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Posts tagged ‘teen fiction’

Why I Write Novels For Teens, by Emma Pass

When I was a teenager, ‘teen’ as a distinct literary genre didn’t exist on the scale it does now. At my local library, you could find series like Sweet Valley High and the Point Horror books, along with the occasional ‘issue’ novel, but when you got tired of the children’s section (where these books were also shelved) you moved on to adult books without a backward glance. By the time I realized I wanted to be an author, aged 13, I was existing on a steady diet of Stephen King, Michael Crichton and various other thriller and SF writers, and the stories I wrote were full of grown up characters doing grown up things.

As I got older, I started experimenting with different types of writing. Maybe I should be a crime writer. What about poetry? How about writing literary fiction? I even, very briefly, toyed with an idea for a picture book. Nothing worked. I was trapped on one side of a thick glass wall, with the writer I wanted to be on the other side. I could see her, but I had no idea how to get there.

Then I went on a weekend course run by a well-known children’s and teen author. I’d never come across her before, so, not wanting to appear ignorant, I read some of her books before the course started. It wasn’t so long since I’d been a teenager myself, and as soon as I started to read, I was hooked. Here was a writer expressing the rollercoaster emotions of those years exactly. After the course – which was fun and inspiring – I visited the teenage section in my local library and bookshop and discovered that, in the years I’d been struggling to become a writer for adults, teen literature had quietly grown into a genre in its own right.

It was around that time that it occurred to me that perhaps I should try rewriting the literary novel I’d been struggling with – which, coincidentally, featured a teenager as the main character – as a teen novel.

The novel wasn’t any good. In fact, it was terrible. But it was the first project I’d had fun with in as long as I could remember. The first characters I really connected with. The first ‘proper’ novel I ever finished, redrafted (seven times!) and queried. By the time it was done, I knew I had found ‘my’ genre, and I knew I had, at last, broken through the glass wall.

So what do I enjoy most about writing teen novels? Firstly, it’s the characters. I remember being a teenager so clearly – what a strange time it is, when the adults around you often treat you like a child, yet you’re expected to assume adult responsibilities and deal with problems that often feel far too big for you to cope with. It’s a unique space to be in, where everything is new and challenging and intense, and for me that makes writing for and about teens utterly fascinating.

Then there’s the sheer scope. A quick glance at the teen fiction section in any bookshop or library will show you that you can write about anything. You can write about teenagers in space or teenagers on the run from sinister police forces or teenagers fighting zombies or teenagers just going about their ordinary lives, and all the challenges that brings. There are no limits. Someone once asked me, “When are you going to start writing for grownups?” My answer? Not yet. Possibly never. I’m having far too much fun!

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Emma Pass’s author website: www.emmapass.blogspot.com

Emma Pass bio page

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Writing Science Fiction For Both Teens And Adults, by Janet Edwards

When I began writing my debut book, Earth Girl, my aim was to write something that would appeal to both teens and adults. Achieving that meant working out what I needed to do differently for a teen reader from an adult reader, and finding a way to successfully combine the two. This didn’t just involve general issues, such as character ages and dialogue, but some that were genre specific. I was writing science fiction. I started thinking through my story, considering what I’d have to change to make it appeal to teen readers.

Earth Girl is set on Earth over seven hundred years in the future. After the invention of interstellar portals, people live on hundreds of colony worlds scattered across space. Obviously, I had to mention interstellar portals, and refer to other future technology as well. Did I need to simplify that technology for teen readers? Of course I didn’t. Teens today have social lives that revolve around constantly changing technology.

The future Earth I was describing was very different to our world now. Did I need to simplify my world building for teen readers? Again my answer was no. Teens are as good as, or better than, adults at picturing and identifying with imaginary worlds.

My story was about a girl who was among the one in a thousand people whose immune systems couldn’t survive anywhere other than the semi-abandoned Earth. For the norms who could portal freely between other worlds, Jarra was a second class citizen, a ‘throwback’. Teens might have less experience of some things than adults, but they’d understand perfectly about someone being the one left out, rejected and called names.

I considered a whole list of things, but eventually I came down to just one key difference between my adult and teen readers. Almost every adult reading my book would have read dozens, if not hundreds, of other science fiction books. A significant number of teens reading my book would be reading science fiction for the very first time.

That was the one key point I kept in my head when writing Earth Girl. There were no limits on what I could write about, but I had to make everything clearly understandable to someone reading science fiction for the first time, while not boring others who’d been reading it for years with explanations they didn’t need. That was a challenge. I had to watch every word I used, but authors should be watching every word anyway.

I actually hit my biggest problem in my second book, Earth Star, because of one particular word: arcology. Using it would mean a great deal to some of my readers familiar with science fiction, but nothing at all to others. My main character, Jarra, was talking about a place called Ark. I needed her to use the word arcology, to show where Ark got its name, but I had to have her use it in a way that was self-explanatory. I added a few extra words in her dialogue that some readers won’t need, but which tell others that an arcology is a closed, self-sufficient habitat. In the case of Ark, it’s underground with its own recycled air and water.

I have a theory that my one key fact for writing science fiction for teens may be true for some other genres as well. All I really know is that remembering it seems to have worked for me. I’ve heard from adults who’d been reading science fiction for fifty years and enjoyed Earth Girl. I’ve also heard from teens who’d never read science fiction before and loved it.

The first science fiction and fantasy books I read will always be very special to me. One of the great things about writing for teens is that your book may become one of those very special books your readers will always remember.

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Janet Edwards’s author website: www.janetedwards.com

Janet Edwards’s bio page

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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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Bad Habits To Avoid While Writing, by Andy Briggs

For this post I thought I’d give you a simple checklist of bad habits that writers can develop. Like most habits, it’s not always apparent that you’re doing it, so here are some warning signs to look out for.

1. Procrastination. This is the ultimate creative killer. The one that causes stress and makes you miss deadlines. Stare at a blank page and you are staring into a void. You have to type to get the words down, but to do that you need motivation. What tends to happen is emails are checked, then Facebook and Twitter, then perhaps the news and any other website I happen to follow – and before long I have wasted hours and it’s time for another coffee. The peril here is that the moment you make that coffee and sit back at the computer – you simply repeat the process.

2. Email. I could be midway through the most thrilling scene I have ever written and the moment my inbox goes BONG, I am yanked out of the story and straight into my email, burning with curiosity over who has validated my existence by emailing me. Usually it’s a piece of spam, which I’ll delete and return to the page. But that slight distraction suddenly propels me back to step 1, above.

3. Reading. When I open up the document I am working on, I may read the last couple of paragraphs to refresh my memory but I won’t read any more. If I read everything I wrote the day before then I will start finding faults, typos, or better ways to express myself and will immediately fall into re-writing syndrome. This is a writing tailspin that could end up costing you the entire day. Instead of looking at an increased word count, you have less than you started with because of your meddling.

4. TV. I know some people who work best by listening to songs. I can’t do that as the lyrics always distract me. Likewise, I can’t have the TV on in the background because my attention will always stray to it – no matter how bad the show is. I often find myself camped in front of the TV, pretending to write – but if I pay attention to what I have been doing for the last three hours I will find I have accidentally entered step 1 without realizing it. I prefer to write with movie scores on in the background. If I’m writing something fast and upbeat, I will but on an action-packed score. If the scene I am writing is sad and slow, I will find something melancholy to listen to. I find the music seeps into my writing and helps set the correct mood on the page.

5. Fact checking. I’m a big believer in research, but I will attempt to do it before I start writing the scene – otherwise I will be surfing the web for hours, or worse, heading out to the local library just to find a trivial piece of information just so I can complete the sentence.

Watch out for these insipid habits and you will automatically improve your writing and, perhaps, enjoy the writing process a whole lot more.

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Andy Briggs’s author website: www.andybriggs.co.uk

Andy Briggs’s bio page

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Examining Philosophical Beliefs Through Teen Novels, by Bernard Beckett

I’m currently working on the third book of what I like to think of as a metaphysical trilogy. The first, Genesis, focussed on the mystery of consciousness, the second, August, on free will, and the last, my current novel Lullaby, is exploring death. All three are an attempt to both examine the metaphors we use to describe the self, particularly in a world where religious metaphors are not the common currency they once were. They’re also explicit attempts, through story, to introduce philosophy to the teenage reader.

So, why should we expect the teenage audience, or indeed anybody, to be interested in philosophy? Considering the teenager first, I would argue that the late teens is precisely the time in life where you are most likely to be excited by the essential contestability of knowledge. Part of the teenage experience is the realisation that the simple world of reliable authority figures and protectors is behind you, and ahead lies a mess that you alone will have to navigate. That’s both tremendously exciting, there’s a sense of freedom and possibility, and terrifying – two of the more easily accessed emotions during adolescence. One of the most tantalising thoughts you can be exposed to during this phase is the possibility that absolutely everything you have ever been taught or told about the world is quite wrong. What if nobody else is really conscious in the way you are? What if other people experience colours differently than you do? What if the rules of the universe were always going to change tomorrow morning? What if somebody was able to predict your every move in advance? What if you’re really just a brain in a vat? What if there’s no you at all, and the continuous self is an illusion?

The first thing philosophy does is allow you to question the foundations of your most certain knowledge, and the enduring appeal of The Matrix amongst teens is evidence enough that there is something highly attractive about this process for the younger mind. I think this is because it mirrors the personal reshaping that is going on, and also because it allows a tremendously important chain of thinking to emerge. If nobody knows anything for sure, then the people who tell me how the world is might be wrong, which means I have permission to consider the world anew, and reach my own conclusions, permission, in short, to enter adulthood.

Of course, the dalliance with the more extreme versions of scepticism is short lived. Very quickly we realise we must put down our foundations in the swampy ground of knowledge and get on with the business of living. Yes, technically is might be true that as of tomorrow morning being hit by a bus will no longer hurt, but to base one’s beliefs about the world upon this possibility appears to be insane. So perhaps all philosophy is, in the end, of no real practical use, beyond its fleeting appeal to the adolescent mind.

That’s a popular view, and one that I would argue is clearly wrong. Part of the reason I’ve included philosophical abstractions in my novels is that I love the idea of the adolescent reader forming a longer lasting attachment to the subject. Here is not the place to defend the worth of philosophy to the adult mind in full. Suffice, I hope, to point out that philosophy is something we all do, all the time. We use observation and reason to build models about our world. To ignore the theoretical framework of these assumptions is not to avoid philosophy, it’s just to do philosophy very badly. This failure matters most, I think, when we find ourselves in contact with those who starting assumptions are very different from our own, perhaps because of a different upbringing, or a different set of religious beliefs. If we don’t understand the premises upon which our own beliefs are based, then there is the very real danger of believing it’s fact all the way down. Now, two groups of people, holding opposing views and being unable to properly interrogate the root of that difference, strikes me as a very dangerous situation, and one that’s worth avoiding.

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Bernard Beckett’s author website: www.bernardbeckett.org

Bernard Beckett’s bio page

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What I Read When I Was A Teenager, by Elizabeth Wein

I was a reader as a teen – I’ll make no bones about that.  I was an ambitious reader, which may be why I’ve become an ambitious writer.  So I thought I’d share some of the books I read as a teen that weren’t traditional teen fiction, and maybe scrape the surface of why they appealed to me as a teen.

How Green Was My Valley by Robert Llewellyn.  I never did figure out just how autobiographical this was.  I loved the Welshness of it, the language rhythms which were so different from my own, and the grittiness of the landscape it described.  I was kind of in love with the narrator, Huw Morgan.  Maybe that’s what I was looking for as a teen: a character to fall in love with.

I was definitely, definitely in love with Claudius from Robert Graves’s I Claudius and Claudius the God.  I read these when I was thirteen.  I was inspired by the shocking BBC television series (1976), which yes, I was allowed to watch at 13.  I am pretty sure I struggled through the politics because I adored the character so much.

A Tale of Two Cities by Charles Dickens and Watership Down by Richard Adams.  Okay, there’s no question about it, I was a literary lover.  I was enchanted by the tragic wastrel Sydney Carton.  He was my hero.  But you know what?  Ridiculously, I was equally enchanted by Hazel, the hero bunny of Watership Down.  No, seriously, I was in love with Hazel.  He was such a literary crush that I drew pictures of him (usually at some melodramatic plot point, like with his leg damaged, or getting attacked by the cat).  I drew pictures of Sydney Carton, too, standing at the guillotine, looking tragic.  I like my heroes to be somewhat damaged, I guess.

Ok, I will now skip over the obvious (Tolkien… I was in love with Frodo; TH White… in love with Arthur) and finish with something truly off the wall:  John Brown’s Body by Stephen Vincent Benet.  John Brown’s Body is an epic poem (literally) about the American Civil War.  It was published in 1928 and won the Pulitzer Prize in 1929.  I first stumbled across it at 15 or so because my grandmother (my legal guardian) had a vinyl LP with an abridged, dramatic rendition of the book; it took me a couple more years until I actually read the entire work from start to finish, and then I fell in love all over again, this time with one of the several female leads.

                        Sally Dupré, Sally Dupré,
                        Eyes that are neither black nor gray,
                        Why do you haunt me, night and day?

John Brown’s Body follows the stories of a dozen different families and characters – characters with allegiances to both North and South, characters both black and white, rich and poor, slave and free, through the course of the war, describing the changing circumstances for each.  Rhyme, meter and verse style change accordingly throughout the book depending on the characters.  For the music of the poetry alone it’s worth reading, but it also does give you a general historic overview of the American Civil War.  Writing about it is making me want to read it again!

                        Jake Diefer, the barrel-chested Pennsylvanian,
                        Shippy, the little man with the sharp rat-eyes,
                        Luke Breckenridge, the gawky boy from the hills,
                        Clay Wingate, Melora Vilas, Sally Dupré,
                        The slaves in the cabins, ragged Spade in the woods,
                        We have lost these creatures under a falling hammer.
                        We must look for them now, again.

There’s plenty of hunting outside the enclosure for readers bold enough to sneak through the gaps in the ‘teen books’ boundary.  Vary your diet!

***Write with New York Times bestselling novelist Elizabeth Wein in Hobart, Australia in November 2014

Elizabeth Wein’s author website: www.elizabethwein.com

Elizabeth Wein’s bio page

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Month In Review (November 2013)

Writing Teen Novels has reached the end of its eleventh 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 November 2013

How Martial Arts Benefit Me And My Writing by April Henry

Using Varied Narrative Styles And Formats In A Novel by Paul Volponi

On Categorising Teen Novels by Elizabeth Wein

Why I Write Young Adult Novels by Beth Revis

You Need To Love Your Characters by Lish McBride

How Do You Know If An Idea Will Develop Into A Good Story? by Bernard Beckett

Planning And Writing A Novel by Monika Schroder

To Outline Or Not To Outline? by Kashmira Sheth

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

Novel Titles And Covers by Carolyn Meyer

Time And The Publishing Process by Stephen Emond (graphic novelist)

Keep Writing: The Importance Of Finishing Stories by Andy Briggs

Handling Disappointment To Be A Resilient Writer by Amy Kathleen Ryan

Different Types Of Plot In Fiction by Kate Forsyth

My Tips For Writing Novels by Pauline Francis

Guiding A Reader’s Experience Throughout Your Novel (Secrets Of Narrative Drive) by Sarah Mussi

Marketing Your Teen Novel On A Small Budget 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.

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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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Planning And Writing A Novel, by Monika Schroder

It has been said that there are those writers who plan and those who ‘fly by the seats of their pants’. I am part of the second group and before I began working on my novel, My Brother’s Shadow, I only had a rough idea of who Moritz, the main character, was and what would happen in the story. But already in the first few pages I encountered a surprise. Moritz was telling his story in first person and used the present tense! Hadn’t I read in many books about writing that the first person, present tense point-of-view was a most difficult choice for a writer? My first two novels were told in the voice of third person omniscient narrators reflecting back on past events, and I had no intention of changing this ‘winning formula’ by writing in first person and in present tense.

I rewrote the beginning in past tense but couldn’t force Moritz to tell me his story in hindsight. He was adamant and stuck to the immediacy of present tense.

The story was set in 1918 Berlin. I needed to convey a lot of background information. It seemed such a daunting task to introduce the reader to starvation and despair in Berlin as well as the anticipation of military defeat without the omniscient perspective of third person POV. In the first chapter I needed to set the stage, let Moritz introduce himself and his family and find an intriguing ending to the chapter that would entice readers to go on. Moritz came to my rescue. As an apprentice in a print shop of a Berlin newspaper he could read the headlines of the paper he just helped print and thereby inform the readers of my novel of the state of affairs in Germany, October 1918.  The newspaper became a vehicle to disseminate information about the setting without interrupting the flow of the narrative. On the first page Moritz reads an official war report, knowing that the government is not allowing the truth to come out. He also meets Herr Goldman, a journalist who works for the paper and who takes a liking in Moritz and ultimately helps him to fulfil his dream to become a reporter like himself.  Through their conversations Moritz is able to tell the reader about the most pressing and newsworthy current events. Apparently there was a way for me to write in first person, present tense and still give the reader a sense of the setting.

About half way in, the story took an unexpected turn and once again I had trouble letting myself deviate from my original plan. Moritz had met a girl who had completely flummoxed him with her wit. Granted, it was not so unlikely that a 16-year old boy would take an interest in a girl, but I had not anticipated a romance! I had never expected to write about young love. Now here was Rebecca, the smart daughter of a Jewish bookseller who attended the same political meetings as Moritz’s mother and sister. After their first encounter on the train, it was clear that they had to meet again. Yet, the book takes place in 1918, so they wouldn’t go ‘all the way’. I was able to braid his discovery of love together with the story of Moritz’s relationship with his brother, who returns from the trenches a maimed and bitter veteran and it worked at the end. Rebecca’s appearance even gave me the opportunity for a hopeful conclusion leaving the reader satisfied after Moritz’s intense final confrontation with his brother.

Writing My Brother’s Shadow has taught me to trust the process along the way. A quote by E.L. Doctorow showed me that I am not alone with this approach: “Writing is like driving a car at night. You never see further than your headlights, but you can make the whole trip that way.”

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

Monika Schroder’s bio page

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On Categorising Teen Novels, by Elizabeth Wein

When I went to university, I got a library card for the local library -  not the university library but the public library, because ever since I’d been able to read I got my books out of the public library.  The year was 1982, and the town was New Haven, Connecticut.  I walked into the children’s book section and couldn’t find half my favourite books.

It took me a while to discover that they were there but in a separate section of their own, labelled Teen Fiction, Books for Teens, Teen Reading, Teen Titles or something similar – something that separated these books from both adult books and children’s books.

Now, don’t get me wrong.  The New Haven Public Library had fantastic children’s and teen sections in 1982.  In my memory these two sections took up the entire basement.  They had the entire collection of Arthur Ransome’s Swallows and Amazons series (about twelve or thirteen volumes). I’d never realized there was more than one.  They had all Alan Garner’s books, which I used to use as a measure of quality in any library. He wasn’t very well known in the United States but he’d been my favourite author for many years because I’d started school in the part of England that is the setting for most of his books.

This was the first time I’d ever encountered the ‘teen’ books being separated from the ‘children’s’ books and I didn’t like it.  Alan Garner’s books were split up.  Half of them were in the children’s section and half were in the teen section.

You know what?  I STILL DON’T LIKE IT.  I think that organising books by their intended age is ghettoization.  It leads to further micro-classification that I just flat-out object to.  In the local library in the city where I live now, two of my favourite authors, K.M. Peyton and Robert Westall, have their books split not just across two sections but across separate shelves labelled Horse Stories, Times Past, War, Supernatural, Family, and probably something else I’ve forgotten.  When I first read Peyton’s books, I read them all because I found them next to each other on the same shelf.  I’d never have gone looking for horse stories.  I read them and I loved them because I loved that particular author.  I think that breaking up books into this many categories creates narrow-minded readers.  There is no incentive for the lover of ‘humour’ ever to look anywhere else for reading material than the limited ‘humour’ shelf.  There is some very funny science fiction out there but they’ll never discover it.

My own fiction is split up in my local library because Young Adult is now its own section.  I have a series that is split in my local library: the first book is in Times Past and the next two are in Young Adult.  I get that we are trying to encourage readers to explore their tastes, I get that we are trying to encourage teens not to feel that they’re reading below their level.  I still think it is idiotic to split a series across two different library sections.

So. Teen fiction?  Young adult fiction?  Some books are more difficult than others. Some books are better than others.  Pioneering readers shouldn’t limit themselves to one narrow category.  The same goes for a writer.

***Write with New York Times bestselling novelist Elizabeth Wein in Hobart, Australia in November 2014

Elizabeth Wein’s author website: www.elizabethwein.com

Elizabeth Wein’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

Code Name VerityA Coalition of LionsThe Empty Kingdom     I Rode a Horse of Milk White JadeMy Brother's ShadowWhere the Broken Heart Still Beats: The Story of Cynthia Ann Parker

Writing Teen Novels
www.writingteennovels.com

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