situations. Like the characters in her Mixed Up Files who end up running away from home and spending the night in a museum (among other things). But her books, especially The View from Saturday were amazing reading experiences for me.

I could go on and on. There are so many wonderful books out there, so much amazing Contemporary for kids. Do you have any favorites? Books that made you love Contemporary as a kid? Contemps that kids you know love? Let me know!! Leave a comment letting me know if you've read any of the books I've listed and/or if you know of any I've missed!

I am so insanely excited to have Jay Asher on my blog today! I read Thirteen Reasons Why in college and it just slayed me. Such a phenomenal story, totally brilliant. AND because he really iscompletely awesome, he's donated a signed copy of Thirteen Reasons Why. Information below.

Thirteen Reasons Why is a very powerful and emotional book. What inspired this book?

A close relative of mine attempted suicide when she was a junior in high school, the same age as Hannah Baker in the novel. Around that same time, I came up with the idea of an audiotour-style novel, using two simultaneous narrators. Nine years later, the subject matter and the structure came together, and I began writing the book. I knew the structure allowed me to discuss the very serious issues with an element of suspense, which was important to me. There's no reason serious books shouldn't also be entertaining.

Did you always know the direction you wanted Thirteen Reasons Why to go? Or did Hannah and Clay surprise you? I always knew the emotional arc of Hannah's character, but the details that happened along the way were mostly surprises. As well, I had already written a large chunk of the book before I realized Clay's role in the story. Basically, I wanted to keep myself in the dark as much as possible, discovering the story as I went along. That way, if it was a suprise to me, I figured it would also be a surprise to the readers.

Did you have any idea writing this book the kind of reaction it would have? That so many people would so connect to it, would find it so powerful and emotional?
I had no idea this many people would love the book and tell so many other people about it. I always figured it would have a very strong, but rather small, following. There just happens to be a lot more people than I anticipated who allowed themselves to open up and try to understand what Hannah was going through. Many times, that's because they could identify with her a little bit. Other times, it's because they knew other people who'd been through similar circumstances. My main focus while writing Hannah's story was to write it with completely raw honesty, and I think that's what connected with so many people.

What has most surprised you (positive, negative or both) about the response to Thirteen Reasons Why? On the positive side, it surprised me how many readers say the book inspired them to reach out and get help. They identified with Hannah in some ways, but also recognized where she could have, and should have, done more for herself. On the negative side, I'm always surprised when people say they didn't like the book because they didn't think Hannah had good reasons to kill herself. Of course she didn't! Does anyone? Yet it still happens. The alternative is to have written a book where, when people were done with it, they said, "Yep, she totally did the right thing." People who were hoping to read a book like that, they make me a little nervous.

The Future of Us, your upcoming release, is not really Contemporary. Was it a lot different than writing Contemporary? Which do you prefer?

The premise required us to set our world in 1996, but we didn't write it any differently than if it took place today. Along the same line, there's a sci-fi element to the story, but we wanted it to feel very real. So while it's set in the mid-90s, and has a fantastic element, we wanted it to feel like a realistic contemporary novel.

You also wrote Future as part of a team. What was that writing experience like? Would you want to write as a team again, or do you prefer solo writing?
It honestly felt no different than writing alone... just faster. Before Carolyn Mackler and I wrote a single word, we had several discussions about our writing styles and philosophies. Because we have very similar thoughts on those things, the entire time we wrote and brainstormed the story, we never clashed. Sometimes we challenged each other, but always pushing toward the same goal. Having someone to bounce ideas around with every step of the way, the process flowed much quicker than usual. So while I would be afraid to write a book with someone else, because there's no way they could compare to writing with Carolyn, it was much more enjoyable to write as a team (with that team!) than writing alone.

What's next for you? Any information you can share with us about your work in progress? Nothing I can share, no. Like I said, I like surprises!
Oh you tease!! I cannot wait to see what you will be working on next! Thank you so much for taking part in my event! It's been awesome having you here!! And, as mentioned previously, Jay has donated a signed paperback of Thirteen Reasons Why. This is an International giveaway. (Everyone should tell Jay how awesome he is, because he is the one shipping the book. The contest will close, as are all Just Contemporary contests on December 10th. Enter on the widget below. (Also, I feel like I have to say that I am jealous of whoever wins this one. This is one of the books I would love to have signed! Le sigh.:) )

(You can skip this whole post by just clicking THIS LINK RIGHT HERE. Or, you can stick around to read my blatherings on [and lets be honest, you know you love it; P] and then click the same link down below)

Earlier this year, I read and loved Antony John's Five Flavors of Dumb. I haven't reviewed it, because I'm lame like that, but I loved it. Like, a lot. Seriously. It's one of the most intensely unique books I think I've read in a very long time, and seriously — it boasts one of the most fantastically awesome set of characters that I have ever come across. I mean I just... Well, I'll save all my lovin for my review (which will go up sometime, hopefully) soon.

But this post is for something different. Something I never, ever do. I'm going to tell you about a giveaway that someone else is having.

If you haven't already figured it out, Antony John is kind of like, you know, made of win. Many of you know that I'm hosting an event in November devoted entirely to Contemporary YA (and if you don't, shame on you — here is the link to the Just Contemporary Intro post). Given that I seriously loved Five Flavors of Dumb, I really wanted to see if Antony would be interested in participating. And he's totally in!! How exciting is that?!

The paperback release of Dumb is coming up at the end of this month, the 29th if I'm not mistaken, and Antony has set up an awesome giveaway to coincide with this release. He's offering a signed bookplate to anyone who orders a paperback copy and he's also entering anyone who lets him know they purchased a copy into a giant giveaway prize pack of win. It's one of those prize packs that make you go all week and wobbly in the knees.

So go check it out. The full details are available on his blog-

FIND THE DETAILS BY CLICKING THIS LINK

And really, if you haven't discovered the awesomeness that is this book, you should go do that now, so we an be friends again.:)

Other by Karen Kincy is a strange book to try and review. Because, while I did genuinely enjoy this book, there isn't a lot to be said about it. It was enjoyable, but didn't evoke any particularly strong emotions, positive or negative. However, there were some definitely pluses and minuses to the story.

I loved the world Kincy created. Mythological/Paranormal/Fantastical creatures are real, (the politically correct term if 'Other') and while society is supposed to be open and accepting of them, there is still a lot of prejudices, especially in small towns. Gee... Who'da thunk it?

Gwen doesn't feel like she fits in. She's half Pooka (super lame name for a really neat mythos) but because her father was a short-term fling, no one else in her family is anything paranormal. Her mom and step-dad don't really understand her, and her half-sister is annoyingly brainy and perfect and couldn't possibly relate to Gwen, trying to struggle with the two halves of herself. It definitely doesn't help that she lives in a small town that just plain isn't open or accepting of these paranormal creatures. And really, life like that would kinda suck. Normal paranormal teens can't be open about who they are, because the world doesn't know they exist, and they'd really rather like to keep it that way. But in this world, paranormals are 'out' but kids like Gwen can't be all the way open about it because of prejudices and cruelty. Personally, I think the second situation would be way worse to face.

And then, a serial killer starts killing Others in her town. And the police aren't terribly interested in proper follow through. This adds much drama. As does the fact that Gwen has a long time boyfriend who still doesn't know she's Other and she just met IRL a blogger she's been communicating with for a long time online (although she doesn't tell him who she is...) . Oh, and this blogger is a hot guy... So, drama. Drama, drama,

I'd like to just kind of bullet list the things that kinda bothered me about this book. I didn't like that the number one enemy of Others were Christians. In this book, to be Christian is to automatically mean that you hate all things Other and that you believe they are curses on God's people. Is it just me, or is anyone else sick of seeing Christianity or religion in general used as an easy scapegoat, and easy out?! Oh, you say we need a whole huge group of moderate baddies that can easily become psycho baddies? Oh, but easily without quite to much time or writing... Hmm. Oh, GOT IT! Let's just make 'em Christian and go home!

I also thought that much of the character interaction was... awkward and stilted. And I'm not talking that awkward teenage thing, where you just watch them stumble all over and embarrass themselves. On more than one occasion, I had to reread the sentence and just kind of think... Has this author actually had conversations before? Because I have never met anyone who talks like that. Also, what is with teenage girls in books hitting people they are conversing with as punctuation? Sometimes it works, like HEY! STOP THAT! — whack. But most of the time it's just weird to read about.

There were also moments where the writing was inconsistent, as was Gwen's character. Like being deeply, deeply prejudiced against werewolves, but finding werepuppies to be cute and cuddly. Any other examples I could give would either be too long or too spoilery, but they were there.

So, they writing could do with a little tightening up, a little cleaning out and a touch more authenticity in character interactions.

But overall, it's still a book I would recommend. It's a book I enjoyed reading, and if you are looking for something a little different from the normal paranormal vamps and werewolves, this is a great book to pick up. Although the more common paranormal creatures are included in the story, all of the central characters, all of the characters that get the most attention are much more uncommon and it was awesome to get a closer look into some of that paranormal awesomeness.

Hey Guys! I just wanted to jump on to tell you to go check out my guest post over at A Tapestry of Words! I mentioned on the first that I was going to be guest posting as part of Danya's awesomely fantastic Psychtember event! It's already gotten off to a great start, and today, my post about Depression in YA is up! Go check it out, and let me and Danya know what you think!! (Click the italicized words below to see what I think!)

Depression in YA — A Psychtember Guest Post

Today, I have Kody Keplinger, author of The Duff (my review) and the upcoming Shut Out (review soon) visiting to share some of her favorite books from childhood with us!

My Childhood Bookshelf

I was a big reader as a kid, and I had a lot of favorites that I just could not have survived without. Looking back, I still love most of the books I loved back then. So I wanted to share some of the best books from my “childhood library” with all of you, and whether you are young or just young at heart, you should check them out!

One of my favorite books as a kid, and one I could not have survived without, was Are You there, God? It’s Me, Margaret by Judy Blume. I read this book when I was about ten years old, and it was just so real. I reread it last year, even, and wow, it holds up! Judy Blume dominated most of my childhood reading list, actually. Deenie, Blubber, and Just As Long As We’re Together were other favorites, all of which are
still totally awesome, even without being a kid anymore.

Another book I loved (that I just reread last month, actually) was Tuck Everlasting by Natalie Babbit. In middle school this book blew my mind. I loved the prose, the characters, the gentle, fantastical premise. I read it over and over and over again, and when I reread it last month, it was still captivating, steal beautiful. This is one children’s book I recommend to everyone, no matter what age you are.

And, of course, this would not be a complete post without Harry Potter. I was in a major reading slump when I was in the fourth grade. Then someone gave me a Harry Potter book, and I devoured it. My mom read the first three aloud to me, then I plowed through the fourth and waited impatiently for the fifth. I can honestly
say I wouldn’t be the reader I am today without Rowling and her wizarding world. My “childhood library” would have a whole shelf devoted only to Harry Potter books. They are, by far, the best of the best.

So that’s what was on my childhood bookshelf (and still on my bookshelf today, actually!) I have to say, I’m surprised by pleased that all of my favorites still hold up today. Now, I think I’ll go reread some of my Harry Potter books. If you’ll excuse me...

So, I'm going to break one of my personal review rules/no-nos/pet peeves here for Peter Nimble and His Fantastic Eyes by Jonathan Auxier and I'm going to compare it to another book. (Gasp, I know... Also, insert appropriate apology here). The story itself is pretty unique and charming, but I was reminded from the very beginning of A Series of Unfortunate Events by Lemony Snicket. The stories are not anything alike, but the writing felt very similar to me. It's told in that same third party narrative where the narrator will interject at times with 'clarifications' and comments. And it also had that same impossibility of character (like the baby biting through steel in ASoUE).

And I don't like it.

I did not enjoy the SoUE. I read most of the books and finally gave up because the story just wasn't enough to get me over my dislike of the narration and other... things. But I will say that although the narration was, at times, quite jarring to me, overall, I actually really enjoyed this book.

Once I got past the beginning, where the infant is left to fend for itself by the town elders and survives, I found myself really drawn into the happenings of the story. But it was a struggle and initially, I was really disappointed in the story, because I need my fantasy to be believable and realistic, which means I need to believe in my characters. Once Peter has gotten past his unbelievable childhood, the story really picks up for me. I found that I really liked Peter and I wanted so badly for him to succeed. There was so much at stake for him, and he had so little happiness in his young life that I so wanted things to work well for him.

The story was quite charming, and again, once past the beginning, this unknown/unseen narrator really does keep his comments and opinions to a minimum, allowing me to get farther into the story. I loved watching Peter learn about his surroundings, learn about himself and realize that he can teach and help others. He worries that his past as a thief makes him unworthy and he often sometimes confidence in himself, which is not surprising considering he's spent the last several years being told he's practically worthless. But Peter is strong and he is made of greater things than he knows, and there is much he needs to do in order to complete the quest given him by the mysterious professor.

His traveling companion, Sir Tode was also a rather enjoyable character. The victim of a Hag's curse (one that I think you definitely need to discover on your own) Sir Tode is an unlikely companion, but is really willing to be there for Peter, to be his eyes and his friend.

I'm so glad that I stuck with this book, that I didn't allow myself to get too discouraged when I started the book. It's a beautifully charming story, even with the narration being what it is. Peter is strong and brave, and although not perfect (for reasons I won't specify to avoid spoilers) Peter's struggles with being blind are raw and real. Peter understands that his skills as a thief are only what they are because of his blindness. He can hear and smell better, and his fingers are far more sensitive. He recognizes this. He knows these things. But he still longs for the ability to see. But he also doesn't dwell on it. It's one of those things, it is what it is, and he makes the best of what he has. I love little Peter.

The fantastic eyes were also such an enjoyable part of the story. I wasn't sure going into it, but after reading, I can (fairly confidently) say that this is a stand alone story. I had originally thought that perhaps it would be a trilogy, with one book dedicated, primarily, to one set of eyes, but I am happy to say that this story stands alone. All three eyes are used (and umm, pretty brilliant, if I may say so!) and the story resolves itself completely, in that way of all middle grade (ok, most MG).

I think this is a charming and delightful book, and I think it's one that will be enjoyed by many, many people. If you are a fan of Lemony Snicket's writing style, I think you will just love this one. And if you are not, give it a try anyway. It just might surprise you.

Oh! Also — I loved the small illustrations that started each chapter. They were fabulous additions to the story and they made me all happy inside.:)

*Disclaimer: I received an ARC of this from the publisher in exchange for a fair and honest review.

Have you ever read a book that sounds amazing, that seems to have every element that will make it a fantastically amazing read, has a million things you pick up on that you just love, lots of thoughts on life, good writing, good characters, great depth, and gives you so much to talk about but somehow, even with all of that going for it, just doesn't really do it for you? Ship Breaker by Paolo Bacigalupi was that book for me.

I'm having such a hard time identifying my thoughts on this one, because I don't really actually have anything bad to say about this one. All that I said above is true. There is a lot of brilliance within these pages. But perhaps therein lies my problem with it. It is, perhaps, too caught up in its own brilliance. There is so much to learn from this book. It tackles so many issues. I started to list all the ones I picked up on, but decided after 14 that it was a bit much for this review. The only thing I can think of that makes me not love this book as much as I logically should is that there is just too much hidden behind the words, perhaps too much that the book is trying to teach us and a few of the sections felt a little less... real because of this.

I hate trying to review a book where I can't actually pinpoint my dissatisfaction. I like being able to spot and say exactly where the book didn't quite work for me, so it makes me a little uncomfortable that I can't do that with this one. I want to be able to clearly iterate why I didn't love the book as much as I'd expected too, as much as many other people have.

Now don't get me wrong. This is a very well done book. I don't normally write down favorite quotes, but this one had me copying down several. And the things you can learn from this book, although plentiful, aren't terribly overbearing, especially on their own.

One of the strongest discussions throughout the book is what it means to be human, and if it's ever alright to treat someone as less than human. There are class differences and racial differences at play here and both sides look down on the others. The really poor, like Nailer, our main character, look down on the rich and wealthy. They look down on the people who pay the small children of the poor to crawl inside rotting and rusting ships hoping for small pieces of scrap they can sell, so they can eat. The rich look down on the poor as the extremely wealthy have been known to do throughout all kinds of history. When Nailer and his friend stumble across one of the wealthy and have the opportunity to become rich or to save this girl's life, everything changes.

Loyalty is also a huge theme in this story and when loyalty can go too far. Morals and ethics are debated, lives are changed and the reader is left with thoughts that should nudge about their brain for days and weeks and months. And right there... I think I just identified why I am not as enthralled as so many others are. And it's that, right there. While reading and directly after I knew that this book was supposed to be one of those books that would resonate and stay with you for a long time, perhaps even changing the way you think and view the world. And for a great many people, it has done that. But for me, it missed the mark. I knew after finishing that while I would remember details of the book, the same way I remember details of most of what I read, it is not a book that would stay with me the way that those books who make my favorites list do. And that was disappointing because I was fully expecting it to.

Anyway, this is still a book that I strongly recommend, that I think is important to read. And perhaps it will surprise me. Perhaps the important parts of the book will come back to me at odd times to settle in and make me think. This is also a book that I fully intend to reread. I have a feeling it's one of those books that is even better on the reread.

And now, for the first time, I'm going to end my review with my favorite quotations from the book. I'm not going to give you any background on where or why they are spoken, (perhaps this will encourage you to read the book...) but they really are lines that will make you think, lines that make you questions and quotes that make you wonder.

"The only reason you think you've got morals is because you don't need the money the way regular people do." pg. 194

"Killing isn't free. It takes something out of you every time you do it. You get their life, they get a piece of your soul. It's always a trade." pg. 174

"Lucky girl used to look at me the same way you're looking at me. And now she doesn't. That's why I'm going with you. No other reason. Got it?" pg. 253

Everyone, help me welcome Sierra to the blog today! She has an absolutely wonderful memory to share with everyone today! Help me make her feel welcome!

My name is Sierra, and I blog on Yearning_To_Read. I've been blogging for almost a year now; I started Yearning To Read back in June 2010. It has been an amazing experience, and I feel so priveleged to be a part of a project like this. My blog first started out as a way to review good books (okay, and some bad, too) and have fun with it. Now it has turned into much more: I write about vintage books that I buy, poems, and quotes that I love; and in January I added something new: giveaways, so far my favorite aspect of blogging. I love giving books: What a great way to do it!

About me: I'm a 17-year-old senior in highschool and I've been homeschooled since preschool. I LOVE it. LOVE LOVE LOVE. It has allowed me to study everything that I would study in a public school, but it also gives me a greater freedom to focus on what I love: literature, writing, foreign language, and Photography. It has been a journey, full of adventures. AND... my mom is the best teacher.:) I live in San Diego, CA, which is one of the best places to live. Someday I hope to travel to new ends of the world, but I want to always have a home to come back to in San Diego. I've beed a reading maniac since I was 7, and I've been writing novels (yes, novels) since I was 8. Not that they were any good, of course, but it's the thought that counts, right? I still write all the time... the stories come and come and come relentlessly. I hope to someday be a published author. It's been my goal for 9 years and counting — I'd say that's pretty promising!

And now, for my memory.

It was Easter Sunday, 2008, after church. It's funny, how some days start as one thing, with you having a goal for the day, an idea of what it's going to look like. And then, it all changes. Drastically. Funny what books can do to you in a day.

The day before, I had picked up Inkheart. I'd bought it a while before, with its published companion Inkspell. I'd heard it was good from a friend; the movie was coming out; I had a giftcard. How could I lose?
But anyway, back to the story:

I remember lunch at our house, with our friends. I brought Inkheart to the table with me and had it under my leg. (This is the first time I remember doing this.) Between bites, I'd reach down and feel the cover, the grooves and bumps on it which were (and still are) Meggie's fingers, the gold coins from Treasure Island, the lizzard from the desert, the castle from the fairytales. I wanted to read it; I wanted to be captured in the story and transported.
After lunch, I helped clean up a bit, but I was itching. Itching for the story beyond the covers. The second I was free, I ran upstairs and into my room, where I stayed. I opened the book. And read.

For 6 hours.

Now, let's get something straight here: I'm not a fast reader. I got a total of about 250 pages done in those six hours. I took two breaks. But the rest of the time, I was hooked. I remember it vividly, the first time I read that journey and was immersed. I remember starting by sitting on my bed; that soon got stuffy and uncomfortable, after so much food. Then I sat between my desk and my footboard, legs up, book on my knees. That, too, eventually became uncomfortable. My legs cramped and it was getting hot in the room. (Or was that Dustfinger's fire, leaping out of the pages to catch me?) Then I went outside to the patio, where I read some more. I sat on a reclining chair and my body soaked up the spring sunshine and fresh air — and all the while my mind was soaking up the intense story that isInkheart. My mind was lost in a fantastic world that becomes a part of the reader.

I finished Inkheart two days later. Then, I started Inkspell.

In no way was I prepared for what lay on those pages, in that ink. I'd experienced a ride with Inkheart — but with Inkspell... I don't know. Something was different. Mentally, emotionally. It played with my emotions like Dustfinger plays with his fire, like Mo plays with his words.
In the end... let's just say that not very many other books make me sob. (I am a usual crier, yes, but not a usual sobber.) If a book gets me so emotionally that I cry really hard, it usually ends up on my favorites shelf. It means more to me than most books because it moved me more. It was just so when I finished Inkspell. I was sitting on the couch (I think it was the Thursday after Easter Sunday) and my sister was sitting across from me, reading one of the Madeleine L'Engle books. And as I lay there, reading the last few chapters, sniffling and wiping tears away and burying my head in my arms, she kept staring at me strangely, wondering what the heck could have changed my emotions so drastically.

(Are you wanting to know as well? I advise you read the book. 'Twill be worth it, I promise.)

And that is my memory. My vivid, lovely memory. I remember all the emotions, the sights and smells. In fact, the smell of the Inkbooks are still some of my favorites to date. Oh, and did I read Inkdeath ? Yes, yes I did. I remember longing for it, and when it came in the mail I was proud to know that I was one of the first people to ever hold it in my hands. And I LOVED the book.

This memory is particularly special to me, for a few reasons. Not only were these some of the very first books that I became emotionally attached to, but they were also some of the first fantasy books I'd ever read. They got me hooked on the genre, and they are still an example of what great fantasy is. Since that week I've read Inkheart 3 times total, Inkspell twice total (and the end several times — it makes me cry every single time), and Inkdeath once. Each time I read the first two, those memories come back, swiftly and vividly. It's strange — the books that talk about books catching memories between their pages are the books that have caught the most memories for me.

And they are memories I will always cherish and will never forget.

Thank you so much Sierra, for sharing your memories with us! This sounds like an incredibly important read for you. I remember these life changing reading experiences in my own life, and am so happy that you shared yours with us!

Readers, remember that if you would like to be a Memory Monday guest, in my blog for more information!

With us today we have the lovely Elizabeth C. Bunce, author of A Curse Dark as Gold, a fantastic retelling of Rumplestiltskin (set in the Industrial Revolution! Brilliant!) and the "Thief Errant" series, which is about Digger, a spy and thief who unwittingly finds herself at the center of a magical rebellion. The first book, StarCrossed, is out now, and the second, Liar's Moon, comes out in November!
Make sure to stick around till the end of the interview for a chance to win your own copy of StarCrossed!
Without further ado, I give you: Elizabeth C. Bunce!

~What inspired you to set the tale of Rumplestiltskin in the Industrial Revolution?
A couple of things, actually. First, I wanted to set the novel in the time and place of fairy tales—that imaginary Fairy Tale Country—and thanks to classic artwork by Dulac, Dore, and others, for me that's the 18th century. Second, it was a natural extension of the decision to set the story in an ailing textile mill, because the social and economic changes of the Industrial Revolution presented an existing set of realistic obstacles and conflict for the plot. And, to be perfectly honest, I was in love with the clothes of the era, and just couldn't imagine Uncle Wheeler dressed any other way!

~What was the research process like for the story, both on the fairy tale front and the historical front?
On the fairy tale front, I read as many traditional versions of Name of the Helper tales as I could—not just early "Rumpelstiltskins," but also pieces like England's "Tom Tit Tot" and Scotland's "Whuppity Stoorie." But my goal was always to focus on the story of the girl who bargains away her infant son, so I did stick pretty close to the "Rumpelstiltskin" framework. The rest of the research—oh, mercy! I dug into everything from everyday life in the 18th century, to traditional folk magic and ghost stories, and, of course, a huge amount of research (both book learnin' and the hands-on kind) into the woolen textile industry. I have monographs on wigmaking, esoteric economic histories of individual mill towns, even the journals of period woolworkers. For me, research uncovers not just the things you know you're looking for—but almost more importantly, the things you had no idea you needed.

~Will we ever see more stories set in Charlotte’s world?
Yes! I have one published now, a ghost story called "In for a Penny" in the Scholastic anthology Bones, edited by Lois Metzger (July 2011). And I have a few more ideas—including more retellings—up my sleeve, as well.

~Why fairy tales? What is it that calls to you, personally,as a writer, and why do you think readers connect to them the way they do?
As a reader, I'm even a bigger fan of retellings than I am of the original tales. I am fascinated by the ways authors expand and adapt the source material while keeping the stories fresh and accessible to today's readers. There's so much potential in the fairy tales, and I find it really comes to life in a brilliant retelling. I'm particularly drawn to the fairy tale landscape—the dark woods, the impenetrable briar hedge, the castles. But as a writer, I like the challenge of re-imagining those classic settings; expanding the borders of Fairy Tale Country, as it were!

~StarCrossed seems pretty different from Curse; did you feel it was a departure for you? How does StarCrossed’s Digger compare to Curse’s Charlotte?
I like to say that Curse was written for my adult literary and fairy-tale scholar self, while StarCrossed and Liar's Moon were written for my inner 16-year-old fantasy fan. So in that way, I can't say the series is a departure, although it did feel very different to write Digger's story than Charlotte's. As characters, Digger is a complete 180 from Charlotte. Charlotte thinks over everything before she makes any move, and Digger is very much more a Shoot First, Ask Questions Later kind of girl. Oddly enough, their goals end up being the same (saving the people they care about), but their methods are a little different. I have a feeling Digger would have taken one look at Shearing and Stirwaters, said, "To hells with this," grabbed everyone, and lit out of there.

~StarCrossed is a series, so I know you’re in the middle of that, but are there any plans to tell more straightforward fairy tale retellings in the future?
Definitely! The first novel I ever wrote was a retelling, I have a collection of short retellings that's been in the works for a while, and I've just started collecting research materials for a Victorian-era fairy tale project I'm excited about.

~What’s your favorite scene you’ve ever written?
I don't know! What a great question. Since we're talking about Curse, let's narrow it down some. I still think that book has some great scenes (I especially love the conjuring of Jack Spinner, the introduction of Biddy Tom, the crossroads, and the denouement)... but today I'm feeling romantic, so I'm going to say Randall's gift of the watch. There's something magical about those rare moments where you can capture everything about a story in just a few lines, and I think this scene between Randall and Charlotte tells us so much about both characters.

Lightning Round!

~Rapunzel is named after lettuce; what odd thing would you be named after if you were in a fairy tale?
Hopefully I'd get a name! But it would probably be something like Donkeyskin or Aschenputtel. Maybe Doghair. Hundehaare. That sounds about right.

~ Using that name, give us 1 line from your life as a fairy tale:
Hard by a great prairie, in a cottage surrounded by mud in all seasons, guarded by a pack of hounds, lived a woman known as Hundehaare, whose back was permanently bent from bending over her books, her fingers gnarled and pricked from the needle. But from her muddy cottage, Hundehaare crafted things of great wonder, and her work was sought by folk from distant lands.
(Ok, that's two lines!)
[The judges confer... Two lines is acceptable, since they are such good lines.:) ]

~Best fairy tale villain and why?
Well, see, I tend to take a longer, more sympathetic view of my fairy tale villains, so it's difficult to come up with a list of inexcusable baddies. The thirteenth fairy in "Sleeping Beauty" is awfully petty, but, then, who hasn't felt wounded at being excluded from a party? And for mismatched dishes? But after giving this some deep thought, I'm going to have to go with The Pea.

~Favorite tale from childhood? Favorite tale as an adult? Least favorites?
My favorite always was and will probably always be "Beauty and the Beast." The least favorite one is hard to answer; it used to be "Rumpelstiltskin," hands down—but I feel kind of bad about saying that now, since the story has actually been very good to me!

~If you could be any fairy tale character, or live through any fairy tale "happening," who/what would it be?
Although it directly contradicts another answer below, I'm going to say I'd like to accompany the soldier as he follows the dancing princesses to Faerie.

~Would you rather:
- — eat magic beans or golden eggs?
Eggs

- — live under a bridge with a troll, or all alone in a high tower?
Tower

- — be forced to spin straw into gold for hours on end, or dance every night until your shoes are worn through?
Spin. Was there ever any doubt?

Thanks so much for stopping by and chatting with us, Elizabeth! For those of you who haven't read A Curse Dark as Gold (was there ever a better title?), Misty and Ashley both highly recommend it! And if you haven't read StarCrossed, here's your chance!

Misty's review of A Curse Dark as Gold | Ashley's review of StarCrossed ***GIVEAWAY*** Thanks to the awesome people at Scholastic, we have a beautiful finished hardcover copy of StarCrossed to give away to 1 winner!
To enter, answer this question: If you were to retell a fairy tale, what would it be and where/when would you set it?
Then, fill out this form.
International
Ends May 5th May 8th!

Not Your Average Retelling By Marissa Meyer
Fairy tales and folk tales have been around for hundreds of years, being re-shaped, re-twisted, and re-told again and again. And yet readers continue to hunger for more, as is evidenced by not only the deluge of fairy-tale retellings in the book market, but also Hollywood’s current obsession with them. (Have you heard of the three Snow White movies coming out in the next few years?) How do writers continue to work with the same material, yet give us such vastly different renditions?

Here are some ways that today’s writers are keeping our beloved tales alive and new.

Lesser Known Tales
There are some tales that pop up again and again. How many Cinderella remakes can you list off the top of your head? How many Beauty and the Beasts come to mind? While there are good reasons these tales have stood the test of time and popularity, there are also a lot of great stories that, in the past, went ignored in our Disney culture. Not the case anymore! As the market for fairy tales becomes more saturated, more writers are delving deeper into the works of Grimm, Andersen, and even non-European cultures, and seeking out stories that haven’t yet received their due.

Tales that once would have been considered fringe (such as “The Twelve Dancing Princesses” or “East of the Sun, West of the Moon”) have received more attention lately with books such as Entwined by Heather Dixon and East by Edith Pattou, and I have a feeling we’ll be seeing more and more non-Disnified tales on the rise. After all, the Grimm brothers alone had over 300 tales collected, so writers have plenty of material to choose from.

Examples of Lesser Known Tales Retold:
Matchless by Gregory Maguire (based on “The Little Match Girl”)
The Swan Kingdom by Zoë Marriott (based on “The Wild Swans”)
A Curse Dark as Gold by Elizabeth C. Bunce (based on “Rumpelstiltskin”)

Original Settings
Another way authors are setting apart their fairy-tale retellings is by choosing interesting times and locations for them to take place in. Writers are no longer trapped in fantastical, make-believe worlds just because they lend themselves so easily to the original stories. From ancient Greece to futuristic space colonies, the options are endless, and (lucky us) writers are taking advantage of that! Will we soon be watching Puss in Boots in the court of Louis XVI? Will the next Frog Prince hop out of Cleopatra’s Nile? We’ll just have to wait and see where authors are willing to take us.

Examples of Retellings with Original Settings:
Briar Rose by Jane Yolen (“Sleeping Beauty” set during the Holocaust)
Toads and Diamonds by Heather Tomlinson (“Diamonds and Toads” set in pre-colonial India)
Mirror, Mirror by Gregory Maguire (“Snow White” set in 16th-century Tuscany)

Unique Twists
No matter how rare (or common) a tale is, or what fascinating time and place it’s set in, the best retellings still have one thing in common: the author has made it strictly their own. There is still something that sets that story apart from the Grimm Brothers’ or Hans Christian Andersen’s or any other author who may choose to re-spin the same tale.

Gregory Maguire is renowned for telling fairy tales from the villain’s perspective (see Confessions of an Ugly Stepsister). Gail Carson Levine turned the classic Cinderella story upside-down in Ella Enchanted, when she gave Ella an unusual curse—she must do whatever she is told to do. These “retellings” are almost more like “re-envisionings”—they may use the bones of the classic tale for inspiration, but then the author took the story in a new direction that we’d never seen before.

I believe it’s these new twists on the old stories that keep readers hungry for more retellings, because you just never know what an author is going to do next. How will tomorrow’s fairy tales differ from today’s? I, for one, can’t wait to find out!

Examples of Retellings with a Unique Twist:
Ash by Malinda Lo (“Cinderella” with an LGBT romance)
Sisters Red by Jackson Pearce (a modern “Little Red Riding Hood,” in which two sisters become werewolf hunters)
A Tale Dark and Grimm by Adam Gidwitz (a collection of tales, including “Hansel and Gretel,” strung together into one continuous storyline)

~*~*~*~*~*~

Marissa Meyer’s debut novel, Cinder (“Cinderella” set in the future), re-imagines our princess as a teenage cyborg faced with the task of saving the world. It’s scheduled for release in early 2012. You can find her online at: Blog | Facebook | Goodreads | Twitter | Youtube

Joining us now we have Bonnie from A Backwards Story interviewing Sarah Porter, author of the 2011 debut Lost Voices.
Check it out!

Sara Porter’s debut novel, Lost Voices, is the first in a trilogy... about MERMAIDS. While not directly re-telling any single tale, Porter weaves together mermaid lore from several places while creating her own world. The most creative twist is the fact that mermaids were once human girls, reincarnated after “dying” and have siren-like tendencies. For a teaser of Lost Voices and to learn more about the novel, please visit A Backwards Story. A full review is scheduled to post on ABS June 21th to celebrate the first day of summer. Lost Voices comes out two weeks later on July 4, 2011, so please add it to Goodreads and your TBR now!

1) What were your favorite fairy tales growing up? What drew you to them?
I grew up with this old book of Russian fairy tales that someone gave my mom’s dad when he was a kid back in 1911, and I adored them. They were long and dark and complicated and painful, and I think they’re very true to life. A lot of them follow a storyline where the protagonist betrays his or her magical beloved and has to go through a long journey and a series of ordeals to win that lost love back. In fact many of us do have to undertake a long (emotional) journey before we’re ready to truly love.
Those stories are embedded in my mind. I still see life through the lens they revealed to me.

2) What made you decide to write Lost Voices? What brought everything together for you?
It’s hard for me to say where it all came from. One source was a talk I had with a friend on the beach, where we improvised a story about a punk mermaid who lived apart from the others. And I wrote an earlier story in graduate school that used some of the same ideas as Lost Voices. In it, mermaids were orphaned girls who could swim through the earth and steal other girl-children away. When I actually started writing Lost Voices, I was unemployed and stuck on another book, and the story just kind of picked me up and carried me. I wrote a draft in four months.

3) Was it hard coming up with your own lore when you began world-building? How did you bring everything together? The mermaids felt so real!
Thank you. They feel real to me, too. The mermaid lore actually develops a lot more in the second volume of the trilogy, Waking Storms, when my heroine Luce begins to learn about the history of the mermaids and why they’re so driven to kill.
But I wouldn’t say it’s hard to come up with the lore or the world. The hardest part of becoming a writer is getting yourself to the place where the stories come to you by themselves. Once you’re finally there, it’s all a lot easier. I knew from the beginning that the mermaids were the lost girls who’d flowed away to sea.

4) Can you tell us more about your overall goals for the trilogy?
That’s hard to do without giving too much away! But Luce has a long way to go, and things will get much worse for her before they can start to get better. The trilogy is really about a choice we all face: we can stay stuck in our pain and keep repeating the same reactions to that pain, the way the mermaids keep sinking ships. Or we can look for creative ways to break the cycle and move on. It’s an incredibly difficult thing to do, but ultimately that’s what Luce has to accomplish.

5) What other ideas are you working on right now?
I only work on one idea at a time, because I can only live in one imaginary world at a time! But I do have a novel for adults sitting around half-finished; it’s sort of a horror novel about sentient objects, called Boudoir, and as soon as I complete The Lost Voices Trilogy, I want to get back to it. And I’m playing with the idea of a young adult novel based on some of those old Russian fairy tales, too.

6) What are some of your favorite fairy tale inspired novels and/or authors?
Well, it’s not YA at all, but I really love Ingeborg Bachmann’s Malina. It starts out seeming realistic and then gets creepier and more fairy-talish as it goes along. The heroine’s boyfriend gives her a hairy black dress that eats into her skin, and that she can’t take it off. And Susanna Clarke’s Jonathan Strange & Mr Norrell was fantastic and really captured the odd logic of the fairy world. That’s a book I think a lot of YA fans would adore! Most of my favorite books have kind of a fairy tale quality about them even if they’re not directly inspired.

7) If you could live out any fairy tale, what would it be and why?
Hmm. Maybe I’d like to be the Frog Princess. She’s such a badass.
In fact I think we all live out fairy tales all the time, whether we want to or not. Not necessarily the happily-ever-after parts, but the struggling-to-make-our-way-through-forces-that-are-bigger-than-we-are parts.

8) What's your favorite Disney rendition of a fairy tale? What makes it so special?
Dumbodoesn’t count, does it? Then I think I’ll go with “The Sorcerer’s Apprentice” section of Fantasia. It conveys so much of the feeling of being overwhelmed by magic, caught up in a dream.

9) Rapunzel is named after lettuce; what odd thing would you be named after if you were in a fairy tale?
Sparrow. I totally identify with little hoppy, dust-colored birds.

Bonnie from A Backwards Story is with us again today, bringing us another fantastic interview — this time with Carolyn Turgeon!

Carolyn Turgeon is the author of three novels, Rain Village, Godmother, and Mermaid. Her next novel, The Next Full Moon, is scheduled to come out in August/September 2011. Based on Te Swan Maiden, this will be Turgeon’s debut novel for young readers. Her novels tend to be twisted versions of fairy tales you’ve never seen before, such as The Little Mermaid from the princess’ perspective in addition to the mermaid’s or a version of Cinderella where the godmother is banished from the fairy realm when something goes horribly wrong... For a review of Turgeon’s work, please visit the above links. Reviews of her other titles will come to A Backwards Story later this year. Godmother and Mermaid are also featured in a FTF guest post titled FRACTURED FAIRY TALES.

1) What were your favorite fairy tales growing up? What drew you to them?
I can recall loving all kinds of stories, such as Thumbelina and The Princess and the Pea, with all their strange and wonderful images—the tiny girl floating along in an acorn, the princess with her stack of mattresses. I think my favorite fairy tales were by Oscar Wilde: The Happy Prince, The Nightingale and the Rose… but my favorite was The Selfish Giant. It’s very sad and strange and beautiful—the ghostly little boy, the lush garden, the endless snow and frost, the giant who gets struck down, covered in white blossoms… I’ve always tended to like stories that are very sad.

2) What made you decide to write alternative versions of fairytales from unique perspectives?
I didn’t really start out intending to write alternative versions of fairy tales. When I started Godmother: The Secret Cinderella Story, I just wanted to tell the Cinderella story straight, with lots of wonderful, lush detail and full, fleshed-out characters and all kinds of weirdness and darkness, etc. That’s what I love about fairytales, by the way—that strange combination of beauty and darkness you find in all of them. After my first book, Rain Village, which took forever to write, I wanted to do something that I thought would be a lot of fun, something that I would really love writing. I only decided to tell the story through the perspective of the fairy godmother when I realized how limited Cinderella’s perspective was—back then I only ever wrote in first person—so I figured that if the fairy godmother was narrating she could be pretty omniscient, tell you what was going on with Cinderella and the other characters. Plus, she could tell you her own story, too, which I thought might be interesting. Later, I decided to set the book in contemporary New York City and only have the godmother remembering everything that had happened in the other world. The book is set half in New York and half in the fairy tale world (in flashbacks). I only decided to do that after joining a writing workshop and seeing that the people in the workshop didn’t seem to be responding to the straight-out fairy tale I was writing. I wanted to win them over and I thought maybe I could lure them in with a present-day story set in the city, win them over that way, and then plunge them into the fairy tale.
So the book only slowly evolved into this alternative version. Once I put the fairy tale in via flashbacks, I knew something had to have gone terribly wrong. Why else would the fairy godmother be an old woman in New York?
After writing the book, though, I felt there was something really powerful in taking a story as well known as Cinderella, a story that’s in our blood and bones, and telling the “real” story from a perspective you never think or care about.

3) Can you tell us more about your upcoming book, The Next Full Moon?
The Next Full Moon is my first children’s book, a middle-grade novel about a 12-year-old girl who’s being raised alone by her father in Pennsylvania and who starts growing feathers, which is totally mortifying and confusing for her of course. She then comes to discover that her mother, whom she thought died when she was an infant, was (and is) a swan maiden. The story’s based on the old tales in which a man steals a swan maiden’s feathered robe when she’s in her human form, takes her home, marries her and has children with her. One day she discovers the robe and flies away—there are various reasons for this, depending on the version you read. I wondered: what happens when those kids she leaves behind hit puberty? In my book, the man and woman had only one child, and now here’s the kid ten years later with feathers appearing on her arms and back, having no idea that her mother is still alive and, of course, no idea that she’s a swan maiden.
I like the idea of a 12-year-old girl, full of shame and embarrassment, slowly discovering that she’s magical and amazing.

4) What other ideas are you working on right now?
Well, I’m working on a few things right now. Because of Mermaid, I started this blog, I Am a Mermaid, where I talk to all kinds of people about mermaids. I’ve realized that there’s this whole mermaid culture out there that’s really fascinating and lovely. So I’m writing my first non-fiction (but still quite fantastical!) book. And I’m working on a new novel that has to do with Weeki Wachee and a YA novel about a drowning pool, and I have this half-done thriller that I hope to finish this year…

5) Was it hard coming up with your own lore when you began world-building? How did you bring everything together?
It was challenging for me to write about magical worlds, I think, in that I was afraid of making them too Disney-ish or corny. So with Godmother, at first I was very vague when talking about the fairy world; in fact in the first draft, the flashbacks start with the godmother meeting Cinderella and we don’t really see her in her own world at all. It was only after the book sold that my editors pushed me to make the fairy world more defined and vivid, to explain the rules of that world and the landscape of it and so on. So I added in the first couple of flashback chapters that are in the book now, and they were probably the hardest chapters for me to write, even though they’re probably the lightest ones in the whole book.
With Mermaid, I mainly had to explain the rules we see in the original Hans Christian Andersen story… like why the mermaids can only visit the human world once, on their birthdays, and so on. It was more like putting together a puzzle than anything else, trying to create the worlds in that book and make them adhere to specific points from the original story.

6) Which of the books you've written is your favorite so far? What makes it the most special to you?
Hmmm. I think that would always tend to be the latest one. Right now I’m very excited about The Next Full Moon and writing for this younger age group. I found it surprisingly easy to write as a twelve-year-old, which is possibly a little worrisome, and was able to draw on my own memories and experiences more than I have for any other book. Like the characters all go to the lake in their town, where there’s an old carousel and people sell lemonade and they can all go swimming or lie out on the beach. And I was just directly describing the lake my friends and I used to go to in East Lansing, Michigan, where I lived from when I was twelve to fourteen, and I hadn’t thought about that lake in years. We moved around a lot when I was growing up, and so I’m really distanced from some of those memories and places. It was kind of nostalgic and wonderful, writing that book and slipping into those memories and this old self. Also, I have to say, I think the trauma and awkwardness of being twelve mixes really well with the fairy tale elements in the book, and I like the idea that something magical is happening to you as you hit puberty and you just have to figure that out.

7) What are some of your favorite fairy tale inspired novels and/or authors?
I love Angela Carter and her weird, gorgeous visions. I love Alice Hoffman, Francesca Lia Block, Joanne Harris, Isabel Allende, Jeanette Winterson, Gabriel Garcia Marquez, Italo Calvino... They’re not all fairy tale writers and I don’t know to what extent they’ve all been inspired by fairy tales, but they all write in that vein I think, lush and magical. I really enjoyed Erzebet Yellowboy’s Sleeping Helena. And I also, by the way, really loved the way the Pied Piper story is used in the movie The Sweet Hereafter. It’s pretty brilliant.

8) If you could live out any fairy tale, what would it be and why?
Oh, I think maybe Thumbelina. I mean, who wouldn’t want to ride around in an acorn? For the most part, I think fairy tales are not the stories I would like to live out. Though I wouldn’t mind being the little mermaid for a day, before she goes and sees the sea witch and ruins her life…

9) What's your favorite Disney rendition of a fairy tale? What makes it so special?
I’m going to have to defer to my childhood self, who loved all those movies quite passionately. As an adult, I could barely even get through The Little Mermaid, which I was totally swept away by as a teenager. Probably my favorite, though, is Snow White. The old versions of that tale are really very shockingly weird and violent, and even the Disney version is incredibly creepy, with our semi-dead heroine lying gorgeously in a glass coffin in the forest and our hot prince having a thing for dead chicks.

FUN AND CRAZY ROUND!

~Best fairy tale villain and why?
Oh, the stepmother from Snow White. She’s a gorgeous witch with a magic mirror who has her stepdaughter murdered in the forest and then eats her heart (or lungs or what have you). Even though she’s betrayed by her huntsman and actually eats a stag’s heart, she believes she’s eating Snow White’s. It’s hard to think of a more perverse female villain! And I love the image of her skulking through the forest with her cloak and her basket full of poisoned apples.

~Rapunzel is named after lettuce; what odd thing would you be named after if you were in a fairy tale?
Oh, I love Rapunzel and the lettuce that is so delicious and addictive that Rapunzel’s mother craves it above all else and even makes her husband climb into a witch’s garden to get more for her. I mean, who pines for lettuce? Now I totally want some lettuce, now that I’m thinking about it...
I’d like to be something equally un-chocolate-y, if you know what I mean, some other pedestrian, unsexy vegetable with hidden powers of seduction. Like a rutabaga or a turnip. Turnip is kind of a cute word, not too far off from the delightful “tulip.” I’d like some fairytale character to be sitting in a room wasting away from a mad desire for turnips.

~ Using that name, give us a line from your life as a fairy tale:
She stared out the window at the impossibly lush turnips growing outside just beyond reach, their leaves shooting into the air like hands, their bodies dense and purple, as round as breasts. Her mouth watered as she watched the turnip leaves undulating in the breeze. As if they were bellydancing, she thought.

Meanwhile, Turnip was enjoying a large slice of chocolate cake at Jean Georges.

~Would you rather:

- — eat magic beans or golden eggs? Golden eggs. Don’t those sound delectable? A magic bean is just wrong.

- — style 50ft long hair or polish 100 pairs of glass slippers? I think polishing the glass slippers would be much more manageable. And I love things made out of glass, especially slippers and dresses. Are you aware of Karen LaMonte’s glass dresses? Look:

- — have a fairy godmother or a Prince Charming? Oh, a fairy godmother. Who wouldn’t want an endless supply of dresses and carriages? And let’s face it: Prince Charming isn’t all he’s cracked up to be.
Come to think of it, though… if we’re talking about the fairy godmother from my own book, then I’d really have to go for the hot prince, or even one of the coachman or mice. Anyone but the godmother, please!

-----------------------------------------
Okay, okay, here’s the part you’re all waiting for: The giveaway! Carolyn has generously agreed to give away three—yes, THREE—autographed copies of Mermaid as well as some fun mermaid tattoos! You know you want to win this contest and read this fantastic book.

To enter,. In addition, please leave a comment answering this question: What would you do if you could be a mermaid for a day? Also, what would you be willing to sacrifice in order to become a mermaid?

Entries must be received by MAY 5th. May 8th This giveaway is INTERNATIONAL!
Good luck and I can’t wait to see your responses!

PS from Misty: I love this picture! ----->

Bonnie from A Backwards Story has graciously brought us another fantastic interview, as always combining her great questions with our fun silly ones! Today she chats with debut author Victoria Schwab! Enjoy!

1) What were your favorite fairy tales growing up? What drew you to them?
I grew up with Grimm. Well, I grew up with the toned-down versions of Grimm, and then later discovered the originals in all their morbid glory. But what's always drawn me to them, and why I decided to write one, was the FEEL. Fairy tales have this archetypal quality. They SEEM simple, but there's so much at play, and we as readers are only glimpsing a small portion. We never get full lives, only moments, only days. But those glimpses are so chock full of culture and character, and usually magic, that I was and still am captivated by them. It's as much to me about what we don't see, what's already there, as what we do see.

2) Can you tell us more about your upcoming novel, The Near Witch?
The Near Witch is a fairy tale. It's also a ghost story. And a mystery. It is a glimpse into a world where there are no strangers, where there are shadows of past magic. It's a world that's asleep until a set of events--the appearance of a stranger, the disappearance of children--begins to wake it.

3) I would love to know more about how you came up with the story of The Near Witch. What gave you the idea?
It actually all came about from two sentences thought up about six months apart. One was "There are no strangers in the town of Near" and the other was "The wind on the moors is a tricky thing." I knew immediately I wanted to put them together. My first thought was, "Where's Near?" I started to ask questions and explore the village in my head. It was very exploratory at first, organic, just getting to know the place, as told through this girl's voice. Then the mystery began to form from those two sentences.

4) How did you come up with the nursery rhymes and all the back story told in bedtime tales?
Much of it came out of that early exploration. I love, love oral history, the way stories are passed down, so I knew that this would be a part of my fairy tale world. That's how people learn, and truths can be so relative and warped when passed down that way. There is no objectivity, and that was key to this story.

5) What, if any, lore did you use as a model/starting ground when weaving together your own tale?
I didn't really have a model, but I knew the world had to be small. The only way I was going to get the level of detail and believability I needed was if the physical size was confined. Doing that made it so the reader could really (hopefully) visualize, even with less description. Then, there was the issue of the magic. I needed to create a very intuitive system for it, something that felt natural in the truest sense but still had order, rules. So these were the guiding principles of Near--small, tightly woven, natural, intuitive. I knew if I could pull off that foundation, it would help the reader stay in the world, and hopefully, after finishing, cause the world to stay with them.

6) What other ideas are you working on right now?
Right now I'm getting ready to send the draft of my next book, The Archived, off to my editor! It's currently scheduled for next fall, and it is not set in Near. It is Buffy meets The Shining meets a library: p

7) Was it hard coming up with your own lore when you began world-building? How did you bring everything together?
YES. That was single-handedly the most difficult and the most exciting part of this project. I wanted to create a world that would read like it had decades, centuries, of folklore. Everything had to be nuanced and intuitive, and believable, and I wanted it to read like a fairy tale as opposed to a fantasy, which largely came down to tone and execution. It was very messy at first, with scribbled timelines alongside scribbled nursery rhymes, but in the end I hope it feels right and real to the readers. It feels real to me.

8) What are some of your favorite fairy tale inspired novels and/or authors?
The Book of Lost Things by John Connolly. One of my favorite novels of ALL TIME.

9) If you could live out any fairy tale, what would it be and why?
Little Red Riding Hood, without a doubt. I just love the idea of the big bad wolf (and apparently readers do too, just look at trends in YA), and, in many of the early versions, Little Red is pretty fierce herself. I wrote a short story once, about how MY Little Red would go.

Time for some fun, quirky questions!

~Best fairy tale villain and why?
Villains are my favorite archetypes. I'm going to say Maleficent, for sheer epicness of name.

~Favorite tale from childhood? Favorite tale as an adult?
Again, Little Red. I can't help it.

~Rapunzel is named after lettuce; what odd thing would you be named after if you were in a fairy tale?
I think I would be named after a cloud formation, or the sky, or the stars, because I'm always looking up.

~ Using that name, give us a line from your life as a fairy tale:
Sky goes for a walk while watching clouds and accidentally stumbles off a cliff into a land of magic and evil and magically evil unicorns.

~Would you rather:
- — eat magic beans or golden eggs?
Beans. I'm not really an egg person. Something about the texture. I wonder if golden eggs have a different texture than regular ones. I wonder if they taste expensive. But now I'm also wondering if magic beans cause gas, or if I'm going to end up with some trippy hallucinations or something...

- — style 50ft long hair or polish 100 pairs of glass slippers?
I'll polish those slippers. I can't even keep my own hair styled, and it only comes to my shoulders.

- — have a fairy godmother or a Prince Charming?
Ohhhhhh. Yeah, I am going to have to go with the fairy godmother, because she can help me get Prince Charming, and all that other stuff I probably want.

Today's guest is Sierra of Yearning to Read ! Recognize her name? You should! She is none other than the author of this awesome review on A Kiss in Time that we recently saw on Misty's blog and she is also the very generous donor of both My Fair Godmother and the Jessica Day George prize pack ! So be sure you leave her some love!
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Johnny is a pretty normal guy. He lives in Florida and fixes shoes for a living. Or really, he fixes shoes not just as a living but to pay rent, phone bills, electricity bills, for food, etc. You know, all the every day things your father usually manages to pay for. Johnny's father would pay for theses things — but he disappeared when Johnny was a toddler. Ever since, Johnny's been the man of the house, working to feed and care for his sweet mother who in turn works hard to provide for him. Johnny would love to become a shoe designer, make millions of dollars, and give his mother the life of ease. But, how likely is that to happen? Unless you meet the princess of Aloria, who is filthy rich, thinks you're a good boy, and consequently wants you to find the Prince of Aloria who has been turned into a frog by an evil witch... in return for her hand in marriage and millions of dollars and a life of ease.
Yeah... that can be a hard one to pass up.
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My thoughts -
Once again, Alex Flinn knocks us all out with a fantastical fairytale that makes you feel like you've never read a fairytale before in your life.
Talk about original. I mean, this book was so original it was almost strange. It was neat, though! From the ear-piece that lets you talk to animals, to the cloak that transports you to wherever you want to go; from the princess who (apparently) wants to marry the boy from South Beach, to the witch who has a grudge and a slightly evil but really predictable plan. It was awesome, on all levels.
For a while I thought the Cloak would be like the one from 12 Dancing Princesses, one that makes you invisible. But no, it was totally different. And the ear piece was a neat idea and added a "technological" magic twist to the story. There were a few other fairytales thrown in there that only added, built, and made the story more enjoyable. The animals that Johnny meets give him quests to test his loyalty and to make sure he's really going to save the prince, which made everything feel a bit more "old fashioned". This all played in to create an atmosphere that was highly original and definitely Alex Flinn. I was hooked from the first pages.
Favorite character (character thoughts) -
Meg is such a great character that I just have to say that she's my favorite. She was strong, honest, and just lovely. She was deserving and totally inspired me. She and Johnny's relationship was hilarious at times and sweet at others. Everything about her made the story all the more lovable.
And while she's my favorite, I can't move on without pointing out my honorable mention, Johnny. He was quite a character as well. He compliments Meg perfectly. He's a klutz (hilarious!), a doubter, and he doesn't follow instructions well. I found that these things, on top of the fact that he's honest, reliable, and loving, made him a great character. I loved that he couldn't always see what was right in front of him. I love a good, teasing love story where you just want to yell at the guy — "SHE'S RIGHT IN FRONT OF YOU, STUPID!"
Also, raise your glass to Alex Flinn herself for creating a character like Johnny who is, specifically, a completely different person than his competitors, Kyle from Beastly and Jack from A Kiss in Time. I found this extremely refreshing, as I'm sure you will.
Pretty much the only downer in this book for me: I found that I didn't really, at all, like Victoriana, the Alorian princess. She was funny in parts, but I thought she was ubelievable. I couldn't picture her as clearly as the other characters, even her brother Philippe, and I couldn't hear the accent in the way that Alex Flinn typed it up. It just didn't click for me... but maybe that's just me.
Favorite aspects/scenes -
There are too many aspects of this story to choose from, so I will name as many as I can without spoiling anything for you. The love story was soooo amazing and much more passionate than that of A Kiss in Time. It was believable and well-developed and gave me strong, gutsy butterflies so many times I lost count. The tests Johnny has to go through to gain information are also a favorite part. The lessons Johnny learns... the twist that involves the animals... the amazing shoe quotes that easily become a lovable part of the story. And the perfect ending to a great story.
Some favorite scenes: The sunset scenes with Johnny and Meg... And I was totally taken by the perfectly smooth scene in the beginning during which Johnny realizes that the Cloak and the ear-piece are really magic. It was amazingly well-told and Johnny's reaction to the magic was normal and hilarious and pretty much perfect. Bravo to Alex Flinn!
One phrase to sum up this book (final thoughts) -
Wonderfully original are the words that come to mind when I think of Cloaked. I could not help but fall in love with this book — and I hope you will, too! I recommend this book highly!
For the parents: A few kisses, with little or no description. A handful of underhand jokes directed toward girls, and a couple of direct comments. None are explicit. A pretty darn clean book. Definitely can be read by a younger audience than Alex Flinn's previous fairytales. I'd say 14 years old is a good age to start.:)