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Posts tagged ‘Young Adult novelists’

Month In Review with Steve Rossiter (March 2013)

Writing Teen Novels has reached the end of its third 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 Historical Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

The purpose of these Month In Review articles is to:

- provide a handy list of links to the articles for the past month, then to

- relate some of the content of these articles to my own novel writing to help novel writers and other interested people discover the month’s content and gain some insights into ways the month’s content can be engaged with in a practical context.

Articles for March 2013

Are Teen Novels ‘Genre’ Fiction? by Elizabeth Wein

Using Art In My Teen Novels by Stephen Emond (graphic novelist)

Writing ‘Unlikable’ Characters In Teen Novels by Amy Kathleen Ryan

Selling Your Teen Novel Manuscript by Laurie Faria Stolarz

Unreliable Narrators In Teen Novels by Beth Revis

My Novel Writing Process by April Henry

Editing A Novel: The Necessary Evil by Lish McBride

The Process Of Writing And Revising My Novels by Monika Schroder

Finding A Good Literary Agent For Your Novels by Paul Volponi

Research For My Teen Historical Novels by Carolyn Meyer

Developing The Story For My Novel ‘The Puzzle Ring’ by Kate Forsyth

What Is At Stake For The Characters In Your Teen Novel?  by Diane Lee Wilson

Voice In My Teen Novels by Kashmira Sheth

Why I Love To Set Novels In British Columbia by Sam Hawksmoor

Setting Up A Suspenseful Plot (Secrets Of Narrative Drive) by Sarah Mussi

On Novels That Are For-Teens-By-Accident by Bernard Beckett

Beginning Your Novel With A Great First Chapter by Pauline Francis

Getting An Agent And Publisher For Your Novel by Andy Briggs

This month’s articles and writing my teen novel

Sarah Mussi wrote: A strong opening must promise the reader that something worthwhile is going to happen because this will make the reader feel it is worth carrying on reading. This sounds simple but it’s a bit more tricky than it seems.
Firstly, ‘something worthwhile is going to happen’ should not be confused with curiosity. Mere curiosity, or not knowing something, is not enough to stimulate the interest of the reader over the course of a novel. Secondly, the willful withholding of information in order to ‘arouse interest’ or ‘create a surprise’ can be extremely annoying.  Anyone who has ever had the misfortune to read a book like this knows the feeling. It’s counter-productive. It’s BOOK DEATH! So you have to be very cunning.

Monika Schroder wrote: Once I have finished a full draft it goes through numerous revisions and each of these revisions focuses on a different aspect of the manuscript. In an early stage when I revise for plot I tweak and streamline the events along the story’s arc. I cut scenes or write them more tightly. Another revision focuses on the character development, making sure that I have kept his or her development clear and the character’s traits are consistent throughout the story.
After the larger structural problems are fixed it is time to improve syntax and word choice.

Kashmira Sheth wrote: Our inner world is colored with our outer world. The physical surroundings, including weather, seasons, terrain, plants, animals, and people have a profound impact on how they express themselves. For example, a character living in a desert might use a spiky cactus to describe a prickly personality, while a character living near a rocky beach may compare it to sharp rocks. A character’s profession will also shape the way they talk and think.  A poet may describe a sunset differently than a scientist, even though they are both watching the same sunset at the same time and same place. The metaphors and similes our characters use or don’t use reflect their environment and their backgrounds. This makes up part of their voice.

For my own teen novel in progress, set in 1939 Poland and discussed further in the January and February Month In Review Updates, my approach includes going back to revisit the first chapter as part of the editing and rewriting process to ensure it performs the important role of effectively introducing readers to my main character and drawing them into the story. As Sarah has suggested, there is a difference between skillfully crafting a sense of anticipation and story momentum by raising unanswered questions in readers’ minds as part of a satisfying story experience versus simply withholding information you would otherwise provide in the belief that withholding this information will create suspense.

Of course, while the first chapter of a novel holds a special place as readers’ entry point into a novel, it is not just the first chapter that can benefit from being re-shaped with the benefit of the big picture context gained from of a complete draft of the novel. With this big picture context in mind, the essence of each scene and the contribution it makes to the story (eg. revealing character and dynamics between characters, and showing character-change and changing dynamics between characters) can be fine-tuned so the components of the story work in unison to more effectively convey a satisfying reading experience.

Kashmira’s point that ‘our inner world is coloured by our outer world’ is something I have considered, and continue to consider, in relation to my novel. My main character, as a teenager in 1939 Poland, does not have day-to-day familiarity with contemporary things like computers or the internet, television, rock music, mobile phones (or even widespread access to home phones) and other electronic or communications devices, passenger aircraft, widespread access to motor vehicles, widespread commercial use of plastics, the United Nations, the Holocaust, the outcome of WW2, nuclear weapons, the Cold War, satellites, space travel, and whether there was intelligent life and societies on neighbouring planets. This means many concepts which could come to mind for a contemporary character cannot come to mind for my character in 1939 Poland. Day-to-day concepts which come to his mind may have more to do with things like agriculture, livestock, horses and horse-drawn carts, railway travel, communicating by posting letters, the outcome of WW1, instrumental music, folk songs, books and paintings. Contrasting a contemporary character with one from the past provides a clear example of how a character’s ‘inner world is coloured by their outer world’, but this applies equally to different characters within the setting of a novel. Each character in a setting does not experience the absolute entirety of that setting, just as no person experiences the absolute entirety of the planet, country, region, state, city, street or even the house where they live, due to the physical limitations of only being in one place at a time. Each character will experience different parts of their setting and have different thoughts than other characters, which will influences which parts of the setting they subsequently experience and what they then think, and so on, building up in each character a unique ‘inner world coloured by their outer world’.


‘Month In Review’ Updates

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

You can connect with Steve Rossiter on Facebook or on Google+.


Writing Teen Novels


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