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Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
Pbwe2014 older readers
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Pbwe2014 older readers

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  • 1. Older Readers Please note: the covers and artwork from the short listed books are not included in this slideshare version of the presentation. If you would like to use the covers or artwork contact the publishers for relevant permissions.
  • 2.  A preponderance of young and emerging authors  Authors tend to have a strong online presence  A focus on coming of age and identity  Friendship and romantic relationships placed on equal footing  Less prescriptive representation of masculinity, with emotional sensitivity and artistic life foregrounded  Broken families or families experiencing conflict or pressure were a common backdrop  Homosexuality treated as just one aspect of identity rather than explicitly explored as an “issue”
  • 3. The __ __ __ / __ __ __ / __ __ / __ __ __ __ __
  • 4. The Sky so Heavy, Claire Zorn (UQP) • Inky Awards 2014 - Gold Inky (longlist) • Aurealis Awards 2014 - Best Young Adult Novel (shortlist)
  • 5.  The Sky So Heavy was her debut novel.  New novel, The Protected, released in June.  Lives on the south coast of NSW.  Blogs at All the King’s Horses http://clairezorn.wordpress.com/ and tweets as Claire Zorn.
  • 6.  “A haunting dystopian novel in the vein of John Marsden”.  Speculative/post apocalyptic fiction.  Action takes place in Australia in the near future after a nuclear accident.  Distinctive Blue Mountains/western Sydney setting brings emotional resonance and authenticity to the story.
  • 7.  First person narrative style with a combination of present and past tense/flashbacks.  Arresting opening which launches readers into the action.  Both thought-provoking and a page-turner: combines action and suspense with a nuanced and realistic exploration of ethical dilemmas and social issues.  Tense, taut and chilling yet also tender in its depiction of family themes.  Intertextuality used to reinforce themes eg. Heart of Darkness.  Leaves itself open to the possibility of a sequel.
  • 8.  “As post-apocalypse YA novels go, this one is scarily realistic … a powerful allegory with which to explain the asylum- seeker humanitarian crisis in Australia.” Books Publishing  ‘This novel takes its cues from Cormac McCarthy’s The Road, albeit for a younger audience. It’s a well-paced read with strong characters and a compelling narrative.’ Sunday Age  ‘This accomplished and engrossing debut novel tells a gripping story of survival. Highly recommended.’ Magpies  ‘Absolutely brilliant. I simply couldn't put it down and read it in its entirety in one sitting. … My only complaint is that I need more. I have to know what happens and Ms Zorn has left me in suspense. I shall stalk her now until she gives in.’ Diva Booknerd Blog 4.5 star review
  • 9.  Family  Friendship  Nuclear war/winter  Survival  Disasters  Courage and perseverance  Belonging  Ethics and choices  Identity: “what we are when nobody’s watching”  Bullying  Spirituality & religion  Relationships  Art & music
  • 10.  Brother in the Land, Robert Swindells  Z for Zachariah, Robert C. O’Brien  Children of the Dust, Louise Lawrence  When the Wind Blows, Raymond Briggs  The Road, Cormac McCarthy  Tomorrow, When the War Began, John Marsden  How I Live Now, Meg Rosoff  Home and Away, John Marsden  Rosie Black Chronicles, Lara Morgan  When We Wake, Karen Healey
  • 11.  Teachers Notes available at UQP website: http://www.uqp.uq.edu.au/store/images/Hi- RES/teachersnotes/1263/3165.pdf
  • 12. The __ __ __ / __ __ __ __ __ / __ __ __ __ __
  • 13. The First Third, Will Kostakis (Penguin) • Inky Awards 2014 - Gold Inky (longlist) • Red Dot Students Choice Book Awards 2013 – shortlist (Mature Readers) *ebook also available
  • 14.  Was 19 when his first novel, Loathing Lola, was released (now available as an ebook). He’s now 24.  In 2005, Will won the Sydney Morning Herald Young Writer of the Year for a short story collection.|  http://willkostakis.com/ Photo credit: Marina Pilatsikas
  • 15.  Warm, life-affirming celebration of family and cultural identity.  Set in recognisable Sydney location.  Autobiographical elements: “It started out as a kernel of an idea: what if my grandmother gave me her bucket list to complete? And from that, out grew this novel about what it means to be a grandson, a son and yourself. … It’s a more personal novel than I expected to write… It’s not about me, but there’s a lot of me in there.”
  • 16.  Bildungroman written in a wry, sardonic first person narrative voice.  Highly engaging, humorous style.  Similar to the traditional quest narrative – the hero has three tasks to fulfil.  Colloquial/informal language enhances accessibility.  Facebook posts, Twitter posts and text messages are interspersed throughout to add interest and humour.
  • 17.  The characters are authentic, sympathetic and warmly described.  Likeable and functional protagonist who represents a non-traditional model of masculinity.  There were some elements of parody, but overall, the warmth of the writing prevented the characters from becoming cliched.  Presents a highly diverse spectrum of characters in an un-self-conscious way. .
  • 18.  Family/intergenerational relationships  Divorce/separation  Cultural identity /tradition  Love/romance  Coming of age  Death, grief & loss  Loyalty  Masculinity  Identity and Belonging  Acceptance & healing  Mateship  Secrecy/deception  Year 12/school life  Disability
  • 19.  Looking for Alibrandi by Melina Marchetta  Deadly Unna by Philip Gwynne  Jasper Jones by Craig Silvey  Willow Tree and Olive by Irini Savvides  Happiest Refugee  Does My Head Look Big in This?
  • 20.  Teaching notes available on the Penguin website at http://www.penguin.com.au/extras/79/9780143568179 /educational-text/Teaching%20Notes.pdf  Melina Marchetta interviews Will Kostakis http://melinamarchetta.wordpress.com/2013/08/22/21 -august-interviewing-will-kostakis
  • 21. Life in Outer Space, Melissa Keil (Hardie Grant Egmont) • Winner of the 2013 Ampersand Project • Inky Awards 2014 - Gold Inky (longlist) • YALSA Awards for Best Fiction for Young Adults 2014 • Ena Noel Award 2014
  • 22.  Studied Cinema and Anthropology at university.  Worked as a high school teacher, Middle Eastern tour guide, waitress, community theatre dogsbody, and IT help desk person. Now she is a children’s book editor.  Previous books include Rabbit’s Year and Rabbit and his Zodiac Friends, illustrated by Jedda Robaard.  Second YA novel, The Incredible Adventures of Cinnamon Girl, will be published in September 2014.
  • 23.  ‘a young adult romantic comedy that combines some of my many loves – movies, music, karate, the Astor Theatre, Star Wars, and all things geek.’  Steeped in sub-culture and pop culture  While set in Melbourne, the school scenes have a teen universality which would make them resonate with international audiences.
  • 24.  First person teenage narrative voice  Extensive use of jargon and slang to create realistic characters and an authentic school setting  Light, warm, playful tone.
  • 25.  ‘Full of energy, wit and tenderness; this is one big-hearted and unique book.’ – Leanne Hall  ‘This charming story is like a modern YA-lit version of a John Hughes movie – funny, sweet, gentle, awkward, and filled with an endearing cast of odd ducks. A great choice for those who wish to end their summers with a lighthearted romantic comedy.” ―Publishers Weekly  “… this is a humorous, heartfelt and angst-y romance with the potential to break the gender barrier.” ―Kirkus  “The supporting characters–Mike especially–are multifaceted and real. Snappy banter and fish-out-of-water situations combine with touching moments to create an entertaining and diverting read.” ―Horn Book Magazine  “Made me smile so hard.” ―Looking on the Side of Wonder blog  “ADORABLE nerd-love story from down under! Star Wars and World of Warcraft and music nerdery and horror films and more. I want to hug every character.” ―Lindsay Smith blog
  • 26.  Love and romance  Friendship  Identity  Belonging  Separation & divorce  Art vs reality  High school life  Teenage subculture  Bullying
  • 27.  Dash and Lily’s Book of Dares, Rachel Cohn & David Levithan  Nick & Norah’s Infinite Playlist, Rachel Cohn & David Levithan  Paper Towns, John Green  The Perks of Being a Wallflower, Stephen Chbosky  Beatle Meets Destiny, Gabrielle Williams
  • 28.  Detailed review on Alpha Reader site: http://alphareader.blogspot.com.au/2013/02/life-in- outer-space-by-melissa- keil.html?_sm_au_=iVVQ8PnSk3JZ5vZM  Interview with Melissa Keil: http://bestfriendsrbooks.com/2013/02/05/interview- with-melissa-keil-giveaway-of-life-in-outer-space/  Melissa Keil’s blog: http://melissakeil.com/
  • 29. The & í __ __ __ /__ __ __ __ __ __ __ __ __ __ / __ __ __ __ /__ __ __ /__ __ __
  • 30. The Incredible Here and Now; Felicity Castagna (Giramondo)
  • 31.  Spent her youth living and travelling around Asia and North America before moving to Parramatta, where she has worked as a teacher, arts worker and editor for the past ten years.  Has recently published a collection of short stories Small Indiscretions.  She has won the Josephine Ulrick Literature Award and the Qantas Spirit of Youth Award  Teaches creative writing.
  • 32.  Dominated by a strong sense of place.  Driven by character and setting rather than plot.  Both lyrical and gritty: the world presented is a grimy, urban one  “It’s a story that is very purposely local but I also want it to be a story where the ‘West’ becomes larger than one location, it becomes a place where stories are told about ordinary places that gain a legendary status through story telling.” – Felicity Castagna
  • 33.  …“about being an absolute insider in a place you know as well as the back of your own hand. It’s a young adult’s novel told through the eyes of Michael whose life changes dramatically in the summer he turns 15. Michael knows everything about the community he lives in and through his stories, he lets the reader in; to the unsettled lives of his family members, the friends he meets in the McDonalds parking lot at night, the swimming pool where he meets the one girl who will acknowledge he’s alive and the classmates who spend their mornings drooling at the Coke Factory on their walk to school.” - Felicity Castagna
  • 34.  Constructed as a series of vignettes – poetic and impressionistic in style  Highly descriptive and rich in sensual detail  Language is plain, pared back and unadorned eg. ‘I never thought nothing bad could happen here and then it did.',  A meditative, elegiac tone which provides a unique contrast with the often loud, bustling world the author evokes.
  • 35.  Grief & death  Family  Romance/relationships  Coming of age  Belonging  Identity  Masculinity  Drink driving
  • 36.  “William Street” by Kenneth Slessor  The Story of Tom Brennan, J.C. Burke  Boys of Blood and Bone, David Metzenhan  Deadly, Unna by Philip Gwynne  Sleeping Dogs, Sonya Hartnett  Simple Gift and By the River, Steven Herrick  Cinnamon Rain, Emma Cameron
  • 37.  Incredible Stories: a stage 5 unit of work for English http://incrediblestories.net/ - includes a 30 page teaching program and assessment  Reading notes: http://www.giramondopublishing.com/wp- content/uploads/Reading_Notes_TIHAN.pdf  Author’s website: http://www.felicitycastagna.com/
  • 38.  Has written television scripts for more than ten years.  Her first YA novel Six Impossible Things was shortlisted for the 2011 CBCA Book of the Year, Older Readers.
  • 39.  A companion to Six Impossible Things, which one of the main protagonists/narrators, Lou, was a minor character in that book. The event which has occurred in the narrative space between the two books provides the impetus for her story.  A coming of age/rites of passage narrative: “A story about first love and friendship at sixteen, fitting in, and staying true to yourself.” - Fiona Wood  Heavily influenced by Romantic ideals of man finding himself in nature and the role of the sublime.
  • 40.  The wilderness setting is created by evocative, sensual descriptions which employ a range of literary devices: ‘The light falls from the sky like a sigh, deepening it from blue to lavender spiked with stars. The air is so cold and clean and eucalyptus-loaded it feels like a health treatment.’ (p 54)  Influenced by “Romanticism –love/death/nature /primacy of emotion/intuition/feelings, Iago, my lack of affinity with the great outdoors, jealousy, betrayal, mean-girl-friends, the specious charm of celebrity…” – Fiona Wood
  • 41.  Structure weaves together two alternate narrative voices: Sibylla, written in first person, present tense, and Lou whose point of view is written as first person journal entries in the past tense.  Intertextuality and literary frames are used to reinforce character dynamics and key themes and help us interpret the action. eg. Lord of the Flies, Othello, Romeo and Juliet, Walden, Dylan Thomas’, Christina Rossetti, Wordsworth, Wilred Owen, Keats.  Modern/pop culture allusions also feature .eg. the song “Blackbird”, “Changes” by David Bowie, Star Trek, Melancholia.
  • 42.  Playfulness with language is a key feature of the text.  Contrast plays a key role in defining character and place eg. wild vs civilised.
  • 43.  Rites of passage/coming of age  Survival  Grieving and Healing  Identity & Individuality  Loyalty and betrayal  friendship  Sex and love  Deception and reality  Discovery  Peer pressure  Jealousy  Body image and beauty
  • 44.  Teachers notes: http://www.panmacmillan.com.au/resources/FW- WildlifeTN.pdf  Fiona Wood’s website  http://fionawood.com/blog/
  • 45.  So Much to Tell You, John Marsden  Secret Scribbled Notebooks, Joanne Horniman  Good Oil and Holier Than Thou, Laura Buzo  Looking for Alaska, John Green  If I Stay, Gayle Foreman
  • 46. 398.2 __ __ __ __ __ __ __ __ __ __ / __ __ __ / __ __ __ __ __ / __ __ __ __ __
  • 47.  “a 24-year-old storyteller, starving artist, moon-worshiper and ghost enthusiast.”  Counts Neil Gaiman, Jeffrey Eugenides and the Brothers Grimm among her biggest literary influences.  Writes “deconstructed pulp-fables” that almost always revolve around women, the wilderness and witchcraft.
  • 48.  A deliciously dark bubblegum-gothic fairytale combining contemporary YA/crossover fiction with magical realism  a “pulp-fable about grunge girls, Victorian ghosts, and slightly sinister talking rabbits” – Allyse Near  Takes place in Avalon, an indeterminate geographical location which fuses dreamlike elements of mythology/fantasy with features of contemporary urban life.
  • 49.  An intricate narrative structure incorporating stories within stories and flashbacks.  A range of structural devices are used to create a sense of unreality and fragmentation and destabilise the reader eg. flashbacks, dreams, shifts in point of view and time frame and script-writing elements.  Elements of post-modernism.  Visual techniques including intricate illustrations are also used to create the illusion of the novel as a crafted fairytale volume.
  • 50.  The fairytale sections use a lyrical, ornate, archaic prose style while the contemporary sections are more gritty and psychedelic, with terser, punchier language.  Also incorporates a range of traditional fairytale motifs eg. refrains, magical creatures, princes and princesses, evil mothers, doubles etc.  Symbolically rich with a dreamlike complexity  Strongly intertextual with allusions that deepen the reading experience: Poe, Wilde, Brothers Grimm, Arthurian legends, Greek mythology, Sylvia Plath, Alice in Wonderland.  .
  • 51.  Teachers notes: http://www.randomhouse.com.au/content/teachers/tr _fairytalesforwildegirls.pdf  Author interview:  http://thebookwars.wordpress.com/2013/09/25/author -interview-allyse-near/
  • 52.  The Bloody Chamber, Angela Carter,  The Djinn in the Nightingale’s Eye, A.S.Byatt  Lips Touch Three Times, Lani Taylor  Sophie Masson eg. Moonlight and Ashes  Zoe Marriott eg. The Swan Kingdom  Kate Forsythe eg. The Wild Girl  Margo Lanagan eg. Tender Morsels, Sea Hearts  Cassandra Golds eg. Pureheart, The Three Loves of Persimmon  Holly Black eg. Tithe

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