​Invisibility/Visibility in Rhodes’s Black Brother/Black Brother by Dr. Melanie Hundley

 Black Brother, Black Brother by Jewell Parker Rhodes has been the topic of the weekly adolescent book club for three weeks now. It is a book they keep coming back to as they wrestle with the ideas and how they connect to their own lives.  The day-to-day issues that Dante faces because of the color of his skin are situations they see.  A key theme they keep returning to is the idea of being visible and being invisible.  “I want to be visible when I want to be visible,” a student says, “not visible because I am a black kid in a store or walking down a street.”  The students nod.  Another student says, “What I think is important about this book is that it talks about a lot of things connected to this one kid.  That makes it real.”

“It’s the play on words, I think,” Kari says quietly.  “Donte keeps doing these things with words.  He says that his mom thinks they are going to lose. Then he says that he thinks they are going to lose and then he says I’m lost.” She continues, “That stands out to me. It’s smart and subtle and makes me think.” Students in the literature circle nod. Another students picks up on this idea and explains, “He does this with disappearing too.  He wants to be invisible and disappear so that he is not seen.  But then he uses disappear in a way that make it seem like they were disappeared, like killed.”

They connect this idea with contemporary issues in society and argue about if it is better to be seen or to be invisible. Whether or not they are visible or invisible and whether it is by their choice is central to many of the discussions about school and about books.  They return again and again to the multiple ways words are used—lose, lost, disappear, honor, win—and how that helps them think about the story but also about their very own stories.
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Black Brother, Black Brother is a powerful story about a young man finding himself in the midst of an ongoing, daily battle with systemic racism. He is bullied; he is overlooked; he is blamed for anything that goes wrong in his vicinity.  He wishes to be invisible.  He wants Harry’s invisibility cloak or Frodo’s Elvish ring.  These are ideas that many adolescents can engage with but being invisible is both a wish and a fear for students. Years ago, Maya, a student in a ninth grade class wrote a draft of a poem in a unit about identity.  She said,

Who am I? 
I am young, black, female

I raise my hand
slowly
because
                      I am black
and used to bein’ invisible
in THIS place
I hold my books tight
By my chest 
try not to stand out
on THAT street
I am black
And scared
That cause I am who I am
Nobody will understand the words locked
In my head.
I am black
And female
And scared
That cause I am quiet
I will be overlooked.
that YOU will not see ME.
​

Donte wishes to be invisible; Maya worries that she will not be seen. The students talk about Donte and his battles about being seen for who he is and what he does; they recognize that Donte wants to be seen for the right reasons, for what he does, for what he accomplishes.  He wants to be seen as Donte, not just black brother, black brother.  Alan, one of the boys bullying Dante, tries hard to make Dante a target instead of a person. 

In the end after Dante defeats Alan in the fencing match, Dante says, 
I barely hear him.  It doesn’t matter. I know--Alan sees me.  Next time he might win the bout.  Or I might. I don’t care.
He can even dislike me if he wants. But now he has to see ME. (p. 228)

Being visible as a person becomes important to Dante.  He begins the book wanting an invisibility cloak and ends it confidant the he is seen for who he is.  He is Dante.  The emphasis in this book on being visible or invisible is something that adolescents identify with in their daily lives.  The students in the reading group write about being visible/invisible in their lives. Like Maya, they have questions about whether or not they will be seen. Like Dante, they are trying to be proud of who they are.

In addition to being able to talk about what it means to be visible, Black Brother, Black Brother provides readers with a way to talk about complicated issues of race, class, and families.  Dante spends much of the book figuring out who he is in the different spaces he goes—school, home, and the YMCA.  Fencing provides an outlet for him, to grow as an athlete, to grow as a man.  Mike, a student in the reading group, said, “What I liked is that Dante’s family is a real family; they love each other and they support each other.”  Another student said, “I liked the relationship with Coach.  There was respect on both sides.”  “Relationships matter,” Mike agreed. “and I like how there were so many good relationships not just bad ones.”  The students in the reading group focused on how important it was to see that Dante and his family were close and that when there were disagreements, they worked things out.  
​
Black Brother, Black Brother is a book that resonates with readers.  What books have brought especially great insights to your classroom lately?

​

Sarah Donovan, Sophie Ladd, and I are thrilled to share the UNLV SUMMIT LINK!

We are processing acceptances, finalizing the program, and making travel arrangements.  The summit is happening!

Today we share THREE REASONS you should plan to attend the summit:

1.  An all-star author lineup.  Benefit from the art and expertise of ​Brandy Colbert, Varian Johnson, and Malinda Lo along with Ashley Hope Pérez, Brendan Kiely, and Alexandra Villasante!

2. More than one way to participate.  This year the conference will be online one day and in person two days.  Day one (virtual) will focus on empirical or conceptual research in the field. Days two and three (in person) will employ a practitioner focus. Those participating in all three days are welcome to attend with us in Las Vegas in person on the first day. See the UNLV​ Summit link for more details on participation and pricing.

3. Vegas is hustling, bustling, and ready for you.  Meet colleagues for an outdoor coffee.  Take a walk with your co-presenter.  Head out for dinner and shenanigans after the late-afternoon panels!  If you are like me, you'll take a morning run before the morning keynote.​ Regardless, there will be ways for you to enjoy Vegas while learning more about the future of Young Adult Literature.

All right--if you just want to cut to the chase and register, you will need to cool your jets and wait until next week.  Our registration link will post March 2, 2022. For those of you waiting on proposal decisions, stay tuned--you will hear from us soon. For those of you who need further coaxing to register, today’s post is a shameless plug  and sneak peek for the UNLV Summit​ ​on​ ​the​ ​Research​ ​and​ ​Teaching​ ​of​ ​Young​ ​Adult​ ​Literature. Titled Books, Classrooms, Communities: Young Adult Literature as a Lifeline, the Summit will focus on the ways our lives have changed post-COVID-19 and the ways that books come to our aid. We will feature Brandy Colbert, Varian Johnson, and Malinda Lo along with Ashley Hope Pérez, Brendan Kiely, and Alexandra Villasante, who will help us consider how we can use Young Adult literature as we navigate these challenges.  
​

Pam Allyn (2020) acknowledges our students’ “significant challenges and traumas,” stating that reading is a “lifeline,” “help[ing] all students feel a sense of belonging, to feel less alone, and to work on their journeys of becoming passionate, thoughtful, curious people in the world in spite of the challenges these days have brought to them.”  Allyn also affirms that reading can bring that sense of community to “all of us...who care for and love the children we serve. Reading, and stories themselves, are a lifeline for all of us.”

At the summit, English educators, practicing teachers, teacher consultants, and librarians will discuss how YA literature can bring ourselves, our students, our colleagues, our communities, to a healthier place.  After all, YA books help our marginalized students find safety, purpose, and agency. We know that books save lives.
​

With that hope, join us to think about books as lifelines.  We will discuss how our classroom libraries can be lifeline threads, reaching out to students both inside and outside the margins.  We will consider how administrators can be encouraged to see YA literature as a lifeline. We will  connect you with authors, colleagues, policies, and communities that will strengthen your advocacy and resolve.

This year the conference will be online one day and in person two days.  

Day one (virtual) will focus on empirical or conceptual research in the field.

Days two and three (in person) will employ a practitioner focus. 

Those participating in all three days are welcome to attend with us in Las Vegas in person on the first day.​ 

We are eager for you to join us in Vegas so that we can collaborate and discuss ​the​ ​state and value​ ​of​ ​YA​ ​literature.​ ​See you in June!

​Young adult literature for social justice by Dr. Alice Hays and Rupsy Bajwa

Getting Started 
​
Education has changed post COVID, we have realized that all of the things that seemed to be working before are not working anymore. With this in mind, I began my third year as a Freshman English teacher, and I promised myself that I would uphold the following principles:
​ 

1. Incorporate more engaging activities 
2. Spark curiosity 
3. Prioritize listening and speaking skills with student led discussions
4. Have fun! 

With these principles in mind, I developed a unit inspired by Dr. Hays’ book, Engaging Empathy and Activating Agency. We began the year with defining privilege. The privilege for sale activity was my hook for the unit, and I hoped to spark curiosity.

​

Before diving deep into the problems that our community faces, I wanted my students to first understand their own identities. It was important for them to understand what their stories are and how they fit in this world. We watched The Danger of a Single Story by Chimamanda Ngozi Adichie to understand how stories are told from the white perspective and how stereotypes define who we are. After watching the TedTalk, students worked on the single story project where they created images of their face displaying adjectives or phrases that showed how others see them on one side and how they see themselves on the other side.

Here’s where the fun came in! In order to define and answer essential questions like what is equality in America and what is activism, students read various articles on equality and youth activists that they chose. We then practiced academic discussion and started doing Fishbowls. Students who were typically shy came out of their shells and also made personal and community connections with the topics. Immigration, for example, is something that students have personally experienced. 

From there, I moved on with surveying my students to find out which social issues they were most interested in. According to the results of the survey, the following topics were most popular in all of my classes: 

1. Immigration
2. Racial equality/discrimination
3. Gender equality
4. Mental health
5. Abuse (domestic/drug & alcohol)
6. LGBTQ+​

I worked with my librarian and mentor teacher to obtain books for each topic, and I set up my class for a book tasting. As my students walked in, they were intrigued and excited to try out the different books. And then something magical happened, the students picked out their YA novels and topics, I put them in literature circles, and they read. Students were engaged and invested. My favorite student comments were,  “Ms. Bajwa I don’t even ever read, and I’m reading now” or “Ms. Bajwa, is today a reading day because I really want to know what happens next!” 

While we wanted to provide lots of choice for students so that they were able to both focus on their issue AND find a book they really enjoyed reading, there are a few books that the students seem to be particularly engaged with depicted below.  

The first book is the graphic novel, Hey Kiddo by Jarret Krosoczka. If you want to know how to pronounce his last name in addition to finding out a bit of the backstory on this book,, you can find a link to his book talk of Hey Kiddo here. 

The power of this book comes from the images and realistic story-telling. The main character has a mother who is an addict, and he feels as though his life is out of control.  Although his life is difficult and his mother is unable to be the parent he needs, he is surrounded by love and is able to feel some control over his life through art.  Students who have chosen this book in the past tend to be reluctant readers, but highly enjoy reading this book.  One of Rupsy’s students was talking to her group members about how she personally had not been through some of these things, but it helped her relate to her step-brother who has been through those difficult topics. 

This is the empathy we are hoping to develop. 

The third book is Concrete Rose by Angie Thomas. While The Hate U Give has received critical acclaim and notoriety, Concrete Rose is an exploration of how the story came to be.  Maverick is the son of a King Lord, although he has goals to escape the gang life.  Fate, however, throws up barriers, and we see how Maverick navigates the harsh reality he faces. In the literature circle discussions, students talk about how Lisa (Maverick’s girlfriend) assumes that Maverick is just another drug dealer while another student chimes in and makes the connection that this is how America sees black people, they see them as thugs or people who do drugs. The student also mentions how wrong this is and the injustice it creates for black people in America. Student also talks about how he liked the part where Mavrick cries and it shows that he is not heartless. Another student brings up how he was stressed from caring for a newborn child, so that’s why Maverick is crying. Students show empathy for these characters in different ways.  

There is nothing better as a teacher than to have students enthusiastic about reading a novel and taking subsequent action after the fact!  This approach lends itself to students having a sense of purpose, joy, identity, criticality and  intellect in addition to the typical skills taught in class.  We’d love to share with you if you have other questions! Feel free to email us at ahays2@csub.edu or amardeep_bajwa@kernhigh.org .
​

While book bans always catch my eye and raise my blood pressure, recent headlines featuring Art Spiegelman, Jerry Craft, and Ashley Hope Perez seem to be giving the movement new life. As we see bans in schools as well as public libraries, we are fortified by the American Library Association’s recent statement affirming the “right to read and access information freely.” We can be informed and encouraged by The National Council of Teachers of English’s Intellectual Freedom Center.  We can remember that many book bans are rooted in racist ideas.
​​

We continue to buy banned books– and some of the Weekend Picks on this blog will share recommendations.  We can advocate for sound procedures for challenged books and talk to our local school board members about the value of pleasure reading. Perhaps we can serve on our local library board; hopefully we can vote for candidates that value literacy as we do.

Looking at frequently banned lists makes me nostalgic, like I’m seeing old friends.  As a teenager, I speed-read Judy Blume’s Forever as I hid from my grandpa at the Rockford, Illinois Public Library.  My mom brought me to the public library in Mason, Michigan every Saturday, where I checked out Christopher Pike and Sweet Valley High, falling in line with the mid-eighties horror and romance movement. Even then, I was reading banned books.
​

My mom was too busy with my three younger brothers to attend to banned book lists, let alone monitor what I read–and thank goodness. Those early reading experiences were just right, helping me to learn more about young adulthood and all of the issues that made it awkward and challenging:  friendships, dating, drugs, drama, sex.  In so many ways, reading those books validated my own experiences and questions, and helped me to think ahead to how I’d handle future problems.

This experience leads me to wonder:  what are some current banned YA books that help our students feel seen, heard, and understood?  

A book about sexual assault:  Speak by Laurie Halse Anderson

​A book about LGBTQ lives:  Two Boys Kissing by David Levithan

Based on a true story, Two Boys Kissing centers the story of 17-year-olds Harry and Craig, who wish to set the new Guinness World Record for kissing, while also telling the stories of other LGBTQ teens seeking love and belonging.  The book is narrated by a Greek chorus made up of a generation of gay men lost to AIDS and features Levithan’s rich, descriptive prose.  While the book’s literary merit brought a 2013 National Book Award Longlist among other honors, it has faced numerous challenges.  Some challengers aren’t fond of the book cover and its depiction of same-sex affection; others are offended by what they describe as “explicit LGBTQ content.” 

Responding creatively to concerns that the cover could deter closeted LGBTQ youth from buying or borrowing the book, Levithan says: “Even for the kids who don’t feel comfortable taking it out of the library or buying it in the bookstore yet, they know they are there.  They know they are represented…you know that there is a part of you that belongs there, and is accepted.”

​A book about young love and brutal abuse: Out of Darkness by Ashley Hope Perez

​A book about the forgotten: Monday’s Not Coming by Tiffany D. Jackson

​
​A book about apathy and action: All American Boys by Jason Reynolds and Brendan Kiely

Now it’s your turn.  What books would you add to the list?  Together, we can advocate for representation and the right to read.

Through the Knowledge Lens of Constructivism: The Mindset and Reading Before  Creating the Curriculum of the Nonfiction Text for From a Whisper to a Rallying Cry by Rebecca Maldonado

1982 - The average cost of gas was 91 cents. A US Postage Stamp cost 20 cents. Michael Jackson’s album “Thriller” was released. The first episode of Late Night with David Letterman debuted. Vincent Chin was brutally murdered. 
From a Whisper to a Rallying Cry: The Killing of Vincent Chin and the Trial that Galvanized the Asian American Movement by Paula Yoo (2021) masters nonfiction narrative retelling of the fatal encounter between Vincent Chin and Ronald Ebens and his step son, Michael Nitz, along with the trials that ensued. Not only does the book show how this violent senseless act ruined the lives of Vincent’s friends and family, it also shows how the incident ruined the lives of Ronald Ebens and Michael Nitz, bringing the question to light: “Does justice for one’s horrors require one to spend time in prison?” Throughout the book, the author reviews the history of racism against the Asian American community and how and why the incident caused the Asian American community to rise up in solidarity together. 

The Mindset of Teaching Nonfiction Text
    Teachers may steer away from nonfiction text because they do not feel confident in their level of knowledge about the subject it addresses. Many times this  hesitancy stems from the way teachers view knowledge, their role as a teacher, and their students. If a teacher views knowledge as water, the teacher as a pitcher full of water, and the student as an empty glass ready for knowledge to be poured into it, this concept puts all the pressure on the teacher to be an expert in the subject the nonfiction text is about.
    There is another way to view knowledge, the role of the teacher, and the students; however, it requires the teacher to release some of the control and to think the best of their students. Constructivism views knowledge more as a meaning making process than an object to be passed down to another person. Richardson (1997) explains constructivism as “individuals create their own understandings, based upon the interaction of what they already know and believe, and the phenomena or ideas with which they come in contact” (p. 3). This means that teachers who see knowledge as something that is constructed and changes meaning as more knowledge becomes a part of their schema or funds of knowledge. Acknowledging that students are always acquiring knowledge and creating new knowledge, teachers see themselves as facilitators to teach the students how to acquire knowledge, process and assemble that knowledge to build upon their already established understanding of the world. This alleviates the pressure of having to be an expert on the subject of the nonfiction text. 

Preparing for to Teach and Develop Curriculum for Nonfiction Text
I stumbled along From a Whisper to a Rallying Cry because the increased hatred towards Asians and Asian Americans during the pandemic bothers me a lot, and I have felt compelled to start learning how to be a better Asian American ally and promote more books by Asian American authors and with Asian or Asian American protagonists. I wanted a nonfiction text about real events going on in the Asian American community. When I came across From a Whisper to a Rally Cry and saw “...the Trial that Galvanized the Asian American Movement” and automatically thought to myself, “The Asian American Movement?” I knew this was the book I needed to read because before reading this book I didn’t even know there was an Asian American Movement.

Reading the Book 
I borrowed the physical book from the library to check out the validity of the book, and the first thing I did was flip to the back material. There are 67 pages of back material including an Afterword, Acknowledgements, a Timeline, 29 pages of Notes and Sources, and a 10-page index. The author even went as far as to insert real pictures connected with this travesty throughout the book. My wheels started cranking about how I could use the book to start teaching research and literature reviews. I paused my thoughts and started reading the Afterword and was brought back to the reality of, while this was a very well researched book, this is a subject that is important to the Asian American community because of the author sharing her own experience with racial profiling and the historical present day racism the Asian American community faces due to the rhetoric used by elected officials during the pandemic.
If a book I am going to teach has an audiobook, when teaching I play the audiobook during class and have the students follow along. When I read this book the first time, a majority of it was via audiobook; however, when I was at home, I took time to listen to the audiobook and follow along in the book to get a feel for the pacing and to see how the pictures interacted with the texts. While reading it I was so surprised how balanced and unbiased the account was. The narrative plot kept my interest. Because a nonfiction book has to move at a good pace for me to like it, I knew the book would definitely keep the interest of high school students. 

Here is a list of the podcast episodes I listened to and articles I read:
Asian American History 101 - The Murder of Vincent Chin
Rumble with Michael Moore - Ep. 175: My Afternoon with the Killer of Vincent Chin
Escape From Plan A - Ep.174: The Legacy of Vincent Chin (ft. Paula Yoo)
NPR - How Vincent Chin’s Death Gave Other’s a Voice
South China Morning Post - The 1982 killing of Vincent Chin was ‘the first time 
Asian-Americans came together’ to fight for justice
Zinn Education Project - June 19, 1982: Vincent Chin Beaten to Death in Hate Crime
​
While I was listening to or reading the additional resources, I was looking for ways each resource helped to contribute to, change, or deepen the understanding of how the brutal murder of Vincent Chin empowered the Asian American community to mobilize and how it is relevant to the racism the Asian American community faces today. From reading the book and the additional resources I felt confident to start building my curriculum to teach the book.

Reflections for Growth
Through the lens of constructivism, there is no right or wrong, only the changing of perspectives and understanding. Once we make connections to the texts, real life, and other texts, we also must reflect on how the new knowledge and understanding we just acquired and created influences our behavior. As a teacher, here are some reflection questions for you to think about and answer.

1. How do I view knowledge, my role as a teacher, and my students?
2. How comfortable do I feel teaching and developing curriculum for new nonfiction texts?
3. What is my process for becoming familiar with the subject the text is about?
4. Do I feel comfortable preparing curriculum and teaching From a Whisper to a Rallying Cry? 
5. What would stand in my way of preparing the curriculum for From a Whisper to a Rallying Cry?
6. What new YA nonfiction text would I want to prepare to teach in my class?

References
Richardson, V. (1997). Constructivist teacher education: Building a world of new understandings. Falmer.
Yoo, P. (2021). From a whisper to a rallying cry: The killing of Vincent Chin and the trial that galvanized the Asian American movement. Norton Young Readers.

In September 2021, graphic novelist Gareth Hinds was kind enough to join me for a virtual interview. Also joining this conversation was Omnie, a recent graduate of the Master’s of Arts in Reading Education program at Appalachian State University. We hope this YA Wednesday post inspires you to think about graphic novels, adaptations, and comics-making in your classroom. I have broken up the conversation into two sections – one on reading graphic novel adaptations, including references to classic works, and one on the making/composing process. Please also check out Gareth’s website and YouTube channel for more details, ideas, and resources.
 
Graphic Novel Adaptations: Why Read Them?
 
Jason
Your work often seems to tackle, redefine or redesign classic stories. I'm curious about what draws you to those kinds of projects.
 
Gareth Hinds
First of all, I should say, I was not a literature major in school, but I was a nerdy kid who enjoyed Tolkien. When I encountered books like Beowulf and authors like Shakespeare, the language didn't put me off. I’ve always really enjoyed stories that have mythological elements like heroes, gods, and monsters. I went to art school for illustration and I found myself increasingly drawn to comics as my medium of choice. I would do my own comics and I would always feel like the writing was the weak link. So initially, for my senior thesis, I decided to do an adaptation of a Brother’s Grimm fairy tale. I really enjoyed that adaptation process, so I thought I would try it again with something more ambitious, which was Beowulf. Beowulf not only was enjoyable, but then I discovered there was an educational market for it. I realized that it was a really good tool for students and teachers to introduce the classics in a friendlier medium that shows kids immediately what's cool in the story. The graphic novel adaptation makes the book much more accessible, especially for any readers with a language barrier. That really motivated me to keep going further in that vein. 
 
Jason
I’m also drawn to mythology and have used mythology-centered work in the classroom. I did not anticipate that comics or graphic novels would make their way into my classroom, but they did. 
 
Gareth Hinds
When I was growing up, I remember reading comics, especially when I was in high school in the eighties. Maus had come out, and there was starting to be this sense of the potential of the comic medium, but there weren't that many books that were really realizing that potential. There were only a few adaptations in print at that time. There's the whole Classics Illustrated line that started in the 40s that was rebooted in the eighties. I thought that was really cool idea. The thing is, they were all 48 pages long. Most stories did not work very well compressed to a 48-page format. So, part of my thinking when I set out to do Beowulf was that I wanted to take what I loved about those books but really tell the whole story so that the reader had something more like the actual experience of reading the original. 
 
Jason
I had those in my classroom. You’re right. They were digest-sized, all black and white. So, in comparison to your adaptation of The Iliad, there’s much more beauty in what you do.
[Note, I think we’re talking about different series here – there were some classics like White Fang and Call of the Wild that were done in a small b/w mass market paperback like you’re describing, but the Classics Illustrated line looked like your standard dime-store comic book, i.e. they were comic-sized, floppy, colored with very coarse flat colors. –GH]
 
Gareth Hinds
I also have a particular sort of ax to grind where I don't want my books to look too much like a typical comic book. That's partly just to separate them from all the associations people have with comics. Also, I feel like when you're adapting a work, you really want the art to evoke the emotional tone of that work, and that requires experimenting with materials and doing something a little bit different than a classical flat color treatment. So, that's always one of the things that I make myself do with every book – to really experiment with materials until I get something that feels to me like the tone of the original. 
 
Omnie
During my student teaching, I taught Beowulf and I had never read it before or anything. I went on your website a few months ago and I saw some of your Beowulf illustrations and I sent them to my mentor teacher because so that my mentor could use them next semester. They did a wonderful job of capturing the version I read.
 
Gareth Hinds
I think that other people are starting to get that idea, as well. When I first started doing this, I had some competition in adaptations, but not that much. Most of the people who were doing adaptations were still using a very standard comics style. Now I'm seeing a lot of work coming out that's visually much richer and more evocative. 
 
Jason
It’s hard to imagine that you haven’t inspired some of that.
 
Gareth Hinds
I would love to think that. 
 
Jason
How do you go about selecting the stories and pitching the stories that you want to tell?
 
Gareth Hinds
I always have a list in my head of the classics that I think would be interesting visually and that are taught a lot. I know that the educational market is a big part of my market. So, I want something that's going to sell and that's going to be a useful tool to as many people as possible. And, preferably the ones that are more difficult to read or to teach. I'll give you a counterexample: I haven't yet done any Jane Austen. I love Jane Austen, but I feel like it's a less obvious candidate because less is happening in the way of action or other visual cues to the story. It's largely dialogue-driven. Those conversations are lovely, but they're also very accessible. The language is modern for the most part. So, I haven't felt like those need to be graphic novels. They also wouldn’t be as exciting to draw (for me). 
 
With a work like The Odyssey or The Iliad, people might get intimidated just because of the perceived length. I'm thinking about that, as well.
 
My publisher is usually happy to go with whatever adaptation I want to do. They'll ask me questions about whether the texts are being taught and about my approach. For example, they might ask approximately how long the book will be. But generally they've been pretty supportive. When I will go to them with a few options, they'll usually ask which idea I am most excited about, because that's probably going to be one that I will do the best job on. So, they've never really asked me for anything specific – with one exception, which was that when I finished Macbeth they said, “Oh, we really love these super dark, creepy, horror-like elements that you did in Macbeth -- what else would you want to do in that vein?” And I said, Oh, well, the obvious answer there is Poe. So that sort of came from their request. But, in general, it's just me picking what I think is going to be the coolest thing to do next. 
 
Jason
The Poe anthology is absolutely gorgeous.
 
Gareth Hinds
Thank you. I had a lot of fun with that one because it's composed of shorter pieces. I could treat each one a little bit differently and experiment within the book quite a bit.  
 
Jason                                        
I'm also thinking about how Beowulf, and in some of these mythological stories in so many ways, they're kind of like the first superhero stories.  I can totally see the lineage going back to that. 
 
Gareth Hinds
Yeah, that’s a good point and that is actually one reason why I chose Beowulf. I wanted to do something that connected ancient literature with modern superheroes because that was the mainstream of the market. Those mythological characters are the proto-superheroes, and their struggles are very much the same. 
 
The Process of Making/Adapting Graphic Novels
 
Jason
I'm also curious about your creative process and how these pages come to be.
 
Gareth Hinds
First of all, honestly, I'm going to describe a bunch of the process in words, but if you want to see some of this visually, there are a bunch of videos that I've done on YouTube. If you either go to my channel or you search my name, there are presentations and demos that I've done. I mentioned experimenting. So, at the beginning of a project, I start reading the text multiple times to get it really solidly in my head. If it's something like The Odyssey or The Iliad, the original is not in English. I will read multiple translations to compare them and think about the qualities in different translations. And then, at the same time I'm doing that, I am starting to play around with the art and do sample pages or sample panels with different styles and different materials to get something that excites me visually, and that captures the tone of the story. Also, I’m trying to find a technique that is fairly fast, because these are huge projects. So, I don't want a style that's super laborious. At some point, I'll have a couple of samples that I like and I'll have started to develop an idea about how much I can abridge the text. For example, if it's a work by Shakespeare where I'm going to be using the actual original text, I will just dump it straight into Microsoft Word, turn on “track changes,” and start deleting elements that I think I can remove. Often, many of these texts come out of the oral tradition so there is a fair amount of repetition. Also, when I read Shakespeare for example, I feel like I have a pretty good grasp of Shakespearian language, but there are parts of the text that I stumble on or where I think the reader might start to zone out. I'll make a note then to cut whatever parts of the text might be confusing or just too long.
 
Next, I have to basically do the whole book as a rough sketch dummy or a rough layout, where I'm putting in the text and doing rough sketches for the panels, playing with how all those elements are arranged, how the panels are arranged on the page, what happens in each panel, and so on. That's where most of the decision-making happens. Then I basically have a visual draft of the book that I can show to my editor, and to other early readers to get their feedback on how the story flows, whether there are places they're getting confused, that kind of thing. So, I’ll get feedback and I'll make changes at that stage, where it’s still pretty easy to redraw things. And then once it's kind of -- not quite locked down, but once it's pretty firm -- then I'll go through and I'll draw and color the final art. How I do that depends on the style I've come up with for that particular book -- each one is different, but for The Odyssey and The Iliad, I would be drawing everything pencil and then painting over those drawings with watercolor. And then at the end there's always a lot of fiddly little work like redrawing the balloons to be nice and clean, and putting sound effects on a separate layer so that they can be translated or moved around if they need to be -- stuff like that. And then it goes off as a digital file to the publisher, and then they send it off to the printer, and they will get a proof to make sure everything looks okay. And then it gets printed and becomes a real book. But that takes a long time. These are long projects! Pretty much everything is more than a year. And things like The Odyssey and The Iliad are two years or more on my end. And then the publisher usually takes about a year on their end, so it's quite a long timescale. A typical life-cycle involves being well into the next book before the previous book actually comes out. That means you have to change gears and go promote the thing that you've now almost forgotten about. 

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As a final call from this piece, if you have students make and adapt comics, please share your process with us on social media.
Images retrieved from Gareth's website.

Hi, all!  Gretchen here with some updates and introductions.   As Dr. Bickmore has  stepped back from blog work for now in order to serve the Uganda Kampala Mission, we welcome some new blog curators for YA Wednesday. These curators will be helping with our Monday Motivator posts as well as our Weekend Picks, rollling up their sleeves to send contributor reminders, provide book cover pictures, insert hyperlinks, and copyedit submissions. Widening our curator community widens our overall YA circle, spreading our admiration for YA literature farther and wider--our own mission of sorts. Below are our curators.

We are excited to share Monday Motivator posts, which will describe pedagogical ideas that can be done that very day or week.  Below are our Monday Motivator curators. 

Emily loves reading, students, and teachers! And her favorite thing is connecting texts with students and teachers. She hopes that the Monday Motivation page is helpful to teachers interested in building lifelong readers and writers! ​

Our Weekend Picks feature returns for 2022!  In these posts, guest contributors take book selfies with their perfect weekend read.  Below are our Weekend Picks curators.

Leilya taught English as a foreign language in the Ukraine and ELA/English in public schools in the US. Her research interests include teacher preparation, clinical experiences, secondary school teaching, and teaching and research of Young Adult and multicultural literature. Together with her friend and colleague, Mike Cook, she co-authored a two-volume edition of Teaching Universal Themes Through Young Adult Novels (2021). ​

Kudos to these new curators!  Together we will bring exciting new YA content for 2022.

Well, the day has arrived. This is my (Steve Bickmore's) last scheduled regular YA Wednesday post for a while. I have officially retired beginning Dec. 31, 2021. Clearly, I am still reading and talking with people about Young Adult literature. (You can check my end of the year post that featured Bick’s Picks for 2021.) After 43 years of teaching at various levels I am taking a break from day-to-day work.

I have a couple projects that should be done in the next several weeks. Wish me luck. My wife and I are also going to serve a church mission in the Uganda Kampla Mission of the Church of Jesus Christ of Latter-day Saints (which includes South Sudan and Rwanda). We leave on April 11, 2022 and, as you might imagine, we have a lot to prepare for. We have shots to take and grand kids to visit as we explore the information we need to know about our first placement in Kilgali Rwanda.

​I knew this day was coming, but the blog has been an important part of my work and my life for the last 8 years. It began in a mild fashion in the summer of 2014 and began in earnest in the late summer of 2015 as a weekly post. It has grown as I have contributed less and less and more and more guest contributors have take the stage and shared their ideas. A few years ago, the popular Weekend Picks feature was added. The blog has always made a place for special posts based on an interesting topic or something that matches what is in the news or an event. Lesley Roessing posts often matches this category has she discuss books that center on 9/11 and its consequences or books featuring strong girls. Or the even more recent discussion of Latin American and Hispanic Heritage month by Alex Torres. To make room for these posts the blog will feature a post on Monday called the Monday Motivator. These will primarily be prepared as an immediate resource for teacher to use for a mini lesson or as a resource that can be immediately shared with students. 

For at least the next 18 months, Dr. Bickmore’s YA Wednesday will be in the competent hands of Dr. Gretchen Rumohr. Gretchen and I have been writing partners on several projects and she is a frequent contributor to the blog producing regular posts and as one of the early and regular contributors to the Weekend Picks feature. Gretchen has been actively learning the ins and outs of curating various parts of the blog for the last 8 months. She is ready to go.

In order to keep working with the blog fun and a labor of love instead of a burden, we have recruited others to help with the curation of the Weekend Picks and the Monday Motivator. Gretchen will oversee the whole project and curate the weekly Wednesday posts. Leilya Pitre will head up the weekend picks with the help of Nikki Bylina-Streets and Cammie Jo Lawton. The Weekend Picks will now function as a blog within a blog instead of as a running page with each new pick at the top. This allows the contributors to write them in advance and then the team of curators can prepare them and schedule them to post on the appropriate Friday. The same will be true for the Monday Motivators under the direction of Melanie Hundley as the chief curator with the help of Emily Pendergrass, Abbey Bachman, and Jason Dehart. We hope you follow along.

As I leave, I hope that some of you will check out some of my previous posts. They can easily be found under this link.

Some of my favorite posts are the Bick’s Picks at the end of the year. Here is the link to the most current and it has links to the other years.
​
 I have developed some favorite authors over the last several years. I like a lot of authors, but these few warm my heart with every book    .

Until the next year or so. Until then Gretchen will be running the show.