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Posts tagged ‘historical teen fiction writer’

How I Became A Writer, by Monika Schroder

As a former school librarian I have seen many visiting authors talk to our students about their work. Many of them brought journals from their elementary school years, showed stories they had written when they were ten years old and emphasized how they had always wanted to be a writer. That was never the case with me. I have always been a passionate reader but had no desire or ambition to become a writer or a published author myself. In fact, during my school years writing used to intimidate me.

It wasn’t until, as an elementary-school teacher, I took a class on teaching writing in the summer of 2005 that I first thought about the possibility of becoming a writer. The instructor asked participants to compose a narrative inspired by a family memoir and I chose to write a short story about a boy named Fritz based on my father’s experiences at the end of World War II.

My father grew up on his grandparents’ farm north-east of Berlin where he witnessed the arrival of the Russian army in his village at the end of April 1945. At the time he was only six years old, but he remembered his grandfather’s frantic attempts to defend the village, how they rode together on a horse cart while the old man yelled at other farmers to help build trenches to slow down the Russians’ advance. Then, only days before the Red Army arrived in their village, my great-grandparents hanged themselves in their barn. My father told me that he found them. I tried to imagine what it must have been like for a boy after feeling the adults’ anxiety around him during those turbulent last days of the war, to experience his great-grandparents suicide just before a foreign army occupied his village. A four-page narrative about this event became my submission to the writing class. My fellow students and the instructor liked my story and wanted to hear more about Fritz. And, of course, there was much more. My father also recalled that due to a shortage in caskets, his grandmother had to be buried in the wooden dowry chest that was kept in the attic. He also told me about the Russian officers who stayed in their house and the Soviet tank that was stuck on the slope by the pond near the garden. So I continued to write more stories about Fritz based on the anecdotes I heard from my dad. Out of these anecdotes, with the instructor’s encouragement and that of my husband, grew a manuscript with the working title, After the Russians Came. It was rejected when I first submitted it. My husband called the letter I received from the editor, “The best possible rejection letter in the world.” It had two paragraphs. The first paragraph praised the original and gripping story idea I presented in my draft and the second paragraph said that the story wasn’t told well enough. In my disappointment I only saw the second paragraph and felt my hopes crushed. Then I began the long process of revision. I took the draft to a writing workshop where I received good advice from two published authors. Subsequently, I cut the second half and came up with a new arc. After many, many revisions The Dog in the Wood was finally accepted.

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Monika Schroder’s author website: www.monikaschroeder.com

Monika Schroder’s bio page

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The Dog in the WoodMy Brother's ShadowSaraswati's Way     Tarzan: The Jungle Warrior: Bk. 2Angel DustAcross the UniverseBoys without Names

Writing Teen Novels
www.writingteennovels.com

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

Finding a “voice” that enables a novel to connect with teen readers requires skill. Even the most fascinating characters and the most intriguing plot will fall flat without that voice.

Finding it begins with the narrator. An older adult, looking back over his life? A young person, telling her story in a voice that changes as she ages? Or a third-person narrator, recounting the story from a distance? Tense also affects voice; present feels different from past.

Victoria’s diaries and Darwin’s correspondence were invaluable in finding the voice in Victoria Rebels and The True Adventures of Charley Darwin.

Cleopatra Confesses was harder. She spoke ancient Greek and a number of other ancient languages, including Egyptian. None of this helped. I decided to use first person present tense, but I knew that if she sounded too “modern”, the effect would be jarring, and a formal voice felt too mannered and off-putting. Contractions have been common in English for centuries; not using them makes for a formal voice. Assuming there must have been similar grammatical constructs in ancient Greek, I used contractions when Cleopatra speaks to her sisters, brothers and servants, and more formal language when she speaks to her father.

Voice also involves the length and complexity of sentences. Generally a mix of short, simple sentences with some compound and complex sentences feels right. Choice of vocabulary is critical, especially in writing for teens. I avoid passive voice and replace weak-verb-plus-adverb with a strong verb: “gobbled” or “gulped”, rather than “ate hungrily.”

When a certain word or phrase may be unfamiliar to a teen reader, I explain it, directly or by context. When Darwin meets the captain of the ship on which he will sail around the world, the captain says, “I’m an ardent believer in phrenology, and I hold that a man’s character is revealed nowhere so strongly as in his face. I doubt whether anyone with a broad, indelicate nose such as yours could possess sufficient energy and determination for the voyage.”  Concerned that young readers would not know anything about phrenology, I included the phrase about “a man’s character is revealed…” to explain it.

White Lilacs is narrated by a 12-year-old African-American girl in the 1920s. I didn’t use dialect; Rose Lee’s voice is simple and direct. I must have gotten it right, for many teen readers were surprised when this white author showed up for school visits.

Beware the dreaded anachronism. When I wrote Loving Will Shakespeare I used a dictionary to determine when certain words came into common usage. But I missed one, and was nailed by a reviewer who noted that I had referred to Anne Hathaway as a “spinster”; in Shakespeare’s time a spinster was a woman who spun wool or flax and did not yet mean “an older unmarried woman” for another half century or so.

At some point I read aloud what I’ve written and listen to the voice, trusting my own ear to detect anything that sounds a bit “off”. It’s not a perfect detector but it’s usually good enough to send me back for a rewrite – especially when I’m writing about spinsters.

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

Carolyn Meyer’s bio page

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United States (and beyond)

     

United Kingdom (and beyond)

    

Australia (and beyond)

Cleopatra ConfessesMary, Bloody MaryThe Bad Queen: Rules and Instructions for Marie-AntoinetteVictoria Rebels     Shades of Earth: An Across the Universe Novel (Across the Universe)My Brother's ShadowWinter Town

Writing Teen Novels
www.writingteennovels.com

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