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Posts from the ‘UK Young Adult novelist’ Category

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.


Janet Edwards’s author website:

Janet Edwards’s bio page


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     Powder Monkey: Adventures of a Young Sailor

Writing Teen Novels

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


‘Month In Review’ Updates

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


Writing Teen Novels

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:

Elizabeth Wein’s bio page


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Code Name VerityA Coalition of LionsThe Empty Kingdom     Tarzan: The Greystoke LegacyAcross the UniverseThe Night She Disappeared

Writing Teen Novels

My Tips For Writing Novels, by Pauline Francis

I don’t really have to write this post, do I? You could do it for me by now if you’ve been reading the others. But I’ll sum it up:

1. Read, read, read.

2. Write, write, write.

3. Write every day.

4. Always write down your ideas when you have them.

5. Never throw any of your work away. A short story might become a chapter in a novel.

6. Read your work aloud regularly for rhythm and tension.

7. Enter competitions whenever you have time.

8. Re-read authors who are most like you and try to work out why they are good.

9. Don’t be afraid to show your writing to somebody else for feedback.

10. Remember that others forms of writing can feed into your work: school essays, blogs, Facebook entries, diaries, letters/postcards will all tell you a lot about your style and genre. Why not volunteer to edit the school/college magazine for a term? Why not write/design posters? Why not take part in a school play/musical and help with the script?

I am a self-taught writer. I didn’t go to any creative writing classes. But I still had to learn my craft. I did it in two ways. At first, I just wrote. They were short manuscripts, with little re-drafting, which were all rejected. When I realised this was going to be a lengthy process – I’d gave up my job to be a full-time writer and there were bills to pay – I proposed a big project called Fast Track Classics to a publisher: I would abridge the classics for younger readers. This brought in a good income for many years. But the greatest benefit was reading great classics and seeing what made them endure and seeing why they might not be so popular with today’s young readers. I learned more about writing than at any other time in my life and I have great affection for these forty or so books.

I’ve also written many Readers for students learning English as a second language. They are graded at different levels, so I was restricted in vocabulary. This taught me what is essential in a novel: fast plot, strong characters set against interesting locations.

Everybody is capable of writing. But if you want to be published, you have to learn the skills, like any other job. You have to be patient. Think how long it takes to be the best gymnast, the best cyclist or the best piano player.

Of course the golden rule of good writing is SHOW – DON’T TELL. I didn’t put it on the list because I want to show this rule to you – not tell!  This is the magic that turns ordinary writing into something special.

This example below is from Raven Queen. Question: How can I describe Jane’s home (Bradgate House)? This paragraph is taken from the first draft (Jane is the narrator):

I lived at Bradgate House, a house built by my father’s father, Thomas Grey, who died when I was two years old. He used to boast that the forest beyond – Charnwood Forest – was big and that he’d laid water pipes from the stream to the house. The town of Leicester was about five miles to the east.

This would have sent my manuscript to the slush pile.

The final manuscript reads:

Visitors usually gasp with pleasure when they first arrive. It is thought to be one of the finest houses in Leicestershire; but Ned gazed past its red brick towers, past its gardens soon to be brimming with fruit and blossom, past the stream which fed water pipes to the kitchen – to the darkening trees beyond.
‘I like the forest best at dusk when birds cloud the sky,’ he said.
I glanced down at him. And now that he was standing closer to me, I no longer saw his tangled hair and grimy skin – only the smile that lit up his face.
Who was he?

Can you see what I’ve done? We see the house through a visitor’s eyes and it’s linked with an emotion that has already linked Jane with the stranger and leaves a question to be answered.


Paulines Francis’s author website:

Pauline Francis bio page


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The Raven QueenA World AwayThe Traitor's Kiss     The Gypsy Crown (Chain of Charms)My Brother's ShadowDark Hunter (Villain.Net)

Writing Teen Novels

Keep Writing: The Importance Of Finishing Stories, by Andy Briggs

I always feel awkward when I meet a budding writer. Most of the time people tell me they have a great idea for a book or, worse, they have started writing a book. Actually started it. What is very rare to hear is the phrase I have written a book. Everybody can start writing a book. Very few people ever finish it.

It sounds like the most obvious advice in the world to finish your story, but it’s difficult. Try it and prove me wrong.

Perhaps you already have proved me wrong and are clutching your precious manuscript in your hands. If so, have you edited it? Have you been through it three or four times and surgically remove chunks that don’t work and fine-tuned the rest?

Much “How To” advises you to let a friend read your manuscript. I never let them do that. Family and friends are the worst critics and will often let things pass that should have been hacked from your manuscript before another soul sets eyes on it. There are also many services that charge you for reading your work and giving you feedback. Personally, I think you should avoid these. Worst case, they are run by people who can’t get themselves published (or editors who can’t get a job with a publisher), best case, they are driven by opinion. They might not like vampire stories so will tear yours apart, whereas an editor in a real publishing company might be waiting for just that idea.

Or, are you one of these people who has reread your work and changed it time-and-time again? You have been rewriting it for the last 10 years. Well done, you have probably destroyed the very thing that made it unique. I know a few people who fall into this hideous rewriting free-fall and never recover. They have polished their idea to death.

So what do you do with your precious manuscript?

In an ideal world, you will lock it away in a draw (in the days of good ol’ paper), or back it up on a hard drive (preferably more than one, just in case). Then forget about it and write something else.

Then repeat the above steps several times.

Now you have four or five manuscripts. Go back and read the first one. Is it anywhere near as good as number five? Probably not. You would have got better and saved yourself a lot of angst when book one kept getting rejected. Or is book one still strong? In which case, send it off, because you have a solid, well-written story.

The more you write the better you will become. The more you write the more stories you have to sell. The more you write the more professional you will become, regardless of whether you ever publish any of the books.

More importantly, the more stories you write the more you have finished. Finishing the story is the real battle every writer, amateur or professional, has to face.


Andy Briggs’s author website:

Andy Briggs’s bio page


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Tarzan: The Greystoke LegacyTarzan: The Jungle Warrior: Bk. 2Tarzan: The Savage Lands     In Mozart's Shadow: His Sister's StoryCode Name VerityAcross the Universe

Writing Teen Novels

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:

Elizabeth Wein’s bio page


United States (and beyond)


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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

Month In Review (October 2013)

Writing Teen Novels has reached the end of its tenth 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 October 2013

On Creating A Distraction-Free Writing Environment by Bernard Beckett

Research For Writing Novels by April Henry

On ‘Killing Your Darlings’ When Revising A Novel Manuscript by Monika Schroder

Where My Ideas For Novels Come From by Beth Revis

Dealing With The Idea Of Writer’s Block by Paul Volponi

Maximizing The Potential Of Your Writing Group by Amy Kathleen Ryan

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

Who Buys (And Who Reads) Teen Novels by Elizabeth Wein

Worldbuilding When Writing A Novel by Lish McBride

Plot Structure In Novels (Part 2) by Kate Forsyth

Talking About My Writing At Conferences by Stephen Emond (graphic novelist)

Writing Description In Novels by Carolyn Meyer

On Creating Interesting Characters For Historical Teen Novels by Pauline Francis

Why I Write Teen Fiction by Sam Hawksmoor

Developing Good Writing Habits by Kashmira Sheth

Challenging Your Protagonist (Secrets Of Narrative Drive) by Sarah Mussi

On Writing Self-Contained Novels In A Series by Andy Briggs

Inexpensive Ways To Market Your Novels by Laurie Faria Stolarz


‘Month In Review’ Updates

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


Writing Teen Novels

On Writing Self-Contained Novels In A Series, by Andy Briggs

When does a story end? At what point can you confidentially type the words ‘the end’, and not be forced to use ‘to be continued’?

There is a trend at the moment to push everything through as a series if possible (and, as a writer of two series, I’m as culpable as the next author). This sometimes results in stories that could have easily been condensed into a single volume. The worst culprits for this are graphic novels, in which writers are ambling their way through multiple books to tell their tale.

As a consumer, I find this highly annoying. When I buy a book, I want to be able to enjoy the full story. I’m quite happy to have a few unresolved strands that lead the way to future books, but I do want some form of resolution. I have paid good money to be entertained, not left on tenterhooks for a year before the author publishes the next part.

Harry Potter was an enjoyable read because each book was a self-contained story, with just enough to propel you on to the next book, but not so much to make you feel you had been cheated.

I try to make sure my series have books that are self-contained stories, something you can pick up without the need to read any other book in the series and walk away having read through a complete story. I aim to make the characters evolve enough through the books so the casual reader feels happy, and leave just enough ‘extras’ so that the fan can get even more from the story because of the subtle ways it connects to the other books. When I write graphic novels I refuse to make a series that runs across multiple books. Each one must be a satisfying self-contained story with a solid ending. Otherwise, why buy it in the first place?

Speaking to many budding writers, I often hear the phrase it’s part of a series of X books, with X usually spanning between 3 and 7 for some peculiar reason. I think their reasoning is that it proves their story is worthy and complex, when in actuality they will end up padding the prose out with extraneous details that slow the pace down to a crawl. I have read many series that could have done with a pair of editor’s scissors slicing through the pages. People don’t like to admit their story is only suitable for a single book. For some reason they feel that lessens the quality of their work, when in fact it simply proves that they have no idea when to stop. Many times I have read a book and thought I have reached the end only to flick through the remaining pages and wonder what could possibly happen next. The answer is usually: nothing. Or, worse, some surprise ending that makes no sense at all and would have worked better as a separate story.

One of the hardest things I have been asked to write was a short story. Warrior Number One is aimed at reluctant readers, so brevity was the key. It’s incredibly difficult! Cramming a whole story into 3,000 words is a more difficult task than expanding it into three, 500+ page volumes.

So, when you have completed your story and typed the exciting words ’the end’, go back and read your story with a sense of urgency. Could this have ended several chapters back? Your readers are busy people. They have lives. Maybe they’re reading your book while on vacation so need to finish it before returning home, or they have a stack of other books vying for their attention. Don’t be greedy. Respect your reader’s time. They will thank you for it and come back for more.


Andy Briggs’s author website:

Andy Briggs’s bio page


United States (and beyond)


United Kingdom (and beyond)


Australia (and beyond)

Tarzan: The Greystoke LegacyTarzan: The Jungle Warrior: Bk. 2Tarzan: The Savage LandsDark Hunter (Villain.Net)     A World AwayThe Gypsy Crown (Chain of Charms)Winter Town

Writing Teen Novels

Challenging Your Protagonist (Secrets Of Narrative Drive), by Sarah Mussi

I thought in this post I demonstrate how I harnessed all these secrets of narrative drive in Siege.

Here goes. Here’s the story concept (pitch style) that I sent to my editor (my comments in bold caps are for this post):




A story for our times…

Of disintegration and carnage…

This is the beginning of the end…


Teenagers long dissatisfied, out of control, seeing no future, respecting no one, feeling cheated, angry, mindless, feral…



Siege is a disturbing YA novel, capturing the Zeitgeist and drawing its inspiration from our inner city schools.

Siege imagines an autumn term, when a bunch of Year 9 teens, tired of rebelling against the authorities, feeling belittled in a system that has already discarded them – disillusioned, humiliated and vengeful, decide to take power into their own hands, power and guns. Over one long day, they hold up a school with nothing more on their minds than revenging themselves on their peers who have always done better than them in class.


Outside, anxious parents gather, news tycoons offer rewards, television cameras roll, sociologists try to rationalise, psychologists give opinions, the army stands by.


But can anyone really help Leah and Anton, hiding in the ceilings and air vents of YOU OP78 School, trying to feed themselves, trying to outwit their captors, trying to save some of the younger ones before the gang, the so called ‘Year 9 Eternal Knights’ finish their butchery?


… and Siege is only the beginning…

With unlimited access to the Internet, Damian the psycho leader of the Eternal Knights orders all the killings to be videoed on cell phone, or so it seems, and pasted in chat rooms and social websites. Soon the world is hooked as each killing is replayed a thousand times across the globe.

Like a real time Big Brother show, kids everywhere watch, horrified, mesmerised. Some try to hack into the system to close it down, others message in who they think should be killed next.

Soon there is a whole internet site dedicated to casting your vote on the next killing:  the Who, the How, the Why and the When.

Unable to intervene, a horrified nation watch as their future, their brightest and their best, are systematically butchered in front of their eyes by the rejects of our society: the hoodies, the dumbsters, the generation of wannabe gangsters and the bottom set kids.


In a nail-biting narrative of unmitigated tension, that will have you scarcely daring to draw breath, you follow Leah’s story as she struggles to survive; struggles to help Ruby, an injured Year 7 girl; struggles to check out rooms for survivors; tries to carry out surveillance for the SAS as well as attempting to keep the world informed. But most of all, as she tries to figure out who and why and what she could have done to prevent it all from happening.


There are no easy answers, for finally Leah must face her own role in the tragedy. She must struggle comes to terms with what might have happened to her brother, Connor: a brother she both hates and loves and is fiercely loyal to.  Is it partly her fault? Could she have changed anything?

Seige is tale of horror, bravery, sacrifice and savagery, and as it unfolds, it will change the way you see teenagers forever.

The above is part of the actual premise pitch I prepared to show my editor. Of course it changed somewhat between that and the book but the core elements of Narrative Drive remained the same.

So what next? Well to recap where I left off in post nine – the decisions of the protagonist are driving the action of the story and efforts to overcome obstacles to the story goal are initially unsuccessful. This failure to reach the story goal creates conflict and tension. So if conflict is the desire of the protagonist to pursue his motivation towards his goal despite obstacles, then the stakes are raised. The stakes are what happens to the protagonist if they succeed or fail.  They are the whips that drive him forward. In Siege the stakes are very serious. Life and death are at stake. Stakes show that things matter in the story.

Secrets of Narrative Drive

Secret Number 10

drum roll…  tada!

The strength of a story and therefore its appeal to readers lies in how much it challenges the protagonist. 

Why? Because challenges supply the powerful obstacles needed to arouse a reader’s interest.

So how you can use this secret? 

  • Make sure your antagonist is much stronger than your protagonist
  • Make sure each obstacle and challenge is significant and looks like the end of the line for your protagonist.



Sarah Mussi’s author website:

Sarah Mussi’s bio page


United States (and beyond)


United Kingdom (and beyond)


Australia (and beyond)

The Door of No ReturnThe Last of the Warrior KingsAngel Dust     Where the Broken Heart Still Beats: The Story of Cynthia Ann ParkerThe Girl Who Was Supposed to DieRaven Speak

Writing Teen Novels

Why I Write Teen Fiction, by Sam Hawksmoor

Teen fiction connects.  Passionate intensity often leads kids to do foolish things, take incredible risks, to explode with hatred one minute and love the next; to be heroic as well as act without compassion.  Teenager are still raw, often angry at what life has dealt and the choices on offer.

Adults are constrained by convention, rules, experience, and explain away their failings with words such as fate or God’s will.  Teens still think that they can make a difference and that there are endless possibilities.

When I write for teens I am thinking of all these things, putting myself in their shoes.  It’s not always rational.  I couldn’t begin to explain all the stupid things I did as a teen or the risks I took.  How I’m even still alive given the situations I got myself into, I have no idea.  I still remember my heart being broken – not just once either. It scarred me.  So I write for the kids yet to be scarred by life or the ones who already know that it’s less than fair out there, but to also say that this too can be survived and that they are not helpless.

Sometimes my fiction will be historical.  Kids want to know about the past and it is essential to connect it to the present so they can relate.  When you read Patrick Ness’s The Knife of Never Letting Go you are immediately plunged into a seventeenth century world, filled with strange Amish-like men and one boy and his dog living primitive lives. They are farming everything by hand.  You quickly become aware that there is madness in the air and all the characters can hear each other’s thoughts.  This alone is enough to make you intrigued. To then discover that this is the future and a story set in some far off planet is a huge surprise.  The second major feat that Ness accomplishes is to establish a great love between Todd and Viola in book one, then in book two tear them apart and pit them against each other, each manipulated by the evil Mayor Prentiss.  Extraordinary.

In The Girl Who Could Fly by Victoria Forester, a girl is born who floats. The parents are ashamed of their freak daughter and home-school her, but you can’t keep a good girl down for long. One day she jumps off the roof and flies the whole way around the town attracting unwanted attention.  Written with a dry southern wit this is a story that makes you laugh at first, then takes a rather nasty turn as the government begins to round up all the freaks and bury them in some underground lab.  I love the concept. I would have preferred it to stay funny rather than sinister but the adventures of Piper McCloud live within my affections. As her Papa said, “Seems like our child ain’t normal is all I’m saying.”

I suppose why I write teen fiction in the end is because I want to write stories that strike you in the heart, that stay with you forever, that affect you in the way that books and films shaped my life growing up.  Dune by Frank Herbert perhaps is one such book – the retelling of the coming of the Messiah scope of this novel is incredible.  The Man in the High Castle by Philip K Dick is another – about America losing WW2 and divided between Japan and Germany.  Neither of these were teen fiction but both had a huge impact on the teen me because they dealt with what ifs… and what ifs are what keep us awake at night…


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