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Posts tagged ‘Carolyn Meyer’

Handling Feedback About My Novels, by Carolyn Meyer

Over the past months I’ve written sequentially about character, plot, narrator, voice and dialogue – all the particular challenges of writing a historical novel for teens. In practice all of these happen more or less simultaneously. Eventually the day comes when you’re ready to send your novel out into the world. You ask for an opinion, but what you want is praise. Anything less is a disappointment – or even infuriating. They just didn’t get it!

Maybe your first reader is your spouse or child. They’ve watched your struggle, and they love you. So you probably won’t get an honest opinion. If it isn’t honest, it isn’t useful.

Friends are also unlikely to give you the feedback you need. Some writers rely heavily on writing groups. I tried one early in my career and found that none of us was skilled at giving constructive criticism. I didn’t know if I could trust what I heard, and eventually I quit.

Now with an established career I have a signed contract before I write the book, and I send what I believe is a finished manuscript directly to my editor. I’m relieved – but I’m also anxious. I want her to pronounce it perfect. But what if she hates it?

So far that hasn’t happened. I’ve never had a contracted novel rejected, but I’ve also never had one accepted without a lot of revising.

Months pass before I hear back. The response is usually a detailed letter that begins, “Dear Carolyn, I have finished reading (fill in the title), and I love most of what you have written.”

The key word here is “most”. What exactly does the editor not love? Sometimes there are structural problems, so chapters should be cut or moved. Sometimes characters need more development. Sometimes the beginning doesn’t pull the reader in quickly enough. The one I get the most often is: “But how does the character feel?”

Years ago my reaction was to feel wounded and my instinct was to argue. Eventually I learned how to work with the advice. Luckily I’ve always had editors I trust. I can accept most of the suggestions, if not all, and make the revisions. The process goes back and forth over a period of weeks. In Mozart’s Shadow required four revisions before the editor and I declared ourselves happy with it.

Once the book is published everyone waits expectantly, and a little worriedly, for word from the reviewers. The reviews aren’t always stellar. Reviews of Cleopatra Confesses were mixed. Some reviewers wrote admiringly, while others picked it apart. After the professional reviewers, many of them teachers and librarians, come the readers themselves. They’re not just teens: More than half the buyers of YA books are said to be over 18. People aged 30 to 44 account for 28% of the sales – and they post their comments online. Adults want more adult material and may be dismissive of YA books for younger readers. Young kids don’t always know how to write useful reviews, with their comments ranging from “best book ever” to “borrrring”.

You can learn a great deal from an editor’s criticisms, but once a book is published there is nothing you can do to change it. Reading reviews, especially when they’re snarky, can give you heartburn. It’s best to ignore the bad ones, enjoy the good ones and keep on writing.

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

Carolyn Meyer’s bio page

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In Mozart's Shadow: His Sister's StoryMary, Bloody MaryThe Bad Queen: Rules and Instructions for Marie-AntoinetteCleopatra Confesses     Deadly Little SecretSaraswati's Way

Writing Teen Novels
www.writingteennovels.com

Novel Titles And Covers, by Carolyn Meyer

You’ve written a terrific book for teen readers. The idea is wonderful, you’ve done your homework and your facts are in order. The characters are fully developed, the plot is tight, the voice is original, the descriptions vivid, and the dialogue revealing and realistic.

So what else is there to do before your book goes out into the world?

The title and the cover are designed to hook all readers, but especially teens. You can’t do much about the cover, but it’s important to get the title right. Sometimes it needs tweaking.

Cleopatra Confesses was initially called Cleopatra’s Spell. Victoria Rebels was Victoria Rules for about ten minutes before I discarded that idea.

Mary, Bloody Mary came to me before I wrote the first sentence, having no idea it would be the beginning of a series. I wanted to call the next book, about Elizabeth, My Sister, My Enemy, but marketing wanted her name in the title. It became Beware, Princess Elizabeth. Doomed Queen Anne and Patience, Princess Catherine followed, although neither pleased me as much as the first one. When I began work on a book about Mozart’s sister, I called it Playing with Mozart. Marketing changed that to In Mozart’s Shadow: His Sister’s Story. I’m still not sure why.

Everyone agreed on The Bad Queen, and when we decided to add a provocative subtitle, Rules and Instructions for Marie-Antoinette, we used that idea to add chapter heads based on those rules. Great title, but not all readers have liked those chapter heads.

It made sense to title my next book in the series The Wild Queen with another provocative subtitle: The Days and Nights of Mary, Queen of Scots. Teens like it. Some older readers grumble that the title promises a racier story than the one I’ve delivered.

When I wrote the story of Shakespeare, with his sweetheart, Anne Hathaway, as the narrator, the title arrived with the idea for the book: Loving Will Shakespeare. There was a debate about shortening it to Loving Will, but I argued against it and won.

I’m happy with The True Adventures of Charley Darwin, but I’m puzzled to hear it called a “fictional autobiography”. Does that mean that every historical novel with a first-person narrator is a “fictional autobiography”? The label has not been applied to the Young Royals, in which Catherine, Mary, Elizabeth and Anne Boleyn all tell their own stories.

The cover is the most important tool for attracting a reader’s eye. In the course of writing more than fifty published books, I’ve learned that I have very little input. Usually the finished design arrives with a note, “Don’t you love this jacket?” and often I do. But sometimes I do not.

I love the jackets for Cleopatra Confesses, both the original and the paperback, and Victoria Rebels is gorgeous. I got to choose Mary’s gown for The Wild Queen. I love the look in the eye of Marie-Antoinette as she peers over her lacy blue fan, but the fan is Victorian, not 18th century. The fan remains and her look beguiles.

At the time of writing this I anxiously wait to see what the art department will do with Beauty’s Daughter, about the daughter of that famous seductress, Helen of Troy. I’ve just learned that marketing doesn’t much like the title. By the time you read this, it may have changed completely.

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

Carolyn Meyer’s bio page

***

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In Mozart's Shadow: His Sister's StoryMary, Bloody MaryThe Bad Queen: Rules and Instructions for Marie-AntoinetteCleopatra Confesses     The Traitor's KissA Million Suns (Across the Universe)Tarzan: The Greystoke Legacy

Writing Teen Novels
www.writingteennovels.com

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
www.writingteennovels.com

On Prologues And Epilogues In Teen Historical Novels, by Carolyn Meyer

Sometimes it’s better not to begin at the beginning. Historical novels for teens often cover a much longer span of time than contemporary novels, so I look for ways to make the time span more manageable. A prologue to set up the story and/or an epilogue to end it can solve the problem.

In the Young Royals series, I almost always began with a prologue. Mary Tudor, the narrator of Mary, Bloody Mary, sets the scene, blaming Anne Boleyn for everything: “Anne was a witch; I never doubted it. She deserved to die; neither have I doubted that….” The first chapter picks up the story years earlier, Mary at age eleven, and the last chapter ends with Mary’s realization that her enemy is no longer Anne Boleyn, but Anne’s daughter, Elizabeth.

The next book in the series, Beware, Princess Elizabeth, also opens with a prologue. This time it’s Elizabeth speaking: “There was a time, long ago, that I loved my sister. There may have been a time that Mary loved me. But that all changed….” The prologue is dated 1558; Chapter 1 begins at the death of her father, Henry VIII, in 1547. The novel ends when Elizabeth becomes queen.

Anne Boleyn tells her story in Doomed Queen Anne with a prologue dated the night before she is to be executed; an epilogue summarizes events following her beheading, through Henry’s death and Elizabeth’s accession.

Henry’s first wife – Mary’s mother, Catherine of Aragon – narrates a prologue from the tower where she is being held prisoner. The year is 1533 and the duke of Suffolk is at the door, demanding that she agree to divorce Henry so that he can marry Anne. Catherine tells her story, beginning with her voyage from Spain to England in 1501. In an epilogue the duke returns, pounding on the door, but Catherine remains adamant.

In the prologue to Cleopatra Confesses, the Egyptian queen awaits her enemy’s arrival. In the epilogue she summarizes the major events in the seventeen years since Caesar, her lover, left Egypt. The epilogue touches on her love affair with Marcus Antonius, a story that carried Cleopatra far into adulthood, well beyond the range of a YA novel.

Prologues and epilogues are useful tools for setting the emotional tone. The sad truth is that most of the historical novels I’ve written don’t have happy endings. Most of my queens end in prison or at the guillotine. Marie-Antoinette’s daughter narrates the last chapter of her mother’s life in The Bad Queen. Catherine de’ Medici is alive but grieving at the end of Duchessina, she has bested her rival for the king’s affections, and she will go on to make life miserable for her future daughter-in-law, Mary, Queen of Scots in The Wild Queen – another novel with a tragic ending. Queen Elizabeth is an exception. The novel ends with the beginning of her long reign.

I can’t rewrite history and save my characters from their fate or from the executioner. However, with an epilogue I can give a proper ending to a story, leaving the reader feeling tearful, perhaps, but satisfied.

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

Carolyn Meyer’s bio page

***

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Mary, Bloody MaryThe Bad Queen: Rules and Instructions for Marie-AntoinetteVictoria RebelsCleopatra Confesses     Hurricane SongThe Traitor's KissNecromancing the Stone

Writing Teen Novels
www.writingteennovels.com

Writing Dialogue In Novels, by Carolyn Meyer

Your characters are center stage, and they’re talking.

Dialogue, and lots of it, is one of the key components of teen fiction, whether the novel is historical or contemporary. It’s a critical part of a scene and reinforces voice. You probably know browsers who open a book, perhaps attracted by the clever cover or the author’s name, and flip through the pages to check on the amount of dialogue: too little talk and the text appears dense, and the book goes back on the shelf.

Dialogue on the page is more concise than actual conversation. It doesn’t ramble, it reveals character and it moves the story forward. Usually you need do little more than to identify the speakers at the beginning: “he said” or “she said” will do it. You can vary that with words like barked, screamed, whispered, exclaimed or shouted. Modifiers, like loudly or excitedly, are usually unnecessary.

A variation on dialogue is interior monologue, in which the main character thinks to herself or imagines a conversation with another character in which the main character takes both sides. Here’s an example from a novel in my contemporary Hotline series, with the interior monologue set in italics:

Lissa is dead, Jenny thought, letting the water stream down over her face. She’s dead and I’ll never see her again. Jenny worked shampoo into her hair. But she can’t be dead. I can’t believe it. I won’t believe it.

Dialogue can also play a major part in flashbacks, animating material that falls outside the time frame of the narrative, as when Jenny, out of the shower, remembers a conversation she had with Lissa the previous day, before the novel begins.

By all means avoid the “info dump”, using dialogue as a means to convey information. This is a common trap, which I fell into in Cleopatra Confesses. Cleopatra confides to a friend that she dreams of becoming Caesar’s wife, but she is already married to her younger brother (common among the pharaohs).

Her friend reminds her of Caesar’s complicated marital life, and Cleopatra replies, “You are right – he has a wife in Rome. Her name is Calpurnia. His first wife, Cornelia, bore him his only child, Julia, and both are dead. He divorced his second wife, Pompeia, when he suspected her of adultery.” Cleopatra goes on to talk about the need for Caesar’s wife to be above reproach, and Caesar’s disappointment that Calpurnia is barren and has given him no children. This is all necessary information, but it should have been conveyed in some other way, perhaps an interior monologue in which Cleopatra considers the situation. It’s also a clunky paragraph. (A critical reviewer pounced on my lapse.)

Here’s an exercise that develops dialogue skills and produces interesting and sometimes hilarious results in a writing group or a class. Provide one provocative line of dialogue (Example: “I told you not to open that!”) and write nothing but dialogue for twenty minutes – no description, no set-up and only an occasional “he said/she said” is allowed.

Dialogue is an indispensable skill when you’re writing for teens. If your characters are on stage, get them talking and make the most of it.

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

Carolyn Meyer’s bio page

***

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Cleopatra ConfessesMary, Bloody MaryThe Bad Queen: Rules and Instructions for Marie-AntoinetteVictoria Rebels     SparkGenesisBoys without Names

Writing Teen Novels
www.writingteennovels.com

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

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

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

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

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

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

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

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

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

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

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

Carolyn Meyer’s bio page

***

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

Writing Teen Novels
www.writingteennovels.com

My Novel Writing Process, by Carolyn Meyer

When I begin the first page of a new novel, I’ve already invested months in research, made notes on yellow pads, obsessed about it on my morning walks. I have a mental picture of my characters and I know in a general sort of way what they’re likely to be doing. I’m telling myself the story I hope will become a novel that teens will read fervently, talk about enthusiastically and love forever. At this point nothing is set in stone.

At first I’m talking to myself, describing the story: first she does this, then she does that, then he says and she says, then they do something else. But that’s not a novel, it’s a treatment – a story about the story.

Then comes the real work: turning the story-about-a-story into a sequence of scenes, each building on the last. In that first chapter I must also provide the teen reader with enough information to understand what’s happening. I approach the writing as though I’m making a movie, fully visualizing each scene. If I can picture it, I can write it and the reader will “get” it.

I decided to begin Cleopatra Confesses with Cleopatra’s long-absent father’s return to Egypt. I used a series of scenes and flashbacks to introduce principal characters and establish family relationships, as well as to create tension. The chapters are brief and the scenes move the story along quickly. Here’s how I structured the first chapter:

Scene 1: Cleopatra hears a commotion and goes out to investigate; a messenger brings news that Ptolemy XII is on his way from Rome.

Scene 2: Cleopatra visits her younger sister, plays her with sister’s pet monkey and her sister’s bodyguard is introduced.

Transition: description of Cleopatra’s older sisters, brothers and father.

Scene 3:  Cleopatra, in borrowed servants’ clothes, leaves the palace for the marketplace.

Scene 4 (flashback): Cleopatra with her father before he leaves for Rome.

Scene 5 (flashback): Cleopatra with her jealous sisters.

Then on to the second chapter, with scenes in the marketplace with Cleopatra waiting for father’s ship; then in the palace, dressing for her father’s welcome.

Total pages for first two chapters: thirteen.

Contemporary teen novels usually take place over a relatively short time – days or weeks, rarely covering more than a year. A teen historical novel may span years, even decades, and that requires tracking the passage of time in a way that keeps teen readers oriented. One strategy is to use the day or date in chapter titles, but the calendar in Cleopatra’s era was so confusing that I indicated the time in other ways: “It is the season of the Inundation, the time of year when the Nile overflows its banks….”, “In the evening of the first day as the royal boat drifts….” or “It is winter now…”

The structure of Cleopatra Confesses evolved as I added and deleted scenes; lengthened, shortened and divided chapters; and changed chapter titles. This process continued through successive drafts and revisions, as it has through all of my teen novels. It may be worth noting that I never get it right the first time but only through trial and error.

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

Carolyn Meyer’s bio page

***

United States (and beyond)

    

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Cleopatra ConfessesMary, Bloody MaryThe Wild Queen: The Days and Nights of Mary, Queen of Scots (Young Royals Books (Hardcover))The Bad Queen: Rules and Instructions for Marie-Antoinette     Shades of Earth: An Across the Universe Novel (Across the Universe)My Brother's ShadowWinter Town

Writing Teen Novels
www.writingteennovels.com

Narrative Point Of View In My Teen Novels, by Carolyn Meyer

Once I’ve had a great idea, fallen in love with my characters and have a sense of the direction the story will take, the question becomes: whose story is it and how will I tell it?

Will I stick with one character’s point of view or shift among characters? Will I use a first-person or a third-person narrator?

Recently I worked on a four-book series called Hotline with a contemporary setting and four main characters; each teen takes a turn as the central character of a book with the others in secondary roles. This was my first experience with handling multiple points of view, and it wasn’t difficult as long as I remembered to keep my mental camera focused on one character at a time. Mostly I prefer a single point of view with the main character as the focus – frankly, it’s easier.

Choosing first person (I) or third (he/she) is a separate issue. I sometimes struggle to find the emotional core of my story and to convey that to teen readers. When I wrote The True Adventures of Charley Darwin I was steeped in the novels of Jane Austen, popular in Darwin’s time. Like Austen, I tried writing the story in third person, but my editor thought my narrator was “too distant” and would not connect well with teen readers. So I started over and let Charley tell his own story, as I have in most of my historical novels.

The most straightforward approach to first-person narration is the style of a memoir or autobiography. In Cleopatra Confesses I elected to write in first person: “I, the king’s third daughter, called Cleopatra, sit alone in my quarters….” Present tense gives a sense of immediacy, but could just as well have been in past tense, by changing sit to sat. It could have been told in third person: “Cleopatra, the king’s third daughter, sat in alone in her quarters…”

The perspective of the first-person narrator has to be considered. In the prologue for Cleopatra Confesses Cleopatra looks back, telling her story while she waits for the arrival of the enemy who will take her prisoner. In The Wild Queen Mary, queen of Scots, is also looking back and narrates her tale on the night before her execution. In Victoria Rebels Victoria begins by grumbling about the evils of her mother’s friend, Sir John Conroy, as she prepares for her sister’s wedding; she’s not looking back, but peering ahead.

Another option is to construct the story as a diary. Writing Anastasia: the Last Grand Duchess, as part of the Royal Diaries series, was harder than I expected. There couldn’t be long descriptions or even much dialogue – just short, crisp scenes. The writer of a memoir knows how her story ends because she has already lived it. The fictional diarist does not know what lies ahead and how her story will end – she has no idea throughout the story that she will be murdered but it was up to me as the author to move the plot inexorably toward that end.

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

Carolyn Meyer’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

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The Wild Queen: The Days and Nights of Mary, Queen of Scots (Young Royals Books (Hardcover))Cleopatra ConfessesThe True Adventures of Charley DarwinVictoria Rebels     VibesAngel DustFirehorse

Writing Teen Novels
www.writingteennovels.com

Plotting My Teen Historical Novels, by Carolyn Meyer

One of the things I like about writing fiction based on historical people and events is that real history provides so many fictional possibilities. Deciding where to start is the first challenge in plotting a novel for teen readers.

The age of the main character is an important decision. Common wisdom has it that young teens want to read about older teens – but not too much older; older teens don’t want to read about younger ones, and they also don’t want to read about characters who are a lot older. The sweet spot seems to be about sixteen. But history doesn’t always cooperate. Sometimes the actual story starts much earlier in the life of the historical person you want to write about.

Mary Stuart became Queen of Scots as an infant, upon the death of her father. I decided to begin The Wild Queen when Mary’s mother sends her off to France at age six to grow up in the King’s court. Would a thirteen-year-old reader decide in the early chapters that Mary is too young to be interesting? It was a risk, but I took it.

Marie-Antoinette is twelve when her story begins in The Bad Queen. Mary Tudor is ten in Mary, Bloody Mary. Her sister, Elizabeth, is thirteen in Beware, Princess Elizabeth, and Anne Boleyn is thirteen in Doomed Queen Anne. Less important than the age is the situation in which the main character finds herself in those opening pages. Sometimes it’s better not to state the age at first; just begin with a situation that grabs your teen reader’s interest.

Conflict drives the plot. The next big challenge is choosing which events provide the most compelling way to tell the story to a teen reader and which events to leave out if they don’t move the story forward.

Teenaged Princess Elizabeth is despised by her older half-sister, Mary. Marie-Antoinette must deal with the ladies of the French court who resent her and want her to fail. Victoria must contend with her demanding mother and her mother’s advisor, Sir John. Young Charles Darwin, in The True Adventures of Charley Darwin, has to confront a demanding father and his own lack of focus. Cleopatra’s jealous sisters, in Cleopatra Confesses, want her dead. Far from home, Mary, Queen of Scots, must adjust to a new environment and make decisions that change the course of her life. As the characters mature, the conflicts they face become even more complicated. The writer’s task is to keep teen readers turning pages.

I don’t try to figure out everything in advance. I simply start writing, trying different approaches until I find one that I think is most engaging. In my first draft of Victoria Rebels, the opening chapter recounted the circumstances leading to the marriage of Victoria’s parents. In a later revision, that material – historically interesting but not the way to launch a plot – was moved to Author’s Notes. The final draft of the story opens with preparations for the wedding of Victoria’s sister and her realization that with her sister gone Victoria will be alone.

Just as I experiment with different starting points, I try out various points at which to end. A satisfactory ending may depend on the age of my readers. The ending of Cleopatra Confesses tends to satisfy younger teens, while older readers want the story to go on.

Sequel, anyone?

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

Carolyn Meyer’s bio page

***

United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

Beware, Princess ElizabethThe Wild Queen: The Days and Nights of Mary, Queen of Scots (Young Royals Books (Hardcover))Cleopatra ConfessesThe True Adventures of Charley Darwin     The Gypsy Crown (Chain of Charms)Code Name VerityTarzan: The Jungle Warrior: Bk. 2

Writing Teen Novels
www.writingteennovels.com

Research For My Teen Historical Novels, by Carolyn Meyer

Writing historical fiction for teens begins with imagining a story that brings history to life, and research is key to creating compelling characters in an engrossing setting. Research: the very word has a musty sound to it. Once upon a time I spent hours wandering through the library stacks, searching through book after book in hopes of finding precious nuggets of information and glittering gems of detail that would lure teen readers into the story and keep them there. Now it’s all just a few keystrokes away.

My first stop is usually Wikipedia for a broad overview of characters and setting; then I follow the links and wander down unfamiliar paths, making note of the books referenced at the end of the most useful articles. I check the online catalog of my public and university library to locate library copies of promising resources, then order those I want to own. Researching Cleopatra Confesses, I acquired a half-dozen biographies and reference books. Nine online sites are listed in the bibliography, but in fact, I browsed through many more sites, chasing down details about food, markets, architecture, furniture, boats, music, dance, dress. For The True Adventures of Charley Darwin I read Darwin’s autobiography and made extensive use of an online collection of his many letters to and from family and friends, especially during his Beagle voyages.

Whenever I can, I travel. I’ve visited Marie-Antoinette’s rustic farm and opulent Versailles, cruised down Cleopatra’s Nile, listened to a concert in the Viennese church where Wolfgang performed before I started In Mozart’s Shadow. I’ve poked around Darwin’s childhood home in Shrewsbury, England, toured the school he despised as a boarding student, visited the home of the girl he loved. I wish I had visited the Galapagos Islands, but that was more than I could manage. Of course, it’s possible to make historical fiction real and exciting for teens without leaving home. A virtual online tour of Versailles can be very helpful and helped to job my memory, but for me nothing takes the place of an actual visit.

Research is so much easier than writing, and it’s tempting just to keep on doing it, postponing the time when you simply have to start telling the story.

A much more dangerous temptation is to use all those marvelous bits of information you’ve gathered, stuffing the novel with the details you’ve grown to love. When you’ve gone to so much trouble to find out what the queen was wearing or what the king was eating and what kind of dance step they were executing, it is painful indeed to cut, cut, cut.

Painful, but necessary. Good research makes your story authentic. The right details help to draw teen readers into the story, take them out of the here-and-now and transport them to another time and place. But loading the story with too many details is like throwing too many herbs and spices into a stew. Over-season your fictional stew, and young readers will yawn – and then they’re gone.

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

Carolyn Meyer’s bio page

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United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

Cleopatra ConfessesThe True Adventures of Charley DarwinIn Mozart's Shadow: His Sister's StoryMarie, Dancing     My Brother's ShadowSektion 20Across the Universe

Writing Teen Novels
www.writingteennovels.com

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