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Posts from the ‘US Young Adult novelist’ Category

Month In Review (December 2013)

Writing Teen Novels has reached the final month of articles for 2013 from this year’s multi-national line-up of novelists.

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 December 2013

What I Read When I Was A Teenager by Elizabeth Wein

Writing Sociopathic Characters by April Henry

Examining Philosophical Beliefs Through Teen Novels by Bernard Beckett

Bad Habits To Avoid While Writing by Andy Briggs

Handling Feedback About My Novels by Carolyn Meyer

Writing Honest Depictions In Your Novels by Paul Volponi

Writing Good Dialogue For Your Novel by Lish McBride

Creating Characters With Flaws by Kashmira Sheth

Writing What You Know by Beth Revis

The Young Adult Fiction Industry by Stephen Emond (graphic novelist)

Writing The Opening Lines Of A Novel by Kate Forsyth

How I Became A Writer by Monika Schroder

On Being Nice As A Writer by Amy Kathleen Ryan

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

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

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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.

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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)

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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

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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)

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Writing Good Dialogue For Your Novel, by Lish McBride

There’s a fine line that you have to tread when you’re creating dialogue. You have to manage to write words that sound natural and normal coming out of your character’s mouths while at the same time crafting them to sound better than most conversations. I’ve been told that I write good dialogue. I don’t know if that’s true. I’m obviously biased in my own favor. I’m told that it’s witty and fun and I feel like I’m cheating, because honestly I’m surrounded by witty and fun people and I feel like I’m just reflecting that. Let’s say that you’re not lucky, though, and the people you’re surrounded by are less like Oscar Wilde and more like something that has crawled out of a cave. What then?

First, even cave-speak has it’s place. Not all of your characters are going to be into banter and witticisms. Some are naturally the straight man, only uttering monosyllabic responses and using hand gestures. That’s okay. That’s one of my big things—make the words fit the character. Sometimes I’ll get edits that will say, “I don’t think Sam would ever say this.” Believe it or not, I love those edits. It means my character has become such a living force that my editor is arguing about words that I have made up for them. She can tell when they don’t fit his mouth. It makes me do a happy jig.

Dialogue should be multipurpose. It should advance plot, naturally, but it should also tell us about your characters. It should not, however, be used as a plot-info dump. That’s the difference between this:

“I don’t need your weapon, I have this,” she said, raising an ancient sword.

“Where did you get that?” he growled. “Give it back. Now.”

And this:

“I do not need your weapon, because I stole this one from your house about five minutes ago,” she said.

“I recognize that sword! It is the magical sword from the house of Usher, the one my family has been protecting for generations. It can only be wielded by the chosen one! You are wielding it, so you must be the chosen one, though I cannot believe such a thing right away. You are going to have to prove it.”

Neither of these are the best examples of dialogue, but I think you get the picture. Info dumping is clunky. So is not using contractions. If you don’t use a contraction, it should for a good reason. Same thing goes for slang and dialect—there should be a very good reason to use either. Both dialect and slang can be a good world-building tool when used properly. In Tamora Pierce’s Beka Cooper series, she uses a few slang words like cove, looby and so on. They aren’t over used and it’s clear from context what they mean. It doesn’t stop or slow down the reader, and builds Beka’s character and world at the same time. How? When we meet the upper classes, they don’t use these words, so we know where Beka sits on the class spectrum by using them.

Overuse can be distracting, though. If people can’t read your book or understand anything going on, they put it down.

So how do you gain an ear for dialogue? Well, I can give you some hints. Listen. A lot. Go to a coffee shop and be creepy and eavesdrop on conversations. Write down interesting things that people say. What makes them interesting? If they say boring things, how can you use those lines to make something interesting? Take some dialogue you’re having a hard time with and read it out loud. Does it sound natural? If that doesn’t work, have someone else read it out loud. Watch movies and read books that you love—how do those characters talk? Listen to word choice and pacing. Using actions and description to break up dialogue can create the pacing that you want.

Example:

“Man, I love pie. Pie is the best. I could eat pie forever. What kind of pie is this? I think it has berries.”

Or

“Man, I love pie,” he said, licking his fork. “Pie is the best. I could eat pie forever.” He stabbed something blue with his fork and examined it. “What kind of pie is this?” He stared at the blue glob some more. “I think it has berries.”

The actions and description give the dialogue pauses and slows it down naturally. Also, now I want pie, just maybe not the one I just described.

Homework: Write some really horrible dialogue. I mean really try to make it the worst conversation you’ve ever written. Consciously writing bad dialogue is harder than you think (though we all seem to manage to write it unconsciously quite easily!). Have fun with it. When you’re done, examine it. What makes it terrible? Word use? Too many words? Not enough? Does it reveal anything about the characters? Now take the same dialogue and try to write it well. What’s changed?

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Lish McBride’s author website: www.lishmcbride.com

Lish McBride’s bio page

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Hold Me Closer, NecromancerNecromancing the Stone     Shock PointTarzan: The Jungle Warrior: Bk. 2A Coalition of LionsProject 17Saraswati's Way

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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

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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

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Handling Disappointment To Be A Resilient Writer, by Amy Kathleen Ryan

If you want to be a writer, you have to be tough. The road to publication is full of soul crushing disappointment. Before you find an agent willing to take you on, you might have to endure rejection from several dozen. If you are lucky enough to land a representative, then you might be treated to an onslaught of rejection from dozens of editors before you find the right one. Once you get over the euphoria of your first publication, you might get slammed with a few bad reviews, or worse, you might not get reviewed at all. Then there are the blogs, and the reader reviews, which can get so mean spirited you’ll want to shut off your wi-fi forever.

For a writer, there are endless opportunities to have your tender heart crushed under the wheels of fortune’s dump truck. So how to cope? I’ve been in the business long enough that I’ve developed a few strategies that get me through the tough spots, and I freely share them with you:

Talk to your bestie. I have a wonderful husband who is very good at talking me off the ledge. I’ve also got a best friend who thinks my writing is top notch. Find the people in your life who believe in you and talk about your feelings. A lot of writers keep things bottled up, but that’s just going to make you difficult to live with. Talking it out with a supportive friend can really help you get over a hurt.

Read writers’ memoirs. It always helps to know that you’re not the only one. Every writer knows rejection, and a really honest memoir will talk about it. I remember reading Graham Greene’s A Sort of Autobiography, feeling comforted to know that he chose not to publish his first three books. Knowing that a brilliant writer like him has unpublished works makes me feel better about the dogs I’ve got hidden away. Another excellent memoir is Madeleine L’Engle’s A Circle of Quiet, in which she describes pacing her office in tears after receiving her umpteen millionth rejection for A Wrinkle in Time. What writer wouldn’t feel better after reading that?

Read some negative reader reviews for a writer you truly admire. In my opinion, Suzanne Collins’s Hunger Games series deserves every bit of success it has seen. Not everyone agrees with me. If I ever need to feel cheered up about a really mean review of one of my books, I’ll check out the one star reader reviews for The Hunger Games, or another great book I’ve loved. Most of the time, really cruel reviews are written by silly people, but I’m only able to see that silliness when the review is about someone else’s book. It always helps me feel a lot better knowing the person who didn’t like my book might be just as silly.

Remember disappointment and rejection are part of the job. Every writer, from Charles Dickens to Charlaine Harris, has been rejected. Sometimes it’s about your work. If you’re sending your stuff out before it’s ready, the rejection is your fault and you need to take responsibility and fix it. But sometimes you just haven’t found the right agent or editor, and you need to keep trying. Either way, move on to the next book or representative or publishing house, and don’t feel too sorry for yourself because just like the brain surgeon sometimes loses a patient, sometimes your work will fail to impress. At least for writers, no lives are lost when we fall short.

Above all, keep writing. If you’re working on the next book, and you’re excited about it, a disappointment about your last book might not sting so badly. As far as my own writing goes, I think each of my books is better than the last, and that always makes me feel hopeful.

You can try your hardest and you still might fail, but you will definitely fail if you give up. You might as well give yourself a chance. In my experience, learning to get over the disappointment that goes along with being a writer is a greater determinant of success than talent. I’ve seen plenty of very gifted people give up when they shouldn’t have, and I can only imagine their regret. So keep your chin up! Keep writing!

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

Amy Kathleen Ryan’s bio page

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GlowSparkZen and Xander UndoneVibes    Tracks

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Novel Titles And Covers, by Carolyn Meyer

You’ve written a terrific book for teen readers. The idea is wonderful, you’ve done your homework and your facts are in order. The characters are fully developed, the plot is tight, the voice is original, the descriptions vivid, and the dialogue revealing and realistic.

So what else is there to do before your book goes out into the world?

The title and the cover are designed to hook all readers, but especially teens. You can’t do much about the cover, but it’s important to get the title right. Sometimes it needs tweaking.

Cleopatra Confesses was initially called Cleopatra’s Spell. Victoria Rebels was Victoria Rules for about ten minutes before I discarded that idea.

Mary, Bloody Mary came to me before I wrote the first sentence, having no idea it would be the beginning of a series. I wanted to call the next book, about Elizabeth, My Sister, My Enemy, but marketing wanted her name in the title. It became Beware, Princess Elizabeth. Doomed Queen Anne and Patience, Princess Catherine followed, although neither pleased me as much as the first one. When I began work on a book about Mozart’s sister, I called it Playing with Mozart. Marketing changed that to In Mozart’s Shadow: His Sister’s Story. I’m still not sure why.

Everyone agreed on The Bad Queen, and when we decided to add a provocative subtitle, Rules and Instructions for Marie-Antoinette, we used that idea to add chapter heads based on those rules. Great title, but not all readers have liked those chapter heads.

It made sense to title my next book in the series The Wild Queen with another provocative subtitle: The Days and Nights of Mary, Queen of Scots. Teens like it. Some older readers grumble that the title promises a racier story than the one I’ve delivered.

When I wrote the story of Shakespeare, with his sweetheart, Anne Hathaway, as the narrator, the title arrived with the idea for the book: Loving Will Shakespeare. There was a debate about shortening it to Loving Will, but I argued against it and won.

I’m happy with The True Adventures of Charley Darwin, but I’m puzzled to hear it called a “fictional autobiography”. Does that mean that every historical novel with a first-person narrator is a “fictional autobiography”? The label has not been applied to the Young Royals, in which Catherine, Mary, Elizabeth and Anne Boleyn all tell their own stories.

The cover is the most important tool for attracting a reader’s eye. In the course of writing more than fifty published books, I’ve learned that I have very little input. Usually the finished design arrives with a note, “Don’t you love this jacket?” and often I do. But sometimes I do not.

I love the jackets for Cleopatra Confesses, both the original and the paperback, and Victoria Rebels is gorgeous. I got to choose Mary’s gown for The Wild Queen. I love the look in the eye of Marie-Antoinette as she peers over her lacy blue fan, but the fan is Victorian, not 18th century. The fan remains and her look beguiles.

At the time of writing this I anxiously wait to see what the art department will do with Beauty’s Daughter, about the daughter of that famous seductress, Helen of Troy. I’ve just learned that marketing doesn’t much like the title. By the time you read this, it may have changed completely.

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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     The Traitor's KissA Million Suns (Across the Universe)Tarzan: The Greystoke Legacy

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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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United States (and beyond)

    

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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
www.writingteennovels.com

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