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Posts from the ‘American teen novels’ Category

Working With An Editor On A Teen Novel, by Diane Lee Wilson

Having a manuscript accepted for publication is a heady feeling. You’ve arrived! You’re soon to be a published author. The sky’s the limit now! Look out, world.

Congratulations are definitely in order. Simply completing a manuscript is an accomplishment, but to have your work rise from the thousands of submissions and be recognized as worthy of professional publication is truly something to be proud of. Now, don’t let your success go to your head. There’s a lot of work yet to do and a good deal of it is humbling.

Publishing a book is a business. It’s a partnership between you and the publishing house. Don’t be arrogant and assume that your manuscript is the best thing to ever cross an editor’s desk. It’s not. So be prepared to work with your editor to make it better. After happily signing all of the contracts and mentally spending your first advance check, you’ll receive your precious manuscript back in the mail – with handwritten criticism all over it! Here’s where you remind yourself that your editor is working in your best interests; he or she knows the teen market and knows what sort of writing sells. That’s what you want, right? To market – and sell – your best possible work? So read through the comments carefully and as objectively as possible. I recommend arguing the points that you really feel strongly about, but don’t pick fights over little things that don’t really impact your overall story. Your editor prefers a different word here or suggests deleting a sentence or two there? Fine. Trust them to do their job.

One thing I’ve learned is that words are not sacred and that no reader ever misses what isn’t there. When I receive the final galley of a novel for proofreading prior to going to print, I’m always impressed with how smooth the story seems. There is no sign of what has been argued about; nothing appears to be missing or altered. It’s an improved version of what I submitted.

Sometimes the suggested changes are far more than a word here and a sentence there. When I sold my first manuscript, I naively thought I was finished. I did not expect to receive so many criticisms and suggested changes. I was so overwhelmed, in fact, by the scope of what my editor was requesting that I got teary and said to myself, “I can’t do this.” But after reading through the comments again and gearing up for the additional work, I rewrote several chapters, deleted one entire chapter, added some more backstory and altered the ending slightly to account for a character that had disappeared. The revised manuscript, I have to admit, was better. It was tighter, faster-paced and more satisfying.

Each subsequent manuscript has had its own challenges and eventual transformation. In Black Storm Comin’ I was cautioned to delete language that would be deemed offensive by schools and school librarians. I had merely been writing dialogue that seemed typical for tough Western characters but, keeping in mind that I wanted to sell books to schools, I softened the language where suggested.

I’ve often had to change the opening chapter in my novels. I like mysterious and murky beginnings that are often pulled from events in the middle of the story, and I did that in my most recent novel, Tracks. But my editor reminded me once again that these can be too difficult for young teen readers to grasp and that if I want to sell books I had to make the story accessible.

On occasion I’ve stood up for elements of my original manuscript. If I feel very strongly that a character would indeed act as I’ve described or if I very much want to tell the story as a flashback, then I argue my case. I’ve found my editors (I’ve had two wonderful ones) to be very agreeable to my position when I argue it. The key is give and take; I adopt nearly all of their suggestions, holding firm on only a few points.

Ultimately, your editor wants you to have a successful novel and is advising you how to achieve that. I recommend heeding their advice. Publishing, again, is a business. You’re the artist but you need experienced people such as editors, illustrators and marketers to help you earn money from your art.

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Diane Lee Wilson’s author website: www.dianeleewilson.com

Diane Lee Wilson’s bio page

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Raven SpeakTracksI Rode a Horse of Milk White JadeBlack Storm Comin'     The Night She DisappearedTarzan: The Greystoke LegacyHold Me Closer, Necromancer

Writing Teen Novels
www.writingteennovels.com

Marketing Your Teen Novel On A Medium Sized Budget, by Laurie Faria Stolarz

Do you have a medium sized budget to market your teen novel?  First, implement some or all of the options listed in the last couple of posts, then look into implementing these suggestions.

$1000:

Upgrade to a professional web site.  Remember when I said the web site was the single most important marketing tool?  As soon as you can afford it, have a pro take over the design and execution for you.  Get recommendations from author friends to find out who is affordable.

Attend a national conference or bookseller event, i.e. ALA, BEA, IRA or SCBWI.  This is a great way to network.  Be sure to bring along your business cards.

Have a professional author photo taken.  A professionally taken photo may seem like a frivolous expense but a great pro photo can last you years.  Plus, you get the added benefits of photo retouching.

Have book-themed giveaways made for you.  One idea we love is having temporary tattoos made using your book’s cover or character.  Be sure to bring them along to events – and again, remember to get permission for any copyrighted images.

Pay dues to organizations, like the Children’s Book Council, The Children’s Literature Network, ALA and IRA.

$2500:

Put together a media kit.  This is like a traditional press kit, but with an accompanying CD-ROM or DVD.  Content could included photos, an interview with you (have a pal be the interviewer), favorable reviews, etc.  Get creative.

Throw a high-concept launch party.  Provide book-themed food and beverages, and create activities that will also complement the book’s content.  Consider hiring an assistant to help keep younger children occupied (and happy).

Attend a key conference.  Treat yourself to attend a national SCBWI conference, for example.  The trip will be worth the expense.  Besides, it’s tax deductible.

Travel to meet your editor and/or agent.  If you’re worried about maximizing your time away, try to organize a school or library visit or bookstore event to coincide.

Organize a cool giveaway through your web site.  Purchase an iPod mini or a portable game system – whatever appeals to your readers – and make it the prize in a book themed contest.

$5000:

Hire the services of a PR specialist.  You’ll still have to do some of the work on your own, but hiring a professional – especially one who specializes in the kid lit market – will give you a strong advantage.  Sure, you’ll pay for that advantage – but this is a person who can organize a mini-book tour, allocate funds for well-placed internet ads, etc.  At the very least, spring for a consultation that will set your self-funded promotional efforts onto the best track possible.

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Laurie Faria Stolarz’s author website: www.lauriestolarz.com

Laurie Faria Stolarz’s bio page

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Deadly Little SecretDeadly Little LiesDeadly Little GamesDeadly Little Voices (a Touch Novel) (Touch Novels)     Cleopatra ConfessesTarzan: The Jungle Warrior: Bk. 2

Writing Teen Novels
www.writingteennovels.com

On Being Nice As A Writer, by Amy Kathleen Ryan

Writers suffer a strange duality. We work in private but the product of our work is very public. Must of us are shy people but we’re often asked to speak in front of large crowds.  We can be rather arrogant at times (what’s more arrogant than thinking your thoughts ought to be interesting to the throngs?). As creative types, we can be terribly insecure. This tension between the public and private in a writer’s life can lay traps for us that can lead to some embarrassing missteps.

For example, you might be giving a speech some day and you might be extremely tempted to call the work of another author overrated. I suggest that you refrain. Saying nasty tidbits about other writers can come back to haunt you in a big way. The hack you malign one year could come out with a major best seller the next and you’ll find yourself in the position of having slighted a powerful person who has the ear of the media. Even if said writer remains obscure, speaking ill of him casts an unfavorable light on you and can make you seem as though you were sucking on a bunch of sour grapes. When speaking in public, I have found it best not to suck at all.

Just as speaking ill of another writer is not advisable, writing reviews, even in respected journals or newspapers, can be fraught with peril. Plenty of aspiring novelists begin their career reviewing fiction in trade publications, but I humbly submit a caveat to this practice: a mean review can be a veritable boomerang, especially if the author finagles a way to review your next book. (This has happened. For real. I won’t name names.) Even worse, a nasty review can offend a potential editor, who might have poured her heart and soul into a book only to have it maligned by you. Editors have long memories and might not consider a piece of fiction by a writer who has offended them.

If reviewing fiction is something you feel called to do, or if it helps you pay your bills, keep your reviews honest but civil, and read any book very carefully if you plan on giving it a negative review. You especially don’t want to be in the position of excoriating a book while revealing through poor fact checking that you weren’t paying attention. Just know, I have never, ever heard of an editor or agent reading a review and thinking to herself, “This review is delightfully pithy… I wonder if this reviewer has a novel?”  If your true passion is writing fiction, it might be best for you to concentrate on your own writing and leave the criticism to the critics.

That said, once you’re published, you’re likely to have an online presence on sites like Goodreads where book reviews are the name of the game. I am not particularly active online, and I should be, but I have always made it a policy to only write a review of books that I think are truly excellent. About the books I don’t love, I am silent. I am a believer in the power of good vibes. I try to keep my public persona positive and sunny, because life, and careers, are too short to waste them spreading bad vibes.

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Amy Kathleen Ryan’s author website: www.amykathleenryan.com

Amy Kathleen Ryan’s bio page

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VibesZen and Xander UndoneGlowSpark    Tarzan: The Jungle Warrior: Bk. 2Code Name VerityShades of Earth: An Across the Universe Novel (Across the Universe)

Writing Teen Novels
www.writingteennovels.com

Writing What You Know, by Beth Revis

Probably the most clichéd and oft-used phrase for any writer is the old adage, “write what you know”.

So how did I end up writing a novel that takes place hundreds of years in the future, on a spaceship populated by genetically modified people heading to a planet that might not really exist? It’s definitely not something I “know”.

Typically, we don’t really “know” our stories. Or, at least, I don’t. I’ve never been the youngest person on a spaceship, but I do know what it’s like to not fit in. I’ve never had my parents cryogenically frozen, but I still remember that moment when I realized that I’d grown up and was no longer under their safe protection.

Many times, it seems that people who aspire to write teen fiction are more focused on writing teenagers than on writing characters who behave realistically. They will often do research on the outward appearances: clothing, slang, mannerisms. Very often, this is where they trip up, because that’s not the important stuff. Focus on the stuff you know – the stuff everyone knows. We have all experienced the same things every teen has experienced: first love, first heartbreak, betrayal and fear, joy, sorrow. This is what the writer must know – and if the writer knows this, then everything else: the characters, the plot, the world – will fall in place.

Find the beating heart of the story. Invention is a wonderful thing – a necessary thing when it comes to writing. You need to have invention but, somewhere beneath everything that you create, you also have to write what you know.

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Beth Revis’s author website: www.bethrevis.com

Beth Revis’s bio page

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Across the UniverseA Million Suns (Across the Universe)Shades of Earth: An Across the Universe Novel (Across the Universe)    In Mozart's Shadow: His Sister's StorySaraswati's WayThe Night She Disappeared

Writing Teen Novels
www.writingteennovels.com

Creating Characters With Flaws, by Kashmira Sheth

When I was growing up I listened to the stories from the Indian epic Mahabharat. Even as a young child it struck me that the heroes were not perfect. They had their weaknesses just like anyone else.

When we write it is easy to identify with a person who possesses good qualities, so why create a main character with a flaw? Shouldn’t he or she be perfect in every way? Wouldn’t a reader want that?

We don’t have a perfect protagonist because it would be like trying to drink a glass full of sugar syrup: too sweet and utterly disgusting. Giving a hero flaws adds much to their personalities. In real life people are a mix of good and bad qualities, and when we mirror those qualities in our stories our readers identify with our characters more deeply and root for them. They worry about them and eagerly flip pages to make sure they are safe at the end.

Another advantage of creating such character is that they are engaging. They amuse and surprise us and sometimes ever make us cringe. If he has a quick temper he adds a fiery element to his dialogues when he is angry. His anger maybe short lived but his words can linger in reader’s mind. Our protagonist adds depth to her character when she can sting with her words, make the reader laugh with her sauciness or delight the reader with her cunningness. No simple, perfect protagonist can stand up to a character with a flawed personality.

The flaw or flaws we select for our characters demand care and sound reasoning. In YA novels our main characters are young. If our fifteen-year-old protagonist has smoldering anger there must be some reason for it. We must answer the question, “Why does he have so much anger?” It might be that he felt ignored and unloved because his older sister was brilliant and took up all his parents’ attention. It might be that his parents were busy fighting and had no time for him. Whatever the reason, we must know it so we feel grounded about our character’s past and understand his present.

The flaws we pick should become part of the story we’re writing. If the novel features a girl who is sassy and loud-mouthed, we could use those very same qualities to get her into trouble. During the course of the story, she may even overcome some of those flaws. However, it is not essential or even desirable to have our character grow out of all their shortcomings. Over the course of the story they grow and change, but in a believable way. They don’t turn completely perfect at the end.

Creating a character that is likable as well as flawed is essential to a story.

They are fun to write about and fun to spend time with. After all that is what we want.

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Kashmira Sheth’s author website: www.kashmirasheth.com

Kashmira Sheth’s bio page

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Keeping CornerBoys without Names     Code Name VerityAcross the UniverseThe Night She DisappearedDeadly Little Voices (a Touch Novel) (Touch Novels)

Writing Teen Novels
www.writingteennovels.com

Writing Honest Depictions In Your Novels, by Paul Volponi

Writing with complete honesty is one of the hardest things for fledgling authors of teen novels to achieve. They worry about their name being attached to the story – even though it is fiction and it will be the characters doing the action and speaking the dialogue, not them. I’ve heard statements from beginning writers such as – readers will think I support what the characters do and say.

In my opinion, a writer needs to cut loose from anything resembling these feelings. They will only weigh you down and stop your work from evolving. I had to deal with this issue when I wrote several books which touched upon racism and hatred in our society. Black and White, Response, Rooftop, Rikers High, and Crossing Lines are all novels that I’ve written which have characters that espouse ugly ideas and brutal language. But if you try to couch your story and not show the way teens really act, or how they can act, during their worst moments, then your story will probably ring hollow.

When I decided to write Rikers High, a novel about a place in which I worked for six years, honesty came into play in a different way. Just some background: Rikers Island is the biggest jail in the world. There are high schools there for teens who can’t make bail and are awaiting trial in the court system. The novel shows an inmate demographic that is heavily black and Hispanic, because that matches the real demographic of Rikers Island. Incidents in the novel involving students/inmates with their teachers and correction officers are all a reflection of what I had really witnessed while working there. After the novel was published, some teachers and officers I worked with felt they recognized themselves and things that they had done, both good and bad. Needless to say, many were unhappy with my honesty. I lived with the ramifications and never regretted it. That novel accurately reflects six years of what I saw happening on Rikers Island.

I found it really interesting when a writer whom I had never met dedicated a YouTube video to the honesty in Rikers High. That video can be found at http://www.youtube.com/watch?v=MVmalLRRlKE

So every time you reread your story, there are several basic questions you need to continually ask:

1. Have I passed up on writing any scene that, in my heart, I know should be included in my story?

2. Do my most dramatic scenes fall short of an honest portrayal because I’m worried about what people will think about my views or sensibilities?

3. Does the dialogue I’m using truly represent what real people would say (including curse words) in tense situations?

4. Was I honest with myself and my fiction?

You should always be honest and brave in your writing. That way your fiction will represent real life. There is no higher standard that that.

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Paul Volponi’s author website: www.paulvolponibooks.com

Paul Volponi’s bio page

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Rikers HighRooftopBlack and WhiteHurricane Song     Cleopatra ConfessesThe Night She DisappearedCode Name Verity

Writing Teen Novels
www.writingteennovels.com

Handling Feedback About My Novels, by Carolyn Meyer

Over the past months I’ve written sequentially about character, plot, narrator, voice and dialogue – all the particular challenges of writing a historical novel for teens. In practice all of these happen more or less simultaneously. Eventually the day comes when you’re ready to send your novel out into the world. You ask for an opinion, but what you want is praise. Anything less is a disappointment – or even infuriating. They just didn’t get it!

Maybe your first reader is your spouse or child. They’ve watched your struggle, and they love you. So you probably won’t get an honest opinion. If it isn’t honest, it isn’t useful.

Friends are also unlikely to give you the feedback you need. Some writers rely heavily on writing groups. I tried one early in my career and found that none of us was skilled at giving constructive criticism. I didn’t know if I could trust what I heard, and eventually I quit.

Now with an established career I have a signed contract before I write the book, and I send what I believe is a finished manuscript directly to my editor. I’m relieved – but I’m also anxious. I want her to pronounce it perfect. But what if she hates it?

So far that hasn’t happened. I’ve never had a contracted novel rejected, but I’ve also never had one accepted without a lot of revising.

Months pass before I hear back. The response is usually a detailed letter that begins, “Dear Carolyn, I have finished reading (fill in the title), and I love most of what you have written.”

The key word here is “most”. What exactly does the editor not love? Sometimes there are structural problems, so chapters should be cut or moved. Sometimes characters need more development. Sometimes the beginning doesn’t pull the reader in quickly enough. The one I get the most often is: “But how does the character feel?”

Years ago my reaction was to feel wounded and my instinct was to argue. Eventually I learned how to work with the advice. Luckily I’ve always had editors I trust. I can accept most of the suggestions, if not all, and make the revisions. The process goes back and forth over a period of weeks. In Mozart’s Shadow required four revisions before the editor and I declared ourselves happy with it.

Once the book is published everyone waits expectantly, and a little worriedly, for word from the reviewers. The reviews aren’t always stellar. Reviews of Cleopatra Confesses were mixed. Some reviewers wrote admiringly, while others picked it apart. After the professional reviewers, many of them teachers and librarians, come the readers themselves. They’re not just teens: More than half the buyers of YA books are said to be over 18. People aged 30 to 44 account for 28% of the sales – and they post their comments online. Adults want more adult material and may be dismissive of YA books for younger readers. Young kids don’t always know how to write useful reviews, with their comments ranging from “best book ever” to “borrrring”.

You can learn a great deal from an editor’s criticisms, but once a book is published there is nothing you can do to change it. Reading reviews, especially when they’re snarky, can give you heartburn. It’s best to ignore the bad ones, enjoy the good ones and keep on writing.

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Carolyn Meyer’s author website: www.readcarolyn.com

Carolyn Meyer’s bio page

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In Mozart's Shadow: His Sister's StoryMary, Bloody MaryThe Bad Queen: Rules and Instructions for Marie-AntoinetteCleopatra Confesses     Deadly Little SecretSaraswati's Way

Writing Teen Novels
www.writingteennovels.com

Writing Sociopathic Characters, by April Henry

When you write mysteries and thrillers, chances are that you will someday write about a person who is a sociopath. In my upcoming book, The Girl Who Was Supposed to Die, one of the characters is a sociopath.

Even though I had written about them, it took me years to figure out that someone I knew was a sociopath. People will often hear sociopath or psychopath – the two terms are basically interchangeable – and think you must be talking about a serial killer. But no. Only a few are. Most are people you might work with, live next door to or be related to. For the most part, they are people who leave a trail of broken hearts, empty wallets and frustrated expectations in their wake.

In some ways, I’m like a sociopath. I was born with no real sense of direction. I can be facing the setting sun and still have no idea where west is. I routinely get lost. It can take years for me to grasp how one street relates to another.

Sociopaths are like that. Only instead of being born without a sense of direction, they seem to be born with an inability to value other people as real, vulnerable human beings.

Robert Hare, PhD, is a pioneer in criminal psychology, specifically the study of sociopaths. He’s come up with some traits common to most sociopaths.

Sociopathic traits

Sociopaths have superficial charm. They are smooth and engaging. That’s because they are not in the least shy or self-conscious. The woman I know comes across well – at first. She easily struck up conversations with strangers.

Sociopaths have a grandiose sense of self-worth. They’re opinionated and cocky. They are so sure of their self worth that at first you might be too. The woman I know was thinking she should become a TV broadcaster – despite lacking any training or experience in this highly competitive field.

Sociopaths have a need for stimulation. They get bored, they take chances, they like thrills. They have a hard time finishing what they start. They are impulsive. The woman I know sometimes hooked up with near strangers.

Sociopaths lie, con and manipulate. It ranges from being sly to being outright dishonest.

The woman I know is an excellent liar. Caught in a lie, she simply layers on two or three more.

Sociopaths don’t feel any guilt. The only feelings they have about their victims are disdain. They have a lack of feeling in general – cold and tactless. I once saw the woman I know laugh because she had made a stranger believe one of her lies to the point the stranger cried with pity for her imaginary fate.

Sociopaths have a parasitic lifestyle. They are good at getting others to pay. The woman I know hasn’t had a job for years.

Sociopaths have difficulties controlling their behavior. They are annoyed, impatient, aggressive, hasty, and often angry. The woman I know ended up in jail for attacking someone.

Sociopaths have no realistic long-term goals. Or their goals are unrealistic – like become a rock star or a famous actor. Or, like the woman I know, to become a TV reporter.

Sociopaths are irresponsible. They may not pay bills, show up late, or do a sloppy job.

They also won’t accept responsibility for their own actions. According to the woman I know, nothing was ever her fault.

Sociopaths you have known

Sociopaths cause so many problems, but, at least right now, we have no way of curing them. Put them in the general prison population or in a mental hospital, and they’ll find ways to manipulate the other inmates.

In order for a person to be change, they must want to be changed. Dr. Hare and others say that sociopaths seldom, if ever, want to be fixed.

Think about people you have come across at work, at school, in your neighborhood, even at church. Chances are that there might be someone who embodies a large number of these traits.

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April Henry’s author website: www.aprilhenrymysteries.com

April Henry’s bio page

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The Night She DisappearedThe Girl Who Was Supposed to DieGirl, StolenShock Point     Deadly Little SecretRikers High

Writing Teen Novels
www.writingteennovels.com

Marketing Your Teen Novel On A Small Budget, by Laurie Faria Stolarz

If you read my post last month on inexpensive ways to market your novel you learned how you can promote your work for free.  If you have a promotional budget set aside – even a smallish one – here are some options for how you can stretch your marketing dollar.

$100:

Order some business cards.  They’re cheap and worth every penny.

Bookmarks.  Some authors swear by them.  If you’re especially savvy, you’ll print part of a reading group guide on the back.

Speaking of guides …. Print up some copies of your teacher and reading group guides and mail/distribute where appropriate.

Bookplates: You can purchase inexpensive sticky labels from the business supply store and design some with the included software.  Great for school visits and responding to fan mail.

Bring candy to signings.  Nothing encourages Q&A more than a sugary treat.

$250:

Beef up your website.  Purchase some economical do-it-yourself software and register your domain name.

Join SCBWI and attend regional conference.  See, you’re ahead of the game!

Make up press kits and mail as needed.  Carry extras with you – they come in handy!

Order postcards and send to indie booksellers, librarians, reviewers, etc.  This can potentially blow your budget, so always ask your publisher if they’d mind paying for postage.  You get the added benefit of their mailing list!

Create speaking brochures and mail to schools and libraries.  Speaking gigs get your name out, help sell books and (ideally) act as supplemental income.

$500:

Throw a launch party for your book.  You’ll definitely need to keep it on a shoestring budget, but this is a great opportunity to get the word out about your new book.  Ask an indie bookseller to work the event (or provide the space) and be sure to invite any teachers and librarians you’ve befriended.

Take some influential people to lunch.  Identify some of the kid-lit leaders in your community.  Ask them if they’d mind letting you pick their brain for ideas of how to be more involved.  Once you both start talking shop, you never know what opportunities can become available for you and your work.

Make your own creative book-themed giveaway.  Take them to your events, and make sure to send some to your editor.

Commission a book trailer.  This is the hottest new promotional tool, and it costs way less than you think (hint: with the right software, you can even make it yourself!).  Upload the clip to MySpace and YouTube.  Announce its launch on listservs and blogs.

Create a podcast.  Buy a microphone for your computer and record away!  Podcasts can be uploaded to iTunes for free and are another way to beef up your web content.

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Laurie Faria Stolarz’s author website: www.lauriestolarz.com

Laurie Faria Stolarz’s bio page

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Deadly Little SecretDeadly Little Voices (a Touch Novel) (Touch Novels)Project 17Silver is for Secrets     Saraswati's WayRikers High

Writing Teen Novels
www.writingteennovels.com

Nurturing (And Protecting) Your Story Idea, by Diane Lee Wilson

I don’t talk to anyone – ANYONE – about the novel I’m working on: not family, not my editor, not my friends. This can go on for months. People will feel offended but the danger is too great: one little adverse comment (or, as sensitive as I am, even a sideways look) will take the air out of the idea as surely as if one had squeezed a baby chick around the neck. A developing story is simply too fragile to share.

Only when I have enough chapters done that I’m (fairly) confident I have a good story going do I write up a book proposal. I provide an overview of the story and supplement that with the novel’s opening chapters. If I happen to have already envisioned the climax of the story – especially if it’s really exciting – I definitely don’t share those details. I simply try to ‘sell it’ from a convincing premise and several chapters, maybe 50+ pages. (That’s a recent luxury. For my first five novels, I presented complete manuscripts. Only now do I submit – via my agent – a proposal and initial chapters, and I guess my publisher knows that I’ll come through with a successful project.)

Even without telling your friends about your story, there are many threats to your idea: you’ll open a newspaper or magazine one day and read about a newly published book that is EXACTLY your story. (What? How did that thief get hold of my story?). Relax and take a deep breath. There are any number of stories with similar themes or plots or characters that, unfortunately, get introduced at similar times. The thing to remember is that YOU and only YOU can tell your story your way. Thirty people, having witnessed the same event, would relate it in thirty different ways. So take another deep breath, exhale, and get back to writing.

Still another threat to your story idea resides in your very own head, home to the Caustic Critic. The Educated Editor. The Literary Snob. It is SO easy to let those voices inside your head talk you out of your story. Pretty soon you’ve stopped writing. It’s really no good, you tell yourself. What was I thinking? No one’s going to read this.

STOP. Think. What made you want to write your story in the first place? Is the fire still there? Then stir up the embers, muzzle those voices in your head and get back to writing.

But teens won’t like my story. They’ll think it’s boring or lame or (fill in your favorite aspersion). Again, STOP. You’re the author of your story and your job is to make your reader WANT to read it. Surely you’ve encountered authors or storytellers in your life that possess the magic to make you hang on every word – no matter the subject. So borrow some of that magic and do the same! Get back to writing!

The easiest thing in the world is to abandon your story. That’s why so very many people say, “I’m going to write a story one of these days” and then never do. Conceiving the story idea is always more fun than raising it to maturation. Ultimately this is YOUR story and you alone must be champion of it: you must create it, nurture it, protect it and sell it. Trust your instinct. (And get back to writing.)

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Diane Lee Wilson’s author website: www.dianeleewilson.com

Diane Lee Wilson’s bio page

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TracksI Rode a Horse of Milk White JadeBlack Storm Comin'Raven Speak     Code Name VerityWhere the Broken Heart Still Beats: The Story of Cynthia Ann ParkerProject 17

Writing Teen Novels
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