Archive for 2019

Five Books that Roshani Chokshi Loves

For our 2019 theme of heroes, Sirens Studio Guest of Honor Roshani Choskhi shares the book list she curated for the heroes theme. If you enjoy her work, we encourage you to check out these other reads, spanning middle grade, young adult, and adult. Take it away, Roshani!


The Serpent's Secret
1. The Serpent’s Secret by Sayantani DasGupta
The City in the Middle of the Night
2. The City in the Middle of the Night by Charlie Jane Anders
The City of Brass
3. The City of Brass by S.A. Chakraborty
Snow White Learns Witchcraft
4. Snow White Learns Witchcraft by Theodora Goss
The Serpent's Secret
5. Water Trilogy by Kara Dalkey

Roshani Chokshi is the New York Times bestselling author of the Star-Touched series and Aru Shah and The End of Time, Book #1 in the Pandava series. She grew up in Georgia, where she acquired a Southern accent but does not use it unless under duress. She has a luck dragon that looks suspiciously like a Great Pyrenees dog. Her work has appeared in Strange Horizons, Uncanny Magazine, Shimmer, and Book Smugglers. She is a 2016 finalist for the Andre Norton Award, and a 2016 Locus finalist for Best First Novel. Her short story, The Star Maiden, was longlisted for the British Fantasy Science Award.

For more information about Roshani, please visit her website or her Twitter.


Roshani Chokshi’s Aru Shah and the End of Time subverts patriarchy from the very beginning

The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books (often fantasy literature by women authors) they’ve read and enjoyed. If you’re interested in sending us a review to run on the blog, please email us! Today, in honor of Roshani’s Guest of Honor week here at Sirens, we welcome a review from Jae Young Kim on Roshani Chokshi’s Aru Shah and the End of Time.

Aru Shah and the End of Time

Roshani Chokshi’s middle grade debut, Aru Shah and the End of Time, is delightful from start to finish. I am not even mad that Chokshi ended the book on a wicked cliffhanger, because it means she has to give us a sequel! (Book two, Aru Shah and the Song of Death, came out on April 30, and it’s on the top of my to-be-read pile.)

Twelve-year-old Aru Shah thinks she’s just an ordinary middle schooler trying to fit in. One day, on a dare, she rubs a cursed lamp and discovers she is, in fact, the reincarnation of one of five Pandava brothers, semi-divine heroes of a famous Hindu epic—and she must save the world. Mild spoilers ahead, but they are on the book’s jacket copy and are revealed very early on.

Chokshi dives deeply into the rich world of Hindu mythology, introducing gods, demons, beasts, and magic that is exciting, weird and fun. I love all mythology and fairy tales, so for me, this was an easy sell. It’s also not a surprise that a book curated by Rick Riordan on his Rick Riordan Presents imprint tells a story with mythology bursting from every page. But Chokshi adds her own stamp on a very old story. I am very glad that she chose to have the brothers be sisters. How can someone be reincarnated hundreds of times and always be male? Patriarchy, of course, but to have Chokshi subvert that from the very beginning was deeply gratifying.

And it’s not only important that Aru is a girl, she’s an Indian-American girl. As a Korean-American girl, I would have loved to see girls of color accepted without question as heroes— nay, heroines—of the story. I had read books with white girls as protagonists, but that meant ignoring an important part of myself, being Korean. Aru is not only a girl but an Indian girl, and her identity deeply informs how she interacts with the world around her.

The diasporic aspects of this re-telling were compelling for me but may be a mixed sell for others. Reimagining demons as hair stylists and night bazaars as Costco is just fun, and as one character in the book notes, “families moving to new countries and imaginations evolving” means adapting and changing. But Aru still maintains traditions like not eating beef, as a Hindu, or pranama, touching the feet of elders, or immediately calling all Indian women auntie upon meeting them. Since I am also of the Korean diaspora, I appreciate the references to American pop culture, and the unique take on mythology and culture from that lens, while still maintaining traditions of our families. Chokshi tells us the stories she’s loved and heard many times, but provides context for the readers. The one minor gripe I have is that some of the references feel a bit dated, like Johnny Cash and Die Hard, and may resonate more with adults than children. I say this only because I understood all of the American pop culture references, and I am definitely not twelve years old.

My favorite part of Aru Shah and the End of Time, though, is Aru and her found family. She meets a fellow Pandava sister, Mini, very early on and the development of their relationship is amazing. I love romance storylines, and out of most of my reading, I don’t often see a family and friend relationship celebrated as much as Chokshi’s Aru and Mini. It’s clear that Aru and Mini becoming sisters is just as important as their quest to save the world.

If you love friendship stories, sibling stories, reimagined Hindu mythology, and just plain fun, Aru and Mini’s adventures will crack you up and warm your heart. So run, don’t walk to the bookstore and be glad you get to jump right into the sequel when you’re done!

Jae Young Kim is a born-and-bred New Yorker and a lifelong fan of fairy tales, fantasy and science fiction. She is a non-profit attorney by day and writes when she can, not always by night. The only thing that keeps her up until dawn these days is a good book.


Further Reading: Roshani Chokshi

Did you already love Aru Shah and the End of Time? And the sequel? And The Gilded Wolves and all the books and novellas in the Star-Touched series? As part of Roshani’s Guest of Honor week, we’re pleased to compile some of her short fiction, poems, articles, and guest posts, found around the web.

Roshani’s short fiction:

  • The Wives of Azhar” (2015): Originally published in Strange Horizons, a retelling of the Bluebeard story where the murdered wives get their revenge.

  • The Vishakanya’s Choice” (2015): Originally published on The Book Smugglers, a short story about a vishakanya (poison maiden) who meets a conqueror and makes a bargain.

  • The Star Maiden” (2015): Originally published in Shimmer, a short story about a girl whose grandmother claims to be a star maiden.

  • A Trade at the Fox Wedding” (2016): Originally published in Mythic Delirium, a short story in which a girl escapes to the forest and stumbles into the fox wedding.

Roshani’s poems:

In Roshani’s own words:


Roshani Chokshi: There’s not a one-size-fits-all when it comes to the Chosen One

We’re pleased to bring you the fourth in a series of candid, in-depth interviews with this year’s Sirens Guests of Honor, covering everything from inspirations, influences, and craft, to the role of women in fantasy literature, and discussing our 2019 theme of heroes! We hope these conversations will be a prelude to the ones our attendees will be having in Denver this October. Today, Sirens co-founder Amy Tenbrink speaks with Roshani Chokshi, our first ever Sirens Studio Guest of Honor.


AMY: What does heroism, especially in the context of speculative fiction, mean to you? How did you set about reimagining the Pandava brothers as Aru and Mini, reluctant, contemporary seventh-grade heroines? And please tell me that you knew how girls would react to their heroism! Because my seven-year-old niece—who demanded to know why everyone in Harry Potter was a boy—can’t get enough Aru and Mini.

Roshani Chokshi

ROSHANI: To me, heroism is the act of celebrating the individual. There’s not a one-size-fits-all when it comes to the Chosen One. You can have the bravest, most compassionate mermaid in the world try to rise up against the forces of a Cheeto Overlord, but if the second she hits land, she’s barking in the eloquent lexicon of elephant seals, we’re still kinda fucked. A ridiculous example, of course, but to me it reflects how each of these character’s strengths and weaknesses makes them—and only them—uniquely fit to tackle the story’s situation. Kids need to see a thousand versions of heroism. They need to see themselves and feel that greatness and valor doesn’t belong to one type of person.

The Pandava brothers all had defining characteristics—the strong one, the beautiful one, the wise one, the responsible one, the one who’s good at everything wtf. I loved reimagining how their strengths and, more importantly, their weaknesses would translate in the modern world. For example, Arjuna—the main hero of the Mahabharata and whose soul Aru possesses—has a lot of doubt. And it really struck a chord with me that in the struggle to be brave, we often question the paths we’re on.

As for the girls’ reactions, that grew out of the Sailor Moon fanfiction I used to write. In those stories, me and my best friends became sailor scouts. Our reaction to this newfound strength and responsibility??? UTTER PANIC. “WHAT NO, TAKE IT AWAY, DO NOT WANT.” So, very similar to Aru and Mini. 🙂 I’m glad your niece enjoyed!!

Aru Sha and the End of Time Aru Shah and the Song of Death


AMY: Relatedly, perhaps, how do you set about writing gender in your work? Your characters frequently defy and subvert stereotypes, such as in A Crown of Wishes when Gauri’s go-to problem-solving technique is violence, while Vikram’s is charm. Your characters also often address gender issues on the page, from the gods’ relentless assumptions that Aru and Mini could not possibly be the reincarnated Pandava brothers to Laila’s admonishment of Tristan in The Gilded Wolves that “If you get in the way of a woman’s battle, you’ll get in the way of her sword.” How do you build these characters that are wholly themselves, despite our societal expectations of their gender?

ROSHANI: I love this question mostly because it makes me feel very smart. Woohoo! Characters take me a long time. They don’t come naturally to me, and it’s one of the parts of my craft I’m always working on. I think the reason why I struggle with building characters is because they demand a part of your soul, and I’m loath to make more Horcruxes and end up as a noseless Voldemort. I give each of my characters a part of myself. Either a part I’m ashamed of or a part I’m proud of, and then I put those characteristics in situations that move in the opposite direction…that which made me feel shameful becoming a benefit, that which I was proud of becoming its own poison. That is how they stay themselves despite the expectations the world may shove upon them. When it comes to societal expectations of gender, it makes me happy when a character celebrates who they are relentlessly, even if they’ve got other flaws. For example, Vikram is a prince and he knows he’s smart and adorable and celebrates that in himself. He would walk around in a shirt that says “BETA HERO” and really not think less of himself. Laila is different. She is a character aware that she exists on the margins; aware that she’s exoticized; aware that she sometimes must participate in exoticizing herself to live in this world. But she thinks no less of herself. I think knowing how your characters think of themselves is key to making them feel more alive.

The Star-Touched Queen A Crown of Wishes


AMY: Your dad is Indian and your mom is Filipino, and in an interview with Rick Riordan, you said, “The way that we bridged those cultural gaps at home was fairy tales and stories…. The more things that you read, the more stories, fables, etc., the more you see that they’re all the same across every cultural spectrum.” And you can see that, so readily, in your work, from your contemporary, America-set version of the Pandava legends, to your latest novel, Paris-set The Gilded Wolves, which features both Indian Laila and half-Filipino Enrique. You’ve also spoken eloquently about trying to bridge those gaps in your own life, including in your wedding this year! What is it like to put these cultural bridges, and related colonial deconstructions, into your work?

ROSHANI: It’s honestly sometimes awkward. I never know if I’m crossing into the realm of TMI or if I sound like a broken record. At the end of the day, all I can reassure myself with is that I needed to hear these perspectives when I was younger and those resources weren’t available to me. The very least I can do is try to help someone else avoid that situation of feeling erased and invisible. I think about this a lot when I look at some of my earliest stories. I was 22 before I wrote my first story with a character who looked like me. Until then, they were all named Erin or Hailey or Alice. I didn’t write myself in because I felt like I needed permission from the books I read.


AMY: Just when I thought I couldn’t possibly love any of your work more than Aru Shah, along you came with The Gilded Wolves: a dazzling, dizzying heist novel set in Paris during La Belle Époque. But your Paris is not all champagne and magic and courtesans, it’s racism and colorism and colonialism. Then you layered in a series of riddles based on things like the Fibonacci sequence, a cast of gloriously unique and hilarious characters, and a lush, slow-burn sensuality. How did you even begin to create this work? And perhaps more importantly, how did you get it from your head to the page?

The Gilded Wolves

ROSHANI: I’m so glad you enjoyed!!! The Gilded Wolves really challenged me both craft-wise and imagination-wise, and is far different from anything I’ve ever written. I rewrote the story top to bottom about eight times, and there were so many points at which I thought I should just throw in the towel and beg my publisher to let me write something else. The Gilded Wolves had innocent, jovial beginnings. I just wanted to write a National Treasure-esque tale without Nicolas Cage (lol). But the setting and deciding to put imperialism on the page changed the emotional scope of the book, and when I dug deeper into the characters and their motivations, I realized this couldn’t just be “Ooh! A thing! Let’s go to where the thing says!” I had to think about what this trilogy was saying overall and that took a lot of failed attempts! Getting it from my head to the page was like an organized, military attack. My whole apartment was taken up with plot/emotional schematics. The door to my office had red notecards in a vertical line that outlined every plot beat and plot twist. Beside those cards were the individual emotional arcs and beats that needed to be hit. It was…rough. But it taught me a lot!


AMY: You’ve shared how Aru Shah came to be: You’d heard about the new Rick Riordan Presents imprint and emailed your agent that same day to ask about the opportunity. Then you wrote the first three chapters in a “fugue state.” And they bought the books! So often we’re taught that ambition is unseemly and unlikeable. Would you please share what it was like to chase that dream—and what it felt like when you heard that Rick Riordan Presents would be publishing the Aru Shah series?

ROSHANI: Ambition is riotously attractive and let no one tell you otherwise! I think with any dream chasing, there’s a certain amount of feeling like you’ve lost touch with the ground. You’re drunk and floating on external validation, your head feels like it’s in the clouds, and it’s great until you start wondering if you’re too far away to hear commonsense. Like, how DARE you be so happy? How DARE what you wanted and worked hard for suddenly happen? Being a woman of color makes me especially awkward when it comes to talking about my accomplishments. I always deflect it, thinking that the happier I am, the higher the chances that the universe will snatch it away because of arrogance. The wonderful thing about an experience like RRP was that it was harrowing. For the first time, I felt very…public…in a way that I hadn’t experienced with my other books. I got bullied. I got weird Insta comments and DMs. And not taking ownership of my words was no longer an act of modesty but cowardice. It taught me to articulate that I was proud of the story I’d written, that someone couldn’t take this from me and don’t you dare chase me because I chase back.


AMY: Sirens is about discussing and deconstructing both gender and fantasy literature. Would you please tell us about a woman or nonbinary person—a family member, a friend, a reader, an author, an editor, a character, anyone—who has changed your life?

ROSHANI: I have dutifully spoiled my moms, sisters, grandmother and aunts so I know they’ll forgive me for not writing a novella of their wondrous and noble qualities for this answer and picking someone else for a change. I would say my eighth grade English teacher, Ms. Koscik. I did not like my seventh grade English teacher (except for that one and ONLY time she liked my writing) and I had a deficiency in her class. More than that, I always felt foolish. But in eighth grade, Ms. Koscik nurtured my imagination. She made me feel that what I said was worth saying. Eighth grade was when we tackled Arthurian myths and World Mythology, and read Shakespeare and engaged with the language. It was awe-inspiring. Sometimes it only takes one person to say they’re listening to make us have the courage to speak up.

Roshani Chokshi is the New York Times bestselling author of the Star-Touched series and Aru Shah and The End of Time, Book #1 in the Pandava series. She grew up in Georgia, where she acquired a Southern accent but does not use it unless under duress. She has a luck dragon that looks suspiciously like a Great Pyrenees dog. Her work has appeared in Strange Horizons, Uncanny Magazine, Shimmer, and Book Smugglers. She is a 2016 finalist for the Andre Norton Award, and a 2016 Locus finalist for Best First Novel. Her short story, The Star Maiden, was longlisted for the British Fantasy Science Award.

For more information about Roshani, please visit her website or her Twitter.


Book Club: Furyborn by Claire Legrand

Each year, Sirens chair Amy Tenbrink posts monthly reviews of new-to-her fantasy books by women and nonbinary authors. You can find all of her Sirens Book Club reviews at the Sirens Goodreads Group. We invite you to read along and discuss!


The word “competent” means having the necessary ability, knowledge, or skill to do something successfully. (I looked it up!) But that’s not how we use it, is it? When we say someone is competent, we mean they’re fine, I suppose. They’re good enough. They’ll do. As if having the necessary ability, knowledge, or skill to do something successfully is not, in fact, success.

I think, societally, we underestimate competence. We underestimate how much work and skill it requires. We underestimate its value. We underestimate its importance. And I think much of this underestimating comes from the fact that competence is so often quiet.

Instead, we value any number of flashier things: talent, danger, a metaphorical or even literal high-wire act. As if, simply by instilling challenges or drama or a 30-foot drop into the process, the outcome will be more satisfactory. More successful.

I’ve been considering this recently for any number of reasons, not the least of which is watching the United States’ 2020 presidential campaign season roll out appallingly early. And while so much of so many things is gendered, even putting that aside, we—societally—would rather an Icarus than an Ariadne. Better to fly too high and perish than to quietly get shit done. Better to shout platitudes from a metaphorical mountaintop than to offer a workable, detailed plan.

And that goes for our media as well. I watch a ton of reality television, much of it competition reality shows. But I recently realized the profound difference between watching Top Chef or MasterChef and watching Ina Garten or Martha Stewart cook. The former is designed for fireworks: appliances that don’t work, forced partnerships, ingredients that no one should ever have to combine. In many ways, the show is the player’s antagonist, just as much as the other contestants. These shows are competitive, challenging, exciting—but they’re also very much designed for our “go big or go home” society, to elicit spectacular success and spectacular failure.

Conversely, have you ever sat down and watched Martha Stewart bake? Not with a guest, where she’s quite happy to show you her competitive side. (Her dirt cake is better than yours.) But just watched Martha, in a kitchen, by herself, doing what she does incredibly well?

It’s profoundly comforting, even relaxing. Sitting on your couch, watching a hyper-competent woman do what she does best. Nothing is going to go wrong. The oven will work, the ingredients will be there, the cake will not be burned, the decorating will be glorious. This experience—this experience of having a predictably successful outcome—is what we devalue, what we elide, what we gloss over and play down and underestimate. The pleasure of watching someone do something that they’re great at, no muss, no fuss, no fireworks, no disasters, just a dang beautiful cake.

I tell you this so that you will understand what high praise it is when I tell you that Furyborn is gloriously, magnificently competent.

Claire Legrand’s Furyborn is the first in the high-fantasy Empirium Trilogy. In the world of Avitas, legends tell of seven saints, each of whom mastered an element of empirium, which seems to be little magical particles that float around like golden dust motes. Even in the today of the immediate story, certain people have an affinity for one of those elements: sun, shadows, fire, and so on.

But prophecy tells of two women who will be able to master all seven elements, one queen of sun and one queen of blood. One seemingly good, one seemingly bad. One will save the world, one will destroy it. And so on. You all read a lot of fantasy: You know how this prophecy thing goes.

And after the usual sort of prologue that assures you that things will get very bad before the end, the book opens with Rielle, a lady of Celdaria, who is a pretty typical fantasy teen: She wants to skip her lessons, ride illegally in a horse race, and fuck the prince. Good for you, Rielle. But you find out pretty early on both that Rielle can wield all seven elements and that that fact is an unpleasant surprise to the (mostly male) leadership of Celdaria. She seems to be a queen of prophecy, but which one?

Rielle’s story is one of a headstrong girl, stifled all her life, told to keep her power secret and safe, told to stand aside as the boy she loves weds another. It’s the story of a grief-stricken girl who accidentally killed her mother years ago, which also cost her a relationship with her father. It’s the story of an immensely powerful girl who is still told that she is less: dangerous, uncontrollable, unpredictable—but that she can redeem herself by agreeing to use her power only to serve the king.

Rielle’s story is our story. And as so many of our stories do, Rielle’s story goes horribly wrong. Too many hot boys, too many overhearing men, too many people trying to control her rather than train her, trying to force her to do the right thing rather than supporting and trusting her.

But Rielle’s story is not the only story. Across the sea, 1,000 years later, we have Eliana, the Dread of Orline, seemingly crafted for all the Lila Bard fans of the world.

Eliana’s father is dead, her mother is disabled, her little brother is adorable, and she’s the sole breadwinner for her family. Which she does by catching and killing rebels for the Emperor. She’s not always happy about it, especially when best friend-and-lover Harken prods her about it, but it puts food on the table. Oh, and her body can magically heal itself. She is, for the record, both a woman of color and bisexual, though her on-page sex is only with men.

Eliana’s story blows wide open when, on the same night, her mother mysteriously disappears and she encounters the Wolf, a deadly rebellion operative. She strikes a bargain with him, which she regrets at least half a dozen times, and ends up making her way through the Red Crown revolution, picking up pieces of the puzzle along the way.

If Rielle’s story of power stifled is the one we live every day, Eliana’s story of power wielded is one we dream every night. While Rielle and Eliana are similarly angry and similarly mouthy, that reads as obstinance and disobedience in Rielle’s story, but as danger and sass in Eliana’s.

Legrand tells her story in alternating point-of-view chapters, which many of you know is a bit of a bee in my bonnet. Here, it’s frustratingly worse, because those alternating point-of-view chapters are set 1,000 years apart, and Legrand must compensate not only for the usual loss of momentum by shifting characters, but the additional challenge of shifting entire plotlines. Which she does by making each chapter, more or less, a cliffhanger, which makes for compulsive, if somewhat aggravatingly so, readability.

But, people, this book is competent. The world is good, the characters are good, the plot is good, the magic is good, the writing is good. And even better, the third rails that have been blowing up my enjoyment of an awful lot of young-adult high fantasy lately aren’t here. The worldbuilding makes sense: There are no absurdist canons, like a world that can have this but not that, a king but not a queen, a fall but not a spring. The characters aren’t hateful: Though both Rielle and Eliana are surrounded by too many men telling them what to do, most of the time they fight back, assert themselves, do what they want to do. While both Rielle and Eliana have unexplained powers, the magical rules stick and we don’t learn late in the game about that one last power that will help them save the world. (At least not yet. There’s no world-saving in book one.)

And what a lovely reading experience it was. About 100 pages in, when I realized that nothing was going to go horribly wrong in the reading process, that I could just relax and read the book…I just relaxed and read the book. What a delight. What a joy. What competence.

Amy Tenbrink spends her days handling strategic and intellectual property transactions as an executive vice president for a major media company. Her nights and weekends over the last twenty-five years have involved managing a wide variety of events, including theatrical productions, marching band shows, sporting events, and interdisciplinary conferences. Most recently, she has organized three Harry Potter conferences (The Witching Hour, in Salem, Massachusetts; Phoenix Rising, in the French Quarter of New Orleans; and Terminus, in downtown Chicago) and nine years of Sirens. Her experience includes all aspects of event planning, from logistics and marketing to legal consulting and budget management, and she holds degrees with honors from both the University of Southern California’s Thornton School of Music and the Georgetown University Law Center. She likes nothing so much as monster girls, Weasleys, and a well-planned revolution.


Nilah Magruder: Art is a storytelling tool writers can use to make their work stand out

Sirens Studio takes place October 22–23, 2019, just prior to the official start of the conference, and gives attendees the opportunity to enrich their learning in the form of small-group workshop intensives. We’re thrilled to interview a few members of our tremendous faculty on their work, reading, inspirations, and workshop topic! Today, we’re chatting with Nilah Magruder, who will lead the writing development workshop “The Visual Narrative: Developing Illustrated Projects and How to Write Like an Artist” this fall. To learn more and register, please visit our Sirens Studio page.


AMY TENBRINK: Your work is amazing—anyone who hasn’t glanced through your portfolio or spent an afternoon with M.F.K. should do so at once—but the scope of your work is also amazing! You’ve storyboarded for Dreamworks and Disney; you’ve created comics for Marvel; you’ve illustrated for other authors, such as Daniel José Older’s Dactyl Hill Squad series; and you’ve written and illustrated both a children’s book (How to Find a Fox) and a graphic novel (M.F.K.). How did you find your way into doing all these wonderful things?

Nilah Magruder

NILAH: Actually, I think Twitter had a lot to do with it. That’s how I first met Daniel José Older. He was editing an anthology, Long Hidden, and I may have tweeted at him or retweeted one of his tweets, but he saw I was an artist and reached out about contributing to the anthology. So we’ve known each other since then, and then when he sold Dactyl Hill Squad, he suggested my name to Scholastic and luckily they thought it was a good idea. I actually asked Kathleen Wisneski—the editor at Marvel who hired me for A Year of Marvels—recently how she became familiar with my work, and she suggested it might have been through Twitter, too. It helped that I was doing a webcomic at the time, but meeting other webcomic artists and finding a community through social media was also instrumental in building M.F.K.

Dactyl Hill Squad A Year of Marvels


AMY: I imagine that each of your projects is quite different. For example, storyboarding or creating for someone else must be very different from crafting your own graphic novel. And creating a children’s picture book must be very different from a graphic novel—and certainly your artistic style is very different in How to Find a Fox and M.F.K. How do you approach these different types of projects?

How to Find a Fox

NILAH: The needs of each project come first. When I’m working for a client, usually they tell me what those needs are, haha. It can be difficult to switch from project to project, so I always take time to research and reset my brain. For picture books, I’ll go to the bookstore or library and check out what’s new. For graphic novels, I’ll do some exploratory drawing, or read through notes or scripts I’ve already written. It’s similar for storyboarding, though in addition to scripts there’s usually also animatics or design sheets to reference. And for illustrating book covers, I keep Pinterest boards of illustrated book covers to inspire me.


AMY: What do you love about all the different things you do? Do you have a favorite type of project or a soft spot for something in particular that you’ve done?

All Out

NILAH: I have a background in marketing and journalism; in those jobs I often had to shift focus at the drop of a hat. Or maybe I just have a short attention span, LOL. The point is that I enjoy moving around and juggling multiple projects. When I get stuck on or bored with one, I can move to another. The glue that binds them together, though, is story. I love storytelling in its various forms, and I gravitate to whatever medium has the best storytelling potential at any given time. It’s hard to pick a favorite because each type of project has its challenges, but I guess I’ll always gravitate to stories about girls and women on journeys of discovery, whether they’re searching for home, love, or foxes.


AMY: In 2015, you won the Dwayne McDuffie Award for Diversity in Comics for M.F.K. What advice do you have for creators generally, but in particular for creators who are not white, cisgendered, heterosexual, and male?


NILAH: I usually answer this question with “finish something,” but this time I’ll add: trust your instincts. Because of the homogeneity in creative industries, you’ll sometimes find that you don’t have very many role models or examples for the type of story you want to tell or the type of creator you want to be. Get used to throwing caution to the wind and forging your own path. I usually create for myself and say, “If I like it, then it’s likely at least one more person in the world will like it, too.” So I create for me and that person; just the two of us.


AMY: This fall, you’re presenting a workshop intensive for writers titled “The Visual Narrative: Developing Illustrated Projects and How to Write Like an Artist” as part of the Sirens Studio. Would you please give us a preview of what Studio attendees can expect to discuss and learn?

Marvel Rising

NILAH: As a visual artist who also writes, I’ve noticed that there can be a disconnect between the two sides. The conversations I have with artists are very different from the conversations I have with writers. With this workshop, I hope to bridge the divide. We’ll be discussing art as a story-telling tool, the responsibilities of the writer on illustrated projects and the responsibilities of the artist. We’ll cover where to find artists for your project and how to approach them. We’ll also be discussing some design techniques that writers can employ to make their writing stand out. Visual arts as a medium and as an industry can feel intimidating and exclusive, but I believe there’s a lot that writers can learn about their own craft by embracing the visual arts.


AMY: Sirens is about discussing and deconstructing both gender and fantasy literature. Would you please tell us about a woman or nonbinary person—a family member, a friend, a reader, an author, an editor, a character, anyone—who has changed your life?

NILAH: Haha, I told my mother I was stumped on this question and she said, “Well, you always have to answer with your mom!” She’s certainly where I got my deadpan sense of humor. There have been a lot of influential women in my life who have shown me the value of strength, kindness, commitment, and creativity. One such woman was my art professor Joyce Michaud. My final year at Hood College was a big one for both of us; just as I was preparing for graduation, Joyce was reinstating the art program, which had ended ten years prior. I’d been majoring in communication arts up until that point, but with Joyce’s encouragement and guidance, I took art as a second major… in my last year of school! I took more classes that year than any other year in my schooling history. It was challenging and frustrating, and Joyce pushed me hard and I was not always grateful, haha! But I made it through my senior thesis, I aced all my classes, and I graduated.

A couple years later, when I decided I was ready to look into animation programs, I went back to Hood and met with Joyce for more guidance. She hardly gave me a chance to tell her what schools I was considering when she said, “Oh, you have to go to Ringling.” I’ve since attended Ringling and graduated, and now work as a storyboard artist and writer for animated television in Los Angeles. Joyce had a pretty huge role in getting me from a college student who was particularly good at drawing to a working professional artist. Have I given her copies of my books? I should really do that.


Nilah Magruder is a writer and artist based in Los Angeles. From her beginnings in the woods of the eastern United States, she developed an eternal love for three things: nature, books, and animation. She has written and storyboarded for television studios like DreamWorks and Disney. She also illustrates children’s books, including the Dactyl Hill Squad series by Daniel José Older from Scholastic. Nilah is the author of M.F.K., a middle-grade graphic novel from Insight Editions and the winner of the Dwayne McDuffie Award for Diversity, and How to Find a Fox, a picture book. She has published short fiction in the anthology ALL OUT (edited by Saundra Mitchell), in Fireside Magazine, and for Marvel Comics. When she is not working, Nilah is watching movies, growing herbs, roller-skating, and fighting her cat for control of her desk chair.

For more information about Nilah, please visit her website or her Twitter.


7 Works of Short Fiction Well Worth Savoring

The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books (often fantasy literature by women or nonbinary authors) they’ve read and enjoyed. If you’re interested in sending us a book list or review to run on the blog, please email us! Today, we welcome a book list from Lily Weitzman.

Over the last few years, I’ve found myself increasingly drawn to shorter fiction. I still love novels of course, but shorter stories feel refreshing, with a wealth of innovative, progressive work currently being published. The more I read, the more I admire stories that establish their setting and characters—and evoke a distinctive voice—concisely enough to fit in a slim volume. Here are some novellas, novelettes, and collections of micro-fiction that I recommend.


The Black Tides of Heaven
1. The Black Tides of Heaven by J.Y. Yang

This first volume in the consistently excellent Tensorate series follows the growth of Akeha and their twin, Mokoya, as they develop their magical abilities and reckon with their life as the child of an oppressive ruler. Yang lays out a vivid magic system, vibrant characters, and a lived-in world where gender is not assigned but settled upon. They especially excel at evoking their characters’ complex relationships and a sense of melancholy.

The Refrigerator Monologues
2. The Refrigerator Monologues by Catherynne M. Valente

Killed off or degraded to further the stories of male superheroes, the fridged women of Deadtown are angry. Now, from the afterlife, they tell their own stories. Based closely off the ordeals of well-known comic-book women, these stories crackle with the wit of Valente’s wordplay and the expression of pent-up anger. An in-depth knowledge of the original comics isn’t necessary, though a general familiarity with superhero tropes is helpful.

Monster Portraits
3. Monster Portraits, images by Del Samatar, text by Sofia Samatar

Two siblings set out on an expedition, an exploration of the concept of monstrousness, in a work that blends the real and the fantastical in a way I have never quite experienced before. Profiles of the Green Lady or the Kryl glide into reflections on biracial identity. This illustrated book is many things, and trying to pin it down would only diminish it. As I write about it, I am drawn back to see what insight reveals itself on a second reading.

The Honey Month
4. The Honey Month by Amal El-Mohtar

What would you do if given a selection of honey samples, one for each day of the month? For El-Mohtar, the answer was to write a poem or piece of micro-fiction inspired by each variety, playing with different subjects and forms. Together, the pieces create an ethereal, sometimes eerie atmosphere: I imagine the denizens of faerie reciting them to each other. I enjoyed reading one entry per day over the course of a month—an echo of how The Honey Month was created.

The Terracotta Bride
5. The Terracotta Bride by Zen Cho

When Siew Tsin’s wealthy husband brings home a new bride made of terracotta, Siew Tsin’s existence in the Chinese afterlife is bound to change. The Terracotta Bride blends folklore and the fantastical with the quotidian, depicting an afterlife full of both bureaucracy and intrigue. In this novelette, Cho employs her direct prose to bring out both humor and a bittersweet mood.

The Tea Master and the Detective
6. The Tea Master and the Detective by Aliette de Bodard

A sentient transport ship, traumatized from a recent war, is struggling to make rent by blending teas for people traveling into deep spaces. Enter the abrasive Long Chau, consulting detective and potential client. Yes, this story takes inspiration from Sherlock Holmes, but it also inhabits its own rich world. An excellent blend of homage to that source and original storytelling, this novella was my introduction to de Bodard and makes me want to read more of her work.

The Only Harmless Great Thing
7. The Only Harmless Great Thing by Brooke Bolander

This story of memory and resistance spans perspectives and time periods, from a worker with radiation poisoning and her elephant coworker, to the researcher considering how to warn future generations about radiation, to elephant storytellers. Each perspective is unique and piercing, though the most brilliant voice is that of the elephants and their matriarchal, story-centered culture. This novelette is both devastating and illuminating.

Lily Weitzman is a programming, outreach, and communications librarian at the Public Library of Brookline, MA. That means that on any given day, she might be found leading a poetry reading group, managing the science fiction and fantasy collections, teaching technology skills, or helping you find the title of that book you heard about on public radio. She has previously worked on a Yiddish oral history project and volunteered as an aquarium educator. Outside the library, Lily chairs the Yiddish Committee at Boston Worker’s Circle.


All the 2019 #SirensBrainstorm topics in one place for your proposal consideration

Sirens programming is the dozens of hours of papers, lectures, panels, roundtable discussions, workshops, and afternoon classes that make up the heart of Sirens. And as you know, programming is presented by and for attendees—attendees just like you! Whatever your vocation, perspective, or background, we value your voice, and invite you to submit a programming proposal. Time is running out! All proposals for our 2019 conference are due May 15.

Our Twitter followers may know that we’ve been tweeting out potential topic ideas at the hashtag #SirensBrainstorm on Mondays the last few months. Feel free to take these ideas, bend them, break them, or use them to inspire something else. Remember, these are not real programming sessions—until someone proposes it!

Want the full rundown? Read how Sirens programming works and our tips, tricks, and frequently asked questions. We also go over each presentation format in detail: papers/lectures, panels, roundtable discussions, and workshops and afternoon classes.

And remember, there’s one more programming chat next week, to find collaborators and get one-on-one advice from our programming staff:

  • Monday, May 13, 9–11 p.m. Eastern (6–8 p.m. Pacific)


Here are all your #SirensBrainstorm topics in one place!

  • Harry, Percy and Aru: The Feminist Evolution of Heroes in Middle-Grade Fantasy

  • Fantasy and Slavery Narratives: The Forbidden Wish to Mirage, Beloved to The Fifth Season

  • Dystopian Feminism: Alderman’s The Power as Heir to Atwood’s The Handmaid’s Tale

  • The Merry Spinster: Gender, Non-conformance, and Fantasy Literature Reincarnations

  • Wild, Wild West: Desolation and Loneliness as Fantasy Constructs

  • Feminist Revenge Fantasies: Slice of Cherry, Spell on Wheels, and the Stories of Angela Slatter

  • It’s Coming from Inside the House: Haunted Houses as Jealous Lovers

  • To Succeed or Not to Succeed: Reimagining Shakespeare for Feminist Fantasy Readers

  • Catholic Themes in A Cathedral of Myth and Bone

  • How Many Entrails Is Too Many Entrails? The Glorious Gore of Cassandra Khaw

  • Pretty Princess Picture Books: Ten Years of Evolution

  • I Want to Wear Pants! The Barely-There Feminism of Historical Young-Adult Fantasy Literature

  • Higher, Further, Faster, More: The Revolution of Female and Nonbinary Comic Book Heroes

  • Decolonizing Paris: A Close Reading of the Work of Roshani Chokshi and Aliette de Bodard

  • The Magic of Illustration in Fantasy Works

  • Deconstructing the Hypermasculinity of Fonda Lee’s Jade War

  • Boundaries as Gender Construct: The Short Stories of Daisy Johnson and Carmen Maria Machado

  • Reimagining Myth: Familiar Tropes vs. Feminist Evolution

  • The Feminist Symbols of The Stars Are Legion

  • Fantasy Poetry as Self-Reclamation: The Work of Nikita Gill and Amanda Lovelace

  • Alice and Dorothy: Feminist Evaluations of Childhood Works

  • White Women’s Feminism and Practical Magic

  • Yes, Your Majesty: Including Women of Color in Traditional Princess Fantasy Tropes

  • From Wonder Woman: Warbringer to Leia, Princess of Alderaan: The Evolution of the Tie-in Novel

  • Cosplay as Reclamation and Revolution

  • The Magic of Marika McCoola and Emily Carroll’s Baba Yaga’s Assistant

  • Sentient Settings: Examining Location Selection in Real-World Fantasy Works

  • How to Train a Dragon

  • Obsessive Love in Heidi Heilig’s The Girl from Everywhere

  • Female Friendship as Romantic Subversion in Fantasy Young-Adult Novels

  • Show Me the Money: Elements of Successful Fantasy Revolutions

  • Revolutionary Love in Fantasy Literature

  • I Wish! The Role of Fairy Godmothers

  • The Bachelor, Middle Earth Season: Toxic Masculinity in Fantasy Romance

  • Guerilla Tactics for Underdog Fantasy Revolutions

  • American Gods: Seanan McGuire’s Reconstruction of the Phantom Hitchhiker in Sparrow Hill Road

  • Claiming Your Power: Contrasting The Bone Witch, Three Dark Crowns, and Forest of a Thousand Lanterns

  • Deconstructing the Monstrousness of Sana Takeda’s Monstress Art

  • Someday My Prince Will Come: The Feminist Horror of Sarah Pinborough’s Fairy Tale Retellings

  • Valiant: Examining Fearless Authorial Choices in Feminist Fantasy Literature

  • Women and War: How Fantasy Literature Challenges (or Doesn’t) Gender Expectations on the Battlefield

  • Witchcraft: A Reader’s Examination of Exceptional Writing in Fantasy Literature

  • Great Villainess Narratives: Why We Love a Bad Girl

  • Beyond Upstairs/Downstairs: Class Depictions and Deconstructions in Fantasy Literature

  • Happy Endings: What Does Happily Ever After Mean Now?

  • Alice of Wonderland, Meet Alice of Furthermore: The Enduring Popularity of Serial Adventure Fantasy

  • My Boyfriend Is a Vampire/Werewolf/Faery/Zombie: A Self-Help Session

  • She’s a Witch: SFF Language Used to Constrain and Disenfranchise Women

  • Beloved; Kindred; Sing, Unburied, Sing; and An Unkindness of Ghosts: American Slave Narratives in Speculative Fiction

  • You Can’t Keep a Good Girl Down: The Rise of the Superheroine

  • All the Single Ladies: A Survey of Accomplished, Happily Single Women in Fantasy Literature

  • Pushing the Boundaries of “Fantasy” Literature with Space Opera, Romance, Mysteries and More

  • Indiana, Meet Owl: A (Necessary) Update to the (Problematic) Adventuring Archeologist Trope

  • Feminist Reincarnations of Goethe in Fantasy Literature

  • Legal Magic: Reviewing a Standard Publishing Agreement

  • Strong Girls: White Women’s Heroism in Fantasy Literature

  • A Swoon-worthy Survey of the Yummiest, Most Romantic, Sexiest Queer Love Stories in Fantasy Literature

  • What Satire Brings to the Fantasy Literature Conversation

  • Exploring the Magic of the Tween Years with Actual Magic: A Parent’s Deconstruction of Popular Middle Grade Fantasy Literature

  • Empathy Starts Early: Childhood Fantasy Narratives Modeling Heroism

  • How to Start Your Own Sirens Book Club

  • Modern YA Romance: Attraction and Consent in Brigid Kemmerer’s A Curse So Dark and Lonely

  • History and Perspective: One Woman’s Superhero Is Another Woman’s Supervillain

  • A Case Study in Villainy: Rin in R.F. Kuang’s The Poppy War

  • Ayt Madashi, Hailimi Bristol, and Shuos Jedao: Speculative Fiction’s Master Negotiators

  • The Intersection of Race and Class in Anna-Marie McLemore’s Wild Beauty

  • And Then? What Happens after Your Successful Fantasy Revolution?

  • Master Class: Deconstructing Loss and Grief in Work by Ireland’s Female Fantasy Writers

  • In the Absence of Inspiration or Motivation, Discipline: How to Finish Writing That Fantasy Book

  • Fantastic! American Monsters in Speculative Fiction

  • What Body Horror Has to Say about Reproductive Justice

  • Exploring the Growth of Female Friendship in the Teenage Years through Aru Shah and Children of Blood and Bone

  • Sidekick: A Problematic History

  • Fantasy Worldbuilding as Activism: Imagining Worlds that Right the Wrongs of Oppression

  • Fuck, Marry, Kill: An Interactive Roundtable Discussion about What We Want from Our Fantasy Literature Lovers

  • Where Faith Meets Fantasy: Deconstructing the Liminal Spaces in Freshwater and All the Names They Used for God

  • Analyzing Fantasy Works for Language that Others Marginalized Identities

  • Two Steps Forward, One Step Back: Wreck-It Ralph’s Vanellope, Shank, Reimagined Princesses, and What It Means for a Girl to Dream

  • Crafting Dialogue: A Workshop for Fantasy Authors

  • Horror, Monsters, and Gender

  • What Women Want, What They Really, Really Want: Female Quests in Fantasy Literature

  • Clothes Make the Hero: What Superhero Costuming Choices Say about Gender

  • Food, Caretaking, and Magic: Kitchen Witchery

  • Ahoy! Lady Pirates of History and Their Feminist Reincarnation in Fantasy Literature

  • Gender Stereotypes in Authoring Speculative Fiction

  • Contemporary Literary Witches: Addressing a Thousand Years of Persecution

  • Princes as Heirs, Princesses as Chattel: Pervasive, Problematic Gender Tropes in Quasi-European YA Fantasy

  • Reclaiming Our Mothers: Living, Responsible Mothers in YA Fantasy Literature

  • Dystopia vs. Utopia: A Case for Reading Each in Trying Times

  • Romeo and Juliet: Shakespeare’s Fantasy in Fantasy Literature

  • Deconstructing Strength: A Roundtable on Strong Female Protagonists

  • One Last Time: The Women of HBO’s Game of Thrones

  • Magical Circuses as Lures in Fantasy Literature

  • From Lois Lane to The Shining Girls: Intrepid Journalism

  • Lady Thor, She-Hulk, and Kate Bishop: When Comics Finally Pass the Torch

  • Reissued! A Discussion of Republishing Decades-out-of-Print Fantasy Books

  • Fantasy Literature as Classroom Teaching Tool

  • Examining the Fantastic, Feminist Art of Isabel Greenberg

  • A Reader’s Perspective: Effective Writing of Liminal Spaces

  • Deconstructing Societal Baggage about Identity via the Dialogue of First-Contact Novels

  • Feminist Retellings of the Mahabharata

  • That’s Really…Weird: What Our Strangest Fantasy Fiction Says about Us

  • Presenting Masculinity: Use of the Penis (or the Absence Thereof) on HBO’s Game of Thrones

  • The Fairy-Tale Crumbs in Helen Oyeyemi’s Gingerbread

  • The Commercialization of Childbirth and Motherhood in Dystopian Fiction

  • Suburban Monstrousness: Headley’s The Mere Wife and Link’s Pretty Monsters

  • How to Create a Heroine: A Workshop for Artists

  • Civil Engineering: Magical Transportation Systems

  • Furious! Fantasy Heroines Whose Rage Propels Their Stories

  • Fantastic Parenting: Brainstorming How to Take Your Kid on a Quest to Save the World

  • Examining Freedom and Duty through G. Willow Wilson’s The Bird King

  • Building Fantasy Worlds by Crafting Justice Systems

  • Deconstructing the Male Gaze through Written Descriptions of Heroines

  • Dreaming Epiphanies in Fantasy Literature

  • Near-Future: The Intersection of Magic and Tech

  • An Argument for Space Opera as Fantasy Literature

  • Where Wonder Meets Fear: Middle-Grade Portal Fantasy as Self-Discovery


Contributed by our community:

  • Performative Tools to Bring Your Fantasy Novel to Life

  • Why We Write About War

  • Jewish Women and Jewish Life in SFF


All set? Submit your proposal here.

More questions? You can contact our programming team at (programming at


Kiersten White’s Elizabeth Frankenstein breaks the shackles that bind her to her abuser

The Sirens Review Squad is made up of Sirens volunteers, who submit short reviews of books (often fantasy literature by women authors) they’ve read and enjoyed. If you’re interested in sending us a review to run on the blog, please email us! Today, we welcome a review from Jo O’Brien on Kiersten White’s The Dark Descent of Elizabeth Frankenstein.

The Dark Descent of Elizabeth Frankenstein

Mary Wollstonecraft Shelley was a stone-cold badass.

Her intellect and imagination were monumental. She invented a whole genre of literature when she was a teenager by writing a story that, two hundred years later, is still a cultural touchstone. And that’s to say nothing of the adventurous life she led—she climbed glaciers, sailed Lake Geneva, and traversed Europe, partially on foot when she didn’t like her chauffeurs. She survived the grief when death claimed her parents, two of her children, her half-sister, and then her husband. She kept Percy Shelley’s calcified heart wrapped in his poetry after he died.

But yet, Percy continues to be credited for her accomplishments. His “corrections” in the margins of a found draft of Frankenstein still have some people convinced that he must have at least been a co-author (never mind that his part seems to just graze the level of line edits). Some would even go as far as to say that genesis of the book, or even the very idea, belong to him. Even now, Mary Shelley isn’t given the respect she deserves for her work.

So it feels like it’s about time for The Dark Descent of Elizabeth Frankenstein. Author Kiersten White calls it a retelling, but I found myself thinking of it as a companion to the original Frankenstein: a different perspective, dissecting the events and uncovering truths that Victor Frankenstein couldn’t—or wouldn’t—divulge. The Dark Descent is narrated by Elizabeth Lavenza, the child purchased by Victor’s parents to temper his strange, violent behavior.

At the opening of the book, Victor, attending university, has fallen out of contact with his family. Elizabeth—having grown up alongside Victor as his primary caretaker and companion—follows him across Europe, determined to marry him and secure her position. She finds him indisposed in a rented warehouse, where he’s done the terrible, impossible thing that was the subject of Shelley’s original book. After seeing that he’s taken care of medically, she goes through his notes. She discovers what he’s done, and she foresees the reaction if his work is discovered. So she burns the evidence. She manipulates witnesses. She makes sure that Victor can return home without facing any consequences for his actions, just as she’s always done.

All this paints a bleak picture of a girl straining to make her way in a world where she can’t stand on her own, and The Dark Descent is, in some ways, a bleak book. Elizabeth is slow to realize her mistakes, because her conviction that she has to protect Victor is so well-trained. It feels familiar to how we are all trained to shelter those in power from the consequences of their toxic behavior. But there are moments that glimmer through, and they accumulate and accelerate. Elizabeth does learn. This is a book about a girl breaking the shackles that bind her to an abuser.

It is slow, painful work. Elizabeth doesn’t know that it needs to be done. She doesn’t know that she can unlearn her resentment of other women as rivals, or her too-quick instinct to cover Victor’s tracks. Things get worse before they get better. But Elizabeth is not the soft girl that Victor and his family believe she is. She is fierce and defiant and capable of her own terrible and impossible things. As her limits are stretched, she stretches to fill the gaps.

Just like Mary Shelley had to.

The Dark Descent is not just a companion to Frankenstein, it is an homage to Shelley herself. It’s about a girl whose tremendous abilities are credited to the men in her life. But it’s also about how, leveraging her own incredible power, she breaks free of them.

I won’t spoil the ending of The Dark Descent of Elizabeth Frankenstein, but I will say that, in order over the last several pages, I felt heartbreakingly satisfied, and then I gasped, and then I sobbed. (I’ll also say that it’s been a long time since I read any book that used the graphic formatting of a single page to such spectacular effect.) The novel is moody, atmospheric, and often difficult, but I felt it in my bones.

Victor Frankenstein, in his arrogance, told us one story. Elizabeth now claims her voice to tell another. And what she’s telling us is that there is no one more powerful than a girl who will fight to have something that’s hers.

Jo O’Brien is a writer, artist, cosplayer, mythical creature, and Viking who lives in northern Colorado, wrangling a host of familiar spirits. She writes about ambitious, unrepentant, sometimes vicious women in novels and for live steel horse theater. She has been a member of the Sirens community since 2011.


Sirens Meet-Ups: Seattle, Boston, and D.C.!

While our Denver and New York City meet-ups are around the corner, we’re thrilled to bring you the details of three new Sirens gatherings, hosted by Sirens staff or ambassadors. If you live near these cities or happen to be in town, we hope we’ll see you.

These Sirens meet-ups are open to everyone, whether you’re a longtime Sirens attendee or are new and curious. Bring your questions, your friends, and your book recommendations!


SEATTLE: Garden Exploration
Date: Saturday, May 25, 2019
Time: 1:00–3:00 p.m. Pacific Time
Location: Bellevue Botanical Garden*
Presented by: Casey Blair
Admission to the gardens is free! We’ll meet at the Copper Kettle Coffee Bar inside the gardens. Weather permitting, we’ll either explore the gardens or stay in the coffee shop.

RSVP via email or on Facebook

*There are many nooks and places with benches where we can camp out among the gardens. Feel free to pack snacks to share or blankets to sit on, but all you need to bring is yourself. Food is also available for purchase inside the coffee shop. Casey will have a picnic basket with treats (and probably tea) for the group, so please communicate any dietary restrictions when you RSVP!


BOSTON: Pastries and a Park
Date: Thursday, June 6, 2019
Time: 6:30–8:30 p.m. Eastern Time
Location: Tatte Bakery in Harvard Square*
Presented by: Nivair Gabriel and Lily Weitzman
If the weather is nice, we’ll walk to Harvard Yard or Joan Lorentz Park! If not, we’ll go inside Tatte and get pastries.

RSVP via email or on Facebook

*Please note that participants are responsible for their own food and beverages.


D.C.: Tea During ALA
Date: Saturday, June 22, 2019
Time: 5:30–7:30 p.m. Eastern Time
Location: Teaism Penn Quarter*
Presented by: Jennifer Shimada and Lily Weitzman
Do you live in D.C. or will you be going to ALA Annual? Come join us at Teaism! Grab your tea/food at the counter and then sit and chat with us!

RSVP via email or on Facebook

*Please note that participants are responsible for their own food and beverages. If you have trouble with stairs, please let Jennifer know, and we’ll prioritize finding seating upstairs.


Hope to see you soon!


Presented by Narrate Conferences, Inc.


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