SATA

• Ana on the Edge ( middle-grade novel) Little, Brown and Company (New York, NY), 2020

• A. J. Sass website - https://sassinsf.com/

  Biography
  A. J. Sass (he/they) is a writer, editor, and competitive skater. A long-time figure skater, he has passed his U.S. Figure Skating Senior Moves in the Field and Free Skate tests, medaled twice at the U.S. Synchronized Skating Championships, and currently dabbles in ice dance. A. J. lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs. Ana on the Edge is his first novel.

  A.J. is represented by Jordan Hamessley at New Leaf Literary & Media, Inc.

  Notables
  Essays
  TIME magazine: I’m a Nonbinary Author of Youth Literature. J.K. Rowling’s Comments on Gender Identity Reinforced My Commitment to Better Representation, June 19, 2020
  Susan Dennard’s newsletter guest post: How They Write a Novel: Bonus Lesson with A.J. Sass, October 2020
  Little, Brown Books for Young Readers School & Library newsletter guest post: All paths to self-discovery are valid, however winding, October 2020
  LGBTQReads guest post: Uncertainty as Opportunity: Why It’s Okay To Not Know Everything About Your Identity Right Away, October 2020
  Interviews
  Books Beyond Binaries: Meet A.J. and Ana!, November 2020
  We Need Diverse Books: Q&A with A.J. Sass, author of ANA ON THE EDGE, October 20, 2020
  Geeks OUT: Interview with A.J. Sass, author of ANA ON THE EDGE, October 23, 2020
  Class of 2K20 Books: Lorien Lawrence interviews A.J. Sass for ANA ON THE EDGE, October 20, 2020
  Let’s Get Lit Fest #LGBTQ+ Week: Group Interview with A.J. Sass, Anna Birch, Jesse Nolan Bailey, & Suzanne Clay, May 11, 2020
  Ask the Author: An April 2020 interview in which I answer questions from the Proust Questionnaire
  #WriteMentor Success Story: A.J. Sass: An October 2018 Q&A between mentor Caroline Murphy and me
  QueryTracker: Success Story: An email interview, completed in October 2018
  Fiction Writing Figure Skater: An August 2018 writerly interview with Kristy Lin Billuni at Sexy Grammar
  Scholarships, Craft Mentorships, etc.
  Mentor (MG): Pitch Wars, 2019 (co-mentor with Nicole Melleby)
  Mentor (MG/YA): #WriteMentor, 2019 & 2020 (co-mentor with Hannah Kates)
  Mentee: #WriteMentor, 2018 (paired with author Caroline Murphy)
  SCBWI Diverse New Member Scholarship: San Francisco North and East Bay, 2018 (writer category)
  Diversity Scholarship: Children’s Book Academy, 2018 Middle Grade Mastery class
  Et Cetera
  Judge: 2020 Penguin Random House Creative Writing Awards, in partnership with We Need Diverse Books
  Reader: 2019 & 2020 #WriteMentor Children’s Novel Award
  Judge: 2017 Shut Up & Write! Zine
  Co-editor: Chelsea Station Magazine, August 2016 edition (featuring queer trans masculine writing)
  Just the Facts
  Name: I write under my initials A.J., but feel free to call me Andrew 🙂

  Pronouns: He/him/his or they/their/them – your choice!

  Location: San Francisco Bay Area, California.

  Origin: I call California home now but I grew up all over the Midwest and South. At various points in my life, I lived in Wisconsin, Minnesota, Nebraska, Iowa, the Upper Peninsula in Michigan, and Georgia.

  Relationship (two-legged): Deven, my creative and wonderfully witty boyfriend.

  Relationship (four-legged): Amato (“Amo”) and Alistair, the cats who can fetch.

  Education:

  I studied psychology, Jewish studies, history, and languages (mostly Semitic, plus French) at the University of Minnesota.
  I attended law school at University of the Pacific McGeorge School of Law in Sacramento.
  Hobbies:

  Cartwheels on ice
  Willing people and plots into existence with the mere tippety-tap of my fingers
  Learning languages
  Traveling to new places (bonus points if they have ice rinks)
  Tea-tasting
  Latte sampling
  High-volume book accrual

  FAQs
  All your burning questions about A.J., writing, and ice skating in one place (with answers, even).

  First Things First
  Why sassinsf?

  Short answer: Because AJSass.com was already taken.

  It was also unavailable on Gmail so I had to get creative. I was living in San Francisco at the time I first wanted to make a website. The city had an accepting, quirky vibe, and I felt like I was fitting in for the first time in my life. ‘Sass in SF’ seemed like a good compromise.

  About A.J.
  Is Sass your real last name?

  Yep! I got teased about it as a kid, but I like to think I’ve grown into it.

  People often ask if I’m as ‘sassy’ as my name suggestions. My standard answer: “Only in writing.”

  What are your preferred pronouns?

  He/him or gender neutral (they/their/them).

  What’s your gender identity?

  Masculine-leaning non-binary. I present as male to the outside world but it doesn’t fully describe how I identify.

  Where are you from?

  All over. I was born in Wisconsin, raised in the Midwest (Minnesota and U.P., Michigan, mostly, with a few-year stint in Nebraska). I spent my early teen years in Georgia, finished off high school and college in Minnesota, then headed West to California for grad school. I’ve been ping-ponging my way from Sacramento to San Jose and everywhere in between for the past decade.

  Skating-Related
  What is your skating background?

  I feel very much like an adult skater, although I started when I was younger. As a kid, I adored the Ice Capades and eventually pestered my parents enough to have them sign me up for beginning classes. Being autistic, my gross motor skills weren’t the best, and I learned at a rate slower than a turtle drenched in molasses.

  But I loved it, and I stuck with it. Sometimes it felt like the one constant when my family kept moving around (writing was the other). I wasn’t great at making friends in new schools, but skating never changed no matter where my family ended up.

  A decade ago, most teenagers used to pass their Senior Moves and Free Skate tests by the time they graduated high school and would stop skating at that point since there weren’t many college skating programs (this has since changed, thankfully). I wasn’t close to being done with my tests, so I kept going. I passed my Senior Moves in the Field during my first year of grad school and my Senior Free Skate almost a decade later, in 2017 at the age of 33. This was years after I assumed I was done testing, and I can’t remember a time when I worked harder to achieve a goal in this sport. I’ll have that achievement on my record forever, which I’m pretty proud of. I’m also working through my ice dance tests (send help in the form of proper posture).

  In 2017, I also took on a new role as a figure skating test and showcase competition judge. Giving back to a sport that’s offered me so much is fulfilling. I also like to think I’m good on the empathy side of things; I know how scary taking a test in front of judges can be.

  I’m confused about what level Ana is at. You said she won Nationals but she’s only 12?

  This question relates to my Middle Grade novel, ANA ON THE EDGE.

  It’s hard to write realistic fiction in a sport as complex as skating. Inevitably, some details get skipped. I’ll try to explain it here, though.

  There are eight levels in singles skating, as follows:

  Pre-Preliminary
  Preliminary
  Pre-Juvenile
  Juvenile
  Intermediate
  Novice
  Junior
  Senior
  Skaters take two skills tests at each level to move up to the next: one in Moves in the Field (required turns, edges, and spirals on set patterns) and one in Freestyle/Free Skating (spins, jumps, and connecting steps, set to music). Each Moves in the Field test must be passed at a given level before the skater can take the Free Skate test, but you can opt to work up through Moves tests and take lower level Free Skate tests at your leisure (and many ice dancers will pass through Senior Moves but never take Free Skate tests). I imagined Ana passing her Intermediate Free Skate sometime that summer, but she’s working on Senior Moves already because skating skills come naturally to her (unlike her friend, Tamar, who’s been struggling with Intermediate Moves).

  Levels 4-8 compete at Nationals via qualifying competitions: Regionals, then Sectionals. When Ana won her title, she was a Juvenile-level skater. While it’s not unheard of for a 12 year old to compete at the Senior level (I believe Michelle Kwan did; probably also Tara Lipinski), it’s much more realistic to see 12 year olds at the Juvenile and Intermediate levels of the sport as they work to develop presentation skills and continue to learn harder jump elements.

  Update: Since I initially wrote this, US Figure Skating has changed its competitive pipeline. There are now only Nationals for Junior and Senior level skaters, with top Juvenile, Intermediate, and Novice skaters attending a developmental camp if they qualify out of Sectionals. ANA ON THE EDGE is set in an interim period, between the last year that Nationals was held at the Juvenile level and the following season which implements the new qualifying system.

  How does the figure skating world handle transgender athletes?

  On a case-by-case basis, as far as I understand it.

  I haven’t been able to find much information on the subject, especially at the higher competitive levels of the sport. Here’s an article about opening up pathways for transgender athletes in all sports to qualify for and participate at the Olympics (from 2016).

  My transition in the sport was relatively smooth. I simply changed my name and gender marker on my online USFS account before I signed up to take additional tests. I was required to adhere to the mens ice dance pattern steps and the program length and jump requirements set forth for men in Free Skate tests. The only competitions I’ve thus far entered have been Showcase and Synchronized Skating events, both of which mix genders.

  I should note that trans men are often invisible when it comes to sports and are more or less allowed to participate alongside cisgender male athletes without issue. Trans women have faced some pushback, although hormone treatments render them effectively equal to cisgender women with respect to strength and muscle mass, as far as I’ve researched. As transgender athletes become more visible within their respective sports and start winning titles and working toward qualifying for the Olympics, I suspect we’ll start seeing more stories about them and have a better idea of how their sport governing bodies plan to handle their participation.

  It’s the non-binary, gendequeer, and agender athletes who may struggle to find a place in the sport. Everything in figure skating is gendered, from singles events and dance steps to the color of people’s skate boots and laces. Like Ana, I hope they have a supportive coach, someone who can develop their skating skills and work toward their goals while allowing them to remain true to themselves.

• WriteMentor - https://write-mentor.com/2018/10/27/aj-sass-writementor-success-stories/

  AJ SASS – #WRITEMENTOR SUCCESS STORIES
  Posted by Stuart White | Oct 27, 2018 | #WriteMentor, Mentee News, Success Stories | 0 |

  AJ Sass – #WriteMentor Success Stories

  AJ, what about Caroline’s bio convinced you to sub to her?

  So many things. Caroline is a writer of an award-winning contemporary Middle Grade manuscript, for one. Since my #WriteMentor submission was my first attempt at Middle Grade-anything, her experience in that age category was a big plus to this newbie novelist. Her stated mentoring style—forthright about what doesn’t work, offset by positive comments about what does—appealed to me as someone who is shy about sharing my writing. It also didn’t hurt that she’d mentioned she is the mother of four boys. If anyone could assess whether my characters’ dialogue was coming off as authentic, I figured it’d be Caroline.

  Initially, Caroline was offering a query package (synopsis, query letter, and first three chapters), which I thought would be a great way to get more comfortable with having my writing critiqued. Imagine my surprise on announcement day when I learned Caroline had not only chosen me but changed her mentoring package to a full manuscript review until it was query-ready. It was an intense summer of revisions and craft homework, but I’m so grateful for the experience.

  Caroline, what made you fall in love with ANA ON THE EDGE?

  From the first few lines, I was centre ice with Ana. AJ pulled me into Ana’s world of ice-skating and pushed me back into books I loved in my childhood, like Noel Streatfield’s Ballet Shoes, where the reader gets a glimpse into the passion and dedication that a rising star must possess. The writing was beautiful – quite simple and stark at times, but rhythmic and with some exquisite turns of phrase. I almost dissuaded myself from choosing it, because I wasn’t sure I was the right person for a story about a young girl exploring her gender identity; but I decided that I could mentor on the story structure and pacing and even down to a line-edit level. The truth of the story felt very valid to me, so I didn’t need to even comment on that.

  AJ, looking back, what was your favorite part of the #WriteMentor experience?

  Two things: a dedicated point-person I could reach out to whenever I had questions, concerns, or frustrations and the community I became a part of as a result of my participation in the program.

  First, Caroline has been where I was at the beginning of #WriteMentor. She understood what it was like to stare at tens of thousands of words in a first draft, wondering how you can possibly rework them into something coherent. I had some ideas for revising certain parts of my manuscript already, which I shared with Caroline early on. Maybe I could’ve revised fine on my own, but the process definitely would’ve taken longer and been filled with more self-doubt. Caroline was the sounding board I needed, someone I could turn to and bounce ideas off of to ensure sure I was headed in the right direction. Working with a more experienced writer who was invested in my success gave me the confidence to see the potential in my manuscript so I could effectively apply edits.

  Second, writing can be such a solitary, isolating activity. I know very few people offline who write fiction, and it can sometimes feel like I exist in a vacuum. #WriteMentor introduced me to a wonderful group of mentorship program hopefuls right from the outset. I’ve stayed in touch with many of these writers over the summer, as well as taken the leap into being a more active member of Twitter’s writing community. Everyone is at a different stage in their writing journey, but the community is steadfast in its positivity and support. I may not have gotten as involved if it hadn’t been for #WriteMentor and other writers’ use of the program’s Twitter hashtag on the lead-up to the mentee announcements, throughout the summer, and ongoing as we gear up for the Children’s Novel Award.

  And a bonus third: I love that the #WriteMentor community is inclusive. Whether you worked with a mentor this summer or didn’t, or maybe just heard about the program more recently, you’re welcomed into the fold and encouraged to support everyone else.

  Caroline, tell us what it was like working with AJ.

  He was amazing. You know that star pupil who sits in the front row and asks pertinent questions and always does their homework – that was AJ. His work ethic is impeccable. Puts me to shame, quite frankly.

  teachers_pet063

  AJ, what was the most surprising part of the #WriteMentor experience?

  I thought it was going to be revisions since I’d never done any on a full manuscript before, but it was actually how much prep-work Caroline assigned prior to giving me the go-ahead to revise. At first, it was hard not to compare my progress with other mentees who seemed to have leapt straight into revisions within hours of the mentee announcement. I wanted that to be me too, especially because I’d already taken notes about how to rework the first third of my novel while I waited to see who’d been chosen for the program. (I also don’t think I ever voiced this frustration to my mentor, so sorry if you’re hearing about this for the first time, Caroline! By the time I got comfortable enough in our mentor-mentee relationship to say something, it became a moot point as I’d already seen the light.)

  That said, I also recognized that I was the green one in this pairing, and my initial skepticism didn’t stop me from working my way through each and every assignment. I completed work on theme to get to the heart of my story, devised novel loglines which later came in handy for Twitter pitch contests, fleshed out secondary character backgrounds, and completed thirty pages of detailed scene beats. Caroline even suggested I create a color-coded chart of major character arcs. I am neither an artist nor a particularly visual person, but I did my best. It came out looking like a literary subway map (also had my boyfriend wondering if I’d gone a bit mad after I proudly propped it up by the wall beside my writing desk).

  I finally understood Caroline’s reasoning for assigning me all that homework when she gave me the go-ahead to start revising in mid-July. I printed out each assignment and referred back to my notes every single time I sat down to make changes. Even when I had to go off-script and make edits I hadn’t initially envisioned, they were so much simpler to implement when I had my homework in front of me. Caroline’s assignments allowed me to dig deeper, to learn more about my story and characters, something I hadn’t had the time to do while I was initially drafting my story. These are strategies I can take with me and make use of for future projects, so I’m glad I put the work in and stuck with Caroline’s style of mentorship for the long haul.

  AJ, the revision process is only three months and can be intense. Tell us about your revisions and how you dealt with constructive criticism from Caroline.What advice do you have for future mentees?

  My traditional revisions didn’t start until around the seventh week of a twelve-week program. Intense, indeed! I also happened to be out of the country for two weeks during that time. Caroline and I operated differently than some of the other mentorship partnerships I’ve heard about, in that we chatted back and forth about some of my revision ideas but she told me to sit tight until I’d completed my homework. Once I had the go-ahead, I started my revisions. The first half of my manuscript was relatively straightforward since I’d been thinking about how to rework a secondary plot point for two months by then.

  It was the second half of the story that involved the most teeth gnashing for me. Possibly, this was because I was revising while traveling (and trying to remind myself I needed to chill out since it was meant to be a holiday!), but it may also have been because the second half of my story was rougher than the first. It was still in first draft format at the time I applied to #WriteMentor.

  Since I was still revising in the month leading up to the end of the program, I would send Caroline a handful of chapters at a time to look at. She’d pass back feedback that I’d review whenever I needed a break from heavier rewrites. Caroline’s notes were on-point and helped me in a variety of areas: reworking dialogue to make it sound more authentic, clarifying skating terms that might not make sense to a non-skater, suggesting add-ons to flesh out scenes that ended too abruptly, and some straight-up line edits when I’d flubbed something that my word processor didn’t catch (compliment ≠complement!). For the most part, her feedback involved enhancements. My homework took care of the need for more extensive rewrites by the time I sent Caroline my chapters.

  Until the final third of my story, anyway. That’s when Caroline rolled up her sleeves and sent me back loads of notes that basically boiled down to, “okay, so. This part? Doesn’t work.”

  As someone who was already shy about sharing my writing with others, feedback of this nature can be devastating, even if it’s presented in a constructive way. My face gets hot. Self-doubt sets in fast. It’s easy to forget why I sought out a mentor in the first place.

  I’ve worked with beta readers and critique partners. I know constructive criticism is meant to make my story stronger. But still, my first read-through of this type of feedback tends to lead to an initially negative reaction.

  My advice to other writers is this: embrace it. Own that emotion, acknowledge how you’re feeling, and step away for as long as you need to mull over the feedback received. For me, this usually takes a day. Possibly two. During that time, I won’t return to look at it. I also won’t reread my manuscript. I do other, non-writing related activities but keep the feedback in mind, mentally working through it. Nine times out of ten, I have a gut feeling as to whether or not I agree with what was said. Once I’ve had time to process, I grab a sheet of paper and scribble down a plan of attack. Only then do I return to my computer and dig in for more revision.

  And Caroline’s feedback? The part of my manuscript she didn’t think was working? She was right. It just took me some time to realize that she wasn’t telling me I’d failed as a writer. She did her job in pointing out that my story’s climax could be stronger. By the time the mentorship period came to an end, the story I’d submitted three months earlier was still there, but it was far more polished. Where before it was just a mesh of words and scenes that didn’t quite get to the crux of my intended theme, the characters now feel alive to me.

  Even better? My mentorship with Caroline equipped me with the ability to accept and evaluate constructive feedback, a skill I’ll be able to use again and again as I take my next steps and begin edits with my agent (and hopefully one day with a publishing house editor).

  AJ, after #WriteMentor, you signed with Jordan Hamessley of New Leaf Literary. Give us all the details of “The Call.”

  Sure! Except it wasn’t actually a call, and thanks to a major oversight on my part I almost didn’t query Jordan at all.

  raw.gif

  You know those non-writing related activities I mentioned above? One of them involved researching and creating a handwritten list of dream agents to query once my manuscript was polished. Later on, once the #WriteMentor program was done, I transferred the agent info to a color-coded spreadsheet so I could keep track of the queries I planned to send. Jordan’s name was on my initial list, but it never got transferred to its digital equivalent.

  About a week and a half after I started querying (just about the time when I’d started fixating on how empty my inbox was looking, incidentally), I returned to my original list to update it. There was no reason for me to do this since everything was already in my spreadsheet, but the querying process induces the desire to do odd, unproductive tasks to pass time. As I scanned the original list, my eyes snagged on the entry I’d written for Jordan. I didn’t remember anything about my query package to her, so I cross-checked my spreadsheet, only to discover she wasn’t on it.

  I did some internet sleuthing to confirm that she still did in fact take on manuscripts in my preferred age categories and genres, spent a good deal of time fawning over her #MSWL entries and kicking myself for my flub-up, then sent her my query materials. A few hours later, Jordan requested my full manuscript. A couple days after that, she emailed again, saying she’d love to find a time to chat about my story and writing goals. Since we live relatively close to one another, she said we could even meet in person.

  In the end, “The Call” became a meet-up at a café inside a bookstore, and I can’t imagine a more perfect setting to discuss all things writing. I learned more about Jordan’s background and what led her from a decade on the editorial side of publishing to now representing authors directly as an agent. We discussed my manuscript, plus my ideas for future projects, I asked approximately 4 frajillion questions, and after a wonderful chat, Jordan officially offered representation. I’m still glowing about it.

  What does your writing process look like?

  AJ– I like prompts, those given to me and ones I come up with myself. Often, I get a character or a concept in my head that I fall in love with. As a long-time pantser, I used to take that idea and run with it, which often had me writing myself into a corner.

  My approach for ANA ON THE EDGE was different. While I still started with a concept I found compelling (nationally competitive ice skater navigates gender identity in a rigidly gendered sport), I only got two chapters in before I stopped and decided to outline. So often in the past I’ve gotten stuck when whatever character or theme initially drew me in turned out to be a plotless dead-end. I didn’t want the same to happen with ANA, so I took time to ensure I had a roadmap. That made all the difference. Then I wrote like the wind so I’d have something to edit (my favorite part).

  Was my first draft perfect? Not by a long shot. But it was far easier to identify what needed to be reworked when I knew where I wanted to end up by the final page.

  It also helps to give myself a deadline. This is probably a throwback from my university and law school days, but I’m far more productive when I feel like there’s an expectation to have something complete by a specific date. I’m a big fan of daily checklists and spreadsheets. Once I’d outlined ANA, I created a spreadsheet with each chapter down one column, their start and first draft completion dates in the next two, plus word counts and the approximate percentage of overall manuscript completion. It definitely helped to see my progress laid out like that.

  Caroline– Am I supposed to have a process? Okay, after hours/weeks/months of procrastination, I’ll make a few notes and start writing chapter one. I’m very linear – I don’t like dotting about and doing exciting climax scenes and then going back to find everything before makes no sense. After the first chapter, I usually realize I’m floundering and will go back and plot – I’m a big fan of Blake Snyder’s Beats Sheet. The Plotstormers course from WritersHQ www.writershq.co.ukis also hugely beneficial and brings clarity to some pretty muddy waters.

  I edit a lot as I write. I know it’s frowned upon, but I don’t like the ‘zero draft’, ‘throw anything on the page’ idea. My first draft is usually quite polished as I re-read and make changes as I go along – even line edits that I know might be a waste of time later on. But I feel uncomfortable leaving detritus in my wake, so to speak.

  Having said that, THE TRUTH ABOUT CHICKENS nearly doubled in lengths during revisions as I added layers and subplots and amplified emotions. So maybe it was a half-draft, rather than a zero draft?

  You’re on deadline! What are your go-to writing snacks?

  AJ– Boba Thai tea makes my life better. Always. I’m also a big fan of popcorn and brownie brittle (not necessarily in the same sitting!).

  Caroline– ooh, what does Marks & Spencer have on the shelves? Salted caramel and Belgian chocolate popcorn is never a bad idea. And cheesy, salty things. Any kind of crackers with cheese. And more cheese. Yum!

  What fictional world would you most like to live in?

  AJ– Time City from Diana Wynne Jones’s A TALE OF TIME CITY would be a pretty awesome place to call home (after the events in the book, anyway!). It’s a city built far in the future on a patch of space outside of time itself. Its residents oversee all of history. I can think of no place cooler to live than a city full of time ghosts, where vending machines carry cuisine from various centuries and there’s ample opportunity to meet tourists visiting from other time periods.

  Caroline– most fictional worlds are dangerous, so I’d steer clear, personally. I’m a risk-averse homebody. But when I was little, I desperately wanted to be in the Lake District with the crew from SWALLOWS AND AMAZONS, living their slightly feral, benignly neglected lifestyle. And I wouldn’t have minded experiencing the miniature world of THE BORROWERS – I loved their ingenious use of found items. But right now, the fictional world I would like to live in is one in which my sons pick their dirty socks off the floor and put them in the laundry basket.

  What is your favorite book (or series). Why?

  AJ– I … am incapable of picking just one. By and large, the books I love most, the ones that I repeatedly reread, are those that made me feel something when I was a kid and that continue to invoke an emotional response as an adult. Excitement. Hope. Fear. Grief. It doesn’t matter. If a story has the ability to draw me in, it’s a winner.

  Some examples: THE GIVER – Lois Lowry; ONE MORE RIVER & BROKEN BRIDGE – Lynne Reid Banks; A TIME FOR DANCING – Davida Wills Hurwin; THE DEVIL’S ARITHMETIC – Jane Yolen; MRS. FRISBY AND THE RATS OF NIMH series – Robert C. O’Brien; DOGSBODY – Diana Wynne Jones; TUCK EVERLASTING – Natalie Babbitt.

  Caroline– I agree with AJ. Impossible to pick just one. I always come back to LITTLE WOMEN for the familial warmth and emotional trauma. I will never not be heartbroken by Beth’s death. Middle-grade favourites include CRENSHAW – Katherine Applegate, THE WOLF WILDER – Katherine Rundell; THE INVENTION OF HUGO CABRET – Brian Selznick; SEE YOU IN THE COSMOS – Jack Cheng; GOODNIGHT MISTER TOM – Michelle Magorian. The last one, for example, is flawed in many ways, but as I had tears in my eyes so many times, I know it will stay with me for a long time.

  Where does your inspiration come from?

  AJ– I answered this a little already when I described my writing process. What it comes down to for me is a desire to produce books that would’ve made me feel seen as a child or teen. I want to write stories my past self would’ve read multiple times, plus characters I would’ve wanted to be friends with. I read a lot as a kid, but rarely did I ever see characters like myself in print. I want more queer and neurodiverse representation in children’s literature, not just in traditional ‘issues’ books but in all genres of kidlit. I want autistic and queer characters just living their lives on the pages of stories that sometimes, but don’t always, relate to their identities. That’s my goal and it’s often what inspires me when I decide to put in the time to turn an inkling of an idea into a full-fledged story.

  Caroline– my book that is out on submission, THE TRUTH ABOUT CHICKENS, was inspired by a magazine article about a man who, having been abused as a child, adopted ex-battery hens. Caring for those birds turned his life around. I loved the idea of ‘a boy and his chickens’ story, instead of ‘a boy and his dog’. I have another work in progress that was inspired by the total eclipse of the sun in 2017. And another that is very loosely based on my sons’ expat lifestyle. And I also write flash fiction, which can be inspired by anything – a day out with family, a throwaway comment from a child, distant memories, half-forgotten dreams…

  AJSass2AJ Sass is a fiction-writing figure skater, inclined toward adventures of a traveling nature. He is autistic, non-binary, and keen on exploring how gender identity and neurodiversity impact character narratives. An avid figure skater, AJ is a U.S. Figure Skating double gold medalist in Moves and Free Skate, a silver medalist in Ice Dance, and a member of the 2018 national bronze medalist Masters synchronized skating team, IceSymmetrics. AJ grew up in the Midwest, came of age in the South, and currently lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs.

  Twitter: matokah

  Instagram: matokah

  Facebook: AuthorAJ

  Website: sassinsf.com

  Caroline MurphyCaroline Murphy is a former magazine editor and freelance journalist, specialising in design and home interiors. She moved from the UK to Singapore in 2004, followed by Hong Kong in 2006, and returned to the North-East of England in 2017, with a husband and four young boys in tow. She is now a full-time mother and part-time writer. Her middle-grade novel, THE TRUTH ABOUT CHICKENS, was shortlisted for the Joan Aiken Future Classics Award, and has just gone out on submission.

  Twitter: @boybandmanager

• Sexy Grammar - https://sexygrammar.com/blog/ajsass

  AUG 26
  Fiction Writing Figure Skater: Interview with AJ Sass
  AJ Sass is a fiction-writing figure skater. He is non-binary and keen on exploring how gender-identity and neurodiversity impact character narratives. AJ grew up in the Midwest, came of age in the South, and currently lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs.
  Though he’s local and I have known him for years through National Novel Writing Month and Night of Writing Dangerously, we conducted this interview long distance. AJ likes adventures of a traveling nature and graciously participated in this interview from Barcelona.
  Kristy Lin Billuni: Thanks so much for doing this even though you’re in Spain. I am imagining a very glamorous AJ traveling across Europe, writing in French cafes.
  AJ Sass: Funny you should mention French cafes, as I was just in Paris a couple of days ago. Unfortunately, I haven't gotten much writing done on this vacation. (My coffee consumption is in fine form, though!)
  KLB: Have you written while traveling before?
  AJS: Definitely. My last job was headquartered in Barcelona. Those trips were less holiday, more business for extended periods. I’d write in the mornings before heading to the office, plus on weekends when I wasn’t out sightseeing. I also used to have a daily, 200-mile commute via public transit when I wasn’t in Spain. I’d write on Amtrak trains and greyhound buses (whenever I wasn’t napping).
  I work remotely now so my commute’s no longer an issue—or an opportunity to get some writing in. For my current novel, I tried a new strategy, thanks to a Children's Book Academy (CBA) class I took, focused on Middle Grade stories.
  KLB: This is the class you took before your recent award?
  AJS: Yes, I received the Diverse New Member Scholarship from my Society of Children's Book Writers and Illustrators (SCBWI) chapter and was also selected to be a mentee in an author mentorship program aimed at revising my novel in preparation for querying agents. The CBA course gave me the confidence to submit material for both.
  KLB: Tell me about the class.
  AJS: The Middle Grade Mastery class was co-taught by Middle Grade authors and publishing house professionals who provided feedback on student homework which formed the basis for my current story. It was a great way to dip my toes into a new age category. There were videos, lots of material to work through, and a chance to critique the work of other students.
  The class also had me outlining this story prior to drafting it. The outline was essentially a plot roadmap that helped me stay on track. Once I created the outline, it only took a handful of weeks to rough out my first draft.
  KLB: And then you did the writing while traveling?
  AJS: Yes. I don’t usually travel so much, but this year has been busy. I’ve had skating competitions, family visits, and this current trip to Europe, along with my full-time job. Writing got done on airplanes, in hotel rooms, and on airport shuttles. I brought my computer along on car trips, writing in the passenger seat on the way to dinners with friends and synchronized skating team practices. I carved out time before work each weekday morning, wrote an evening a week with a writing group at the library, and spent weekends at local Bay Area cafes. It’s been a packed year, but also fulfilling.
  KLB: What did you learn from the first draft process?
  AJS: I realized about one-third of the way in that a secondary character’s plot arc needed to be reworked. I decided to keep going until I'd completed a first draft.
  KLB: So that gave you a major task for the first revision?
  AJS: Yes, that plot issue ultimately required me to rewrite about six chapters during revision 1.
  KLB: How many revisions since then?
  AJS: I suspect the grand total will come to 4-5 revisions by the time I'm ready to query agents. Each revision has focused on a specific aspect of improving my story, of ensuring the plot makes sense, and the dialogue and actions are true to each character.
  KLB: What other kinds of projects have you tackled in revision?
  AJS: Dropped plots, full chapter rewrites, adding new chapters that didn't exist in previous drafts, and some internal screaming every time I realize I still need to do any of those things after re-reading my latest draft. It's been eye-opening to work through, since I initially assumed revisions would just involve tweaking words on my first draft to make things sound pretty.
  KLB: Right. It’s usually a lot more than that.
  AJS: I didn't anticipate quite how many times I'd be rewriting this thing! The process is at times maddening, but it's also 100% worth it. I have a better story now than what I started with.
  KLB: What do you write about?
  AJS: I trend toward stories of self-discovery, although not all of them focus on coming out as the main plot. Most relate to sexual orientation or gender identity, which I draw from my personal experience. Writing of this nature sometimes feels like it peels back a layer of skin, like I'm letting strangers see a previously hidden part of myself.
  KLB: Can you talk about being out as a trans writer?
  AJS: I came out as gay and transitioned half a decade ago, so it's not something I talk about much anymore. It was important for me to write stories where LGBTQ individuals felt seen. I didn't think I could do this without coming out again, so to speak.
  KLB: What do you mean by “coming out again”?
  AJS: I made the decision to describe my work as own voices. I refer to myself as non-binary in my author bio. This is an aspect of my identity that some of my more recent acquaintances may not know about me.
  KLB: There are so many layers of coming out.
  AJS: The realization that people who've interacted with me in one capacity might view me differently after reading my writing is an especially vulnerable place for me. In the end, I hope it'll be worth it. The feedback I've received thus far suggests it will be. Sometimes, you just have to take that leap.
  KLB: Can you say a little more about the value of that particular leap?
  AJS: As part of my preparation for the Children's Book Academy class, I tried to locate Middle Grade books focused on issues of gender identity and was surprised that I couldn't find anything that featured a non-binary main character. Hopefully, those stories do exist and I just missed them but I couldn’t be sure so here I am, writing my own.
  KLB: You’re living that Toni Morrison quote: “If there's a book that you want to read, but it hasn't been written yet, then you must write it.”
  AJS: I think representation is so important in children's literature; if you don't see yourself in books, it's easy to feel like what you're experiencing is abnormal.
  KLB: Can you talk a little about your own experience with that?
  AJS: I struggled with feeling isolated and confused about my gender identity when I was younger. It's possible that access to books featuring characters I could relate to might have offered me some answers—or at least a bit of comfort during a crucial phase of self-realization. There seems to be a growing interest in diverse stories written by authors of underrepresented communities, and I’m thrilled. I'm hopeful my novel can be one of many that features characters who represent the diverse readership of Middle Grade literature.
  KLB: Can you tell us a little of what it’s about?
  AJS: I've always been drawn to the Young Adult age category since I have a soft spot for coming of age stories. The Children's Book Academy class focused on Middle Grade stories, so I decided to give that age category a try for the first time. One of the assignments involved brainstorming story ideas and submitting them as one- to two-line pitches. Based on the feedback I received on that assignment, I started to refine an idea about a twelve-year-old athlete exploring her non-binary gender identity while navigating the rigidly gendered world of competitive ladies ice skating.
  KLB: What a great premise! I can’t wait to read it. What have you been reading lately?
  AJS: Most of what I've been reading falls into the unpublished, work-in-progress category since I'm participating in critique groups to polish my novel and provide feedback to other writers. Many of their stories feature diverse characters and are beautifully written. I have no doubt they'll find a place on shelves one day.
  KLB: So exchanging feedback is part of your process?
  AJS: I definitely have critique partners and beta readers. Before I started this process, I assumed I could get by on my own. I edit others' work for a living at so I like to think I have a solid grasp on grammar, punctuation, and phrasing.
  KLB: But it’s hard to apply that kind of expertise to one’s own writing.
  AJS: Right, so getting other eyes on my work has been invaluable. They catch things I'm too close to my story to see, or ask questions I didn’t even consider.
  KLB: What’s been the most valuable aspect of feedback partnerships for this project?
  AJS: It’s a tie. First, it's been especially helpful to have readers who are unfamiliar with the technical details of figure skating critique my current story.I've been a skater for nearly 30 years, so I know the sport inside and out. Something that makes total sense to me might be confusing to readers who don't skate. My critique partners and beta readers are quick to point those details out and ask questions.
  Second, I’ve met some really great people through critiquing. Most of us haven’t had a chance to meet in person, but I consider them friends. We’re all going through this together.
  KLB: Anything else?
  AJS: Some of them are also fantastic cheerleaders who believe in my project as much as I do. I'll take all the encouragement I can get. Writing is an exhausting and complex journey.
  KLB: Any published stuff you recommend from your MG reading?
  AJS: I enjoyed GEORGE by Alex Gino, GRACEFULLY GRAYSON by Ami Polonsky, STAR-CROSSED by Barbara Dee, HURRICANE CHILD by Kheryn Callender, and GHOST, PATINA, and SUNNY from the TRACK series by Jason Reynolds. They all feature a diverse cast of characters, and the first four offered me insight into how authors tackle issues of gender identity and sexual orientation for a younger audience. Each is well worth a read.
  KLB: When do you write?
  AJS: I write best in the godforsaken hours of early morning, but I'm a night owl at heart, which often interferes with heeding the call of my morning alarm.
  KLB: Time is one of the toughest aspects of writing.
  AJS: For whatever reason, my ‘early morning tired’ is different from my ‘late night exhausted.’ I'm able to write at a quicker pace, without stopping to critique the quality of the words I'm putting down (a blessing, given how often I get hung up on editing and polishing individual sentences).
  KLB: Do you write every day?
  AJS: Ideally, I would, but sometimes it's not feasible and there's no energy left after my workday ends. That's when it becomes important to stick to a strict sleep schedule that allows me to wake up before work to get writing done.
  KLB: Where do you write when you’re home?
  AJS: I have a desk that's exclusively for writing in the guest room at my home. Since I work remotely, it is important for me to have a space away from the office and desk I use at my day job. I focus better on work and writing when I keep them separated. My writing area is nothing fancy, just a small desk with enough space for a computer monitor. It gets the job done.
  KLB: Anywhere else?
  AJS: I also write at my local library at least once a week as part of the Shut Up & Write! chapter I host and at various coffee shops throughout the Bay Area.
  KLB: Do you think location is important to your writing process?
  AJS: I used to think I needed a perfect time and place to write, but that led to a major lack of productivity. Now, I write wherever and whenever I can. I'm not picky.
  KLB: Handwriting or keyboard?
  AJS: I use Scrivener and MS Word on my computer for the actual chapters of my novel, but I handwrite notes, with a tendency to scribble on anything conveniently available.
  KLB: Me too, though I’m devoted to my journal.
  AJS: I also love buying journals and notebooks. I prefer drafting my stories by computer, but the opposite is true when I'm trying to outline or work through a plot point. If it's a loose sheet of paper or a napkin, it's bound to get misplaced, so it's never a bad thing to have multiple journals handy. That's my reasoning, anyway. (In reality, I buy far more than I can ever hope to fill. Imagine a shrug emoji here, because oh well.)

  I coax sexy writers like AJ Sass to reveal their creative secrets and processes in writer interviews to inspire you:
  Read AJ’s blog to see what he was writing before the work in progress.
  Follow him on Twitter, Instagram, and Facebook.
  Read AJ’s previous Sexy Grammar interview.
  I cultivate sexy, bold, free writers in stimulating, one-hour private sessions. I also write essays and short stories about sex, writing, and sometimes pigeons.
  Read my writing.
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• From Publisher -

  A. J. Sass (he/them) is a writer, editor, and competitive skater. A long-time figure skater, he has passed his U.S. Figure Skating Senior Moves in the Field and Free Skate tests, medaled twice at the U.S. Synchronized Skating Championships, and currently dabbles in ice dance. A. J. lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs. Ana on the Edge is his first novel.

• Geeks Out - https://www.geeksout.org/2020/10/23/interview-with-a-j-sass-author-of-ana-on-the-edge/

  OCTOBER 23, 2020 BY MICHELE KIRICHANSKAYA
  INTERVIEW WITH A. J. SASS, AUTHOR OF ANA ON THE EDGE
  A. J. Sass is a writer, editor, and occasional mentor. A long-time figure skater, he has passed his U.S. Figure Skating Senior Moves in the Field and Free Skate tests, medaled twice at the U.S. Synchronized Skating Championships, and currently dabbles in ice dance. When he’s not exploring the world as much as possible, A. J. lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs. Ana on the Edge is his first novel. I had the chance to have a Q & A with A. J., which you can read below.

  Recently, you wrote an article for TIME regarding the recent controversial statements J.K. Rowling had made about the trans community. As an admitted fan of her Harry Potter works, but not her real-life opinions, how does a queer fan reconcile their love for the series and feelings for the creator?

  This has been on my mind ever since I caught wind of Rowling’s tweets, and it’s taken time for me to assess my feelings, in all honesty. The Harry Potter series helped me embrace my own identity, and I met so many wonderful friends as an active member of the fandom community. As I mentioned in the article, I even made the series an integral part of my international travel itineraries by hunting for foreign language editions to bring home with me. But it’s not as simple as divorcing the author from her creative work, at least for me. While I will always cherish what the series meant to me when I was younger, I’m branching out now and reading stories by queer authors and those who vocally support queer folks. There are so many wonderful, inclusive fictional worlds to explore.

  Your debut novel, Ana on the Edge, features a non-binary Chinese-Jewish American protagonist. As a writer who is Jewish and non-binary how much of your experiences are reflected in Ana’s? Were there any concerns in portraying a character not from your own ethnic background, and what steps were taken towards creating authenticity?

  Just as a note, I refer to my main character, Ana, with female pronouns because Ana hasn’t chosen a new set by the end of the story. Nonbinary people use a variety of pronouns, including male and female pronouns in some instances. In Ana’s case, she’s still exploring what feels right.

  The process of figuring out my identity and the anxiety I felt when deciding how to come out to my friends and family are absolutely reflected in Ana’s story. For example, when Ana’s new friend, Hayden, mistakes her for a boy and Ana decides not to correct him, I pulled from a time in my life when I didn’t know what nonbinary meant, just inherently knew I was trans. I chose a traditionally male name and asked people to refer to me with male pronouns. Just like Ana, being seen as a boy initially didn’t feel 100 percent right, but I decided it was good enough for the time being since it was closer to correct than people referring to me as a woman.

  Once I discovered what it meant to be nonbinary, everything felt like it fell into place, in terms of how I internally saw myself. Ana’s life is different than mine in many ways, but her path to embracing her authentic self is quite similar to my own in that respect. In terms of Judaism, the longstanding friendships I’ve made at various temples I’ve attended throughout my life are encompassed in Ana’s relationship with her best friend, Tamar, as are her concerns for how her religious community will react to her nonbinary gender identity.

  My goal when developing Ana’s Jewish-Chinese heritage was to reflect the diversity I see in the Bay Area rinks I skate at myself. I chose not to focus on how the San Francisco Chinese-American community might view gender identity since that has always felt like another person’s story to tell. Instead, my focus was on how the gendered aspects of figure skating might impact a nonbinary athlete. At the same time, I don’t believe characters of color should or even can be divorced from their cultural heritage. I was fortunate to work with authenticity readers to ensure a sensitive and culturally accurate portrayal of the part of Ana’s heritage that differs from my own.

  As a figure-skater yourself, how have you incorporated your own experiences into Ana’s story? What hopes do you have for Ana’s figure-skating generation and for the generations ahead?

  Ana is definitely more talented and confident on the ice than I ever was, that’s for sure! But as a competitive skater myself, I understand pre-competition nerves on an intimate level, not to mention the sensation of unfamiliar ice at a rink you’re skating at for the first time and the pressure to perform well and justify years of money spent on training. These were all elements from my skating background that made its way into Ana’s story.

  My hope for kids Ana’s age is simple: I want every skater to feel safe and comfortable being themselves, on the ice and off. It’s already starting to happen, thanks to brave trailblazers who’ve come out during their Olympic-eligible careers, like Eric Radford, Adam Rippon, Timothy LeDuc, Karina Manta, Joe Johnson, and Amber Glenn. These skaters and others are paving the way for a new generation of skaters.

  How would you describe your writing process? What elements and techniques would you say you incorporate into your craft?

  My writing process is honestly something I’m still trying to pin down since it seems like I approach each book I write differently. Ana on the Edge came out in a flood of words during the spring of 2018. It wasn’t perfect by any means, but Ana’s story felt like a natural extension of myself that my wonderful agent and the fantastic editorial team at Little, Brown Books for Young Readers helped make even better.

  Outlining was one strategy I used for Ana that I hadn’t tried with previous manuscripts. I also learned about Save the Cat! beat sheets. Traditionally a screenwriting technique for honing plot and pacing within the context of the three-act structure, I found it helpful in laying out my already-written scenes and seeing where they might fit if Ana were a movie.

  Queer figure-skating and ice-sports related media has increased in the past few years from Tillie Walden’s Spinning to Ngozi Ukazu’s Check, Please! to Sayo Yamamoto and Mitsurou Kubo’s Yuri!!! On Ice. Is there any figure-skating media you admire and/or relate to?

  I love Spinning and Yuri!!! On Ice (and definitely want to take a look at Check, Please! now that you’ve tipped me off to it). I admire what the wonderful people at Skate Proud (website | Instagram) are doing in featuring queer athletes around the world in both figure and roller skating. In addition, it’s always a treat for me to sit down and watch the videos produced by On Ice Perspectives (website | Instagram). The founder films skaters up close and personal, in skates and on the ice himself. It makes for an incredible viewing experience.

  Aside from figure-skating and writing, what activities do you enjoy doing in your life?

  This probably comes as no surprise, but I’m an avid reader. I’ve always loved middle grade and YA, plus memoirs and biographies of historical figures, and I’ve recently fallen in love with picture books. Additionally, my boyfriend and I are avid travelers (or were, in pre-pandemic times). One of our favorite things to do is decide on our next vacation destination, then figure out the most affordable way to get there so we can experience all the location has to offer. Since our travel plans are postponed for the foreseeable future, I’ve doubled down on my attempts at language learning. Mandarin is my latest challenge. I studied a handful of languages in high school and college, so I’ve also been trying to refresh my memory on some of them, specifically Arabic, Hebrew, and French.

  As a writer, what advice would you give to others, especially other queer writers, who are just starting out on their journey?

  When I first thought about becoming a writer over a decade ago, there weren’t many queer authors or stories I could look to for inspiration. The landscape is quite different for queer writers today. Everyone from my agent to the team at Little, Brown Books for Young Readers has welcomed me (and Ana) with open arms and boundless enthusiasm.

  But before Ana sold, and before I connected with my agent, it was the online writing community that encouraged me and kept me going. Twitter is a great place to find support and critique partners, especially if you’re writing in the kidlit space (which encompasses picture books, chapter books, middle grade, and YA).

  It was on Twitter that I also first learned about mentorship opportunities, programs where an agented or published author works with a pre-agented author to revise their manuscript in preparation to query agents. I was a #WriteMentor mentee in 2018, and the friendships I made with some of the other mentees and mentee-hopefuls remain strong to this day. My biggest piece of advice is to find your community, whether it’s online or off. Let your fellow writers cheer you on and give back to others as much as possible.

  Finally, what are some LGBTQ+ comics or books you would recommend to the readers of Geeks OUT?

  Oh gosh, do you have a free afternoon? There’s so much great LGBTQ+ content out there, I could talk about it for hours.

  One online comic that I dearly loved and related to when I was figuring out my identity is Tab Kimpton’s Khaos Comix series. Tom’s and Alex’s stories were the first portrayal I’d seen of a relationship between a transgender boy and a cisgender boy, and it meant so much to me, as someone who is transmasculine/nonbinary and gay.

  Other queer graphic novels I’ve read and enjoyed recently are Mooncakes by Suzanne Walker and Wendy Xu (a YA Fantasy that also has great Jewish and disability rep!) and The Deep and Dark Blue by Niki Smith (a middle grade fantasy featuring a trans girl and her supportive twin brother).

  2020 has been rough on the whole, but one bright spot is how many fabulous LGBTQ+ books have recently released. Here are a few of my favorites that Geeks OUT readers may enjoy:

  Middle Grade:

  The Derby Daredevils: Kenzie Kickstarts a Team by Kit Rosewater: roller derby and queer characters, plus fabulous illustrations by Sophie Escabasse

  Young Adult:

  Pet by Akwaeke Emezi: speculative fiction at its best, featuring a trans girl main character as an organic part of the narrative

  Adult:

  The Deep by Rivers Solomon: a lyrical fantasy novella (I also highly recommend Solomon’s SFF debut, An Unkindness of Ghosts).

• New Leaf Literary and Media - https://www.newleafliterary.com/people/a-j-sass/

  A.J. Sass

  AJ Sass is a fiction-writing figure skater, inclined toward adventures of a traveling nature. He is autistic, non-binary, and keen on exploring how gender identity and neurodiversity impact character narratives.

  An avid figure skater, AJ is a US Figure Skating double gold medalist in Moves in the Field and Free Skate, a silver medalist in Ice Dance, and a member of the 2018 national bronze medalist Masters synchronized skating team, IceSymmetrics.

  AJ grew up in the Midwestern US, came of age in the South, and currently lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs.

  Jordan Hamessley

• We Need Diverse Books - https://diversebooks.org/qa-with-a-j-sass-ana-on-the-edge/

  Q&A With A. J. Sass, Ana on the Edge
  October 20, 2020 by We Need Diverse Books Leave a comment

  Q&A With A. J. Sass, Ana on the Edge
  By Alaina Leary

  Today we’re pleased to welcome A.J. Sass to the WNDB blog to discuss their MG novel Ana on the Edge, out October 20, 2020!

  To read an excerpt from Ana on the Edge, click here.

  Twelve-year-old Ana-Marie Jin, the reigning US Juvenile figure skating champion, is not a frilly dress kind of kid. So, when Ana learns that next season’s program will be princess themed, doubt forms fast. Still, Ana tries to focus on training and putting together a stellar routine worthy of national success.

  Once Ana meets Hayden, a transgender boy new to the rink, thoughts about the princess program and gender identity begin to take center stage. And when Hayden mistakes Ana for a boy, Ana doesn’t correct him and finds comfort in this boyish identity when he’s around. As their friendship develops, Ana realizes that it’s tricky juggling two different identities on one slippery sheet of ice. And with a major competition approaching, Ana must decide whether telling everyone the truth is worth risking years of hard work and sacrifice.

  Ana on the Edge by A.J. Sass

  The protagonist of Ana on the Edge, Ana, is a competitive figure skater. Why did you want your main character to be a competitive athlete and how did you portray the pressure on kids who are involved in competitive activities, as well as the joy and pride?

  Athletes share a lot of the same traits, regardless of the sport in which they train: Work ethic, determination, and passion, to name just a few. I believe people can appreciate these qualities, whether they’re an athlete themselves or a spectator.

  In Ana on the Edge, I got to describe the freedom of flying across the ice, of centering a hard spin, or finally landing a jump you’ve been learning for months, all through the eyes of a talented athlete. There’s nothing quite like that feeling of accomplishment, and I hope I portrayed it in a way that is relatable to readers. Pressure is also a common part of competitive sports, and Ana faced it both on the ice and off, being acutely aware of the training costs fronted by her single mom and how her continued success hinges on these financial sacrifices.

  Like Ana, you’re a competitive skater. How did you draw from your own experiences skating for this story? Were there any plot points you feel benefited from your firsthand knowledge, and did you embellish or change anything about the world of skating to fit the story?

  One of the neat things about writing about a sport I participate in myself was getting to draw from my memories from daily training sessions to national competitions, then applying them to Ana’s unique circumstances. I remember battling nerves as I took my opening pose before the start of my program. The visualization techniques my coach gave me. And I definitely remember the distracting swish of a skating dress that didn’t tell the right story about my identity. These are some of my memories as a skater that I incorporated into Ana’s story (although Ana is one hundred percent more confident in front of judges than I ever was!).

  Likewise, descriptions of Ana skating benefited from my technical knowledge, and one of the biggest plot points even more so: In my initial drafts, Ana’s main goal is to qualify for her second national championship. But while I was revising, a major change in skating’s competitive pipeline went into effect, one that removed Nationals at the sport’s lower, developmental levels—including the level Ana competes at. A national training camp replaced it. As part of this change, summer competitions now offer top scorers the opportunity to bypass the regional championships and move on directly to Sectionals, the competition that determines who qualifies for the national training camp. Ultimately, I reworked the story to reflect this, which raised the stakes for Ana as she prepared to compete at her first summer event.

  I didn’t embellish anything about the skating world, but I did omit some details. For example, most skaters represent figure skating clubs. There’s no mention of clubs in Ana on the Edge, but Ana would almost certainly have been a member of one.

  Ana’s a fan of Michelle Kwan, Olympic medalist figure skater. I also love Kwan and was obsessed with watching her skate when I was Ana’s age. Why did you want Ana to connect with Kwan and what draws her to Kwan as a role model?

  Michelle is the most decorated skater in U.S. history, yet she never won an Olympic gold medal. Despite this, she took what could have been a career-ending setback and continued to compete—and inspire a generation of young skaters. I wanted Ana to connect with Kwan’s perseverance in the face of deep disappointment but put her own spin on it when applied to her personal circumstances.

  At one point, Ana thinks about how Kwan told her parents that her coach had signed off on her taking her Senior free-skate test when he actually hadn’t. Kwan qualified for her first Olympics not long after. Ana knows lying isn’t okay, but she convinces herself that not telling her mom how uncomfortable her new princess-themed program makes her feel is necessary because her mom has already spent money on choreography and a dress. In that vein, Kwan is absolutely an inspiration to Ana, but Ana’s solutions for dealing with her problems were all her own.

  Ana on the Edge features multiple trans characters and offers insight into the importance of having other trans and LGBTQ+ friends and a community. Why was this important to you in writing Ana’s story?

  I grew up in small towns, mostly in the Midwest and South, and didn’t meet another queer person until college. Sometimes you don’t realize it’s okay to be your authentic self until you see your identity reflected in someone else. That was the case for Ana with her new friend, Hayden, even though their experiences with gender identity differ. In addition, Ana’s coach, Alex, is gay, but it wasn’t until she came out as nonbinary that she discovered similarities between his path to living authentically and her own. I wouldn’t be where I am today without the help of allies, both within the LGBTQ+ community and outside of it. I wanted the people in Ana’s life to also reflect this.

  Can you talk about Ana’s approach to pronouns, and how she discovers that she/her/hers pronouns work for her right now?

  At one point, Ana compares her coming out to choreographing a new skating program. First, you lay out where the jumps and spins will go. Then, you practice it. And if a set of steps doesn’t feel quite right, you can always rework it into something more comfortable once you’re on the ice. Ana feels the same way about pronouns. She’s still at an early stage of discovering her identity, where she knows she’s nonbinary but doesn’t necessarily have every detail worked out. For now, it’s enough that her friends and family know she’s nonbinary. Pronouns are still a work in progress, which she may decide to change later if she decides that another set fits her better.

  What other books do you think Ana on the Edge is in conversation with? And do you have any recommendations for published or forthcoming kidlit?

  There have been some fantastic stories released in recent years—and also some forthcoming—that Ana’s story might complement. George by Alex Gino and Gracefully Grayson by Ami Polonsky were both early sources of inspiration when I was developing Ana on the Edge, and I hope Ana can stand beside them as an example of another way a person can be trans.

  I also think stories that feature secondary trans characters are a great way to introduce readers to trans topics in middle-grade literature. The father in Kit Rosewater’s The Derby Daredevils: Kenzie Kickstarts a Team is a prime example. The same goes for Briana McDonald’s wonderful, forthcoming Pepper’s Rules for Secret Sleuthing, which features a trans secondary character, and Ash Van Otterloo’s sophomore novel, A Touch of Ruckus, which I absolutely can’t wait to get my hands on next year. I also referenced Ana’s Jewish faith in the context of how her religious community might approach her nonbinary identity, and Nicole Melleby’s latest release, In the Role of Brie Hutchens, similarly tackles the intersection of faith and queerness, from a cisgender girl’s perspective.

  What is one question you wish you were asked more often (and the answer)?

  I’d love it if more people asked me how to support the transgender and nonbinary kids in their lives. Anyone who works with or around kids can extend simple but powerful gestures to make them feel more comfortable or make suggestions to other adult facilitators. One great way to be inclusive, particularly when kids are in a new setting for the first time, is to include your pronouns when you introduce yourself. Pronouns may seem obvious based on your gender presentation, but sometimes a person’s gender identity doesn’t align with their outward appearance. Sharing your pronouns gives kids an opportunity to similarly share who they are—it also signals that you are an ally, a person who cares, even if a child is not ready or is unable to be out or open about that aspect of themselves.

• Books Beyond Binaries - https://booksbeyondbinaries.blog/2020/11/09/meet-a-j-and-ana/

  Posted on November 9, 2020
  I grew up as a sports-loving tomboy in St. John’s, Newfoundland, and one of my earliest memories is of my toddler body being stuffed into a snowsuit and skates, and thrust onto the ice by my grandfather. I leaned my torso on the seat of a rickety wooden chair that scraped along in front of me as I learned to clop my way around a worn rink and lots of bumpy pond surfaces. When I got steady enough on my feet, being a girl, I was funnelled into figure skating classes, while my masculine peers were shuffled off to hockey. I did local competitions until I was 10, when a knee injury from horseback riding kept me on crutches for a year, and I was relegated to recreational skating for the rest of my days. Still, ice skating has been a huge source of joy in my life, and every winter I still haul my neon purple and pink skate bag, monogrammed with my dead name, out to the rinks in Toronto. I wear knee pads these days.

  The cover of The Shiny Skates, by Elizabeth Koda-Callan.
  When I first came across A.J. Sass’ book, ANA ON THE EDGE, the first thing that came to mind was one of my 1990s childhood favourites, a book called THE SHINY SKATES, by Elizabeth Koda-Callan. Truly a relic of the 90s (although it was reprinted in 2004 by Workman Publishing), this was part of the Magic Charm books – a series of chapter books that came with charm necklaces for the reader to wear along with their characters. I wore mine religiously.

  Around the time that THE SHINY SKATES was released was also when American Olympic figure skater Tonya Harding’s career came to a close due to her possible involvement in a scandalous event in which her skating rival, Nancy Kerrigan, was assaulted and injured at the rink. Both skaters competed in the 1994 Olympics, where Kerrigan won a silver medal and Harding finished eighth. I still remember how public perception of Tonya Harding and her less feminine presentation on the ice coloured my entire experience of learning how to skate as a young, gender non-conforming athlete. (If you want to learn more about Harding and her story, journalist Sarah Marshall wrote a great piece about her, and later did a two-part podcast episode about her on You’re Wrong About.)

  The cover of Ana on the Edge, by A.J. Sass
  ANA ON THE EDGE is an #OwnVoices middle grade novel about a non-binary figure skater, written by a non-binary figure skater, and all I can think every time I think about this book is how the world has changed since I was a kid. I can’t even imagine how life-changing it would have been for me to have gotten my hands on this book back in the body-shaming mid-90’s, when I was mortified by how my muscular, chubby body looked in my skin-tight, sequinned figure skating dresses… if Tonya Harding couldn’t pull them off, how could I be expected to? The gentle exploration of gender, identity, and self-perception that is navigated with such charm in ANA ON THE EDGE could have been a balm to my soul back then, as it is now.

  I am so honoured that author and figure skater A.J. Sass was so generous and receptive when I reached out to see if they would collaborate on a post for this site about ANA, and my interview with them is below. I would be remiss not to mention that not only is A.J. an autistic author with an interest in neurodivergence representation in fiction, they are a much more accomplished skater than I could ever dream to be! Aside from writing books, A.J. is a US Figure Skating double gold medalist in Moves in the Field and Free Skate, a silver medalist in Ice Dance, and a member of the 2018 national bronze medalist and 2019 national silver medalist Masters synchronized skating team, IceSymmetrics. (Insert my fan face here!) Now living in San Francisco, ANA is their debut novel, and it was released in October, and is available for purchase now!

  Covers of King and the Dragonflies, Black Flamingo, and This is my America.
  When I asked A.J. what books by Black authors they would recommend alongside ANA, they struggled to narrow it down to three choices… Kacen Callendar’s KING AND THE DRAGONFLIES (a fan favourite in these parts), THE BLACK FLAMINGO, by Dean Atta, and Kim Johnson’s THIS IS MY AMERICA.

  Interview with A.J. Sass, author of ANA ON THE EDGE

  A.J. Sass, author of ANA ON THE EDGE.
  When I first encountered ANA ON THE EDGE, I was so thrilled for two reasons. One, there isn’t a lot of #OwnVoices non-binary representation for this age group yet, and two, I would have loved a book like this growing up. What do you think your young self would have thought of Ana and of this story?

  I definitely didn’t know I was non-binary when I was Ana’s age. In fact, I’m not even sure if the term had been coined yet, officially! What I do know is that I would’ve gravitated toward a book like this on the shelves because I was an avid fan of skating as a kid. I started group class lessons all the way back when I was seven. And I think reading about Ana, a rising star in the sport of figure skating who realizes she* is uncomfortable with some of the gendered aspects within the sport, would have been revelatory for me as someone who always felt a little prickle of discomfort when I encountered similar binary components as a skater.

  I can’t know for sure what I would have thought of Ana, or Hayden, her new friend who is a transgender boy, but I suspect that seeing a mirror of my own feelings reflected in someone else would have given me a solid starting point to exploring my identity much earlier in my life.

  *Just as a heads up, I’m referring to Ana with female pronouns because Ana hasn’t chosen a new set by the end of the story. Non-binary people use a variety of pronouns, like gender neutral and even male and female pronouns in some instances (e.g., I use he/him and they/them pronouns interchangeably). In Ana’s case, she’s still exploring what feels best for her.

  Photo by Kelli McClintock on Unsplash
  You’ve competed in figure skating, ice dance, and synchronized team skating. How did your own experiences in this artistic sport factor into your work on ANA?

  As I mentioned earlier, I started skating when I was a child and I remain active in the sport now. As a kid, my discomfort associated with wearing skating tights and dresses was more of a subconscious undercurrent rather than something I was actively aware of. I think kids today are often more aware that the LGBTQIA+ community exists, even if they don’t know precisely how they fit into it. So I made sure to reflect that in Ana’s narrative, even though it took me until adulthood myself to pinpoint why I was uncomfortable with skating’s gendered components.

  One of my favorite memories in the sport is of the friendships I made, and the moments my training-mates and I would goof off in between lessons during practice. Because at its core, skating is a really fun activity, even for kids like Ana who are very serious about their training. An early scene where Ana’s best friend, Tamar, challenges her to perform a cartwheel on ice comes directly from my own experiences. Here’s some proof:

  From A.J. Sass’s instagram.
  Being a marginalized publishing professional can be super challenging. Your book is with a Big 5 publisher – one of the Hachette imprints – and that’s a really big deal! What has your experience been like working with an agent and an editorial team at a big publishing house on a story featuring a protagonist who is questioning their gender? What would you say the most fulfilling part of this process was, and what was the biggest challenge?

  I feel like I’ve been supremely fortunate to work with my agent, Jordan Hamessley, and the entire team at New Leaf, as well as ANA’s publishing team at Little, Brown Books for Young Readers.

  Working with Jordan has been wonderful and affirming. An example: When we were preparing to go on submission with ANA, Jordan made sure I was comfortable being out as a non-binary author before pitching me as such to editors. Now that ANA is published, I absolutely see where Jordan was coming from since the vast majority of author panels I’ve been on and interviews I’ve done have referenced my experience of being non-binary in some way. I’m proud to be out and open about who I am, but I definitely appreciate Jordan preparing me to think about how that choice would impact the way people approach questions about me and my book.

  My editorial team at Little, Brown has also been fantastic. Even so, working on a story with a non-binary protagonist who hasn’t made a decision to change her pronouns yet by the end of the story presented a challenge for all of us.

  Photo by Kelli McClintock on Unsplash
  About a year ago, right around the time we were finalizing the book summary that would appear on ANA ON THE EDGE’s dust jacket, the use of female pronouns in reference to Ana started feeling off to me. I really couldn’t explain it at first. We’d used female pronouns for the Publishers Weekly announcement when ANA first sold and we used them on internal email communications as well. So why was it bothering me to see them on the inside flap of what would eventually become the book’s dust jacket?

  Eventually, I realized my concern was that prospective readers would be unfamiliar with the nuances of Ana’s story and what it even means to be non-binary. I worried that cisgender readers would see those female pronouns and immediately make the assumption that Ana is a girl who decides to become non-binary, rather than a non-binary kid discovering that’s who they’ve always been.

  Then I proceeded to worry that my publisher would be annoyed if I asked to change the wording after I’d already approved the final copy. But ultimately, this became one of the most fulfilling aspects of the publishing process for me because my editors were incredibly receptive to my feedback. They were happy to rework the copy so that pronouns aren’t referenced at all on the dust jacket, or marketing and other promotional materials. Now I feel like readers can enter Ana’s world without any misconceptions about gender identity and come to their own conclusions as they immerse themselves in the story.

  Photo by Joseph Costa on Unsplash
  In this story, you decided to include not only Ana, a non-binary protagonist, but you also introduced readers to Hayden, a transgender boy. Was it important to you to include more than one trans character in this book, or did that just happen organically as you were writing? In addition, how did you make sure that you were doing both of these identities justice in your representation of them in this book?

  It was an intentional choice to include two trans characters because I wanted to highlight how no two trans experiences are the same. Hayden’s known who he is for a while by the time he and Ana meet, whereas Ana is just starting to explore the layers of her identity. As I touched on in an earlier answer, I think it can sometimes be a revelation to see an aspect of yourself reflected in someone else. That’s what happens when Ana meets Hayden: Hayden’s identity doesn’t match Ana’s precisely, but she recognizes a shared commonality, one that spurs her to dig deeper and learn more about herself.

  In terms of representation, I’ve identified as a transgender man and non-binary at various points in my life. There are parts of my experience with those two identities in the representation of both Hayden and Ana. Since trans experiences can vary greatly from person to person, I also had authenticity readers provide further feedback.

  Photo by LOGAN WEAVER on Unsplash
  What is one thing that you would want your readers to know about ANA ON THE EDGE? Similarly, what do you wish you could tell adults who are going to choose this book to put in a young reader’s hands?

  My answer here applies to both kids and adults: It’s okay not to have everything figured out about yourself all at once. It’s fine if you do, of course, but I think something I struggled with when I was younger was a concern that I might change my mind later or realize I was wrong about my identity after I’d already come out to my friends and family. I worried about burdening others if I had to come out again and ask them to use a name and set of pronouns that fit me better.

  People aren’t static. We are constantly changing and evolving. The same can be true about identity, and there is no shame in coming to a better understanding of yourself, no matter what age you are. I hope Ana’s story helps readers embrace uncertainty and consider it an opportunity to get to know themselves even better.

  PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my dogs, and pursuing completion of my education in social work.

• Melissa Roske - https://www.melissaroske.com/ask-the-author-a-j-sass/

  Ask the Author: A.J. Sass
  April 13, 2020 By Melissa Roske 2 Comments

  The Proust Questionnaire, popularized by the French essayist and novelist Marcel Proust, is said to reveal a person’s true nature through a series of probing, soul-searching questions. In the hot seat today: A.J. Sass, author of the MG debut, ANA ON THE EDGE (Little, Brown Books for Young Readers, 10/20/2020).

  What is your idea of perfect happiness? A day with absolutely no obligations, coupled with a good book and a cat (or two) in my lap.

  What is your greatest fear? Not living up to my potential.

  What is the trait you most deplore in yourself? Jealousy. I know it’s natural and healthy in some instances, but I dislike how it makes me feel whenever I experience it.

  What is the trait you most deplore in others? Apathy, especially as it relates to the wellbeing of others.

  Which living person do you most admire? I don’t have one specific person in mind, but I absolutely admire people who use their talent or platform to highlight injustices. Angie Thomas and her story, The Hate U Give, immediately comes to mind. Same for Malala Yousafzai, her books, and the work she does to advocate for education for girls throughout the world.

  What is your greatest extravagance? Figure skating. The cost of ice-time and equipment can be quite high. It’s not something I have to do but I crave the feeling of ice crunching under my blades and the rush I get when landing a jump.

  What is your current state of mind? Inspired. I’ve been sheltering in place for nearly a month now due to the coronavirus outbreak and many of my author friends have had to cancel their book-launch events. Despite their understandable disappointment, they’ve found innovative ways to celebrate the amazing accomplishment of having a book published, and venues that allow others to celebrate with them online. People are adapting. Even thriving. I can’t think of a bigger inspiration.

  What do you consider the most overrated virtue? Tact. As someone on the autism spectrum, I often find that people use tactfulness to cover their genuine feelings, which can lead to misunderstandings. Say what you mean, please!

  On what occasion do you lie? I try not to. But sometimes it’s easier to say I’m busy and can’t make a get-together than sharing my concern about being uncomfortable, overstimulated, etc.

  Which words or phrases do you most overuse? “Does that count?” tacked to the end of a sentence that is usually a statement of comparison. Beyond that, I tend to cycle through a handful of phrases in common use online at any given time, so it varies. Earlier this year, I seemed to use “I’m not mad about …” every other sentence. Now, not so much.

  Besides writing, which talent would you most like to have? I’d love to be able to stage act because I adore theatrical productions. For some time, I was quite involved in the Bay Area’s theatre community, as a board member of an LGBTQ threatre company, a house manager, etc. I even took some acting classes. But wishing you’re good at something is different than actually enjoying it. That’s the case with me and acting (I still love attending shows, though!).

  What do you consider your greatest achievement? Outside of publishing, it has to be my skating. I have some motor skill and sensory perception difficulties associated with autism that made it challenging to learn and master figure skating’s fundamentals. Although I started as a child, I wasn’t a fast learner and had multiple coaches who told my parents not to expect much, that I would reach my athletic limit before other kids. They’re weren’t wrong that I mastered skills much more slowly than other skaters, but I loved the sport and kept up with it, focusing on the US Figure Skating test structure as a measure of my progress. In 2008, I passed my Senior Moves in the Field test. I went on to pass my Senior Free Skate test in 2017, making me a double gold medalist. Some people might see skating as just a hobby, but it’s taught me patience, perseverance, and how to express myself, all of which I use in my off-ice life.

  If you were to die and come back as a person or a thing, what would it be? Is it cliché to say a beloved cat? (Indoor only, so I don’t get eaten by a disgruntled pigeon.) I think I’d enjoy curling up next to my owner and chittering at birds through windows.

  What is your most treasured possession? My memories.

  What do you regard as the lowest depth of misery? The helplessness of seeing a loved one with a serious medical condition. I would do anything for my friends and family, but sometimes it’s out of my hands. There’s nothing I can do and the lack of control is the definition of miserable.

  What do you most value in your friends? Their support and encouragement. We all have different interests, but the best friends cheer you on when you accomplish something important to you, even if it’s unrelated to their own goals.

  Who are your favorite writers? So many. Here’s a random sampling: Ashley Herring Blake, Lynne Reid Banks, Kacen Callender, Margaret Peterson Haddix, Hugh Howey, Diana Wynne Jones, Jhumpa Lahiri, Lois Lowry, Armistead Maupin, Nicole Melleby, Celeste Ng, Robert C. O’Brien.

  Who is your hero of fiction? Jonas from The Giver. Some people go their entire lives without questioning the status quo. Evaluating what he’s told, comparing it to the new information he’s learned, and then acting to do what he feels is right—even if it goes against the rules of his community—all make Jonas a hero in my book.

  Which historical figure do you most identify with? I don’t know if he counts as strictly historical because I was alive during part of his life, but it has to be Lou Sullivan. Sullivan has largely been credited as the first gay transgender man at a time when gender confirmation services were almost exclusively reserved for trans people who identified as straight. Through his writings and activism, Lou broke down barriers within the medical and queer communities of his time by distinguishing between romantic attraction and gender identity. This is something that I also aim to explore in my writing.

  What is your motto? “No one is free unless we are all free.”

  A.J. SASS is a writer, editor, and occasional mentor. When he’s not exploring the world as much as possible, A. J. lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs. His debut novel, Ana on the Edge, will release on October 20, 2020 from Little, Brown Books for Young Readers. You can learn more about A.J. on his website, as well as follow him on Twitter, Instagram, and Facebook.

• Class of 2K20 - https://classof2k20books.com/lorien-lawrence-interviews-a-j-sass-for-ana-on-the-edge/

  Lorien Lawrence interviews A.J. Sass for ANA ON THE EDGE
  Post author
  By A.J. Sass
  Post date
  October 20, 2020

  Headshot: A.J. Sass

  A. J. Sass (he/they) is a writer, editor, and competitive skater. A long-time figure skater, he has passed his U.S. Figure Skating Senior Moves in the Field and Free Skate tests, medaled twice at the U.S. Synchronized Skating Championships, and currently dabbles in ice dance. A. J. lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs. Ana on the Edge is his first novel.

  Lorien Lawrence: Hi Andrew! I’m so excited to be able to interview you about your debut, ANA ON THE EDGE. Happy book birthday! How do you feel? It’s surreal, isn’t it?

  A.J. Sass: Hey, Lorien! Thank you so much! And oh my gosh, it does feel a bit like a dream, mostly because I swear we were just in the fifteen week of March and now it’s October, somehow? It started hitting me that this was about to happen when finished copies of ANA arrived on my doorstep a few weeks ago. Now, I keep shifting from this incredible feeling of joy to happily tearful because the reception for this book has been so warm and enthusiastic.

  LL: The young voices in this novel – especially Ana’s – were so realistic. And as a middle school teacher, I’m extra picky as a middle grade reader! So well done. What made you decide to write for this age group?

  AJS: Fun fact – for years, I’d considered myself strictly a YA writer. When I realized I’m nonbinary a few years back, I rushed to my library to find books about nonbinary main characters. At the time, I couldn’t find a single YA story, which felt pretty devastating (thankfully, there is a growing number of books now being published that fit this criteria).

  Still determined, I shifted my focus to the middle grade shelves. While I didn’t find exactly what I was looking for there, I did discover books featuring transgender main characters, like George by Alex Gino and Gracefully Grayson by Ami Polonsky, as well as novels about girls navigating crushes on other girls, like Barbara Dee’s Star-Crossed.

  I was intrigued because I’d been operating under the assumption that queer books didn’t exist in the middle grade space, that gatekeepers made it impossible to tell queer stories for that age category. And I quickly fell in love with these stories about kids trying to figure out who they are and where they fit within their friend groups and families. Soon enough, I found myself wanting to write for this age group myself.

  This was also around the time that I’d recently passed my US Figure Skating Senior Free Skate test. To say that all things ice skating were on my mind during this time would be understatement; I practically lived at the rink on the weeks leading up to this test to ensure I was adequately prepared to pass it.

  It definitely got me thinking about how I would’ve navigated the very gendered world of skating had I known I was nonbinary when I was a kid. That, along with my disappointment at being unable to find novels featuring nonbinary characters, really sparked a desire to help fill that void on shelves. I started working on what would eventually become Ana on the Edge soon after.

  LL: Ana was such a well-crafted character. She was sweet and flawed and full of empathy for others. How much of her is based on you and your own personality and life experiences?

  AJS: Ana is definitely more athletically gifted and confident on the ice than me! But her path to discovering her identity paralleled mine in some ways. Although I came out as an adult, at first I also struggled to understand how I could feel like something other than a woman or a man. I had no vocabulary to describe how I felt.

  When I moved to the San Francisco Bay Area after grad school, I started attending monthly meet-ups at an LGBTQ+ community center in Berkeley. It was there that I met a group of wonderful transgender and questioning folks. I couldn’t help comparing my own experiences to those shared within the group. Like Ana, I wasn’t sure I completely identified as a man, but I knew it fit me better than being seen as a woman. And similar to Ana’s experience, it wasn’t until I discovered the term nonbinary that I finally felt all the pieces click into place for me.

  By that time, however, I was already using a male name and pronouns so it very much felt like I was juggling two identities (plus a third, because I hadn’t yet come out to my family in any capacity). And in Ana on the Edge, there’s a moment of mistaken identity, where a skater named Hayden who’s new to Ana’s rink mistakes Ana for a boy and she decides not to correct him. It’s not quite quite identical to my own experience, but that feeling of being stuck between two or more identities, and of not knowing how to come out to the people closest to you, is rooted in my personal experience.

  LL: This book beautifully showcases the struggle of what it was like for a nonbinary kid to navigate a binary world. Can you talk a little more about that?

  AJS: I think the hardest hurdle to get over is the lack of knowledge and resources about what it means to be nonbinary. I definitely hadn’t heard the term until well into adulthood. Thankfully, this is changing and it’s getting easier to find this information nowadays, in part because the internet offers a wealth of resources.

  If you don’t know you’re nonbinary, little things might irk you, like being misgendered or expected to wear certain types of clothes. There are even gendered assumptions made about interests and hobbies. Athletics-wise, girls are often expected to participate in sports or activities deemed dainty, while many people think boys should gravitate toward rougher team sports. And if you deviate from these expectations? Assumptions are made about your sexual orientation (ever heard someone make a joke about boys who figure skate or do ballet or girls who play basketball, football, hockey, and so on?).

  That’s clearly problematic, and I think nonbinary kids are acutely aware of these expectations and can get overwhelmed trying to navigate what their interests might say about their gender, even if they participate in co-ed activities.

  Specifically speaking about skating, sometimes you just can’t get around its gender-coded rules. While there’s no regulation that says girls can’t wear black skates during competitions and boys can’t wear white or beige, you still have to choose which binary division to skate in (outside of a few notable exceptions which are co-ed, like showcase and synchronized skating). In ice dance, you either skate the mens or ladies steps when performing pattern dances. There’s no wiggle room there. Ultimately, it has to be a choice left up to the skater to decide what they’re most comfortable with, knowing that choice may not be the perfect fit. I imagine this is true for many sports.

  Outside the ice, nonbinary kids and teens have other obstacles to navigate, including (but definitely not limited to) gendered public restrooms, changing or locker rooms, binary clothing sections in stores, the option to choose male or female but not nonbinary on government-issued IDs in most states, and often persistent misgendering in virtually every realm of their lives, especially if they don’t feel safe to come out at home.

  We still have a long way to go to make nonbinary kids feel accepted and affirmed.

  LL: There were moments in your book that felt so real and heart wrenching that I cried. What was your favorite scene to write? Was there a particular scene that was the hardest to write?

  AJS: I don’t have just one a favorite scene, but I honestly enjoyed writing every scene that Hope, a nine-year-old girl who trains with Ana, appeared in. She’s such a little spitfire and always just said whatever she was feeling. She also may not have completely understood what Ana was going through with respect to gender identity, but she was always sweet to Ana, and I really enjoyed writing their interactions.

  The hardest scene to write was the chapter when Ana came out to her mom and her coach, Alex. I was so worried I wouldn’t do it justice or in some way might get it wrong. It was such an important moment for Ana, and I wanted readers to feel the same level of anxiety coursing through her in the moments before sharing who she is with her mom and coach. I also wanted to convey the moment of relief and comfort when Ana realized they accepted her. I must’ve rewritten that scene a minimum of a dozen times before it felt right.

  LL: OK, let’s talk figure skating! I am fascinated by this sport! I know that you skate, but I don’t really know your skating history. Were you a competitive skater like Ana? And I loved Coach Alex! Did you have a coach like him growing up?

  AJS: I started skating when I was seven, after attending an ice show put on by a local skating club (we had just moved from Nebraska to Minnesota and I was not a happy camper about it so I think it was my mom’s way of distracting me for a couple of hours). I was so mesmerized by the lights, the music, the drama of the performances. I knew right then I wanted to learn how to jump and spin just like those show skaters.

  Unlike Ana, skating didn’t come naturally for me, and I also had pretty epic performance anxiety that impeded my progress, especially when it came to testing up levels. I was immediately in love with the sport but I didn’t love having everyone’s eyes on me when I was the only one out on the ice performing. It wasn’t until I was well into adulthood that I joined a synchronized skating team (think: synchronized swimming, but with 32 blades, all within inches of one another). Skating as part of a team, I learned to enjoy the nerves that came along with competing. I also love the camaraderie of working together to create something entertaining or moving. My team won a national bronze medal in our division back in 2018 and silver in 2019. While I never competed at Nationals as a singles skater like Ana, I eventually connected with coaches who helped me manage my nerves enough to begin taking tests again as an adult. I passed my Senior Moves in the Field test in my mid-20s and my Senior Free Skate test about a decade later. Now I’m working my way through the pattern ice dance tests.

  I actually did have a coach named Alex growing up (that was a total coincidence!), but Coach Alex is more of an amalgam of several coaches I trained under, all of whom supported me on my skating journey in different but equally meaningful ways.

  LL: Since we talked about your skating journey, it’s only fitting to also talk about your author journey. When did you realize that you wanted to be an author? What was your road to publication like?

  AJS: I’m not sure exactly when I knew I wanted to be an author, although I’ve been writing stories since I could hold a pencil. I started college at age fifteen without really having a sense of what I wanted to do once I graduated. I kept hearing that pursuits like skating and writing were ‘nice hobbies’ but not viable career paths, that I should find something more financially stable to focus on. That, coupled with the lack of queer kidlit on bookstore or library shelves discouraged me from pursuing writing as a career for years. Instead, I attended law school, realized it absolutely wasn’t what I wanted to do with my life, and ended up working on content initiatives at various tech companies after graduating (so still writing, just not fiction).

  Then queer stories began getting published. Not a lot at first, but enough that it made me take notice. I read as many as I could get my hands on, and that dream of one day being a published author myself returned in full force. I spent the next decade writing everything from epic space operas to small-town contemporary stories, all featuring a cast of queer characters. Each one helped develop my craft and hone my skill as a writer.

  But much like skating, I had a form of performance anxiety when it came to writing. I was hesitant about letting people read what I’d written. For years, I rarely shared anything. When I did, it was a chapter here or there that I’d spend literal months polishing before allowing a friend or two to read.

  In late 2017, after reading every queer middle grade book I could get my hands on, I signed up for an online class that focused on writing for middle school-age readers. This class is where I developed Ana on the Edge—and also learned to accept and apply constructive feedback. Eager to keep the momentum going, I submitted an application to an online mentorship program called #WriteMentor, where I was chosen by an agented writer who oversaw my revisions on Ana during the summer of 2018. I started querying that September and was fortunate to sign with my agent, Jordan Hamessley of New Leaf Literary, just a few weeks later.

  I know many writers didn’t sign with an agent on their first (or even second or third) manuscript they queried. I probably wouldn’t have either if I’d queried any of the half a dozen manuscripts I’d written over the past decade that I’d been too self-conscious to solicit feedback on. Sometimes I still can’t believe I got past that hang-up, put myself out there, and let industry professionals review my work. I’m very happy I did.

  After I signed with Jordan, I revised a bit more based on her feedback. We went on submission in early 2019 and received a preempt offer from my editor, Lisa Yoskowitz, at Little, Brown Books for Young Readers a few weeks later.

  Technically, it was a little over a year from the book idea to publisher offer. Knowing what I do about the publishing industry now, that feels quite fast. There’ll always be a bit of timing and luck involved in selling a book, but I also can’t forget the decade and a half of shelved manuscripts I worked on before I started writing Ana on the Edge. In fact, I don’t think I’d have been able to write Ana if I hadn’t dedicated those years to improving my craft.

  LL: I really loved Hayden as a character! Who was your favorite secondary character to write?

  AJS: They don’t appear in a ton of scenes, but it’s a tie between Hope Park, the younger sister of Ana’s training mate Faith, and Cyn Lubeck, Hayden’s snarky high school-age sister. Both gave me opportunities to infuse some humor into scenes, which I think really helped keep the tone of the book light, even while Ana is obviously going through something big, trying to figure out her elements of her identity.

  LL: Did you have a favorite literary character when you were in middle school? If so, who? And did you have a favorite book in middle school?

  AJS: I can’t say I had a favorite literary character in middle school, probably because there weren’t a lot of books available that featured characters I could relate to. But I did read a lot in middle school. The Goosebumps and Baby-Sitters Club series were both favorites of mine growing up. I also loved books like The Giver by Lois Lowry, Number the Stars, also by Lois Lowry, One More River by Lynne Reid Banks, The Secret of NIMH trilogy by Robert C. O’Brien, The Last Unicorn by Peter S. Beagle, and A Tale of Time City and Dogsbody, both by Diana Wynne Jones.

  LL: I feel like kids in middle school today have a lot more options in terms of literature. What trends in middle grade are you currently loving, and what do you hope to see more of?

  AJS: This is probably obvious based one some of my previous answers, but I love the push for diversity in middle grade literature. Specifically with queer stories, we still have a ways to go when it comes to diversity of experiences within the various identities. There’s definitely not one way to be nonbinary, so I’d really love to see more coming out stories like Ana’s, but also stories where the main character is simply nonbinary but not focused on coming out because they’re too busy going on adventures and saving their friends, parents, town, or the entire world. And I want publishers to go beyond the mentality that ‘we already have a story about X and we don’t need another.’

  We do. We need all the stories, told from as many perspectives as we can find. I want kids to feel seen, first and foremost, but I also want to see stories that offer windows of empathy into lives that might look different from our own.

  LL: I’m an A.J. Sass fan for life, so when can I read your next book?? Are you able to give any details, or is it all top secret?

  AJS: It was top secret, until a couple of weeks ago! My next project just got announced, so I’m excited to share that it’ll be another middle grade contemporary book.

  Ellen Outside the Lines follows an autistic 13 year old named Ellen Katz as she jets off to Barcelona on a class trip. There, she’ll have to navigate a new city, shifting friendships, a growing crush, and her queer and Jewish identities. It’s slated to publish in fall 2021, and I can’t wait for everyone to meet Ellen.

  I am also a contributor to a middle grade anthology called This is Our Rainbow: 16 Stories of Her, Him, Them, and Us that features a host of fabulous queer stories in a variety of genres. That is also slated for fall 2021. Lots of exciting things to come!

  LL: Thank you so much for taking time out of your book birthday to talk to me! I truly adored this book, and I can’t wait to share it with my students.

• LGBTQ Reads - https://lgbtqreads.com/2020/10/20/a-j-sass-guest-post/

  UNCERTAINTY AS OPPORTUNITY: WHY IT’S OKAY TO NOT KNOW EVERYTHING ABOUT YOUR IDENTITY RIGHT AWAY, A GUEST POST BY ANA ON THE EDGE AUTHOR A.J. SASS
  OCTOBER 20, 2020 DAHLIA ADLER LEAVE A COMMENT
  Today on the site I am so excited to be welcoming A.J. Sass, author of the groundbreaking middle grade contemporary Ana on the Edge, which releases today from Little, Brown Young Readers. Here’s a little more about the book:

  For fans of George and Ivy Aberdeen’s Letter to the World, a heartfelt coming of age story about a nonbinary character navigating a binary world.

  Twelve-year-old Ana-Marie Jin, the reigning US Juvenile figure skating champion, is not a frilly dress kind of kid. So, when Ana learns that next season’s program will be princess themed, doubt forms fast. Still, Ana tries to focus on training and putting together a stellar routine worthy of national success.

  Once Ana meets Hayden, a transgender boy new to the rink, thoughts about the princess program and gender identity begin to take center stage. And when Hayden mistakes Ana for a boy, Ana doesn’t correct him and finds comfort in this boyish identity when he’s around. As their friendship develops, Ana realizes that it’s tricky juggling two different identities on one slippery sheet of ice. And with a major competition approaching, Ana must decide whether telling everyone the truth is worth risking years of hard work and sacrifice.

  Buy it: Bookshop | Amazon | B&N | IndieBound

  And here’s the post!

  A month after I started hormone replacement therapy, my friends threw me a “T-party” in San Francisco’s Dolores Park. I’d recently come out as trans and chosen a name that has stayed with me to this day: Andrew. And pronouns? He, him, and his, because I’m a guy, obviously.

  Hold that thought.

  I remember that afternoon well. It was unusually warm for a July in San Francisco, and the outing felt festive, reminiscent of a Pride Month weekend just a few weeks earlier. I was surrounded by friends who’d supported me as I navigated both my social and medical transition. My world felt full of potential. Finally, I could focus on living my life rather than on coming out to everyone and the emotional labor that entailed.

  Just the same, I found myself shrugging when a friend jokingly asked if, two injections into my transition, I’d noticed any physical changes yet.

  “Not yet,” I’d said. Then, a slight hesitation before I admitted, “honestly, I’m not even sure I feel like a man at this point.”

  “Give it time,” my friends who’d been on testosterone (T) longer encouraged me. “It’ll happen, especially when strangers stop misgendering you.”

  Their advice was well-meaning and, I suspect, a truth for many folks who’ve pursued this particular avenue of transition. So I waited, and I hoped my feelings would change on a similar trajectory with my body.

  They didn’t.

  I can’t remember the first time I heard the word nonbinary. Maybe I read an interview online or it came up in a casual conversation. What I do remember is the immediate connection I felt to its definition:

  Nonbinary: not relating to, composed of, or involving just two things.

  That’s me. I knew instantly.

  So why did it take me another four years to decide to discontinue T and even longer to publicly announce my identity? Simple: I didn’t want to be a burden. I’d just come out as a trans man to my friends and family, then had to approach my workplace’s HR department to change my name and pronouns. There was a nagging concern that I’d be inconveniencing people after I’d already asked them to use one new name and set of pronouns.

  And what if I realized that different pronouns worked better for me later on? How many times could I come out to people before they got fed up?

  By the time I wrote Ana on the Edge, I was more or less comfortable being seen as a man in my public life, even if it didn’t perfectly describe who I am. But, as writing often does when you’re delving into something personal, Ana’s journey to discovering her nonbinary identity brought to the surface feelings and thoughts about my own.

  I created an ending to Ana’s story that left things open, one that sent readers the message that, “hey, this kid now knows she’s nonbinary, but she doesn’t have everything figured out yet, and that’s okay.” But it wasn’t until relatively late in the drafting process—after I’d revised the story enough to begin querying agents—that I realized the same logic could be applied to myself.

  It was a revelation that allowed me to critically evaluate how I wanted to be seen as an author who plans to continue exploring queer themes in the kidlit space. In a way, Ana, my fictional ‘enby bean’ ice skater, taught me that not knowing everything about myself all at once is not only acceptable but something to embrace. And the individuals who might not be so enthusiastic about having to learn a new set of pronouns? They’re not people worth being concerned about. My identity—an inherent part of who I am as a living, breathing, feeling human being—is not up for debate no matter how often it happens to evolve, nor is it an inconvenience.

  Near the end of Ana’s story, she reflects on the decision not to change her pronouns yet: “Uncertainty feels like less of a burden and more of an opportunity.”

  I’ve held that line close to me on the lead-up to publication. Because some people know who they are when they’re young, and that’s entirely valid. But for a long time, the only trans narratives I could find in the media exclusively reflected the experience that you either know you’re trans at a young age or else you’re not really trans.

  People aren’t static. Our tastes, interests, and even appearances change as we learn more about ourselves over time. Why not the understanding of our internal sense of self, as well? Instead of the shame I’m tempted to feel for inconveniencing people when I learn something new about myself, Ana helped me acknowledge that my identity is my own, even at times when I’ve been uncertain about some aspect of it.

  Maybe you were twelve like Ana when you discovered your identity or well into adulthood like I was. Maybe you’re still trying to figure it out now; that’s also perfectly fine. The wonderful thing about identity is it has no expiration date. Sit back, enjoy the journey, and celebrate every new discovery.

  Parties (T, tea, or otherwise) are also highly recommended.

  ***

  A. J. Sass is a writer, editor, and occasional mentor. A long-time figure skater, he has passed his U.S. Figure Skating Senior Moves in the Field and Free Skate tests, medaled twice at the U.S. Synchronized Skating Championships, and currently dabbles in ice dance. When he’s not exploring the world as much as possible, A. J. lives in the San Francisco Bay Area with his boyfriend and two cats who act like dogs. Ana on the Edge is his first novel.

• Little Brown Library - https://www.littlebrownlibrary.com/little-brown-school-and-library/all-paths-to-self-discovery-are-valid-however-winding/

  All paths to self-discovery are valid, however winding
  Share this:

  A. J. Sass
  I discovered myself as an adult in San Francisco, among the hills, rolling fog, and quirky architecture of century-old homes. Growing up, I had a sense that I was queer, but I didn’t possess the vocabulary to describe how I felt so I kept those feelings to myself. In San Francisco, a city that hangs rainbow flags from every streetlamp to celebrate Pride Month each June, I finally felt comfortable exploring my identity. My circle of queer friends also grew, and we supported each other through our coming out journeys.

  It makes sense, then, that I’d set my debut novel, Ana on the Edge, in the city where I felt safe to explore my identity. My decision to make my main character, Ana, nonbinary requires a bit more unpacking.

  I didn’t know I was nonbinary for most of the time I lived in San Francisco. I simply started using a male name and pronouns, then followed a fairly standard transition path for transgender men. When I first heard the term nonbinary, I was slow to embrace it—even though I instantly knew it applied to me. At the time, it was enough to be seen as a guy named Andrew, in a setting that felt safe and supportive.

  Then my partner and I left San Francisco for a smaller town where almost no one knew I was trans. Most people assumed I was a cisgender man, and it suddenly felt like I’d returned to the closet I’d been hiding in all through my childhood. There were no rainbow flags to celebrate Pride Month in this town, no options to connect with the local queer community at all.

  It was in this setting that I began writing Ana on the Edge. In many ways, Ana’s story developed from a deep need to be seen for who I really am. Maybe if I’d remained in San Francisco, I wouldn’t have felt as drawn to write a story featuring a nonbinary main character. But leaving the city where I first found myself made me realize how important it is for nonbinary readers who live in all types of places to see themselves within the pages of a novel.

  So I wrote Ana on the Edge and I came out again. Since it was a multi-step process for me, I took a similar approach when developing Ana’s story. As a kid, I never got a chance to read books about nonbinary characters discovering their identities, so it was important for me to illustrate how a continued lack of representation might make the path to self-discovery especially winding. Like me, Ana doesn’t immediately realize she’s nonbinary and instead gathers clues from other people in her life who seem to know who they are better than she does.

  Without spoiling too much, there’s a scene in Ana on the Edge when Ana first meets a new friend named Hayden and Hayden mistakes Ana for a boy. Ana knows she isn’t a boy, but in that moment she realizes she also doesn’t dislike being mistaken for one—at least not at first. It’s a welcome change from being seen as someone expected to unequivocally embrace portraying a dainty princess in her new skating program. It takes Ana longer to put all the pieces together and realize that rigid binaries of ‘boy’ and ‘girl’ don’t align with how she internally sees herself. It also took me a while to discover this about myself.

  By writing Ana’s story from this angle, I hope not only to illustrate how the world often unconsciously caters to binaries in ways that cisgender people are privileged not to notice but also to let nonbinary and questioning kids know that it sometimes takes time to figure these things out. (This is also why I use she/her pronouns to talk about Ana; by the end of her story, Ana knows she’s nonbinary but also embraces the knowledge that she doesn’t have everything figured out about her identity, including whether a different set of pronouns might work better.) And regardless of whether you live in a small town like I did as a kid or a larger city like Ana, where rainbow flags hang from streetlamps during Pride Month, your path to discovering yourself is valid.

  Even with this knowledge, you may still take a wrong turn, maybe get lost in some rolling fog. That’s fine. Keep questioning and discovering. Eventually, the sun will peek through. You’ll find that path, however winding, and continue on your journey.

• Time - https://time.com/5855633/jk-rowling-gender-identity/

  I'm a Nonbinary Writer of Youth Literature. J.K. Rowling's Comments on Gender Identity Reinforced My Commitment to Better Representation

  BY A.J. SASS JUNE 19, 2020 8:28 AM EDT
  A.J. Sass is the author of the upcoming middle-grade novel Ana on the Edge.
  Iknew something was off before I’d fully woken up. I shut off my phone alarm and then noticed triple the number of my usual overnight notifications. One name kept appearing: J.K. Rowling.

  I didn’t know exactly what she’d said, but a quick trip to Twitter confirmed what I’d already suspected: Rowling had doubled down on her claim that transgender people are confused or misguided about their gender. First, it was a series of tweets. Then, an essay on her website.

  Rowling’s views are not new to me. There have been discussions online about her transphobia for quite some time, both public and private. I’ve also seen the breakdown of her concerning portrayal of a transgender woman in the mystery series she writes under the pen name Robert Galbraith—the name she shares with an anti-LGBTQ psychiatrist who practiced conversion therapy.

  Problematic? Yes. And personally hurtful, considering her Harry Potter series was a source of comfort to me during the stresses of graduate school. It inspired me to write as a creative outlet, and her novels held a coveted spot in my home—an entire bookshelf dedicated to my original book copies and the foreign-language versions I made it my mission to find each time I traveled abroad.

  As an adult, I can objectively look at her comments and reject them as untrue, however painful. But Rowling’s fanbase almost certainly includes transgender and nonbinary youth. And given how quickly online news can spread, these kids are surely aware of what’s being said about their identities.

  Publishing has come a long way since I was a child, unable to find stories about transgender and nonbinary kids on the bookshelf. George by Alex Gino, largely acknowledged as the first traditionally published novel geared toward 8- to 12-year-olds written by a trans-identified author, was released in 2015 to wide praise. It was the first time I had read an authentic, sensitive portrayal of a transgender girl, and it opened the door for transgender and nonbinary middle-grade authors, allowing us to tell our stories through the eyes of characters who share our identities.

  According to author Ray Stoeve’s The YA/MG Trans & Nonbinary Voices Masterlist, in 2017 one middle-grade book was published that featured a transgender or nonbinary character, written by a transgender- or nonbinary-identified author. There were two in 2019, and four books have been released or are about to be released in 2020 (including my own novel). The number of books with transgender representation rises if you factor in novels written by cisgender authors.

  So why do Rowling’s comments about transgender identities matter? They highlight the continued stigma in portraying these characters in children’s literature and come at a time when stories about transgender and nonbinary characters still receive pushback. George is one of the most challenged children’s books in America, and middle schools around the country are censoring LGBTQ novels.

  There’s no one right way to be transgender or nonbinary, and the path kids take to discover their identity varies widely. I thought I was a transgender man before realizing that I am nonbinary. I don’t know if I would’ve discovered my identity sooner if books featuring transgender or nonbinary characters had existed when I was a kid, but I can easily imagine the damage Rowling’s words would have caused me while I was still exploring my identity as a child. They’re just as harmful to transgender and nonbinary kids now.

  Publishing is steadily taking notice that young readers benefit from sensitive, nuanced portrayals of transgender characters. This representation can serve as a mirror that reflects a child’s own experience. It can provide much-needed comfort. And when famous authors share hurtful opinions about transgender people, stories now exist that can challenge these harmful stereotypes. As support continues to grow for authentic character portrayals, it’s my hope that my phone will ping with fewer problematic opinions and instead be filled with kid-lit recommendations reflecting the diversity that already exists in its readership.

Ana on the Edge

A.J. Sass. Little, Brown, $16.99 (240p) ISBN 978-0-316-45861-0

Debut novelist Sass tackles the subject of gender identity in this #OwnVoices novel set in the world of competitive figure skating. Ana-Marie Jin, a biracial (Chinese/white) 12-year-old figure skater, faces new challenges after winning Juvenile Nationals. Moving up to the intermediate level means that, instead of skating in hometown San Francisco with best friend Tamar, Ana will work with a coach and a famous choreographer in nearby Oakland. Never a fan of dresses or skirts, Ana balks when the choreographer assigns a princess-themed routine ("the graceful edges, the dainty arm movements"). What feels more comfortable is when transgender skater Hayden, whom Ana is teaching in exchange for free ice time, sees Ana as a boy. Ana's bourgeoning understanding of gender within a traditionally binary sport, and fear that people won't accept or understand a different pronoun, offers a mirror and window for readers. Nonbinary figure skater Sass renders scenes on and off the ice with vivid descriptions, and writes nuanced, layered portrayals of characters including Ana's devoted working-class mother, inspirational coach, and friend Hayden, who knows exactly who he is. Ages 8-12. Agent: Jordan Hamessley, New Leaf Literary. (Oct.)

Copyright: COPYRIGHT 2020 PWxyz, LLC
http://www.publishersweekly.com/
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"Ana on the Edge." Publishers Weekly, vol. 267, no. 37, 14 Sept. 2020, p. 86. Gale General OneFile, https://link.gale.com/apps/doc/A638847203/ITOF?u=schlager&sid=ITOF&xid=7bdc1ebd. Accessed 9 Dec. 2020.

Ana on the Edge. By A. J. Sass. Oct. 2020. 240p. Little, Brown, $16.99 (9780316458610). Gr. 4-7.

Twelve-year-old Ana Jin, U.S. figure skating champion, thinks it'll be a "bite of bao" to perform well enough to skip regionals and qualify for sectionals. It will save her mom money and buy Ana time to figure out why skating to a princess-themed program is causing her distress--and why she's so intrigued by her new transgender friend, Hayden, who mistakes her for a boy when they meet. Ana doesn't correct him, and soon she's going by "A" and using he/him pronouns with Hayden's family. As Ana struggles to be honest about herself with the people closest to her, including her mom--whose relationship with Ana is the star of this book--Sass masterfully balances Ana's passion for competitive figure skating with her journey to coming out. This is a sensitive and realistic portrayal of the barriers faced by nonbinary kids, such as encountering gendered language and educating loved ones, and Ana's story is made more effective by her diverse LGBTQ+ community, plus non-LGBTQ+ allies who make sure they're using the correct language for her. Ana ultimately decides on she/her pronouns, while acknowledging that she's still learning about herself, and as she skates her way to a program that feels just right for who she is, she realizes that being truly seen by the people you love most is as freeing as being on the ice.--Alaina Leary

Copyright: COPYRIGHT 2020 American Library Association
http://www.ala.org/aboutala/offices/publishing/booklist/
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MLA 8th Edition APA 7th Edition Chicago 17th Edition Harvard
Leary, Alaina. "Ana on the Edge." Booklist, vol. 117, no. 1-2, 1 Sept. 2020, p. 86+. Gale General OneFile, https://link.gale.com/apps/doc/A637433520/ITOF?u=schlager&sid=ITOF&xid=3280bcbc. Accessed 9 Dec. 2020.