I did a quick survey of the 20 Medal and Honor books from the past four years, looking at the average age range recommended in book reviews. Here’s how it came out: 

Newbery Medal & Honor Books, 2023-2026 (20 titles)

• Age range 7-11:   5%
• Age range 8-13: 40%
• Age range 9-13: 35%
• Age range 10-14: 20%
• Age range 11+:   0%
• Average age range: 9-12

So everything from 2023 on has been squarely in that comfortable upper elementary through early middle school range. If you’re curious, here’s a list of those 20 books, with averaged-out age level recommendations using reviews from Booklist, Kirkus, Publishers Weekly, and School Library Journal. 

Ages 11 and up

• NONE

Ages 10-14

• ALL THE BLUES IN THE SKY
• IVELIZ EXPLAINS IT ALL
• MEXIKID

Ages 10-13

• ACROSS SO MANY SEAS

Ages 9-13

• SIMON SORT OF SAYS

Ages 9-12

• FREEWATER
• THE MANY ASSASSINATIONS OF SAMIR, THE SELLER OF DREAMS
• ONE BIG OPEN SKY
• A SEA OF LEMON TREES
• THE UNDEAD FOX OF DEADWOOD FOREST
• THE WRONG WAY HOME

Ages 8-12

• EAGLE DRUMS
• THE EYES AND THE IMPOSSIBLE
• THE FIRST STATE OF BEING
• THE LAST MAPMAKER
• MAIZY CHEN’S LAST CHANCE
• THE NINE MOONS OF HAN YU AND LULI
• THE TEACHER OF NOMAD LAND

Ages 8-11

• ELF OWL AND DOG HEAD

Ages 7-11

• MAGNOLIA WU UNFOLDS IT ALL

Most of my reading this year, I confess, has been right in that 8-12 age range. I still haven’t gotten to a couple of books on my list that do skirt that upper Newbery age level:

CHILDREN OF OWL by Darcie Little Badger looks very interesting. Reviews give it the same average age range as her A SNAKE FALLS TO EARTH (12-16), which was the most recent borderline book to win a Newbery Honor (2022). 

 EVERYTHING NEW AGAIN is by last year’s Medal winner, Renée Watson. The average age range  is 13-17, so even more of a stretch probably. Her first Newbery recognition was for PIECING ME TOGETHER (2018 Honor), with a sixteen-year-old protagonist. 

If you’ve read either of these, or other books on that teen borderline, I’d love to hear what you think about their Newbery chances. As for me, I have read one book so far that’s at about that same level. I think it belongs in a Mock Newbery discussion, and at least a few others agree: it got four nominations during our first round, placing it in our top seven so far:  

ONE WORD, SIX LETTERS by Adib Khorram

The average age range from reviews for this book comes in at 12-17. So that’s older than any of those twenty titles since 2023…but also about the same as A SNAKE FALLS. The younger half of its intended readers is within Newbery range.

The style is what strikes me first, with alternating chapters from the two kids, both written in second-person. There’s Dayton, who shouts  the six-letter slur at an assembly, and Farshid, who suspects the slur was directed at him. The use of “you” to address the reader in the second-person narration could have been awkward, but instead it works very smoothly, pushing us to put ourselves in both of their shoes.

Here’s Dayton about to get his punishment from the principal, and we get an early look at his mixed-up feelings and lack of understanding:

Hot shame bubbles in your stomach. You didn’t mean it, after all. It was just a joke. Reggie’s idea. One word, six letters.
You didn’t think it would be such a big deal.
But you should’ve known better. You realize that now.

The next chapter switches to Farshid and his initial reaction to the incident:

Don’t react. That’s the rule.
Don’t let them know it bothers you.
And it doesn’t, anyway, because what do they know? You’re not gay, after all. At least you don’t think you are, and even if you were, you wouldn’t have told anyone, least of all anyone at school.
Why do you have to know yet, anyway?…

Both main characters are more complicated than they seem at first and grow through their actions and experiences, though not always in predictable ways. The book explores the impact of words…not just the word that Dayton used, but also the more pointed language and attitudes of Brody, who sees Dayton’s act as a sign that he shares Brody’s hateful worldview.  

So is it for kids within the 0-14 age range? The main characters are 14, and their experiences are relevant and probably familiar to a lot of 12- and 13-year-old readers. Many kids that age are probably already having to deal with toxic male stuff and homophobia. They may be questioning themselves like Farshid or engaging in derisive behavior like Dayton and Brody…or maybe observing that in others and trying to figure it out. This book doesn’t answer all the questions, but it provides lots of food for thought. 

I feel like the author was careful to keep the content at a level for 12-14-year-olds, rather than aiming it right at older teens. The six-letter word is never spelled out, which keeps the focus more on its effect on people and the community rather than on a single incident. We’re getting the direct points of view of the two boys, but we don’t get specific descriptions of sexual activities or body parts. If older readers were the target, the author could have used explicit language and described more intimate details of the boys’ feelings.  

It’s also possible to explore these themes with a less intense approach for younger readers: WHEN TOMORROW BURNS does this well, looking at male toxicity at a simpler level for slightly younger readers. ONE WORD, SIX LETTERS seems to hit an important middle ground in terms of age range and reader maturity. Does that middle ground land it in the territory of Newbery consideration? 

I found something Steven said four years ago that rings true, “I always have to remind myself that it’s “delineation of…” and not just “characters.” It’s pretty easy, as a reader, to say: “I loved this character” or “that one didn’t ring true,” but those don’t really get you anywhere in a Newbery discussion. We have to identify the ways in which the author “described or portrayed…” Was it the narrative voice? The actions of the character? Descriptions of character traits? Harder to do, but also can be really illuminating. “

Some questions to keep in mind are: “Has the author provided a believable
approach to characters with appropriate dialogue and development? How do the characters develop through the progression of the book?

For 2027 Newbery contenders, I was particularly impressed with the delineation of characters in A POTION, A POWDER, A LITTLE BIT OF MAGIC. There are many different characters: Bernadette, the goats, the author, the brothers and the king; and their stories are told in a non- linear format, but you do watch them grow forwards and backwards (is that a thing? In this book it is!)

Another title that excels in this criteria is ONE WORD, SIX LETTERS. The entire novel focuses on the delineation of Dayton and Farshid and authentically magnifies their struggles, ideas, and inner thoughts.

In the comments, let us know which Newbery 2027 contenders excel in delineation of characters.

EUREKA by Victoria Chang

This novel in verse set in 1885 starts in San Francisco, where Mei Mei and her family face racism, then shifts north to Eureka, California, which turns out to be even worse. The verse form is used pretty frequently in historical fiction, going back to the groundbreaking OUT OF THE DUST (1998 Medal). It works well here, bringing us  right into Mei Mei’s raw emotions while filling in the historical background at the same time. When Mei Mei learns why she has to move to Eureka, the language is fairly straightforward:

They say it’s safer there,

that a judge just said

schools must let Chinese

kids like me go to school with

the white kids. (19)

But that leads into the evocative image of her Ma Ma’s sadness, and Mei Mei’s:

A tear hangs on her

eyelashes, drops

down and 

catches her cheek,

bleeds down

her face, and then

so many tears,

they all 

become

one.

A drop

lands on my hand,

mixes with my own tears.

I don’t want

to go. (20)

Her experiences in Eureka are harrowing, and Mei Mei’s transformation from carefree innocence to grim recognition of the world’s harshness rings true. 

THE QUEEN’S GRANDDAUGHTER by Diane Zahler

Of the four books listed, this seems like the one that might be the easiest for young readers to step into. It’s set in 12th-century France, where Blanca is the granddaughter of Queen Eleanor of Aquitaine. Eleanor surprises  Blanca’s  family by choosing the twelve-year-old to be the future bride of Prince  Louis of France. Blanca’s  friendship with her handmaid Suna adds another complexity to the story; the differences in their beliefs and social status seem trivial to Blanca at first, but that shifts perceptibly and we see a less appealing, more selfish side to her: 

“…a Qur’an in Latin? Why would I have to read that?”

“Maybe you would know more about me and my people if you read it,” Suna said. She sounded exasperated, even a little angry. I’d never heard that tone from her before. I stared at her, but she wouldn’t meet my gaze.

It was too much for me. We had so little time left together, but even Suna was against me. I had nobody on my side – nobody!  (chapter 6)

The plot includes plenty of descriptions of details of Blanca’s world, but still moves briskly. Historical background comes through Blanca’s narration, and it folds smoothly into the plot because it fits with her curious and enthusiastic mind. In the first half, Blanca meets Eleanor and we see how the girl’s feistiness makes her a kindred spirit of the former queen. The second part has them on the road to Paris, which includes a kidnapping and a daring escape. 

THE UNUSUALS by Gail Carson Levine

This one is set in 13th-century Winchester, England, and it’s a fascinating town as we see  it through Chera’s first-person narration. The girl is part of a small community of Jews within the village and though her family is well off financially, they face the constant threat of violence. When that violence occurs, with the shocking murder of Chera’s grandmother and her maid, Chera and her friends (one Jewish, one Christian) try to solve the crime at considerable risk to their own safety. Chera’s narration is particularly effective. She seems very much of her time: while she describes the social conditions of her world, it’s clear that it’s the only world she’s known and accepts it to some degree…but also shares some of the surprise and outrage readers will be feeling. Her reactions to events make it clear that she’s very much a kid. She’s crushed by her grandmother’s death, but not stopped by it, as she continues to look for answers and to understand herself better:

“Before Grandame was murdered, I’d been impatient to ask her more about outlaws and find out if she thought I was cowardly. Now, most of all, I wanted to know who killed her and Alice and how it felt to be dead. But I also wanted to learn how she became so sure of herself, so able to tell people what to do, and how she managed to find many things funny that were also serious.”(78)

This is one of those historical fiction books that kids may have to work a bit harder to digest. There are a lot of characters…I definitely made use of the Cast of Characters at the beginning. But there’s a lot to this book that I think will intrigue and stick with readers.

A YEAR WITHOUT HOME by V. T. Bidania

Here’s  another excellent verse novel, this time set in Laos in 1975. As the communist takeover begins, Gao Cheng and her family leave their home and travel in peril and uncertainty until finally escaping to the U.S. Through Gao Cheng’s narration we get a strong sense of the place and the tension of her plight. For most of the book, Gao Cheng’s actions are based on her family’s expectations that she’ll be obedient and keep her thoughts to herself, but we see her resentment of the status quo and her growing sense of herself as the story continues. 

The verse form is packed with similes: I counted six in one ten-page stretch! (135-144): 

Now that Dad isn’t with us, / everything feels gloomy / just like the sky (135)

Inside, the seats – also blue – / are covered in plastic. / They look like the blue silk cuffs / of a Hmong jacket. (136)

Luggage is squished / on the floor by passengers’ feet / like sticky rice is smushed / into the palm of a hand. (136)

Our bus weaves / through the traffic / in the city streets / like a lazy lizard (140)

My arms tense and stiffen / like two stalks / of ripe sugarcane. (142)

Where so many cars / drive close together, / slinking along / like a wiggly worm. (144)

That seems like a lot, but the lyrical language balances effectively with the more direct descriptions of events and doesn’t impede the forward direction of a pretty compelling plot. 

Of the four books above, I think that A YEAR WITHOUT HOME may have the most Newbery potential, but I’m also intrigued by the creative historical storytelling in all of these.

So today, I will take a look at the Goodreads 2027 Mock Newbery list, Betsy Bird’s Spring, Summer, and Fall Newbery predictions, and Anderson’s Bookshop Mock Newbery List. (An aside, it looks like one of my favorite Mock Newbery’s in Rhode Island is not active this year- so if you have any intel on that let me know)

Titles on all four lists (the above three and Heavy Medal October Nominations):

• THE LION’S RUN (I’m still waiting on more justification of what makes this book standout).
• A SCAR LIKE A RIVER (Heavy Medal frontrunner since it was published)\
• LIFE ON THE MOON

Titles on our suggestion list, but not nomination:

• LISTEN TO THE GIRLS
• THE QUEEN’S GRANDDAUGHTER
• A KID LIKE ME
• EXPOSURES

Titles not discussed much on Heavy Medal

• AUNTIE Q’S GOLDEN CLAWS NAIL SALON
• THE MISSING MAGIC OF SPARROW XIA
• OFFSIDE: A GRAPHIC NOVEL
• THUNDER AND MERCY
• WISH YOU WELL

Not yet published titles

• BRITTLE MAGIC (publishes 10/20)
• TAKE COVER (publishes 11/3)
• THE YEAR I STOPPED DRAWING (publishes 11/10)
• THIS IS A DOOR (publishes 10/27)

Thoughts about any of the above titles? Thoughts on THE LION’S RUN? Let us know in the comments!

Suggestions (March – September):

• A SCAR LIKE A RIVER by Lisa Graff:  18
• THE LIONS’ RUN by Sara Pennypacker:   15
• YOU ARE NOW OLD ENOUGH TO HEAR THIS by Aaron Starmer:  15

Nominations (October): 

• A SCAR LIKE A RIVER by Lisa Graff:  9
• THE LIONS’ RUN by Sara Pennypacker:   7
• YOU ARE NOW OLD ENOUGH TO HEAR THIS by Aaron Starmer:  7

And it’s not just here on Heavy Medal for these books. They hold three of the top four spots on the current GoodReads Mock Newbery list, and all three were in the top 7 of Betsy Bird’s Fall Newbery Predictions on Fuse #8.

We had some discussion about OLD ENOUGH in an earlier post, but haven’t gone very deeply into the other two titles. So we’ll do that today.  

EMILY:  Wow, I thought maybe the order changed between suggestions and nominations, but nope, top three in the same order AND EVEN a double tie between LION and OLD ENOUGH. That is wild, but what else is wild is Steven and I nominated the same three books (you can go back to the post to see them mwahaha)

STEVEN:  I just might have to include some “books that Emily would not like” in my November nominations deliberations, just to avoid this happening again. But for now, we’ll look at these two excellent (though not nominated by us yet) books. Emily and I will start  it off, then we’d love to hear from others, especially from those who have suggested and/or nominated either or both.

STEVEN:  Let’s start with SCAR. Emily, why do you think this has gotten so much support all year long?

EMILY: That book is real, and that book is raw. I feel like that’s all I have to say. But really, I don’t have the book in front of me – but I know I could pull out passages for all six criteria in no time. Just picturing Fallon and her scar, hearing her voice, realizing how deep these feelings and emotions run in the family… In the words of Quade..This book fits the Newbery checklist perfectly.

STEVEN:  I thought the way the plot unwound was especially distinctive…and really effective. Particularly the three secrets. The “third-biggest secret of my life” comes early, and we learn it was Fallon’s uncle who attacked her…but not why. (p 8-10). The “second-biggest” comes much later (p 224-225) when she tells her aunt and realizes (at age five) that “no one would ever believe me.” And then it’s “the first-biggest,” where we learn for sure about the abuse. Lots of different ways an author could have told this story, but the way she did was, to use Newbery language, “truly distinguished.” 

But with my Newbery hat on, I have this annoying habit that I can’t drop: as soon as I start to like a book, I try to pick it apart. One thing about SCAR….  Do you have any reservations, Emily?

EMILY:    An issue I say many times is too many issues. Graff does a great job at weaving everything together, but if anything I think the drama of HELLO DOLLY is too much forced in there. I’m not sure if that brings it down enough, though…. Thoughts?

STEVEN: Wait, I was going to say that! We’re agreeing way too much this season. I think the way Fallon stood up for herself in regard to the play was related to the way she finally was able to tell her true story…standing up for herself in a much more difficult situation. I’ll need to think about that more when I do a second read of SCAR.. 

EMILY: Onto THE LIONS’ RUN. I also only read this title once and to be honest it didn’t stick with me that much. I really appreciated the descriptive writing but I have to say, I need to hear way more concrete details on what makes this not just another touching Holocaust book.

STEVEN:   I thought Lucas as the main character and the time and place (aka setting) were strengths in THE LIONS’ RUN. Lucas’ basic decency, shown by rescuing the kittens, leads him to more dangerous and heroic acts. He might be a pretty ordinary kid under other circumstances, but in occupied France and an orphanage and a resistance movement, he learns that he’s braver than he thought. Also, very smooth, accessible writing that makes a plot with a lot of threads pretty easy to follow. For  me this wasn’t enough to lift it into top Newbery contention, but I’m guessing others can point to this book’s potentially distinguished elements.  

So now let’s hear from these books’ many supporters. And from those who don’t rate them highly as well. You can comment about either or both, and of course feel free to bring in comparisons to other Newbery-eligible books as well…

BUILDING 903 by Lois Lowry

Set in 2099 in a pretty harrowing society that shares some expanded elements of life in 2026, this dystopian science fiction is definitely thought provoking, and at a level that I think will resonate with child readers. The  details of that future world, the family relationships, and the unexpected power of the Orb all impact plot, theme, and characters. Tessa’s sibling connection with Theo is the key to communicating with him. Her friendship with Miriam brings books into their lives. And the discovery of the power of imagination and stories is crucial. The plot was gripping at times, and while the ending was positive, it seemed a little too fortuitous that they save Theo and the insurrection happens at the same time. Still, it’s highly engaging science fiction that could lead to interesting follow-up discussions.

THE GINGHAMS by T. C. Kemper

This one keeps the science fiction elements under wraps in the beginning. It starts out as a refreshing twist on the middle school friendship dynamics that seem so prevalent in the year’s realistic fiction. The idea that your best friend suddenly changes for some reason, when you don’t, becomes something very different when it  turns  out that it’s part of a mad scientist’s  plot. The book still explores those themes of conformity and individuality, but they’re neatly woven into a mystery/adventure as Joni and Tyler figure out what’s going on and how to stop it. Joni’s character is especially strong here; her boldness and independence are apparent (and appealing) from the start, and those qualities serve her well as the conflicts deepen.  I didn’t nominate this one,  but thought it was very well done, and definitely one I’d recommend to kids.

LIFE ON THE MOON by Matthew Swanson

Unlike THE GINGHAMS, we know this is science fiction from the start, as Leo  explores the moon and learns there’s more to it than he’s been told. I like the way the book mixes adventure, humor, and ecological issues without ever really slowing up the plot. Leo’s a likeable character from the start, and grows through his actions. That first step of breaking a rule leads him to more decisions and eventually a fuller understanding of the Moon than anyone else. Readers will have an easy time sliding into this world and understanding it. That can almost make it seem too simplistic for an award winner, but it’s actually a significant accomplishment, especially since we’re always referring to that “excellence of presentation for a child audience” phrase from the Newbery Criteria. 

THE SECOND LIFE OF SNAP by Erin Entrada Kelly

The dystopian future in this book is about as bleak as the one in BUILDING 903, but very different. The plot centers on the robot from the title and how it is used, but that robot thread is used to explore a variety of themes, including the perils of a divided society and the complex implications of artificial intelligence. Zuzu’s relationship with Snap is at the heart of most of the action, which takes place in a harrowing but interesting near-future landscape. We don’t get a big, positive wrap-up to this story, but the last chapter works well. Zuzu’s interaction with the third version of Snap six months later, and the mention that “things have been better around here lately” provide hope and confirmation that the preceding action did some good. Kelly trusts the readers here: it’s a short-ish book and she could have gone deeper into the history and background of her world, but instead stays very focused on the immediate plot and characters.  

Two other books with nominations feature time travel, and usually I think of that as a science fiction kind of thing, but maybe not in these cases:

QUESO JUST IN TIME by Ernesto Cisneros

The time travel comes from a wish rather than a machine, so it feels more like fantasy to me. Still an excellent book, though, and the time travel works well as a vehicle for character development and themes, while also driving the plot and adding some humor.

YOU ARE NOW OLD ENOUGH TO HEAR THIS by Aaron Starmer

We discussed this one in an earlier post. Time travel, yes, but it’s from a magic bucket and there’s wish-giving seeds and all. So I put it into fantasy. Still a book to consider for sure, and how well a book fits into traditional genres is not really a consideration for the Newbery Medal. Sometimes it’s the books that defy categorization that stand out….

A couple of other interesting science fiction titles from this year that don’t have nominations yet, but are worth considering:

SLEEPLESS by Gordon Korman

An interesting look at the positive possibilities of needing no sleep, initiated by a secret formula that’s used on unsuspecting kids. Fun, fast-paced, and an intriguing concept.

THE CONTINUATION OF SUMMER DILLON by Sarah Everett

A different twist on the android/robot concept, this time seen from the point of view of an android who was created to take the place of a deceased girl. Very different from THE SECOND LIFE OF SNAP; clearly there’s lots of room to explore these ideas in children’s fiction. [CORRECTION: Sarah Everett is not a U. S. citizen or resident, so her book is not eligible for the Newbery Medal as far as we know….still a good book though!)

I think that’s my science fiction list so far. I’m not sure I see any of them quite reaching Newbery level myself, but then I was surprised by THE LAST CUENTISTA and THE FIRST STATE OF BEING. Will I be wrong yet again?

One of our big questions in Newbery criteria is- “do kids actually want to read this book?” or “who is this book written for?”

The Newbery criteria:

A “contribution to American literature for children” shall be a book for which children are an intended potential audience. The book displays respect for children’s understandings, abilities, and appreciations. Children are defined as persons of ages up to and including fourteen, and books for this entire age range are to be considered.

As we all know, that is a super broad definition and means a wide variety of books can win (yay) so today we will advocate for 2027 Newbery potentials by giving the hooks. I’ll do a few here and then you can do more in the comments! Have fun!

SAWYER LEE AND THE QUEST TO JUST STAY HOME

Hook: This is the reader who is sitting in the corner of the library listening, but not actually wanting to pick up a book.

THE WILD SEASON

Hook: This is the reader who spends all their time volunteering at animal shelters.

STYX AND STONES

Hook: This is for the reader who has read every Percy Jackson book three times and desperately needs new reading material.

• Multiple points of view telling pieces of the same story: HELLO UNIVERSE (2018 Medal), ONE BIG OPEN SKY (2025 Honor), A SNAKE FALLS TO EARTH (2022 Honor)
• Parallel narratives from two different time periods: NINE MOONS OF HAN YU AND LULI (2026 Honor) and MAIZY CHEN’S LAST CHANCE (2023 Honor)
• Stories within a story that come together in the end: SCARY STORIES FOR YOUNG FOXES (2020 Honor)

Examples from this year include WOMBAT WAITING (three POVs: dog, bat, and child); NO PLACE ON EARTH (two POVs, one in verse); and JUST ONE WISH (multiple short stories related by class assignment). I’m sure there must be more. Here are two that stand out particularly for me, partly because their unconventional narrative structures are so distinct, and also because those structures are so key to each book’s success:

A POTION, A POWDER, A LITTLE BIT OF MAGIC   by Phillip Stead

We can tell this one’s going to be different from the subtitle: “A Story Out of Order.” And by the first numbered chapter: “Thirteen.” The out-of-order chapters element means that we learn about plot developments and characters in unusual ways. We would have know Steve’s origin all along, for example, if we’d just started with chapter one.

The unique structure is well-served by the pitch-perfect tone of the narrator, who contributes to the continual sense of fun and frequently addresses the readers directly:

“Most stories have only one moral. Some have none at all. This story has several – twenty-four, to be exact. The author encourages you to write them down as you go. He has provided blank pages at the end of the book for you to do so.” (25)

And that expands an extra level when the author himself becomes part of the story (51+).  

The story includes a lot of familiar elements from fantasy and folklore, both satirizing and utilizing those forms. We’ve got an unreasonable ruler, a plucky hero with a quest, and some mixed-up magic, but it’s all amplified way beyond the typical, usually to strongly humorous effect. But it never slips into pure silliness; the plot structure really is carefully consistent, and when we finally get the beginning filled in with chapter one (p 300!), it’s quite satisfying.

This is a tricky one for me in terms of Newbery stuff and my own reading practices. I found myself admiring the innovative storytelling, but at the same time not always completely involved in the story or characters…maybe I was overly distracted by the style? Or is it because I came into it too ready to analyze writing and not with the open attitude that a child just picking up the book would bring?

So I go back to the Newbery Criteria, where that all-important “note” at the bottom reminds us that the award is for “literary quality and quality presentation for children.” [my italics on that “and”]. I can see the literary quality here: it’s original, innovative, and at the same time tightly constructed. And I feel like this really is a quality presentation for children: I believe the right readers will thoroughly enjoy the playfulness and wildness of the plot structure, partly because they’ll come at it without the analytical mess that I brought to my first reading. But I would love to hear more about this book from Heavy Medal readers.  

ABSENT by Rex Ogle

Though a little more straightforward than A POTION… (actually, pretty much every book is), ABSENT also employs a distinctly unconventional narrative approach. The story is told from three points of view, which is not that unusual, but using different forms for the ways the characters communicate is less common, and completely works. We get Manny’s handwritten rap/verse on lined paper; Liam’s part is a journal written on graph paper; and Calvin tells most of his story in comics. There are also sections on unlined paper where two or three of the students engage with each other, with voices differentiated by the visual look and also by their tone and usage.

The three voices truly are distinct and we get to know the trio as individuals pretty quickly and fully, first by what they say and how they say it, then by how they interact with each other. Commenter Helen Baldwin put it very well in her nomination justification for ABSENT in the comments of our September 30th HM post: “Rather than relying on a gimmick, this unique format gives an authentic voice (and delineation of character) to three invisible students.” 

I especially like that “invisible” word, because all three boys are clearly highly thoughtful and articulate, but the ways in which they communicate are, at least in their own eyes, not valued by their peers or families. The forms they use are intrinsic to the bond that grows between them and also to the development of the plot. Manny’s and Liam’s enthusiasm for Calvin’s cartooning helps him to continue art against his father’s wishes, for example. And Manny gradually starts to take pride in his rap poetry because his teacher reads it and respects it. So the narrative forms aren’t just how the story is told, they’re part of the story.

Though I didn’t nominate either of these during our October round of nominations, both were close and could make it into my top seven.

• we had a total of 39 unique titles nominated (one more than October last year).
• Five titles were nominated that were not suggested, mainly Fall publication titles (BUILDING 903, HIJACKED BY GOATS, LUCY IN BETWEEN, CALIFORNIA OR DUST, SISTERS ALONE).
• I’m personally proud to say I was caught up on suggestions so the new titles are all I need to catch up on.
• Our leaderboard stayed the same for the top three titles, however A POTION, A POWDER, A LITTLE BIT OF MAGIC.. and ABSENT broke into the top five.
• Our next nomination period is two titles and opens in early November.

On Wednesday, Steven wrote a post explaining what Newbery justifications are and encouraging readers to write their own!

Today, for our Friday exercise we will dig deeper into the nomination process and talk about STRATEGY!! Newbery committee members (and Heavy Medalers) get a total of seven nominations- three in October, two in November, and two in December. The committee keeps suggesting titles during this time, but at Heavy Medal we do not. (However we can still talk about new titles in the posts!) Heavy Medal can also nominate not suggested titles, which is not true on the actual committee.

It seems like, whether nominations are signed or anonymous differs depending on the committee year. On Heavy Medal, we know who nominated every title due to commenting procedures (and not wanting spammers).

Anyways, everyone likes to have their own strategy. Some people save their best titles for last, some people nominate titles they want to bring extra attention too, others like to add additional support to strong titles.

When I was on the committee, I definitely focused on titles I did not think many others had read. On Heavy Medal, my strategy depends on my mood that year. I haven’t nominated yet, so once I pick three, I will update with my nomination strategy.

What is your nomination strategy? Let us know in the comments!