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Posts tagged ‘YA Novels’

Why I Write Novels For Teens, by Emma Pass

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

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

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

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

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

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

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

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

Emma Pass bio page

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

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

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

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

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

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

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

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

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

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

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

Janet Edwards’s bio page

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     Powder Monkey: Adventures of a Young Sailor

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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. 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

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

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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
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The Young Adult Fiction Industry, by Stephen Emond (graphic novelist)

Working in Young Adult fiction sometimes feels like I’ve been let into a secret awesome club. It really is a community, a warm and welcoming little village of YA, comprised of authors, editors, agents, teachers, librarians, bloggers and readers. It’s a small world and everyone knows and loves everyone else. It’s such a great place and I don’t think any industry has quite what we have here in the YA world.

Positivity is the word that really springs to mind when I think of YA. Since I started writing it, I’ve become friends with other authors, and with editors, people from other publishing houses and divisions, bloggers who talk about my books and fans who send me emails. There’s no real divide, no “I’m an author, and you’re a (fill in the blank),” everyone is equal and friendly and we all have something in common – books.

The people who read Young Adult fiction are some of the most passionate people you will ever meet. Teens that read YA have SO much competition for their attention – television, video games, school (why did I make school third?), friends, family, jobs, chores. They make time to read. It’s something they seek out and pursue. Librarians and teachers love our industry because we get kids reading. There’s so much talk and debate, so much passion and deep enjoyment.

The one complaint I see pop up is about the opposite of positivity – the idea that somehow YA authors aren’t writing simple positive values-ridden books, that we write swears, and sex, and violence, and corrupt children and teens. I’d argue even the worst of these books are doing a positive thing by getting teens to read, by showing them they aren’t alone in their feelings, opening communication, promoting or even prompting discussion, and being a realistic window into the world.

Being a teen is difficult, it’s a lengthy process of challenging and changing everything you know about the world, closing a very long chapter of your life and opening a new one. These are weighty subjects. These aren’t just books to read and forget on an airplane ride, these books and characters bond with readers in ways few other books do. I see it in the emails I get, sometimes they’re a nice simple “thank you,” or “I really connected with that story”. Other times I get very heartfelt confessionals. These books matter.

That’s why I love writing YA, and why working in this industry is constantly surprising, moving, and magical. Because it’s not just an industry, it’s a living, breathing community. We all connect.

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Stephen Emond’s author website: www.stephenemond.com

Stephen Emond’s bio page

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HappyfaceWinter Town     A Coalition of LionsTarzan: The Greystoke LegacyHold Me Closer, Necromancer

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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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Bad Habits To Avoid While Writing, by Andy Briggs

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

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

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

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

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

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

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

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

Andy Briggs’s bio page

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Planning And Writing A Novel, by Monika Schroder

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

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

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

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

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

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

Monika Schroder’s bio page

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