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Posts tagged ‘British author of 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.

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

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
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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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United States (and beyond)

    

United Kingdom (and beyond)

    

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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
www.writingteennovels.com

Life As A Published Novelist, by Andy Briggs

There are many misconceptions regarding what its like to be a published novelist. I know many author friends who have told a budding teenage writer about some of the pros and cons, only to see the hope extinguish in their eyes. The ups and downs should never be told as words of warning, but simply told as facts.

“How much will I earn?” is the question everybody wants to know, and the one that most authors reply with glassy eyes and jaded comments that you can’t make a living out of it. Well, that depends on how much you need to make a living out of it. There is always a positive angle.

When you sell your opus, you get an advance which could range from a single dollar to, in some rare cases, hundreds of thousands. This is paid in three stages – when you sign the contract, when you deliver the final manuscript (after all the edits) and when it is published. For the sake of example, let’s say you sell your brilliant book for $60,000. You get your cheque for $20,000 (minus agent fees and don’t forget you will have to pay tax). Then you complete the book – which could take a month, several months or even a year. Then you get your next $20,000 (minus agent fees and tax). Then you sit and wait for the publication date. That could be from 6 months to over a year away. Only then do you get your final $20,000 (minus agent fees and tax).

Then you see your book on the shelf. What a thrill!  But remember, you need to sell $60,000 worth of books before you see any more cash. By the way, I don’t mean, if your book costs $10, you’ll see money after 6,000 copies are sold. You would only get (maybe) 6% per book, so, if it sells for $10, you would get 60 cents that goes towards your $60,000 advance.

It will sell, right? The publisher will do everything they can for you, right?

Only if you’re lucky. Don’t forget your publisher has dozens of other books to promote too. They do the best they can, but it’s up to you – particularly with books for teenagers. You have to get out to the schools to promote your work, do signings at stores, attend festivals, blog, tweet, write articles for other people and do everything else you can to get your name out there. It is a long and time-consuming job (he says, writing this at 1:14am, after a full day of writing a story with a looming deadline). You will travel around the country (or internationally) and be in a permanent state of exhaustion as you try to sleep in uncomfortable hotels – and if you are in a beautiful location, your hotel is all you will have chance to see. I have been up and down the UK but I don’t really have any idea what it looks like.

If you are lucky, your publisher will tell you to do all of this and help you out. More often than not they will leave it all up to you, assuming you know what to do. The best advice you can get is from other authors (and it changes depending on who you are speaking to). I have a network of author buddies who I can seek advise from, bounce ideas off or, more often than not, moan to.

Writing is a wonderful job. It can pay enough to allow you to keep doing it full time – but never forget: it is a job, just like any other. It’s hard work.

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

Andy Briggs’s bio page

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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)     SparkBlack and White

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

What Makes Great Young Adult Fiction? by Sam Hawksmoor

The world isn’t perfect.  You learn this the first time you hear the word ‘no’ and more bad luck for you if all you ever hear is ‘yes’, because you’ll never develop self-discipline and if you never develop self-discipline you never develop self-worth. This is an unfashionable view but that doesn’t mean that it is wrong). Great Young Adult (YA) fiction is quite often about young kids who for one reason or another rate their ability to make a difference,  if only they are given a chance.  I’m not really talking about heroes – more often than not it’s about kids who know their weaknesses and have to raise their game or take decisions on their own for the first time. Take the fantastic and much neglected The Droughtlanders by Carrie Mac. (Aside from the fact that it is criminal you can’t easily buy this outside of Canada, this is one of the most inspiring openings to a trilogy you’ll ever read).

The Droughtlanders gets to grips with climate change, revolutionary politics, regime change, circuses, cowardice and the terrible price of jealousy and revenge.  Carrie Mac must have once had an awful time with a brother or sister to understand just how competitive and harsh brothers and sisters, especially twins can be to each other.  Here we have twin brothers (in a Romulus and Remus situation)  Seth and Eli, one all gung-ho for violence, guided by an evil father who rules the Keylanders (outside the city walls) with an iron fist, the other brother is painted as a coward who deplores violence, worships his scientist mother, who works on crops and making things grow.  Little do either brother realise that their mother is in fact working for a Droughtlander terror organisation that wants to bring down this cruel regime.

Outside the city walls a disfiguring disease runs rampant and anyone who has it is shunned.  Their state controls the weather and has stolen the rain from the rest and impoverished millions. The mother is blown up by the father, the Eli runs to the outside, the Seth pursues, vowing to crush any rebellion and kill his brother if he has to. But they have another relative – a sister they weren’t aware of… and she is working the other side. Within the text you discover the outside world riddled with poverty and disease and bravely, for YA fiction, sex and the consequences of sex; babies. Babies brought into a warzone. Carrie Mac does not shirk from dirt, sickness sheer folly and manages a giant cast with consumate skill.  She also displays a fantastic knowledge of circus life and Cirque du Soleil in particular, which again marks out her fiction as totally unique. Do all you can to find these books.

The Triskelia trilogy works because it mines age-old themes but addresses contemporary issues in an engaging, electrifying way.  It’s simply a damned exciting read that doesn’t shy away from the consequences of violence or sex.

This is why I read YA fiction.

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Sam Hawksmoor’s author website: www.samhawksmoor.com

Sam Hawksmoor’s bio page

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United States (and beyond)

    

United Kingdom (and beyond)

    

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The RepossessionThe Hunting     The DroughtlandersAcross the UniverseSparkTracksKeeping Corner

Writing Teen Novels
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Writing Sex in Young Adult Fiction: How Much Is Too Much? by Sarah Alderson

What’s too much when it comes to sex in young adult fiction?

My editor would say anything beyond kissing.

I’m known for writing steamy, smokin’ hot romances, and yet none of my characters has done anything beyond kiss. (They can’t, because every time they try to, it gets left on the cutting room floor). What I’ve discovered though, writing thriller romance novels for teens, is that it is possible to create jaw-dropping romance and steaminess that leave your readers gagging for more, through nothing more than the locking of lips.

You don’t need to get graphic in order to satisfy…just look at Twilight…there’s not a whiff of sex, not much even in the way of sexual tension. It’s not until book four, when safely within the boundaries of marriage no less, that the reader is rewarded with a euphemistic consummation of the vampire mortal sex conundrum (I’m not sure that’s scientifically possible but hey, it’s fiction…)

A lot of books these days for teens though include sex scenes (or maybe I’m just reading a lot of books for teens with sex scenes in them) and it seems to me that the approaches taken by authors are incredibly varied. One of my favourite authors – Simone Elkeles – is much more graphic than Meyer. I love the Perfect Chemistry series (for Alex Fuentes alone). Simone writes sex well, sensitively – a little graphically – but not too graphic to offend the teen market (except perhaps those of an evangelical Jonas Brothers persuasion). Back in my day we had to rely on Judy Blume for our sex ed…that or sneak Jackie Collins books from our parents’ top shelves (for me it was The Joy of Sex which I found in a box in the attic). I wish I’d had Simone Elkeles’s books instead. They’re strong on the swoon but also on the love angle. Sure, the scenes are heavily romanticised but the message is clear: make sure it’s with someone you love.

And Use A Condom.

Can’t argue with that.

In the middle ground, I love this from John Green’s The Fault in our Stars (currently my fave read of 2012): ‘The whole affair was the precise opposite of what I figured it would be: slow and patient and quiet and neither particularly painful nor particularly ecstatic….No headboards were broken. No screaming.’

It’s realistic. It’s not graphic. It fits perfectly within the story…(I also like to think the headboard part was a jibe at Twilight).

Yet, as they say in Spiderman, with great power comes great responsibility. Authors need to be responsible in how they depict sex, especially in this era, where the pressure on young people to have sex and to get it over with, is so enormous. There’s no need to shoehorn it into a book for kicks, or to be on trend, or because everybody else is doing it. Personally I think my editor is right. Hunting Lila and Fated work much better for not going there. They keep my readers hanging, daydreaming, longing. Just like the characters in the book. And the lack of physical intimacy does nothing to undermine the tension, rather it charges the atmosphere. The one kissing scene in Fated, towards the end of the book has received more comments than any other scene I’ve ever written…all along the lines of ‘I had to take a cold shower after.’ (If you’re interested it’s P.245 in the paper copy.)

So advice for those of you wondering how or if to write a sex scene into your book:

  • Don’t feel pressured!
  • Ask yourself: Is it absolutely necessary to make the story work?
  • If the answer to the above is a definite yes, make sure you emphasise how important it is to be honest, to be sober and to be in a committed respectful and loving relationship before you take the leap. Why? Because that’s the way it should be. Am I a hopeless romantic? Yes. Of course. But I want girls to read my books and decide that they are in control of their bodies and of their decision-making.
  • If you can’t write a sex scene without giggling, cringing or resorting to copying large tracts from your parents’ copy of the Joy of Sex, then quit while you’re ahead.
  • Always use condoms.
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FatedHunting LilaPerfect ChemistryTwilightThe Fault in Our StarsOn Writing Romance: How to Craft a Novel That SellsWriting the Romantic Comedy

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