Pardon my hyperactivity. I am very excited today, this is a spontaneous post, and I haven’t edited it. Bear with me.
In September, those of you who follow me on social media may have noticed I was gearing up for NaNoWriMo, otherwise known as National Novel Writing Month. My plan was to use the website to track my progress, but to be a rebel. I would work on the second half of a YA dystopian novel I started a while back, A Light So Dim, something that I’m starting to believe may be the best thing I’ve ever written. And I’m not joking. I stepped away, walked back and was impressed and in love with my opening pages. I even started workshopping them in the attempt to get myself back into writing mode from the edit/query mode I was stuck in.
And then, something SPECTACULAR happened. At the end of September, I got the news that Black Rose Writing had accepted my novel (another YA, but this time Urban Fantasy), The Order of the Key, for publication. And I got swept up in the edits requested of me by my publisher and I’ve just finally handed them off to my editors last week to await another round.
And then I sat back and did nothing. Well, no. Not nothing. I began working at establishing connections or re-establishing connections in the writing world, because I’m rejoining the published part of it (which I had left after my last publisher for Order crashed). But I wasn’t writing.
It bothered me. I’ve got a ton of projects waiting in the wings, and I’ve been cycling through bits of work on all of them, and now I had to wait to get my edits back, which are due in January, and there is no way I can possibly start writing A Light So Dim again in earnest, because I’ll get thrown off by the return of my edit letter.
So. What to do? How could I keep going and stop myself from feeling dormant on the writing side of my writing career? Because you probably have figured this out already, but in order to promote things you’ve written, you have to write them first.
Therefore, I have declared this Personal Write More Month, or PeWriMoMo. Yes, I’m aware this sounds ridiculous, and yes, I giggle every time I read it out loud. But if you don’t realize I’m ridiculous by now, you need to pay closer attention.
The rules of PeWriMoMo (heh, heh) is as follows. I work on any one of my list of pending projects and get a word count on any work I’ve done. I try for the standard 1,760 words a day that come with NaNoWriMo, but don’t cry if I don’t make it, and I do it across all projects.
And I get myself moving again. These stories ain’t gonna write themselves.
So here is a peak into my mind, aka all the moving parts I have going in my brain at once.
Order of the Key Edits A Light So Dim Edits and Additions A Light So Dim Outline Blog Posts – Because you still deserve to hear from me. Nightmarescape — that multi-chapter fanfic I’m working on (fanfic is art too, people) Landmarks — that adorable one-shot fanfic I’m working on (sshhhhh I know these won’t make me money, but I want to work on them.) Jagged Shards Cut Deep — that new fanfic I literally dreamed up on the train today that won’t shut up so it might as well make this list. The Lost Key reread/comment for edits — An Order of the Key sequel? It could happen…if I can make what I wrote of it work after completely overhauling chunks of Order. We’ll see. The Lost Key Outline — Or maybe I can rework the entire thing? Lucy Dies in the End Outline — my weird YA Fantasy Noir Detective story. Living in the Past Outline — could this be an actual Adult Supernatural tale? Superhero Rom Com Outline — sort of New Adult, sort of funny, definitely superheroes, no title to speak of. Reality Check Outline – I’m still not sure what the hell this story is. I have spectacular ideas for it, and no structure at all, but I refuse to make this once Adult Rom Com, now maybe NA Rom Com die. SHRUG. At some point, I’ll figure it out.
I’m going to be using this blog to keep me accountable, so join me on my weird journey. And feel free to actually join me and write all the things!
While you’re at it, for the love of all that is holy, somebody get me a coffee. Or take away the Halloween Candy. Something.
It is safe to say that we’re in the era of the Young Adult genre. More and more people, not just adolescents, are starting to read and write YA novels. There are hundreds of sub-genres within it such as fantasy, horror, thrillers, coming-of-age, romance and science fiction, and even more within those such as epic fantasy, futuristic, and chick flicks. However, the one thing they all have in common (as it is the main feature of YA) is that the main characters are teenagers.
I love the Young Adult genre, not only because I see myself and my age group in books, but also because being a teenager is no longer being regarded as a time stuck between childhood and adulthood, but a unique stage of a person’s life. However, something that frustrates me in YA novels is when teenagers aren’t portrayed realistically. So, I’d like to point them out in the following list.
Some of the things I’ll say potentially apply to the New Adult genre as well. I also want to mention that since most young adult novel characters are from the middle class, I won’t touch on issues such as criminal neighborhoods and heavy financial problems. So, my notes may not be relevant in these cases.
Let’s jump right into it!
Whether your teen character is in a fantasy world of powers and magic, in a moon colony after a nuclear disaster on Earth, or has an ordinary adolescent life, chances are, there is an educational system they have to attend. I realize that there are exceptions to this, but the moment it is established that a character goes to school… wait for it… they must go to school. There are entire contemporary novels of the typical life of a high school teenager, except they’re never in school, but always at parties and sleepovers, and the only school-located scenes are in homeroom an the cafeteria. Even someone who doesn’t care about school and skips lessons will get detention, be called to the principal, or parents will be contacted. Even though this is different in all schools, most have some kind of record of absences.
On a related note, something I’ve noticed is that characters who go to school never seem to have homework, or need to study. There are tests. Exams. Pop quizzes. Projects. After-school clubs. How do YA teenagers manage not to repeat grades or drop out?
Having a character mention that a professor was being unfair, or that someone got detention, or that Trigonometry will be the death of them isn’t an info-dump or useless dialogue. It is only adding depth to the story, as well as making the story more realistic and closer to the readers experiences. For example in KEEPER, the story starts with Lainey annoyed because her best friend Maggie made her go with her to a noisy store, when she has to study for SATs. She resolves this issue by reciting the vocabulary while waiting for her.
It is no secret that in YA novels, adults are usually distant, nonchalant, or simply nonexistent. I understand the use of this, to a certain extent: most YA novels focus on the growth of teenagers, making their own decisions and finding out how far they can go to solve whatever obstacle the author has thrown in their way.
But aren’t parents or guardians worried? Say your main character is a superhero, who was given special powers by the Gods but must practice them in secret. Where are their parents in all this? While the kid is going around preventing war and destruction, aren’t the parents or guardians frantically searching for them? Doesn’t the kid have a curfew? An example of a story where this is addressed is in the movie E.T.: the main character is always trying to hide the Alien from his mum: faking a fever, sneaking food, the phone call where he pretended to be sick… and even then, the mum still kept a close eye on him.
Parents don’t usually abandon their children, and if they do, there’s got to be some sort of psychological reason: even an absent parent always on their phone will realize if their child is never home and happens to have a pair of wings.
Even in books where the teen character is homeless without a family, there are always adults somewhere. I can tell you from personal experience to what extent nosy neighbors can factor into a person’s life.
It should be fairly well-known that teenagers wonder about the future, constantly trying to figure out what they do and don’t like. Whether they’re daydreaming about the perfect house, their journey in life, a job, and partner, or wishing they could be different, adolescents try to figure things out. Then why is it, that teens in YA novels always seem to have everything under control, never hesitating? Even the most determined adults can have doubts, and even the couples most in love feel insecure. It is incredibly rare that teenagers know everything they want to do in their lives.
This also applies to teenage relationships, as most don’t make it past six months, let alone staying together after high school. I’m not saying teen relationships cannot work out because some do. But teenagers are in such a chaotic and emotional stage of their lives: call me a cynic, but it’s unrealistic for so many teen couples to think they’ll be together forever. So no, Bella from Twilight, I don’t think you and Edward will be in love for the rest of your immortal lives.
In my opinion, Bebe Rexha perfectly summed this up in her song Call You Mine: “You said, ‘Hey, whatcha doing for the rest of your life?’ And I said, ‘I don’t even know what I’m doing tonight’ ”.
There’s also the issue of teens knowing how to do all sorts of thing. Teens flying spaceships without a second thought, leading entire kingdoms, and murdering expert killers. Too many times are there stories with main characters who can’t even handle running after the school bus for ten seconds, but suddenly they can beat up a thief or fight armed police guards, getting out without a scratch?
When talking specifically of sports, most adolescents fluctuate between being absolutely unfit, doing sports only because Physical Education is compulsory, or they are obsessed with sports and the gym. If your character falls into the former category but then does something incredibly athletic, there’s got to be something huge justifying their newfound fitness.
And last but not least, language. Once again, in my experience, there are two extremes many authors fall into when writing teen dialogue: either really sophisticated, or over-slanged. Unless there’s a way to justify this, a teen isn’t usually going to call up a friend saying “Hello, how are you? I was wondering if you were free for dinner tomorrow evening?” or “Yo man what’s up dinner tomorrow you down?”. Chances are, they’ll fall somewhere in the middle depending on their culture, class, circumstance, up-bringing, and the universe you’ve created for them. In conclusion, “Hey, wanna go out to dinner tomorrow?” can be a good compromise.
Next comes a personal pet peeve of mine: texting. I adore books where characters text. However, I can’t stand when authors make characters text absolute gibberish abbreviations to sound ‘cool’ and ‘modern’. Trust me when I say, nobody ever texts “Hiya how r u, hw rn I got math 4 tmr dyinggggg, cyou 2night @7 yah?”
No. Just no.
Writing teen characters is really difficult: I’m a teen writing YA, and I struggle. This article actually helped me reflect on my own novel, and while writing I made a number of changes regarding schoolwork and parental presence. I added scenes where they were doing schoolwork (or complaining about it), and I removed some scenes with secondary adult characters, making my main character’s parents be there instead.
Of course I realise there are exceptions to my list: it’s merely a general overview of some things I’ve noticed in Young Adult novels. My best piece of advice for authors wondering if their teenage character is accurate, is to give it to some beta readers in the same age group. If they approve of it and say it is accurate, then I wouldn’t worry.
Lucia Brucoli is a high school student, aspiring author and freelance writer. She is now working on her Young Adult sci-fi novel, GOODBYE. In her free time, she enjoys watching t.v shows, reading, and of course, writing!
Last week, I had the wonderful opportunity to guest post on the blog of Jeni Chappelle, editor extraordinaire. I spoke about the agony of the edits.
As a writer that has been edited and an editor that has worked with writers, I’d like to paint you a picture.
You’re a writer, and you just received a massive developmental and line critique from the editor you hired. You open it up and gaze into the glaring image of comments and track changes that have made your once monochrome document into a rainbow of color. Your heart gives a little squeeze. Tears poke at your eyes. You haven’t even read what the editor has to say yet, but you see that rainbow and it evokes memories of literally every test you ever got back from a teacher to find it marked in red. Then you start reading the comments and suggestions. Some make you nod. But some cut to the bone. You want to hurl explanations at the editor. Couldn’t they understand? Why weren’t they getting what you were doing with your words! You’re caught somewhere between anger, sadness, and a sort of numb defensiveness, and you don’t know which direction best serves you as a writer.
And that’s okay. Getting edits should hurt.
To read more of this post, and to check out the rest of Jeni’s blog, click here.
As an editor, a writer, and a vocal member of the writing community, I hear a lot of strange rules that people make up about writing. As a matter of fact, our next CraftQuest discussion will be exactly about that (subscribe to our channel for updates)! One of my absolute favorite ones is this: If you’re writing fantasy, you don’t need to research. You’re writing about things that don’t exist in reality–why would you need to search for clues within reality? No. Just no. As a writer, you NEED to research. It’s a fundamental part of your work. And it doesn’t matter what you’re writing.
In real life, i.e. not your imaginary book land, there will always be things you don’t know. I know that the infamous “they” tell you to write what you know, but I’ve gotta tell you, if I wrote only what I know into every manuscript I work on, my work would be painfully boring. I’ve written about powered individuals who fight monsters. I’ve written about a girl who is best friends with Aphrodite. I’ve written about spiking your brother-in-law’s martini with coolant. I haven’t done a single one of these things, no matter how sorely tempted I’ve been. What have I done? I’ve been terrified for my life and I’ve been in chaotic situations. I’ve been friends with someone who wanted more for me, and I’ve been friends with someone who thought I should be something I was not. I’ve watched someone abuse someone I loved and wished for a way to free them from the neverending spiral of abuse.
So, how do you write about the things you do not know? You have to do research. You have to learn new things, understand different lifestyles, different histories. You have to dig deep. But what about fantasy and science fiction? You don’t have to do research for those, do you? I mean, they aren’t even real! Why would you need to research something when it’s all made up in your imagination?
Because the key to fiction is relatability. We enjoy books because we relate to their characters or their worlds on some intrinsic level. They reflect something about our world. Which means they have to, at least somewhat, feel similar to our world. On a planet where the physics are different? You have to justify that change. Create a world where someone is immortal? Why? How does their body work that is different from how ours do? You can’t just randomly have someone buried alive for a week and have them survive. You have to explain that they don’t need a whole helluva lot of food, water, and oxygen to survive. You can’t just have a dragon without wings fly through the sky. How does he stay up? Is some kind of magic at play? Without that, they wouldn’t be aerodynamic enough to swoop through the sky.
If your character rides a horse-like creature, you have to understand how to describe riding a horse and relate it back, because when we read, we base the adventures on our own somewhat similar experience. Your job, as a writer, is to come as close to capturing a relatable experience while still balancing that with the new and fantastical ways of the world you’ve created in a consistent fashion.
So how do you make sure your world feels relatable to your readers, even if you play with changing some of the rules? You take what you don’t already know and you…research it.
When I was a kid, I had the wonderfully gross habit of chewing things. I was like a little rat. I chewed on pencils and pens until they would splinter. I would chew on bizarre things. I wouldn’t find out until way later that it was actually sensory seeking behavior—the product of a Sensory Processing Disorder I had, and have since inadvertently passed to my son (that’s the only way it even got diagnosed).
It’s a strange thing. I broke that chewing habit somehow long before I ever thought of having Logan, and yet somehow, he picked up the same habit. We’re struggling to break him from it now.
Habits, as it turns out, are strange and unpredictable things. Some are in our blood, our DNA, like my weird chewing habit. Some form accidentally, like the way you go to the store across the street for lunch, once, twice, and before you know it, we’re regulars. Some habits, the best habits, are the ones we form on purpose.
They say it takes twenty-one days for a habit to form. That kind of habit is a different brand. It starts with a commitment. You decide you’re going to create a habit and then you do it. That’s the intention of programs like NaNoWriMo. You write as much as you can for as many days in a row, and eventually you form a habit.
I used to have a fairly consistent writing habit. I wrote once a day, at least something. Lately, I have allowed that to drop. Life has been perpetually getting in the way of things, our editing business is keeping me in editing jobs (no complaints there), and I just haven’t been carving out the time to write.
That is about to change. For months, I’ve been agonizing about how to get myself started again. I have a few projects in mind, but none of them are jumping out more to me than the others. They all have their benefits, but I need to find which one is my next big project.
Last week, I received my second Scribbler box and it had a journal in it. It contained 300 Writing Prompts. It isn’t the first one I’ve had. The last time I used one it helped me get a handle on character. So, I’ve decided to restart my writing habit. As of this month, I will be writing at least a prompt a day. Each will be written in the voice of one of the characters I’ve been playing with. If I like them, I will post them here. If I don’t, it was worth the attempt.
And by the end of March, I hope to have figured out which voice I want to explore the most. Wish me luck, you guys. By April and Camp NaNoWriMo, I’m hoping to be back in the writing habit.