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Posts from the ‘Teen historical fiction’ Category

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

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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
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On Creating Interesting Characters For Historical Teen Novels, by Pauline Francis

For me, an interesting character is somebody who has all the odds stacked against them and has to find a way out. They must have a strong, believable voice that sweeps the reader along.

Just as I was beginning to write historical fiction for teenagers, I went to a conference and wrote down a wonderful quotation from one of the speakers (unfortunately, I didn’t make a note of the speaker’s name). It was: “Characters in history are just like the stars. It takes a long time for their light to reach us.”

The two narrators of my first novel, Raven Queen, were real: Lady Jane Grey and Elizabeth I. They are strong characters, fighting for their cause. In my second novel, A World Away, I made up my central character, Nadie, a Native American girl captured by English colonists. If I’m honest, she is the least interesting of all my characters because she didn’t really know her path in life (except to find the English boy she loved) and I think this weakened her voice. I’d love to go back and change her because it’s an interesting novel in all other ways. I have begun to move away from real characters to concentrate on fictional characters who find themselves in real-history situations. My new novel (Ice Girl, not published yet) is the story of a girl at the mercy of Spanish colonists who fights back with incredible courage and determination, as well as leading other conquered people to safety.

I’ve just read a novel with the most amazing character. It gripped from beginning to end because the narrative voice is so strong. It’s Sally Gardner’s Maggot Moon, which has just won the children’s category of the UK annual Costa prize. The agonising story is told in the first person by a fifteen year old boy called Standish (an unusual name). It’s tear-jerking and harsh (there’s very strong language because it’s mainly his thoughts, so the outside world wouldn’t usually hear it).

If you’re having problem choosing a character, try turning a situation on its head. Many Kings from history had mistresses. Sometimes they bore sons who claimed the throne (the term pretender to the throne is from the French pretendre – to claim). What was it like to be a pretender? I decided to make the fictional Francis (in Traitor’s Kiss) a good person. He doesn’t actually stake his claim as Henry the VIII’s son, but he could have. So he’s still a threat. Princess Elizabeth knows this. Francis becomes one of her victims. She leaves him in a madhouse called Bedlam, just in case he decides to make trouble for her. My novel-in-progress (Blood) is set against the French Revolution. It was a time of great innovation medically and my fictional narrator wants to be an anatomy artist.

You don’t have to make a huge leap of imagination to make your characters interesting. Often a small one will be enough to bring your character alive. In Revolver by Marcus Sedgwick, the story of murder and revenge is made gripping because the action takes place in a small log cabin over a few days with the body of the narrator’s father on the kitchen table. It is that dead father who sends a chill down our spine. He is the interesting character. If the story had been narrated by his son in the future, away from that log cabin, it would have become another murder/revenge story.

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Paulines Francis’s author website: www.paulinefrancis.co.uk

Pauline Francis bio page

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The Raven QueenA World AwayThe Traitor's Kiss     Hold Me Closer, NecromancerShades of Earth: An Across the Universe Novel (Across the Universe)TracksTarzan: The Greystoke Legacy

Writing Teen Novels
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Writing Description In Novels, by Carolyn Meyer

Writing description is like writing a dream. As you search for words to capture the sense of where you were, what you felt and what you saw, you try to visualize the way it was. When I describe my characters, the space around them, the way they move, their gestures and their tone of voice, I imagine myself present in the story.

The more information you have about your characters and their lives, the easier it is. When you’re writing for teens, you must imagine the location in great detail: the schoolroom, the playing field, the horse-drawn carriage or the car. You won’t use all the details, of course. It’s like exploring the prop room backstage at the theatre: you go in, take what you need and leave the rest.

I found the dream world of Victoria Rebels easy to access. Queen Victoria kept a diary and drew pictures of herself and people around her. Artists painted her portrait against vivid backgrounds. Far more challenging was Beauty’s Daughter, a novel about Hermione, the daughter of Helen of Troy. Hundreds of years passed before the Greek poet Homer dreamed his two great epic poems, The Iliad and The Odyssey, describing the Trojan War and its aftermath, on which my novel is based. Descriptions of bloody battle scenes offered no help in telling the story to teen readers. Shards of ancient pottery present stylized pictures of ladies in long gowns playing lyres, weaving on looms and drinking from goblets, but those are meagre sources on which to build the dream world.

Occasionally I’ve had the rare chance to see for myself the details that bring the dream to life. When I visited Shrewsbury, England, where Charles Darwin grew up, I made a cold-call from a payphone to the owner of the house where teen-aged Charley courted his sweetheart, Fanny Owen. The owner graciously met me at the bus stop in a nearby village and drove me through his “patch” of perhaps two thousand acres to Woodhouse, a splendid white mansion on the brow of a low rise, overlooking thickly wooded grounds. Four massive Greek columns supported the grand portico. It wasn’t hard to imagine Charley arriving on horseback, entering the great hall with tapestries and paintings covering the walls and a broad staircase leading up to a gallery.

But it was the library that most interested me. This was where Charley intended to propose to Fanny before he left on his journey on the Beagle, asking her to wait for him but having no idea when he’d return.

Painted the soothing green of moss, the room smelt pleasantly of leather and tobacco. Books bound in leather and stamped in gilt lined shelves reaching to the high ceiling. Fanny sat down on a bench covered in yellow silk and patted the place beside her, smiling up at me. I was too nervous to sit.

“Will you wait for me, dearest Fanny?”

“Your future is so unclear! How can I promise to wait when I’m not sure what I’m to wait for?”

I had everything I needed. I was in the dream.

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

Carolyn Meyer’s bio page

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The True Adventures of Charley DarwinIn Mozart's Shadow: His Sister's StoryVictoria RebelsWhere the Broken Heart Still Beats: The Story of Cynthia Ann Parker     The Girl Who Was Supposed to DieGlowHappyface

Writing Teen Novels
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Writing A Good First Sentence For A Teen Novel, by Diane Lee Wilson

Composing the first sentence of your novel can elicit screams of agony. It can be a difficult task because so much depends upon those few words. Will a prospective teen reader, already distracted by a myriad of electronic devices and entertainments, glance at this sentence, yawn and set your book down? How do you manage to entice such a fickle reader along to a second sentence and then a third?

As a practical matter, I have always liked starting my novels in the middle of a highly charged scene, ideally with one short sentence that hints at intrigue: “On the morning of September 16, 1860, my pa shot me.” “The little thumbnail moon gave no light at all; a friend to the thief.” “Better that you’d never been born.” Homicide, thievery, banishment – all themes that hint at an exciting tale.

In venturing to the local library, I found strong openings of varying lengths in many critically acclaimed teen novels. Robert Cormier’s classic, The Chocolate War begins simply, “They murdered him.” Laura McNeal introduces a mysterious character in the very first words of her lyrical Dark Water: “You wouldn’t have noticed me before the fire unless you saw that my eyes, like a pair of socks chosen in the dark, don’t match.” Then there’s Marcus Zusak’s The Book Thief, which starkly states, “Here is a small fact: You are going to die.” (Okay, those aren’t the exact first words but they’re in bold type and centered on the page so that’s where your eyes go.)

With a first sentence as strong as any one of these, a prospective reader (and innately curious human) simply cannot resist continuing to the second sentence and then a third. Now he or she is like a fish following the bait. So you keep writing, keep tossing out interesting tidbits, not yet revealing the whole story. Remember that most teens have short attention spans – at least until they’re hooked! – so you’ve got to move things along briskly. Think of this challenge as crafting one sentence that leads to the next sentence that leads to the next sentence that leads to the next paragraph.

Admittedly, there are times when I can’t think of a good opening for a novel I’m starting, so for inspiration I’ll revisit favorite books that have hooked me early on. I’ll scan the first few paragraphs and try to decipher just how the author pulled me in. Was the protagonist in immediate danger? Was there an unusual setting? Was there an urgent problem to be solved? On occasion, the unique tone of a book or the author’s voice will pull me in. I highly recommend studying those authors that have mastered the art of the “tease”.

If I continue to be stuck on my opening, however, rather than yank out my hair and switch careers, I attack the book from a different direction. I just start elsewhere in the chapter. I pick a scene that I am passionate about and that I can easily visualize, and I write it. Sometimes I get all the way to the end of the first chapter without having created a strong beginning. Sometimes I get all the way to the end of the novel. What I’ve learned though, is that a strong beginning often reveals itself only upon the book’s completion. Once you’ve spent time with your story, once you’ve come to understand and love your characters, you’ll know how to begin their story in the strongest way possible.

So, in composing the first sentence of your teen novel, keep your teen reader firmly in mind. You’ve only a brief period to hook him, so rely on novelty and human curiosity. You’ll soon find yourself writing with confidence, with readers fully engaged.

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

Diane Lee Wilson’s bio page

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

Writing Teen Novels
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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

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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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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

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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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Writing Teen Novels
www.writingteennovels.com

Writing Teen Novels About Pilots And Flying, by Elizabeth Wein

In 2003 I got my private pilot’s license, and ever since then I have found myself more and more embroiled in writing about flying.  It crept up on me gradually.  I started out with a short story called ‘Chasing the Wind’ (in Sharyn November’s first anthology  Firebirds), which was about a girl who is a passenger in a small plane in Kenya in the early 1950s… I moved from there to ‘Chain of Events’ (in the Reckless issue of Michael Cart’s Rush Hour) in which a girl passenger takes over the command, though not the controls, of a feckless teenage pilot.  It wasn’t until my third short story about flying that I felt confident enough to write about a girl who actually becomes a pilot, and ‘Something Worth Doing’ (in Sharyn November’s Firebirds Soaring) eventually provided the seed for my novel Code Name Verity.

What do these stories have in common?  Well, they’re all about women in flight, and it’s the feminine aspect of piloting that inspires me.  It’s such an unusual activity for a woman, or a girl; I want to spread the word.  I want to inspire others.  I hope that one or two girls who read my stories will think, ‘Hmmm.  Maybe I could do that.’

I couldn’t have written about flying until I knew how to fly.  I wouldn’t have dared.  I still never quite feel sure I’m being as accurate as I need to be, especially since my fictional pilots tend to be more adventurous than I am myself.  But the seed for verisimilitude is there.

You know the old adage, ‘Write about what you know’?  I think it could be more accurately stated, ‘Write about what you love.’  That’s what makes good writing – the personal touch doesn’t necessarily come from first hand experience, but rather from first hand passion.  A writer’s knowledge born of a deep, inquiring interest can be every bit as thorough as knowledge gained through experience.  Do the research; do the fieldwork; learn the language.

Your passion is a gift which you can share – a gift you should want to share.  Your flair for a subject should shine through your writing and inspire your readers.  But be cautious about your expertise.  Not all your readers share your expertise and not all of them will care about it.  The trick is to draw their interest with your story without getting into the nitty gritty of what you know.  You don’t need to describe how a piston engine works in order to describe the thrill of take-off at full power.  Your know-how should be sketched in lightly – let the full extent of your knowledge be readable between the lines only.

There will always be a few people who don’t want to know – who simply aren’t interested in the detailed story you want to share, no matter how passionate that story is.  But I like to hope for the best.  I’ll continue to imagine an ideal reader with an inquiring mind open to new ideas.  Maybe a love of flying will creep up on readers gradually, just as it did on me.

***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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Code Name VerityA Coalition of LionsThe Empty Kingdom     Raven SpeakSektion 20Spark

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Writing Teen Novels With Timeless Appeal, by Diane Lee Wilson

Lists of “favorite teen novels” usually include several “hot” titles that will only be lukewarm in another few years and may eventually drop off new favourite lists completely. Yet decades can go by and one finds that certain teen titles continue to claim a spot on these lists of favorites. What makes a teen novel timeless rather than trendy?

I’m fortunate to be good friends with Patty Campbell, a career librarian, author, and critic, and well-known champion of young adult literature. She is the 2001 recipient of the ALAN award given by the National Council of Teachers of English for “outstanding contributions to the field of adolescent literature” and the 1989 recipient of the Grolier award given by the American Library Association for “distinguished service to young adults and reading.” I decided to seek her opinion on what makes certain teen novels transcend time.

Her initial answer to my question was, “A timeless young adult novel is one that is in touch with the times; it’s the right book for the time.” She mentioned Forever by Judy Blume as a novel that meets those criteria. Published in 1975, Blume’s novel deals quite openly with teen sexuality, and some 35 years later is still a target of censorship. “With the sexual awakening that was taking place in America in the 70s,” says Patty, “the book was perfect for opening that taboo topic to teens. It got them talking. I think that’s another characteristic of a timeless novel: it marks a significant change in history.”

Campbell went on to ponder the possibility that a teen novel of sufficient literary quality and critical praise will enshrine it for posterity, and concludes otherwise. While she agreed that skillful writing is preferable to the opposite, she believes that, “Literary quality alone is not necessarily enough, nor is winning awards.” She laughed then, adding, “And teacher acceptance is certainly not an indicator of a classic,” mentioning a few “teacher’s favorite” titles and shaking her head. “Awful.”

Ultimately, she said, a timeless teen novel “has to have that quality that kids take to their hearts.” She brought up S. E. Hinton’s The Outsiders, published back in 1967. Upon its 40th anniversary, a review in the New York Times by author Dale Peck acknowledged the book’s “sometimes workmanlike prose” but went on to say that not only did The Outsiders change the way young adult fiction was written, it “changed the way teenagers read as well, empowering a generation to demand stories that reflected their realities.” Patty concurred. “Although it was published so many years ago, this book resonates with kids even today. My own grandson fell in love with it and couldn’t wait to talk about it with me. A timeless book seems to be a rite of passage for its readers; it marks a certain level of maturity, a broader understanding of how the world works.”

I know my own daughter encountered that novel only a few years ago and was moved by it. Having missed it during my own adolescence, I sat down to read it, too, and enjoyed it, finding it fast-paced and believable. The story definitely had an authenticity to it, which is understandable since the author was still in her teens when she wrote it.

“A timeless novel,” said Patty at the end of our conversation,“is all about making that connection with the reader. It’s about fine writing and touching something in kids, reaching the young adult heart.”

Here’s to writing that novel that resonates with the teens of today… and tomorrow!

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

Diane Lee Wilson’s bio page

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I Rode a Horse of Milk White JadeBlack Storm Comin'Raven SpeakTracks     Code Name VerityAcross the UniverseAuslander

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

Germany, my home country, has started two World Wars in the last century. Both wars not only brought death and terror to large parts of Europe, but also ended in defeat followed by fundamental changes of the political system. I find it fascinating that a German person born at the beginning of the 20th century could have experienced two wars, a monarchy, a failed democracy, a fascist dictatorship, a socialist totalitarian regime and then again a democracy, all within one life span.

I have always been interested in history and when I became a writer I tried to imagine how regular people dealt with these wars and the turmoil that followed. As a result, my novels Dog in the Wood and My Brother’s Shadow explore how war and political transitions affect regular people and children in particular.

My first novel, The Dog in the Wood, set in a small village in east Germany, is based on my father’s experiences during the arrival of the red Army at the end of World War II. My father had told me that his grandparents had committed suicide a day before the arrival of the Russian Army. Fear of what would happen when the victorious Russians arrive at their farm had driven them to this desperate act. Later, the Soviets established their headquarters in my family’s farmhouse, and my father witnessed Russian soldiers taking his mother to a prison camp. Out of these harrowing family memories grew my book. I wanted to show Fritz’s internal conflicts and pain in the face of great loss and emotional turmoil, and thereby depict a young person’s experience during wartime.

Writing a novel about the end of WWII led me to examine the circumstances that caused this devastating military conflict and this interest in turn brought me to WWI. I began to research WWI shortly after the 90th anniversary of Armistice Day in November 2008. At the time, German television had put together an excellent 4-part series about the war with original footage of the battlefields and the revolution that ended the monarchy. While I was aghast at the details of trench warfare, gas attacks. I also learned about the food shortages that affected the German civilian population that later became a big part of my novel, My Brother’s Shadow. With the defeat of 1918 came the end of the monarchy, ushered in by a socialist revolution. A democratic government followed. But the Weimar Republic was fragile. The military defeat and the stipulations of the Versailles Peace Treaty had left Germany humiliated. A deep political division between right-wing nationalists and social democrats split the nation and provided the seeds for the violent rise of the National Socialists a decade later. My Brother’s Shadow, set in the fall of 1918, explores this important transition time in German history.

I tried to imagine what it might have been like for a young man who had grown up under the Kaiser to see the monarchy disappear and be confronted with socialist ideas and women’s emancipation. The book opens in Berlin, September 1918 and spans three months until December 1918. The main character is Moritz, a 16-year old apprentice in a print shop of a Berlin newspaper. His father has died and his older brother is still fighting in the trenches. The book is about his coming to grips with the changes in society and his struggle to know what to believe in. Moritz has to choose between his mother, sister and aunt, who are engaged in the socialist movement to end the war and bring democracy to Germany, and his brother, who returns disillusioned, as an injured veteran and joins a right wing extremist groups, seeking scapegoats to blame for the loss of the war.

I lived the first 30 years of my life in Germany but for the last 17 years I have been married to an American. By becoming deeply involved in another culture I became aware of the fundamental differences between the way Americans see the world and how I as a European look at it. By writing about times of war and political transitions I also hope to bring the experience of a European youth, or what I imagined it to be, to readers in the English speaking world. I hope I succeeded.

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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     Code Name VerityTarzan: The Savage LandsRikers HighThe Traitor's Kiss

Writing Teen Novels
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Bringing History To Life In Teen Novels, by Diane Lee Wilson

History rarely ranks as a favorite subject of children and teens. I didn’t like it when I was younger; I found it boring and irrelevant to my life. Now, being older and much wiser (haha), I realize that history is simply an ongoing collection of amazing stories of heroism, suffering, adventure and achievement. Topics such as these are relevant to everyone, and that’s what I build my historical fiction novels around.

The key to making history relevant to teens is to put a teen character at the scene of a historical event, the outcome of which will critically impact that teen. He or she doesn’t have to actually participate, unless there were enough anonymous players in that event that you can realistically slip in your character, but more likely he or she will observe the events, be affected by them and perhaps contribute in a secondary manner. The important thing is to vividly illustrate how that moment in history changed the circumstances of that teen’s life. That’s what teen readers can relate to.

Secondly, think like a teen when you’re doing your research and pluck out the really interesting historical tidbits. Yes, for accuracy you might mention the number of soldiers on the battlefield or how many days it took to make the canoe trip, but be sure to include the eye-popping details that make readers go “ooh!” Talk about the cave with the thousands of glowing spiders, the outlaw that cut off the ears of his victims and sewed them onto his belt or the rumours of a ghost that walked the school hall. Teens (and adults) are always interested in the “truth is stranger than fiction” details that you dig up.

There’s another key point – the digging. I cannot emphasize enough the importance of using primary sources. Too many writers rely on Wikipedia, the internet in general and perhaps a few research books checked out from the library, and unknowingly incorporate widely accepted but incorrect information into their historical fiction. You have to dig and dig and dig to find a contemporaneous account of your historical event. Journals are the best source; journals kept by teens are amazing. I especially like hunting through out-of-print catalogs and used-book stores and have uncovered many valuable reference materials there.

I was browsing the Daedulus catalog early into my research for Firehorse when I came across a book entitled Growing Up In Boston’s Gilded Age: The Journal of Alice Stone Blackwell, 1872-1874. I was floored. My protagonist was a teen female living in Boston in 1872! I quickly ordered the book, which was written as a diary, and learned the intimate details (food, clothing, weather, hobbies) that were pertinent to Alice and which thus brought my character, Rachel, more vividly to life. On another occasion I was researching a story about a family traveling by wagon across the United States in 1860. Perusing the selection at a favorite used-book store, I happened across the journal of a man in that time period who had walked nearly the exact route. He entered all the details of what he saw and what his life was like, including the really interesting stuff: how the telegraph lines were attached to living trees, that miners had set up bowling alleys in camp, and why a cat who could catch mice was literally worth its weight in gold.

As much as possible in my historical fiction I put my protagonist in physical danger. I want my teen reader to empathize with that character. I want him or her to experience a lung-stripping sprint from attackers; a heart-thumping search through a haunted attic; a sweaty, dizzying trudge beneath a blazing sun. Important historical events usually involve life-or-death scenarios, and that makes for a page-turning teen novel.

History overflows with thrilling stories that can engage teen readers. Put your young protagonist in the middle of the event and bring it to life.

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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)

    

United Kingdom (and beyond)

    

Australia (and beyond)

FirehorseI Rode a Horse of Milk White JadeBlack Storm Comin'Raven Speak     My Brother's ShadowA World AwayThe Gypsy Crown (Chain of Charms)

Writing Teen Novels
www.writingteennovels.com

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