When Mom left the room, after delivering the notebook, I used the phone by my bed to call Jillian.
“Bad news,” I said.
“You’re pregnant?” She giggled.
God, I loved her laugh. Maybe I loved all of her. My mind and groin were still too rut filled and hormone washed to sort out all of that. But I knew she was the best thing that had ever happened to me. I hoped we kept happening to each other for a long time. Maybe even a lifetime.
“No. Not pregnant.” I touched the bandage on my forehead. “But I’m not as pretty as I used to be.”
“That’s okay. I’m not as shallow as I used to be,” she said.
“Seriously, I’m sort of banged up right now.”
“What happened?”
“It’s a long story,” I said.
“I have time. Tell me.”
And so I did.
[Please take a moment to savor the fact that you just finished reading an entire freakin’ novel, before moving on to the mostly unnecessary page or two of author’s notes. Feel free to skip, instead, directly to a satisfied sigh and the terminal snap of a closing cover.]
AUTHOR’S NOTES
I share one trait with Cliff. (Or, at least, one I’ll admit to.) There are things that I want you to know that I know.
“Euler” is pronounced Oiler. “Yuler” is pronounced however you want.
Ms. Percivel should have been named Ms. Amfortas, since she was the keeper, not the seeker, of the Grail. But amusing and euphonic trumps scholarly and accurate in my universe. And nobody really cares.
Either “verbal fists” or “oral fists” would have worked in Cliff’s initial weight-room encounter with Nicky, but I opted for the former since I didn’t want to sully the scene with irrelevant innuendo.
I am aware that Cliff’s darkest moment could have been paired with a reference to Dorothy Parker’s classic poem “Résumé.” But some literary opportunities, tempting as they might be, are best left unexploited.
And there are things I need to say.
I have an awesome editor. I’d read the opening chapter to Susan Chang, on a whim, when that was all that existed of this work, after we’d spent a day talking about wizards, monsters, and spaceships. “That’s your next book,” she said. Whether we’re on a third revision pass or a first paragraph, Susan has never steered me in the wrong direction.
I have an awesome publisher. Kathleen Doherty was enthusiastic about this book from the start. She has been enthusiastic about my work for twenty years. Without that support, I doubt I would have the luxury of spending each day writing. And I know this book would never have been written. I’m very glad it was. I hope you are, too.
I have awesome family and friends. I owe big thanks to Joelle Lubar, Alison Myers, Doug Baldwin, Connie Cook, Shannon Tyburczi, and Jordan Sonnenblick for reading various drafts at various stages. And I owe thanks to the writers, educators, and booksellers who took the time to read and respond to this book back when it was in manuscript form. I am well connected.*
I have awesome readers. Thank you for taking the leap with me.
TOR TEEN READING AND ACTIVITY GUIDE
Ages 13–17; Grades 8–12
ABOUT THIS GUIDE
The questions and activities that follow are intended to enhance your reading of Character, Driven. The material is aligned with Common Core State Standards for Literacy in English and Language Arts (www.corestandards.org); however, please feel free to adapt this content to suit the needs and interests of your students or reading group participants.
Prereading Activities
1. Character, Driven is written in the first-person point-of-view, meaning the narrator is also a character in the story. Have students share titles of other novels featuring first-person narrators. Then create a brainstorm list of things a first-person narrator can and cannot understand or share with readers.
2. Ask each student to write a one-page essay describing another novel they have read that is written from a first-person viewpoint. Have them note the title and genre of the novel and include a very brief (two- to four-sentence) plot summary, and an observation of something the reader discovers or understands particularly well because of the first-person viewpoint.
Supports Common Core State Standards: W.8.3, W.9–10.3, W.11–12.3; and SL.8.1, SL.9–10.1, SL.11–12.1
Developing Reading and Discussion Skills
1. In the opening chapter, readers realize that Cliff is aware that he is writing his words to the reader. What insights into novel writing does Cliff reference? What do you think he is trying to tell readers when he notes that “… not every book tells a story”?
2. Describe Cliff’s family’s financial situation. How does this effect his home life?
3. Who is Jillian? What past experiences with girls make Cliff uncertain (or even afraid) to approach her?
4. Describe the assumptions Cliff admits to making when starting to read a novel, and the concerns this raises for him about his own narrative (the book you are reading) in the chapter titled “Inter Lewd.”
5. Describe Cliff’s relationships with Lucas and with Nola. What happens to each of these characters as the story progresses? What type of language does Cliff use to explain these outcomes? Does he seem to feel a sense of responsibility, empathy, or another type of emotional connection to these characters? Explain your answers.
6. Why does Cliff think Ms. Ryder is a good teacher? Do you think Cliff is an especially good judge of teaching ability? Why or why not? What other teachers have an important impact on Cliff? What do you think Cliff would list as the three most valuable attributes of a good teacher?
7. Cliff enjoys art classes. Is he a good artist? Does it matter? What other talents seem to emerge as he considers creating new paintings? Why is the discussion of art a dangerous topic in the Sparks household?
8. Do you think there is a relationship between the wordplay Cliff employs throughout the story and the visual-arts compositions he and Jillian paint? Why or why not? How might these creative outlets relate to the emotional journeys of the characters?
9. By the end of the story, Cliff has realized that he has a quality circle of friends. Name at least three of these characters and explain how each of them strengthens Cliff for the challenges to come in the final chapters.
10. As he is struggling with his painful home life, Cliff is also trying to sort out what he will do after high school—what he wants to learn and who he wants to become. How do his plans and dreams evolve over the course of the story? Has Cliff’s journey provided you with any insights into your own thoughts about life after high school? Explain your answer.
11. Could you argue that Character, Driven is an exploration of the relationship between how the stories we tell enable us to endure, manage, and possibly even change the trajectory of our real lives?
12. Early in the novel, Cliff struggles with the issue of describing himself to the reader because “… the truth is, nobody sees himself clearly in a mirror or photo.” Then, in the final chapter, he admits to buying a car but that “[T]o describe it, to even hint at the color of the body … would be to reveal too much of my soul.… Instead, I’ll let you craft your own wheels.” What is the relationship between these two statements? What might Cliff (or David Lubar) be encouraging readers to do with respect to their own lives?
13. Do you think the narrator’s name is really “Cliff Sparks”? Why or why not?
14. Could the theme of Character, Driven be reflected in the cliché “You can’t judge a book by its cover”? How might this common expression be applied to Butch, Nicky, Jimby, Jillian and, ultimately, Cliff himself?
Supports Common Core State Standards: RL.8.1–4, 9–10.1–5, 11–12.1–6; and SL.8.1, 3, 4; SL.9–10.1, 3, 4; SL.11–12.1, 3, 4.
DEVELOPING RESEARCH AND WRITING SKILLS
UNRELIABLE NARRATOR. By the end of the novel, readers come to realize that Cliff has been an unreliable narrator. Go to the library or online to research the li
terary term “unreliable narrator.” With friends or classmates, create a reading list of famous novels featuring unreliable narrators. Divide into two groups to debate the following topic: Resolved. One cannot be a reliable narrator of one’s own life.
TIMELINE. Character, Driven is written as a series of flashbacks and even-further flashbacks. Make a list of the novel’s chapter titles. Beside each title, note the time in which the chapter takes place (e.g., “present,” “last April,” “sometime last year”). Note any patterns you detect in terms of the relationship between content, timeframe, and the nonlinear style of the story.
EPIC WORDPLAY. From chapter titles to the body of the text, the novel is filled with wordplay, such as puns and double entendres. In the character of Cliff, write an essay explaining how and/or why you came up with your chapter titles.
THE GIFT OF BOOKS. Throughout the novel, Mr. Piccaro quietly gives Cliff books to read. Using a library Web site or other online resource, create an annotated list of the titles Mr. Piccaro shares. Then, write a one-page essay about the relationships, if any, you observe between the title and Cliff’s own journey.
FIRST PERSON, DIFFERENT PERSPECTIVES. Cliff second-guesses the ways that he didn’t get to know Lucas or Nola better. Perhaps Cliff’s friends feel similarly about him. From the viewpoint of Butch, Nicky, or Jimby, write a journal-style essay discussing your friendship with Cliff; any concerns or suspicions you may have about his home situation; and the way your own home or family life influences the way you handle your potential knowledge about Cliff.
SOCIAL ISSUES. Character, Driven tells the story of Cliff’s journey from mere survival to escape from an abusive situation. Sadly, child abuse is not fiction, and teens suffering abuse may not see a way out. But conversation and awareness can help. Learn more about this serious issue (teens.webmd.com and kidshealth.org/teen are good starting points for research), including warning signs, appropriate ways to offer your support, and resources for victims. Compile your research into a multimedia presentation to share with friends or classmates.
CHARACTERS ONSCREEN. Individually or in small groups, imagine you are creating a film or television adaptation of Character, Driven. Write a promotional paragraph and the script or storyboard for the first fifteen minutes of your film. If desired, create a video trailer for your movie.
ARTS CAN … From Jimby’s story to Jillian’s paintings to a performance of Romeo & Juliet, Character, Driven is a story in which the creative arts perform many valuable functions. Individually, or with friends or classmates, create a poster, mural, or image/word collage depicting the many levels at which art entertains, informs, and more in the novel—and in life.
INTRODUCING YOU. If you were going to write about the last two months of your life, any way you wanted, what tale would you spin? Writing in first-person, with the reader in mind, write a chapter title and the first five pages of your story.
Supports Common Core State Standards: RL.8.4, RL.8.9; RL.9–10.4; RL.11–12.4; W.8.2–3, W.8.7–8; W.9–10.2–3, W.9–10.6–8; W.11–12.2–3, W.11–12.6–8; and SL.8.1, SL.8.4–5; SL.9–10.1–5; 11–12.1–5.
ABOUT THE AUTHOR
David Lubar grew up in Morristown, New Jersey. His books include Hidden Talents, an ALA Best Book for Young Adults; True Talents; Flip, a VOYA Best Science Fiction, Fantasy, and Horror selection; the Weenies short-story collections In the Land of the Lawn Weenies; Invasion of the Road Weenies; The Curse of the Campfire Weenies; The Battle of the Red Hot Pepper Weenies; Attack of the Vampire Weenies; Beware the Ninja Weenies; Wipeout of the Wireless Weenies; Strikeout of the Bleacher Weenies; and the Nathan Abercrombie, Accidental Zombie series. He lives in Nazareth, Pennsylvania. You can visit him on the Web at www.davidlubar.com. Or sign up for email updates here.
TOR TEEN BOOKS BY DAVID LUBAR
NOVELS
Flip
Hidden Talents
True Talents
STORY COLLECTION
Extremities: Stories of Death, Murder, and Revenge
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CONTENTS
Title Page
Copyright Notice
Dedication
Intro [duction | spection | version]
She Walks In, Beauty
Maddie, ’Bout You
Falling Behind
Self, Aware
Drawn Together
It’s Saliva!
Head Home
Press Pass
Inter Lewd
Parm for the Course
Tenure Itch
The Art of Self-Deception
Admit Two
Escape Window
Acting in Concert
When You Need a Lift
Lumber Jerks
Do It, Your Shelf
A Band, End All Hope
Away Game
Dead Wrong
Courage in Profiles
Out of Concert
Impermanent Records
Cherry Bomb
Midterminal
Conversation Blossoms
Doing Nothing Well
Syncongruenicidence
Sextets and the Single Girl
Play Time
Battle
Winding Down
[Ab | Pro | Se] duction
Coming of Age
Afterglow
Introspection, Redux
Coming of Rage
Bed, and the Rest
Author’s Notes
Reading and Activity Guide
About the Author
Tor Teen Books by David Lubar
Copyright
This is a work of fiction. All of the characters, organizations, and events portrayed in this novel are either products of the author’s imagination or are used fictitiously.
CHARACTER, DRIVEN
Copyright © 2016 by David Lubar
Reading and Activity Guide copyright © 2016 by Tor Books
All rights reserved.
Cover art by David et Myrtille Paire and Vardelle / Trevillion Images
A Tor Teen Book
Published by Tom Doherty Associates, LLC
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New York, NY 10010
www.tor-forge.com
Tor® is a registered trademark of Tom Doherty Associates, LLC.
The Library of Congress Cataloging-in-Publication Data is available upon request.
ISBN 978-0-7653-1633-2 (hardcover)
ISBN 978-1-4668-5269-3 (e-book)
e-ISBN 9781466852693
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First Edition: March 2016
* See?
* Yes, that was a literary reference.