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Posts from the ‘Australian YA novelist’ Category

Month In Review (September 2013)

Writing Teen Novels has reached the end of its ninth month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Writing Teen Novels contributor Elizabeth Wein is attached to two novel writing retreats in November, 2014 with Novel Writing Retreats Australia.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for September 2013

Using Movies And TV As Inspiration For Novels by Beth Revis

First Person Versus Third Person Narration by Bernard Beckett

Language In Teen Novels by Diane Lee Wilson

Writing Dialogue In Novels by Monika Schroder

Writing About Violence And Physical Harm In Novels by April Henry

Using A Notebook To Store Ideas For Novel Writing by Paul Volponi

My Favourite Author Of Teen Novels by Elizabeth Wein

Embracing E-Books by Amy Kathleen Ryan

Writing Believable Teen Characters by Lish McBride

Life As A Published Novelist by Andy Briggs

Plot Structure In Novels by Kate Forsyth

On Getting A Novel Published by Pauline Francis

Working With My Editor by Stephen Emond (graphic novelist)

On Research For Writing Teen Science Fiction by Sam Hawksmoor

On Prologues And Epilogues In Teen Historical Novels by Carolyn Meyer

On Revising A Novel Manuscript by Kashmira Sheth

A Page-Turning Plot = A Character-In-Action (Secrets Of Narrative Drive) by Sarah Mussi

Writing Dialogue In Teen Novels by Laurie Faria Stolarz

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‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

***

Writing Teen Novels
www.writingteennovels.com

Plot Structure In Novels, by Kate Forsyth

Whenever I teach writing, I always spend quite a lot of time talking about plot structure.

This is because I think that it is nearly always the reason why a novel fails. A book can have engaging characters; a fast-paced, action-packed plot; and a fascinating setting, but still not quite work. This is nearly always because it has a weak structure.

Think of the structure as the framework of your novel, the internal architecture. It is like a human skeleton – invisible to the eye, yet the thing that stops it collapsing into jelly. Like the skeleton, it is made up of small parts, each linked one to the other, each doing their job to keep your novel working at full strength. The structure of a novel should fall into logical divisions, usually called scenes, chapters and sections.

A scene is an incident or event in a novel in which the action takes place continuously in a single place or time. Each scene should follow on logically from each other in a cause-and-effect chain.

A chapter is a division of the novel into regular parts, usually comprising one major scene, but sometimes combining several scenes.

A section is a collection of chapters, bound together by the point of view of the primary protagonist, by the place or time in which the action is set, or thematically.

In children’s and young adult fiction, the structure is usually more simple and linear than in an adult book, but this is a rule that can be broken. For example, The Puzzle Ring begins long after the adventure has ended, foreshadowing what will come.

Chapters aren’t just arbitrary rest breaks in a book. They should be carefully planned to control pace, to advance the plot and to work with the reader’s natural reading rhythms.

I usually aim for a chapter length between 1,500-2,000 for a children’s book (aged 8+), 2,500-3,000 words for young adults (aged 12+), and 3,500-4,000 words for an adult’s book (aged 16+). However, there is no rule – a chapter can be can a single word as in Frank McCourt’s final chapter of Angela’s Ashes: ‘’Tis”

I usually maintain a single point of view in a chapter. Sometimes I will move from head to head, particularly in the final climactic scenes when numerous characters may all be working toward the final denouement.

I will usually finish a chapter either at a point of high tension, i.e. some kind of cliffhanger, or at a moment of resolution. I call the first a ‘peak’ scene and the second a ‘trough’ scene. Having peaks and troughs varies the pace and rhythm of the book, and allows moments of rest before cranking up the intensity again.

I try to make sure each point of resolution occurs after half an hour’s reading for a child, and an hour’s reading for a young adult or adult.  This is so the reader can get off their bus and go to school or work, or turn off their light and go to bed. Most people read in this way. I know I do.

***

Kate Forsyth’s author website: www.kateforsyth.com.au

Kate Forsyth’s bio page

***

United States (and beyond)

The Puzzle Ring   

United Kingdom (and beyond)

    

Australia (and beyond)

The Gypsy Crown (Chain of Charms)The Starthorn TreeThe Tower of Ravens (Rhiannon's Ride)The Puzzle Ring     I Rode a Horse of Milk White JadeAcross the UniverseTarzan: The Jungle Warrior: Bk. 2

Writing Teen Novels
www.writingteennovels.com

Month In Review (August 2013)

Writing Teen Novels has reached the end of its eighth month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Writing Teen Novels contributor Elizabeth Wein is attached to two novel writing retreats in November, 2014 with Novel Writing Retreats Australia.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for August 2013

Tips For Writing Page-Turning Novels by April Henry

Creating Teenage Characters For Novels by Diane Lee Wilson

My Journey Of Writing And Publishing My First Novel by Mandi Lynn (guest article)

Not Treating Teenage Years Merely As Preparation For Adulthood In Your Novels by Bernard Beckett

The Importance Of An Authentic And Unique Voice In Teen Novels by Monika Schroder

Bringing English 101 To Your Novel by Beth Revis

Should You Self-Publish Your Book? by Paul Volponi

Three Act Structure For Novel Writing by Amy Kathleen Ryan

Characters And Story Development For Novels by Laurie Faria Stolarz

My Writing Process For ‘The Wildkin’s Curse’ by Kate Forsyth

Writing ‘Evil’ Characters In Teen Novels by Elizabeth Wein

Overcoming Writer’s Block by Lish McBride

Writing Dialogue In Novels by Carolyn Meyer

Sustaining A Plot With Obstacles And Sub-Goals (Secrets Of Narrative Drive) by Sarah Mussi

Getting Story Ideas And Writing Them Into Novels by Pauline Francis

Writing Stories In Different Formats by Stephen Emond (graphic novelist)

Comparing Teen Fiction And Adult Fiction by Sam Hawksmoor

The Benefits Of Taking A Break When Writing by Kashmira Sheth

On Age Ranges For Novels by Andy Briggs

***

‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

***

Writing Teen Novels
www.writingteennovels.com

My Writing Process For ‘The Wildkin’s Curse’, by Kate Forsyth

Writing a novel is a big undertaking. It takes about a year or more, usually, and lots of problems, both little and large, present themselves along the way.

I have learned to trust the process and to know I’ll receive help when I need it. Sometimes the way the answer comes to me is very mysterious and magical.

The best example is what happened to me one morning early in the writing of my teen fantasy novel, The Wildkin’s Curse.

I’ve described in an earlier post how the idea came to me with the image of a boy falling from an impossibly tall crystal tower and the fragment of a prophecy, ‘Next shall be the king-breaker, the king-maker, though broken himself he shall be.’

It’s not much to work with.

I began, as always, by asking myself questions. Who was the boy? Why did he fall from the crystal tower? Had he been climbing it? Trying to get inside? To rescue someone? Who? A girl? Why was she locked away?

Slowly I built up my cast of characters – Zed and his best friend Merry, children of the heroes of The Starthorn Tree; Rozalina, the wildkin princess kept imprisoned because she has the power to make wishes (and curses) comes true; and her cousin, Liliana, determined to rescue her and calling upon Zed and Merry to help.

Then I was stuck. I had absolutely no idea how my three heroes were to rescue the wildkin girl from that crystal tower.

I also had no thematic structure for the book.

I have never really liked fantasy books where the heroes just wander about having typical fantasy-style adventures (i.e. attack by monster in lake, misadventure while eating stew in roadside inn) until, at last, they battle for whatever it is they are trying to get. I have always believed a story is like a sword – it must have a point.

So I always build my story very carefully, with each adventure or encounter having some kind of importance in the over-arching themes and symbolism of the story.

In The Gypsy Crown, Emilia and Luka must search for, and find, a talisman in each book in order to try and fix a broken charm bracelet. Each charm has some kind of meaning, linked thematically to the lesson the children must learn, and the cost that must be paid, before they can win the charm. For example, in ‘The Silver Horse’, Emilia must give up her beloved mare Alida to another Gypsy clan in return for them giving her their lucky horse charm.

Similarly, in The Wildkin’s Curse, I wanted each obstacle my characters overcame to have some kind of symbolic significance as well as a practical function in propelling along the plot. I had been puzzling over this particular problem for some time, but had not yet worked out a solution.

I could not sleep one night for worrying about this problem. I got up in the early hush of the dawn and went walking, something I do often when I am puzzling over a problem. It was a pale, misty dawn, and the harbour shone silver where the sun was rising. I strode along, thinking, ‘how can they rescue Rozalina? How?’

Suddenly a raven took to the air, right in front of me, its wings so close I felt them brush past my face.

A black feather dropped at my feet.

I bent and picked up the feather.

A feather, I thought. Perhaps they have a cloak of feathers… perhaps it is damaged… it’s missing seven feathers… each one from a different bird… a raven, symbol of death and wisdom… they could find that feather at the end of a tragic battle scene… an eagle, symbol of power and royalty… perhaps they must climb a dangerous cliff to find it… a nightingale, symbol of true love… a tender romantic scene late in the book… when my hero and heroine kiss for the first time… I walked faster and faster and faster, my mind leaping from one idea to another. By the time I got home I had my entire novel fully plotted out. I sat down and worked feverishly, writing it all down in my notebook.

I had my method of rescue, I had my thematic structure. All because a raven dropped a feather at my feet.

***

Kate Forsyth’s author website: www.kateforsyth.com.au

Kate Forsyth’s bio page

***

United States (and beyond)

The Puzzle Ring   

United Kingdom (and beyond)

    

Australia (and beyond)

The Gypsy Crown (Chain of Charms)The Starthorn TreeThe Tower of Ravens (Rhiannon's Ride)The Puzzle Ring     RooftopCode Name VerityHappyface

Writing Teen Novels
www.writingteennovels.com

Month In Review (July 2013)

Writing Teen Novels has reached the end of its seventh month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for July 2013

Why I Write About Children In Times Of  War by Monika Schroder

Plot Is The Backbone Of All Page-Turners by April Henry

Writing Teen Novels With Timeless Appeal by Diane Lee Wilson

Writing Suspenseful Novels by Amy Kathleen Ryan

Handling Novel Writing Deadlines by Paul Volponi

Mistakes I’ve Made As A Novelist by Bernard Beckett

Writing Teen Novels About Pilots And Flying by Elizabeth Wein

Techniques For Overcoming Writer’s Block by Beth Revis

Finding The Right “Voice” For Your Novel by Carolyn Meyer

Pacing A Novel by Lish McBride

Creating A Realistic Story World by Andy Briggs

Plotting A Novel by Laurie Faria Stolarz

Working On My Novel With My Editor by Sam Hawksmoor

Narrating Your Story In A Lean Style by Kashmira Sheth

Writing Prophecies In Fantasy Novels by Kate Forsyth

Structuring Novel Chapters by Stephen Emond (graphic novelist)

Researching For My Teen Historical Novels by Pauline Francis

Maintaining Suspense Throughout Your Plot (Secrets Of Narrative Drive) by Sarah Mussi

***

‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

***

Writing Teen Novels
www.writingteennovels.com

Writing Prophecies In Fantasy Novels, by Kate Forsyth

I happen to love prophecies in a fantasy novel. I know lots of people hate them because they find them clichéd and contrived. I cannot help it. I really love them, both to read and to write. I agree that many prophecies weaken a story, undermining the element of surprise. I agree they are often poorly written. I agree there’s often no real need for them, apart to add a sense of inflated importance to it all: ‘Stop the cuckoo’s cry, else you shall all die!” However, sometimes a prophecy just seems necessary.

I have lots of prophecies in my teen fantasy novel, The Starthorn Tree. One of my key characters is a boy called Durrik who has the habit of blurting out prophecies at the very worst moment. He hears them only in fragments and is compelled to utter them at once, even though he may displease his listeners to the point they might want him dead.

‘Cursed is the son of light!’ he shouts in his dreams. ‘Cursed the tower shining bright.’

Most of these prophecies I had planned, and written carefully with the help of a rhyming dictionary and my old poetry textbook full of terms like iambic pentameter and trochee and anapest.

However, there is one prophecy in the book I did not plan in advance, and write carefully, making sure the rhythm and rhyme was as it should be.

This prophecy came to me… well, like a prophecy.

Uncalled for, unplanned, unwanted.

It came to me in a kind of lucid dreaming late one night, when I was up and feeding my newborn son. I had been working on The Starthorn Tree for about a year, and had always thought of it as a stand-alone novel. However, that night, as I sat in the darkness, feeding my baby and listening to the wind and the rain howling about my house, it came to me that there should be three books set in this magical world I had invented, not just one. The heroes of the second book would be the children of the heroes of The Starthorn Tree, and the heroes of the third book would be their grandchildren. Three generations, three adventures, three books.

I caught up my notebook and pen, and scribbled down a string of words or images that came very vividly to my mind’s eye.

‘Three times a babe shall be born,’ I wrote, then a rough estimation of the words ‘between star-crowned and iron-bound’ (I polished this up later.)  Then I wrote: ‘First, the sower of seeds, the soothsayer, though lame he must travel far.’

That first child was clearly Durrik, my lame boy who can hear the future. So far, so good.

But then I wrote, hardly knowing where the words came from:

‘Next shall be the king-breaker, the king-maker, though broken himself he shall be.’

In my mind’s eye I saw a boy falling from an impossibly high crystal tower, falling through clouds, falling down to smash into the sea crawling so far below. The scene was as vivid as a snippet of a film, and I had no idea where it came from.

But more words were beating insistently at my mind’s ear, determined to be told. I scribbled down a few more lines in my notebook, virtually word perfect for how they appeared in the novel:

‘Last, the smallest and greatest –
In him the blood of wise and wild,
Farseeing ones and starseeing ones.
Though he must be lost before he can find
Though, before he sees, he must be blind,
If he can find and if he can see
The true king of all he shall be.’

In my mind’s eye, I had a vision of a boy – small and thin – stumbling through a swamp, his eyes bandaged. A lame girl led him by the hand. That was it – a couple of fragmented images and a prophecy I didn’t understand myself. Yet out of that came two more novels, The Wildkin’s Curse and The Starkin Crown, and my stand-alone fantasy novel became a trilogy.

***

Kate Forsyth’s author website: www.kateforsyth.com.au

Kate Forsyth’s bio page

***

United States (and beyond)

The Puzzle Ring   

United Kingdom (and beyond)

    

Australia (and beyond)

The Gypsy Crown (Chain of Charms)The Starthorn TreeThe Tower of Ravens (Rhiannon's Ride)The Puzzle Ring     Keeping CornerBlack Storm Comin'Across the Universe

Writing Teen Novels
www.writingteennovels.com

Month In Review (June 2013)

Writing Teen Novels has reached the end of its sixth month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for June 2013

10 Tips For Becoming A Good Novelist by April Henry

My Novel Writing Process by Carolyn Meyer

How To Find A Literary Agent by Amy Kathleen Ryan

Dealing With Anxieties During The Novel Writing Process by Monika Schroder

Bringing History To Life In Teen Novels by Diane Lee Wilson

Sci Fi Novels For Teens by Beth Revis

Creating A Sense Of Place In A Novel by Kashmira Sheth

A Novelist’s Responsibility To Readers by Elizabeth Wein

Dealing With Reviews And Critics Of Your Teen Novels by Paul Volponi

The Good Thing About Bad Writing by Lish McBride

Why Write Novels? by Bernard Beckett

Creating Life-like Stories For Novels by Kate Forsyth

Developing An Idea Into A Complete Story by Andy Briggs

On Judging A Short Story Competition For School Students by Pauline Francis

Beginning A Story: 10 Things To Consider by Laurie Faria Stolarz

Creating Teen Characters For Dystopian Novels by Sam Hawksmoor

Characters With Goals (Secrets Of Narrative Drive) by Sarah Mussi

Creating Conflict For Your Character by Stephen Emond (graphic novelist)

***

‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

***

Writing Teen Novels
www.writingteennovels.com

Creating Life-like Stories For Novels, by Kate Forsyth

A writer must learn to watch, listen and learn from life, in order to create the illusion of life in their work.

Go out with your notebook and pen to explore and experience. Catch a bus or a train, sit in the park or in a café, wander the streets or go to an art gallery, a museum, a skateboard park or anywhere that catches your fancy. Watch. Listen. Jot snatches of dialogue. Write quick word sketches of people:

- how they sit

- how they eat

- how they dress

- how they behave when in company, and

- how they behave when alone.

Begin to develop stories around them. Wonder about their lives. Imagine motivations for their behaviour. Why do they talk, move, think and act as they do?  Feel free to let your imagination run wild.

Quick character sketches like these can be a great way to amuse yourself while bored waiting in a doctor’s surgery or for a ferry.

Over time you’ll build up pages of them that you can use when actually writing a novel. Train yourself to be observant and notice nervous mannerisms or interesting tics – do they always wear red shoes? How do they like to eat their eggs?

Obviously a character sketch like this only reveals personality by externals, but it’s amazing how much we can infer just from those visual clues.

The great strength of a novel, of course, is that we have dialogue, action and interior monologue to help us delineate characters as well as their visual appearance.

The more you try and get inside people’s heads, and imagine what they think and feel, the easier it becomes.

I always begin a novel by thinking about my characters, and what role they play in the story. In general, most novels contain a cast of characters whose roles can be summarized as following:

- the hero (or protagonist)

- the villain (or antagonist)

- the romantic interest (or two – I do like a love triangle!)

- the companion or sidekick

- the mentor

- the circle of friends and allies

- henchmen (the villain’s circle of friends and allies)

- complications

- clowns

- animal friends

- secret friends and hidden enemies

- the sacrifice

Of course, sometimes one character will take on more than one role. Often the buddy will also be the clown, for example, or he may act as the sacrifice. The animal friend can actually be a robot, a coconut with a face drawn on it or a rag doll. The romantic interest may prove to be a hidden enemy, or the villain may end up being a secret friend.

I assemble my cast of characters – I give them names and faces, and then I begin to daydream them into life. I wonder about:

- their motives

- their key character traits (impulsive and quick-tempered, or slow to anger but slow to forgive?)

- their great strengths

- their great weaknesses

- what sort of clothes do they wear

- what kind of food they like

- how do they move – are they quick and agile, or slow and clumsy?

- how they speak (dialogue is extremely important when delineating character).

Often strengths and weaknesses are different points on a spectrum of the same character trait, for example a generous-hearted person who thinks the best of everyone may sometimes not be a good judge of character.

Then I always begin to wonder about the two great driving forces of any personality:

- what do they FEAR most

- what do they DESIRE most?

I also consider:

- how will they grow and change throughout the story?

- what lessons do they need to learn?

The other thing that is also really important to remember is that the character’s outer journey must always be reflected by the inner journey They must learn something with each ordeal faced and each obstacle overcome. The true narrative arc of any story is the protagonist’s growth towards self-realisation and wisdom.

***

Kate Forsyth’s author website: www.kateforsyth.com.au

Kate Forsyth’s bio page

***

United States (and beyond)

The Puzzle Ring   

United Kingdom (and beyond)

    

Australia (and beyond)

The Gypsy Crown (Chain of Charms)The Starthorn TreeThe Tower of Ravens (Rhiannon's Ride)The Puzzle Ring     A World AwayThe Night She DisappearedMy Brother's Shadow

Writing Teen Novels
www.writingteennovels.com

Month In Review (May 2013)

Read more

On Character Development For Novelists, by Kate Forsyth

Why is it that some books you read linger in your heart and mind for the rest of your life, while you have trouble remembering much about another book only a few days later?

It is because some books have characters that seem to leap off the page, vivid and alive. These characters have a story to tell that moves and challenges you, making your pulse hurry and your throat thicken, making you turn the pages faster and faster because you so desperately want to know what happens next.

How do we, as writers, create characters who sing and dance and leap? How do we tell a story that makes someone we have never meet sigh, laugh out loud and weep?

To me, character and plot are the most important cogs in the well-oiled machine that is a working story. It is also where many writers fail.

Let’s start with character, the mainspring of any story’s mechanics.

Character building is, I think, one of the trickiest parts of writing a novel, and the one factor that can transform a mediocre book into a marvellous one. Usually our favourite books are the ones in which we wish the main character was our friend.

When writing about the books of Edith Nesbit, Noel Streatfield invented what she called the ‘bus test’: ‘One way of gauging the aliveness of a family in a children’s book is to ask yourself “Would I know them if they sat opposite me in a bus?”’

I think this is a test for all characters in all books - could you, for example, recognise Jo March and her sisters? Would you recognise Harry Potter or Miss Havisham? What about Sherlock Holmes? Scarlett O’Hara? Peter Pan?

Sometimes characters just appear in your imagination with a strong voice all of their own.

Sometimes you need to build them painstakingly from the ground up and wait for them to come to life.

I often find it takes about the first quarter of the first draft (around 20,000 words) for my characters to really begin to move and talk naturally. So don’t worry if you find it takes you a while to really connect - this is quite normal.

William Faulkner said: ‘It begins with a character, usually, and once he stands upon his feet and begins to move, all I can do is trot along behind him with a paper and pencil trying to keep up long enough to put down what he says and does.’

Character 101

First, let’s consider what exactly a ‘character’ is.

Characters are the people who populate your story.

Characterisation: the process by which a writer makes those characters seem real to the reader.

Protagonist: the hero or heroine; the primary character or point of view with whom the reader connects and empathises

Antagonist: the character or force that stands directly opposed to the protagonist and gives rise to the conflict of the story.

Foil: character whose behaviour and values provides a contrast to the protagonist in order to highlight their personalities i.e. weak to strong, quiet to talkative

Antihero: protagonist who has the opposite of most of the traditional attributes of a hero. He may weak and ineffectual; or greedy and cruel. It is much harder to build empathy for an anti-hero.

Static character: does not change throughout the work and the reader’s knowledge of that character does not grow.

Dynamic character: undergoes some kind of change because of the action in the plot. Usually the protagonist of a story is a dynamic character and their growth towards self-realisation and wisdom is the true narrative arc.

Flat character: embodies one or two qualities or traits that can be readily described in a brief summary.  Can sometimes be:

Stock character: embodies stereotypes such as the ‘dumb blonde’ or ‘the cruel stepmother’ and so forth.

Round characters: more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in most real people. They can grow and change and ‘surprise convincingly’.

Showing and Telling: Authors have two major methods of presenting characters: showing and telling. Usually authors use a combination of both.

Showing: allows the author to present a character talking and acting, and lets the reader infer what kind of person the character is.

Telling: the author describes and evaluates the character for the reader.

Characters can be convincing, whether they are presented by showing or by telling, as long as their actions are motivated.

Character Tags:  everyone has certain individual mannerisms such as chewing their nails, sitting with one foot on top of the other, playing with their hair, etc. Try to find one or two that will help define each character i.e. a nervous girl who chews her bottom lip, a confident man who stands too close. A character tag can evoke the personality of a character far more powerfully than whole paragraphs of explanation. However, be careful not to overuse them.

***

Kate Forsyth’s author website: www.kateforsyth.com.au

Kate Forsyth’s bio page

***

United States (and beyond)

The Puzzle Ring   

United Kingdom (and beyond)

    

Australia (and beyond)

The Gypsy Crown (Chain of Charms)The Starthorn TreeThe Tower of Ravens (Rhiannon's Ride)The Puzzle Ring     Across the UniverseCode Name VerityTarzan: The Jungle Warrior: Bk. 2

Writing Teen Novels
www.writingteennovels.com

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