by Lehua Parker | Jan 23, 2013 | Blog Tours, Guest Posts, & Interviews, Jolly Fish Press Titles & Authors, MG/YA Fiction, Pacific Literature, The Business of Writing, The Niuhi Shark Saga
Aloha!
Today I’m part of a blog hop, officially known as The Next Big Thing. Many thanks to Elsie Park for inviting me to hop in after her. You can check out her website here. Her debut book is called Shadows of Valor and will be available everywhere July 27, 2013! It is going to be great! Can’t wait.
If you’ve never heard of a blog hop, it’s a bit like a game of tag. Writers post about their works and link to other authors ahead and behind them in the chain. So, without further ado–
What is the working title of your next book?
One Shark, No Swim, Book 2 in the Niuhi Shark Saga. It’s currently in editorial review at Jolly Fish Press and will come out late summer/fall 2013. It follows One Boy, No Water.
Where did the idea come from for the book?
The genesis for the series was a scene from Legends of Hawaii that I saw when I was seven years old. In the film a young Hawaiian boy’s shirt is ripped off to reveal gaping shark’s jaws where his back should be—it’s the kind of image that tends to stick with you if you have an overactive imagination.
What genre does your book fall under?
It straddles the line between Middle Grade and Young Adult. Technically, it’s fantasy, but it’s set in modern, every day Hawai’i. Supernatural things happen, but it’s all rather matter of fact. While Zader and his friends are twelve in One Shark, No Swim, the themes developed in the series are universal. It’s PG in content and language, making it appropriate for MG readers, but it wasn’t written specifically for an MG/YA audience. It’s an adventure series that appeals to adults, too, particularly if they’ve lived in Hawai’i.
Which actors would you choose to play your characters in a movie rendition?
Jackie Chan. Uncle Kahana, Zader, ‘Ilima, Jay, Char Siu—it doesn’t matter which character; the answer to this question is always Jackie Chan. (Call me!)
What is the one-sentence synopsis of your book?
Adopted twelve year old suspects there’s more to his birth family than he ever dreamed and the truth changes everything.
Will your book be self-published or represented by an agency?
The Niuhi Shark Saga is published by Jolly Fish Press.
How long did it take you to write the first draft of your manuscript?
About six weeks split over nine months. Bursts of writing punctuated by life and lots of dust gathering.
What else about your book might pique the reader’s interest?
In book 2, Zader discovers a way he can take a shower without blistering, he meets both his biological parents (although he doesn’t know it), learns Filipino Kali-style knife fighting from a master, and Uncle Kahana and ‘Ilima don’t see eye to eye on what to tell Zader, Jay, and Char Siu about what’s really going on. And niuhi sharks! Lots of sharks.
And that’s my Next Big Thing! Now here are the fabulous authors I’ve tagged to tell you about their Next Big Thing! They will be posting on 1/30/2013. Enjoy!
Christine Haggerty
Emily Younker
Jennifer Griffith
Johnny Worthen
BONUS:
Great authors who’ve already posted their Next Big Thing that you shouldn’t miss!
Jo Ann Schneider
Ann Marie Meyers
Eric Bishop
Adrienne Monson
Elsie Park
Jenniffer Wardell
The Brothers Washburn
Teri Harman
Amie Borst
by Lehua Parker | Dec 23, 2012 | Jolly Fish Press Titles & Authors, MG/YA Fiction, Pacific Literature, The Niuhi Shark Saga
Dear ‘Ohana,
Mele Kalikimaka! We hope your family is well and enjoying all the aloha of the season. This past year we’ve felt especially blessed for all the good things in our lives. Here’s a quick snapshot.
Lili continues dancing hula in Halau Na Pua O Lauele and had a solo in their holiday performance at Ala Moana. Her halua is practicing hard and raising money to compete in next year’s Merry Monarch Festival. She is a sophomore at Ridgemont Academy and is the secretary of the Hui Lama club.
Jay and Zader are in Ms. Robinson’s sixth grade class at Lauele Elementary. We just learned that Jay was accepted to Ridgemont for 7th grade and Zader’s on the final waitlist. With Zader’s art talent, we think he’s a shoe-in for a final spot.
Speaking of art, if you’re headed to the Honolulu Arts Museum, check out Zader’s turtle carving in the Young Artist Showcase. It’s amazing!
After winning the last two Menehune surf meets, Jay’s taking a break from surfing to play flag football in the park. It’s odd seeing him out of the water, but I don’t miss all the wet towels and sand!
Both boys are studying Lua with Uncle Kahana, which probably means drinking soda and watching old Bruce Lee movies. At least they are staying out of trouble. I hope. You never know what’ll happen when Uncle
Kahana and ‘Ilima get involved.
Along with all our aloha, we wish you and yours the best and brightest of the season and good fortune in the new year! A hui hou,
The Westin Ohana
Paul, Liz, Lilinoe, Jay, and Zader
PS: You can find out more about our adventures in One Boy, No Water by Lehua Parker. The Kindle version is on sale now through January 2!
by Lehua Parker | Oct 10, 2012 | Island Style, Jolly Fish Press Titles & Authors, MG/YA Fiction, Pacific Literature, The Niuhi Shark Saga
In One Boy, No Water each chapter begins with a word or phrase in Hawaiian or Pidgin followed by its definition. This structure uses ‘ōlelo no‘eau, wise or entertaining sayings that reveal a hidden truth. Hawaiian relies heavily on poetic imagery, riddles, and puns to communicate significant truths veiled under casual conversation. Words and phrases can hold hidden layers of meaning called kaona, which is why songs about mist or fish or flowers or wind can leave old folks laughing and young ones wondering what’s so funny. Examples of ‘ōlelo no‘eau can be found on the Internet or in this book of collected wisdom:
‘Ōlelo No‘eau: Hawaiian Proverbs and Poetical Sayings
by Mary Kawena Pukui
Bishop Museum Press, 1983
Here are some of the newest ones I’ve come across:
· ‘A‘a i ka hula, waiho ka hilahila i ka hale.
When one wants to dance the hula, bashfulness should be left at home.
· Hōhohua no ke kawa.
A deep diving place indeed. Said of a topic that requires deep thinking.
I kani no ka pahu i ka ‘olohaka o loko.
It is the space inside that gives the drum it’s sound. The empty-headed person is the one who does the most talking.
He manō holo ‘āina ke ali‘i.
The chief is a shark that travels on land. Like a shark, the chief is not to be tampered with.
by Lehua Parker | Sep 26, 2012 | Blog Tours, Guest Posts, & Interviews, Jolly Fish Press Titles & Authors, MG/YA Fiction, Pacific Literature, The Business of Writing, The Niuhi Shark Saga
Corey Egbert, Illustrator for One Boy, No Water
Today’s post is an interview with Corey Egbert, illustrator for One Boy, No Water. Corey was gracious enough drop by to answer a few questions.
Did you always want to be an illustrator?
No. When I was 6 years old, I wanted to be a scientist/nature photographer. Then when I was about 9, I wanted to be a Lego master builder. Even now I secretly wish I could be a travel show host. But I knew I loved to draw since before I can remember, and I’ve always loved books. So I figured illustration would be a perfect job because it is a combination of both of those.
What’s your preferred medium? Would you rather sketch on paper or on a computer?
I wish I was patient enough to do all my work on paper. If I did though, I would have to erase far too much and it would take forever!
I always start out with a pencil drawing in my sketchbook and then I scan it into the computer. The computer lets me do so much in a short amount of time, and if I want to change something, I can do it really easily without having to start over. But even though it’s on the computer, it’s still drawing. I still have to know all the components of art like scale, value, line, perspective, etc. The computer is just a tool.
Northbridge Castle by Corey Egbert
One Boy, No Water is the first book you’ve illustrated. How is book illustration different from some of the other projects you’ve worked on?
Book illustration is different than doing other art because you have to create images based on someone else’s ideas instead of your own. The author created the characters, objects and world, and you have to draw them to be true to the story. I had to do a lot of research, ask a lot of questions, and sometimes revise my drawings multiple times to get them right. It really helped me grow as an artist because it pushed me to take my artwork farther than I would have on my own.
Which part of the process did you enjoy the most?
I really loved the challenge of taking characters that are only described in words and turning them into something that you can look at. The kids were very fun to draw because they each have different personalities. I enjoyed working on Zader because I felt like I could relate to him, especially since he is an artist too.
From One Boy, No Water, illustration by Corey Egbert
Which illustration from One Boy, No Water is your favorite?
I would have to say the one with Zader and Dream Girl and the castle. It was the hardest one for me to do. I worked on it forever and I really wasn’t pleased with what I was coming up with. I dreaded working on it and actually saved it for the night before my deadline! I ended up throwing my first version away and completely starting over. I am really pleased with how it eventually turned out. Castles have always been one of my favorite things to draw.
Now for the really important questions: Crayons or markers?
Haha. When I was a kid I thought crayons were for babies so I used markers. I like the deep, even colors and finer lines you get with markers. Crayons are too hard to control.
Favorite color?
Whenever I am asked this, I always say that I like all colors because I am an artist. I just can’t decide.
Who are some of the illustrators you admire?
Maurice Sendak who created Where the Wild Things Are is one of my very favorites and possibly the most influential children’s book illustrator ever. I also used to try to copy the style of Eyvind Earle who did the background art for Disney’s Sleeping Beauty. Pauline Baynes, who illustrated the original editions of The Chronicles of Narnia was a big influence, too. I also love Glen Keane, Richard Scarry, Edward Gorey, Mary Blair, Kali Ciesemier, Chris Van Allsburg, Paul O. Zelinsky and Carson Ellis, to just name a few.
When you were eleven did you have a favorite cartoon or tv show?
I really liked the show Recess. I love how the playground was a microcosmic empire ruled by kids. It was full of wars, politics, economics… everything, just on a kid scale. I’m still waiting for that show to come out in a DVD collection.
What’s your favorite middle grade book?
There are too many to pick just one! I love Narnia, Harry Potter, the Prydain books, Tuck Everlasting, My Side of the Mountain, The Phantom Tollbooth, From the Mixed Up Files of Mrs. Basil E. Frankweiler, The True Confessions of Charlotte Doyle, A Wrinkle In Time, The Giver, The Little Prince… and more. I still read middle grade books, and I can’t wait until my son is old enough so I can read my favorites to him!
Any words of wisdom for burgeoning illustrators who are considering illustration as a career?
Doodle every day! Keep a sketchbook. Learn the fundamentals of art like shape, color, line, value, balance, rhythm, etc. Learn to draw the human figure. Draw your friends and family! Invent your own characters and draw them doing different things. Try to tell a story with your drawings. Observe the world around you. And keep challenging yourself!
Thanks for stopping by, Corey! One Boy, No Water is available in hardback, trade paperback, and ebook on September 29, 2012 wherever books are sold.
Follow Cory on his blog: http://stevencoreyart.blogspot.com/
by Lehua Parker | Sep 19, 2012 | Jolly Fish Press Titles & Authors, MG/YA Fiction, Pacific Literature, The Business of Writing, The Niuhi Shark Saga
With the launch party for One Boy, No Water just ten days away, I’ve been doing some publicity interviews. (I know!) One of the questions that keeps popping up is about the genesis of the story. People want to know which Hawaiian myth or legend it comes from and if it’s a myth or a legend. Here’s the real scoop.
Those that parse such distinctions define a legend as a story about actual events or people that sometimes include imaginative elements, or as I like to think of them, the stuff that makes the story good. Myths are defined as stories that are considered completely imaginary that attempt to explain the natural world through symbolism. Personally, I think it’s all a matter of cultural bias. One person’s myth is another’s legend. It all depends on world-view. Out of respect, I tend to call all these kinds of stories legends.
With One Boy, No Water and the rest of the Niuhi Shark Saga, there’s been some confusion, especially in the earliest press releases. I don’t think Jolly Fish Press, the publisher, got it initially. There isn’t a Niuhi shark legend in traditional Hawaiian literature, but Hawaiian culture, traditions, and legends do play an important role in the series.
Most cultures have stories about shape-shifters. Throughout the Pacific there are lots of stories about gods and demi-gods who could change form, including human to shark. Niuhi is the Hawaiian word for “shark large enough to eat a human” which I used to describe beings who are really sharks that are self-aware in their role as predators and can appear as people on land. In my imagination I created a backstory where at one point they lived side-by-side with ancient Hawaiians who knew and accepted what they were. After western contact and the fall of the kapu system, the Niuhi moved away and into hiding. In my books only a few people remember the stories and fewer believe, only the ones with ancestral family ties to Niuhi.
To be clear, there is a Hawaiian legend about a boy named Nanaue who is raised as a human but can turn into a shark. Nanaue eats unsuspecting villagers until they unmask and banish him. There are other Hawaiian legends about humans that can turn into sharks that help fishermen and those lost at sea, and even legends about deified ancestors appearing as sharks and protecting family members, all of which influenced the series, but do not define its story arc. The series is not a retelling of Nanaue. Promise.
Where I think the confusion crept in was when I told JFP that Uncle Kahana, the mentor character, would also bring in other Hawaiian legends into storyline, allowing me to share some Hawaiian culture and lore with the rest of the world. I’m talking about Menehunes, ghosts, and other supernatural beings. I think that got twisted a little to imply that the story itself is from a Hawaiian legend.
While it’s being marketed as middle grade and book one is appropriate for that age group, in my mind the whole series is more young adult coming of age and is about eventually choosing to define yourself and how you want to live your life despite what others want you to do. Unknown to Zader is his true nature and the reason he’s been hidden among Uncle Kahana’s family. In One Boy, No Water he gets some strong hints that things are not what he thought they were. After leaving him alone for 12 years, in book 2, his biological family begins to interact with him and more of his true nature rises to the surface. Above all the mystery is a more mundane story about a kid who doesn’t fit in and what choices he and his friends make as they grow up in modern Hawaii.
One Boy, No Water is at its heart a Hawaiian story and like most Hawaiian stories is full of hidden meanings called kaona. Nothing is what it appears to be on the surface. Even Zader’s Hawaiian name is a clue: Kaona-kai, a hidden or concealed sea. It’s my hope that the series is enjoyed by both kinds of readers: the careful readers who search for clues and the deeper kaona and those who would rather just enjoy the ride, taking the saga along the surface all the way to the beach.
Either way, it’s going to be a wild ride!
by Lehua Parker | Aug 31, 2012 | Adult Fiction, Blog Tours, Guest Posts, & Interviews, Jolly Fish Press Titles & Authors, The Business of Writing
Today’s blog is courtesy of Jennifer Griffith, author of Big in Japan and member of the Jolly Fish Press ‘ohana. Her newest novel is a fish out of water story about a plus-sized Texan who goes to Japan on a quick business trip, but ends up living in a sumo stable fighting for his life and chasing after the girl of his dreams. At turns sweet, thrilling, and always hilarious, it’s a great read.
Thank you, Lehua, for allowing me to guest blog today. It’s an honor.
My latest novel, Big in Japan, has been out for just over a month now, and it’s amazing to see the reactions to it. The funniest one might be, “How the heck did you write that?”
Maybe they’re asking how a short, mom-type person wrote from the perspective of a … well, a giant. Who’s a 24 year-old man. That’s a valid question. I guess I channeled my inner sumo wrestler.
It’s been a lot of years since I lived in Japan. Like, almost 20. I wanted Big in Japan to be as authentic as possible—as much of a virtual trip to Tokyo as I could muster with the little details of sights and smells and the kitchy things that are Japan. Unfortunately, I’ve given birth five times since then, which is a veritable mind-wipe each time. So the most legitimate meaning of that question should actually be, “How did you write that and remember all that stuff?”
To which I reply, duh! In Japan you take your camera with you everywhere and you photodocument every single aspect of your day.
Cases in point: I have pictures of my bathtub; of my lunch of sliced cucumbers and barbecued squid and a pile of Kewpie mayonnaise; of mugi (wheat bran) muffins boiling over in my toaster-oven sized oven; of my clothes drying on the line; of myself going off a jump on my hot pink mountain bike wearing the kind of helmet only the mentally challenged Japanese people (and the American girls) wear; of my feet turned green and blue from the dyed leather in my blue oxford shoes after walking through the ankle-deep water after the August typhoon in Tokyo. I have pictures I took in the grocery store of bags of tiny round mochi balls in pink and green and white and of the narrowest house I’ve ever seen—just barely wider than my armspan from fingertip to fingertip.
But as a writer, the pics are not my only “external hard drive” source to remember details about beautiful Japan. I’ll be forever grateful I kept an almost-daily journal of my experiences.
I’ve got a record of “funny.” I have daily lists of the wacky English-language text on t-shirts, like the one with the tortoise at the top and the caption, “His mustache is so proud of him.” I’ve got stories about someone we lovingly referred to as “underwear man,” and the time I had to eat a stir-fried cricket on a dare. I also kept a record of the high cost of fresh fruit. Like the fact that a single watermelon cost upwards of $100!
Beyond that, when I was writing about Buck’s difficult transition into the Japanese culture, I had my own rocky emotional mess all bleeding out in hot pink pen all over my journal to draw from. And to write Buck’s final settling in, his acceptance of the country after some pretty significant culture shock, I had the feelings of catharsis I’d recorded as well.
Best of all, I’ve also got a whole cast of interesting and amazing people I met while I was there, and the heroine of the story is a conglomerate of the best of the Japanese women I met during my year and a half on the island.
When I first received my assignment to go to Japan, I was scared spitless. Then I told my grandpa, and he about jumped out of his skin. He’d lived there with my grandma and their six-or-so kids in the 1950s. He insisted I drive the half hour to his house because he was pulling out his slides. There were hundreds of pictures of the forests of Matsushima and the gardens at Nikko, and the ocean and houses and smiling people. His photodocumentation went great lengths toward calming my fears, and his love for Japan oozed its way into my heart, where it has lodged ever since.
I hope that love oozes into the hearts of the readers of Big in Japan.
Jennifer Griffith lives in Arizona with her husband and five kids. She lived in Japan for a year and a half during college and at 5’1” she is far too short to ever consider sumo as a career. This is her fourth published novel. Big in Japan is available as a hardback and ebook nationwide at purveyors of fine books such as Amazon and Barnes & Noble. Click here to see the book trailer. Trust me, you wanna see it.
Follow Jennifer’s adventures in writing at:
To read my review of Big in Japan, click here.
