by Riley Redgate
Like most strange adults, I was once a strange kid. Back in my elementary school days, I had a knack for sleepwalking: I'd end up downstairs a lot, managing our staircase with ease, and sometimes I'd have conversations with people while asleep. One night, my father found me in the hall outside my bedroom, staring at nothing. When he asked me what I was doing, I helpfully replied that I was "looking." Looking at what? I don't know. I didn't elaborate. We chatted for a minute or two about why I was still awake -- it was about 1 AM -- and then I went back into my room. I remember zero percent of this.
Nighttime is when I do my best work. Unfortunately, it is also when I am weirdest. This has always been true. Once, when I was eight, I walked downstairs in the middle of the night, sobbing. My parents asked me what was wrong. My response was, "I just don't want to die!" If I were my parents, I would've been terrified of me. (Note: I have not yet died.)
People wonder why old fairy tales were so bloodthirsty, what with all the violence, cannibalism, etc. I feel like the answer is pretty simple: children are obsessed with darknesses and terrors. I have spoken with innumerable people who tell me they went through a Holocaust fascination phase as a kid (so did I). When I was in elementary school, my fellow students loved this Jingle Bells parody, which is a blood-soaked piece of rewriting if I've ever seen one. And kids, Neil Gaiman says, read his notoriously horrifying book Coraline as an adventure, while adults get nightmares. Let's be honest, though: all you need to do is crack open one of those Scary Stories anthologies to find something traumatizing. Those were always popular at my school libraries.
When I was eight, the ideas of death and pain were everywhere in the media I consumed. Kids' books and movies have a high body count -- dead parents, dead kids, people getting injured all the time. Harry Potter is the poster child for fictional orphaned kids, who have been trendy in literature since Dickens. Kids get devoured by the handful in Roald Dahl's The BFG, and tortured by Ms. Trunchbull in his book Matilda. Part of this is the dichotomy kids' books often draw between good and evil: evil people hurt others, and good people stop that from happening. But there's more there.
I'm still scared of dying, like most people. But when I was eight, the fear of it crippled me. I had huge fears that swallowed me up every night as I lay there, staring at the ceiling. I have a body of experiences now that help me cope with fears based on how my life has gone this far. But when I was eight, fiction was the only way I could understand most fears. Stories make awful things comprehensible to kids. It's an incredibly important part of growing up, understanding what bad things are, why they happen, and how they operate.
Books taught me the best way to beat the monsters, too: keep going. Keep reading to the end of the story. Keep moving forward until something changes, or until you understand. That's why my favorite kids' books, from chapter books to YA, have heavy or dark elements -- these books help readers deal with hard truths, and persistence is always the way to tackle them.
It's understandable, wanting to shield kids from the worst parts of the world. Still, in my opinion, kids shouldn't be sheltered from scary topics. There's a time and a place for everything, obviously, and kids' literature has boundaries that adult categories don't. All the same, loss, pain, and death are part of being alive, from the youngest age, and in my life, books have been the weapons I've used to fight back the fear of them.
Riley Redgate, enthusiast of all things YA, is a bookstore-and-Starbucks-dweller from North Carolina attending college in Ohio. She is represented by Caryn Wiseman of Andrea Brown Literary Agency. Sporadically and with occasional weirdness, she blogs here and speaks with considerably more brevity here.
Showing posts with label YA. Show all posts
Showing posts with label YA. Show all posts
Monday, January 12, 2015
Friday, May 2, 2014
We Need Diverse Books
by Mindy McGinnis
Diversity in children's literature has become a prominent topic lately. The We Need Diverse Books campaign - spearheaded by authors such as Ellen Oh, Aisha Saeed and Chelsea Pitcher - has roared into the public eye this week, with prominent authors and publishers tweeting under the tag #WeNeedDiverseBooks.
So here's my two cents.
As a lifelong reader, I always inserted myself into the stories I read. I was the main character. I was the saucy sidekick. I was the cool cat. The romantic interest was the guy I liked and the MC’s best friend was my best friend. I created a new physical reality for the book, and if an overly descriptive passage didn’t match my imaginings it would be jarring, and oftentimes kicked me right out of the story.
As a librarian I’ve encouraged reluctant readers to use this tactic, to cast the book with themselves and their friends (or enemies!) in order to make it more real, more enjoyable, a more palpable experience of an alternate reality that they can truly participate in. I see it working more often than not.
Every now and then I see reviews of NOT A DROP TO DRINK where people say they wish I would describe my characters more so that they could visualize them. The truth is that I purposely resist in-depth physical descriptions because I want the reader to have perfect freedom to visualize the characters in any way they choose.
This includes skin color.
In short, we need diverse books because everyone assumes Lynn is white.
___________________________________________________________
Mindy McGinnis is a YA author and librarian. Her debut, NOT A DROP TO DRINK, is a post-apocalyptic survival tale set in a world where freshwater is almost non-existent. The companion novel IN A HANDFUL OF DUST releases September 23, 2014. She blogs at Writer, Writer Pants on Fire and has a serious social media problem. You can find her on Twitter, Tumblr, Facebook, Instagram, and Pinterest.
Diversity in children's literature has become a prominent topic lately. The We Need Diverse Books campaign - spearheaded by authors such as Ellen Oh, Aisha Saeed and Chelsea Pitcher - has roared into the public eye this week, with prominent authors and publishers tweeting under the tag #WeNeedDiverseBooks.
So here's my two cents.
As a lifelong reader, I always inserted myself into the stories I read. I was the main character. I was the saucy sidekick. I was the cool cat. The romantic interest was the guy I liked and the MC’s best friend was my best friend. I created a new physical reality for the book, and if an overly descriptive passage didn’t match my imaginings it would be jarring, and oftentimes kicked me right out of the story.
As a librarian I’ve encouraged reluctant readers to use this tactic, to cast the book with themselves and their friends (or enemies!) in order to make it more real, more enjoyable, a more palpable experience of an alternate reality that they can truly participate in. I see it working more often than not.
Every now and then I see reviews of NOT A DROP TO DRINK where people say they wish I would describe my characters more so that they could visualize them. The truth is that I purposely resist in-depth physical descriptions because I want the reader to have perfect freedom to visualize the characters in any way they choose.
This includes skin color.
In short, we need diverse books because everyone assumes Lynn is white.
___________________________________________________________
Mindy McGinnis is a YA author and librarian. Her debut, NOT A DROP TO DRINK, is a post-apocalyptic survival tale set in a world where freshwater is almost non-existent. The companion novel IN A HANDFUL OF DUST releases September 23, 2014. She blogs at Writer, Writer Pants on Fire and has a serious social media problem. You can find her on Twitter, Tumblr, Facebook, Instagram, and Pinterest.
Wednesday, May 9, 2012
Coming of Age
by Riley Redgate
Today I turn eighteen.
Today I'm legally allowed to get lottery tickets. And spray paint. And children! I can adopt a child!
Er, perhaps I'll hold off on that for a while.
Anyway. I've long heard about this mysterious age, eighteen. Word has it that at eighteen, protagonists turn into world-weary folk no longer suitable for the YA section. At eighteen, protagonists enter the mysterious realm of New Adult. Heck, at eighteen, protagonists are practically fossilized, you know?
Regardless. Now that I am a Legal Adult, a Human of Great Weight and Importance in the Eyes of the Government, an Independent Entity ... I am qualified to say that I feel absolutely no different. I almost wish it felt stranger, you know? All this buildup, and ... nada. I expected at least some sort of sonic boom as I entered the realms of adulthood.
Oh, well.
So what is it, exactly, that'll turn me into an adult? Certainly not an arbitrary number of years past the date of birth. By my calculations, approximately eight million coming-of-age stories have been written to try and pin down the moment when the boy becomes the man; when the girl becomes the woman. I believe that almost every YA story has a coming-of-age element—and I have three theories to share about this special moment (or period of time). It's different for every personality, every story, but just as many plots are comparable, I believe many characters' transition to adulthood are similar:
YOUR MAIN CHARACTER GREW UP ...
1) When They Lost Their Innocence
In The Hunger Games, exactly when did Katniss lose her innocence—was it the first murder she saw in the Arena, or holding someone she loved in her arms as they died ... or was it the experience as a whole? In Lord of the Flies, when did one certain boy realize that the other boys had turned from young men into beasts? In my opinion, this isn't usually so much a moment as a slow transition. It may take months, or years, but when the character emerges from this transformation, he/she is wise. Before, he/she may have been smart, but now he/she is wise. He/She has knowledge of the world, of its faults, and the maturity to accept it. This is rather depressing at its heart, but hey. Now they get to give sage advice to people! You win some, you lose some.
2) When They Knew What to Do
This transition, unlike the above, is one you can pinpoint; one you can spot at the height of the climax. It's where the plot comes together and the main character realizes, I have to sacrifice myself to save my friends! Or maybe, I have to let go of my memories to move on from the past. Or perhaps, I have to take charge of this army and lead them across a sunny field while raising my sword and crying, "FOR NARNIA!" You know. That type of thing. This is a clearly marked turning point. It's where a young person, who has been led by circumstance, often guided by adults and restrained by his/her own self-doubt, bursts free of adolescent fears. This is a culminating moment, a glorious moment of surety. The moment he/she takes charge, accepts responsibility for his/her actions, and bears the weight of independence and what that entails.
3) When They Changed
Sometimes we aren't the same people at the end of a journey as we were at the beginning. (Hi there, Frodo.) Often, the most fascinating dynamic characters are those who emerge with traits that weren't evident at all at the beginning (Hi there, Harry). Whether that's a sense of bravery, heightened respect for others, or newfound humility, a wonderful way to add a feeling of maturity is to work in a different face to the character, a different type of emotion altogether. A new dimension; another facet. After all, adolescence is about exploration, the discovery of who we really are. Coming out with more self-knowledge will always be the hallmark of a good ol' learning experience.
There you have it—my three categories. Now, having talked about growing up for a while ... I'm off to build a fort out of pillows and blankets, complain about school, and eat unhealthy food. Legal adulthood? Ha! You're only as old as you feel. And I feel positively embryonic! (Ew.)
*clears throat* And on that ... evocative note ...
How old do you feel? And do you have a favorite Bildungsroman?
Riley Redgate, enthusiast of all things YA, is a bookstore-and-Starbucks-dweller from North Carolina. She blogs here and speaks with considerably more brevity here.
Today I turn eighteen.
Today I'm legally allowed to get lottery tickets. And spray paint. And children! I can adopt a child!
Er, perhaps I'll hold off on that for a while.
Anyway. I've long heard about this mysterious age, eighteen. Word has it that at eighteen, protagonists turn into world-weary folk no longer suitable for the YA section. At eighteen, protagonists enter the mysterious realm of New Adult. Heck, at eighteen, protagonists are practically fossilized, you know?
 |
| me, as of today. |
Oh, well.
So what is it, exactly, that'll turn me into an adult? Certainly not an arbitrary number of years past the date of birth. By my calculations, approximately eight million coming-of-age stories have been written to try and pin down the moment when the boy becomes the man; when the girl becomes the woman. I believe that almost every YA story has a coming-of-age element—and I have three theories to share about this special moment (or period of time). It's different for every personality, every story, but just as many plots are comparable, I believe many characters' transition to adulthood are similar:
YOUR MAIN CHARACTER GREW UP ...
1) When They Lost Their Innocence
In The Hunger Games, exactly when did Katniss lose her innocence—was it the first murder she saw in the Arena, or holding someone she loved in her arms as they died ... or was it the experience as a whole? In Lord of the Flies, when did one certain boy realize that the other boys had turned from young men into beasts? In my opinion, this isn't usually so much a moment as a slow transition. It may take months, or years, but when the character emerges from this transformation, he/she is wise. Before, he/she may have been smart, but now he/she is wise. He/She has knowledge of the world, of its faults, and the maturity to accept it. This is rather depressing at its heart, but hey. Now they get to give sage advice to people! You win some, you lose some.
2) When They Knew What to Do
This transition, unlike the above, is one you can pinpoint; one you can spot at the height of the climax. It's where the plot comes together and the main character realizes, I have to sacrifice myself to save my friends! Or maybe, I have to let go of my memories to move on from the past. Or perhaps, I have to take charge of this army and lead them across a sunny field while raising my sword and crying, "FOR NARNIA!" You know. That type of thing. This is a clearly marked turning point. It's where a young person, who has been led by circumstance, often guided by adults and restrained by his/her own self-doubt, bursts free of adolescent fears. This is a culminating moment, a glorious moment of surety. The moment he/she takes charge, accepts responsibility for his/her actions, and bears the weight of independence and what that entails.
3) When They Changed
Sometimes we aren't the same people at the end of a journey as we were at the beginning. (Hi there, Frodo.) Often, the most fascinating dynamic characters are those who emerge with traits that weren't evident at all at the beginning (Hi there, Harry). Whether that's a sense of bravery, heightened respect for others, or newfound humility, a wonderful way to add a feeling of maturity is to work in a different face to the character, a different type of emotion altogether. A new dimension; another facet. After all, adolescence is about exploration, the discovery of who we really are. Coming out with more self-knowledge will always be the hallmark of a good ol' learning experience.
There you have it—my three categories. Now, having talked about growing up for a while ... I'm off to build a fort out of pillows and blankets, complain about school, and eat unhealthy food. Legal adulthood? Ha! You're only as old as you feel. And I feel positively embryonic! (Ew.)
*clears throat* And on that ... evocative note ...
How old do you feel? And do you have a favorite Bildungsroman?
Riley Redgate, enthusiast of all things YA, is a bookstore-and-Starbucks-dweller from North Carolina. She blogs here and speaks with considerably more brevity here.
Monday, February 20, 2012
Good for the Whole Family
by R.S. Mellette
While the publishing world argues over what's Middle Grade, what's Young Adult, and what's New Adult—as witnessed by J. Lea Lopez here recently—I'm asking; whatever happened to "good for the whole family?"
Target marketing has been around long enough that most people think it's the only way it's ever been, but if you take a longer view of commercial art, you'll see that excluding the majority of your potential audience is a brand new concept. Yes, I said "excluding." If you write for, or edit for, or make acquisitions for, or shelf for, one specific age group, then you are limiting your audience. And by "brand new" I mean since the turn of the previous century.
Before radio, movies, television and the internet split audiences into tiny chunks, there were basically two markets: kids and adults. Even at the beginning of these technologies, artists had to create work that would satisfy whoever might receive the signal from the air. Going back even further, when books were expensive to print and buy, one book had to entertain the entire family.
How did they achieve what modern day marketing and acquisitions executives see as the rare and illusive "crossover"? Let's take a look.
Look at Dumas's Count of Monte Cristo and Three Musketeers series. Look at Robert Louis Stevenson's Kidnapped and Treasure Island. Look at anything by Shakespeare, Dickens, or Twain. Each of these cases, and many more, contain certain elements editors and acquisition execs, and store owners should look for:
Take a closer look at Shakespeare's Romeo and Juliet. Today we'd call that a YA Romance, or a chick flick, but Shakespeare couldn't afford that luxury. Most of London would at some point or another come to see his plays—old, young, rich, poor, men, women, educated, uneducated, sophisticated, and unruly. He had to keep them all happy or the crowd might riot. If he didn't keep royalty happy, he might lose his head. So he starts with a prologue that says, yes, this is a romance, so ladies settle in for exactly what you're expecting. Then the men come on and proceed to tell crude jokes about how small their enemies' privates are, and Romeo talks about the woman he slept with the night before—though, you'd have to have knowledge of the carnal type yourself to know what he's talking about. Throughout the story Shakespeare switches from action to romance, from poetry to punnery. He gives each member of his audience something to look forward to.
Now let's look at the book that shall not be named. The crossover so big that it changed the way best-seller lists are calculated. The Harry Potter series.
This isn't rocket science, folks.
Something else that should be considered in marketing for the whole family. Aristotle said that Art should Entertain and Educate. By creating a single work for all ages, not only is your marketing inclusive rather than exclusive, but young minds get a peek into what might lay ahead of them in life. Those of us that are older, are reminded of what was important in our youth, and should probably be important to us again today.
So, if you own a bookstore, set up a BOOKS THE FAMILY CAN READ TOGETHER shelf and see what happens.
If you're an editor, push those YA books that you like as an adult on your acquisitions executives.
If you're in acquisitions, think about including readers, not excluding them.
If you're an agent, keep pushing, we'll get there.
If you're a writer, keep writing, we'll get there.
R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Blogs film festival blog, and on Twitter.
While the publishing world argues over what's Middle Grade, what's Young Adult, and what's New Adult—as witnessed by J. Lea Lopez here recently—I'm asking; whatever happened to "good for the whole family?"
Target marketing has been around long enough that most people think it's the only way it's ever been, but if you take a longer view of commercial art, you'll see that excluding the majority of your potential audience is a brand new concept. Yes, I said "excluding." If you write for, or edit for, or make acquisitions for, or shelf for, one specific age group, then you are limiting your audience. And by "brand new" I mean since the turn of the previous century.
Before radio, movies, television and the internet split audiences into tiny chunks, there were basically two markets: kids and adults. Even at the beginning of these technologies, artists had to create work that would satisfy whoever might receive the signal from the air. Going back even further, when books were expensive to print and buy, one book had to entertain the entire family.
How did they achieve what modern day marketing and acquisitions executives see as the rare and illusive "crossover"? Let's take a look.
Look at Dumas's Count of Monte Cristo and Three Musketeers series. Look at Robert Louis Stevenson's Kidnapped and Treasure Island. Look at anything by Shakespeare, Dickens, or Twain. Each of these cases, and many more, contain certain elements editors and acquisition execs, and store owners should look for:
- Characters of various ages, or the entire life of a character, not just kids
- Sex is left to what anyone might witness in public
- Age groups are targeted by beats within the story, not the entire work
Take a closer look at Shakespeare's Romeo and Juliet. Today we'd call that a YA Romance, or a chick flick, but Shakespeare couldn't afford that luxury. Most of London would at some point or another come to see his plays—old, young, rich, poor, men, women, educated, uneducated, sophisticated, and unruly. He had to keep them all happy or the crowd might riot. If he didn't keep royalty happy, he might lose his head. So he starts with a prologue that says, yes, this is a romance, so ladies settle in for exactly what you're expecting. Then the men come on and proceed to tell crude jokes about how small their enemies' privates are, and Romeo talks about the woman he slept with the night before—though, you'd have to have knowledge of the carnal type yourself to know what he's talking about. Throughout the story Shakespeare switches from action to romance, from poetry to punnery. He gives each member of his audience something to look forward to.
Now let's look at the book that shall not be named. The crossover so big that it changed the way best-seller lists are calculated. The Harry Potter series.
- Characters of various ages: CHECK
- Sex is left to what might be witnessed in public: CHECK
- Age groups are targeted by beats: CHECK
This isn't rocket science, folks.
Something else that should be considered in marketing for the whole family. Aristotle said that Art should Entertain and Educate. By creating a single work for all ages, not only is your marketing inclusive rather than exclusive, but young minds get a peek into what might lay ahead of them in life. Those of us that are older, are reminded of what was important in our youth, and should probably be important to us again today.
So, if you own a bookstore, set up a BOOKS THE FAMILY CAN READ TOGETHER shelf and see what happens.
If you're an editor, push those YA books that you like as an adult on your acquisitions executives.
If you're in acquisitions, think about including readers, not excluding them.
If you're an agent, keep pushing, we'll get there.
If you're a writer, keep writing, we'll get there.
R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Blogs film festival blog, and on Twitter.
Wednesday, February 15, 2012
In Support of New Adult Fiction
by J. Lea Lopez
Back in 2009, St. Martin's Press held a contest for a new category of fiction: New Adult. They coined the term themselves to describe fiction with protagonists slightly older than YA (age 18-26) and that would appeal to adults. There was some good response to the contest, but there were critics as well. Still are, of course. I know not all of the Write Angle crew feels NA is viable or necessary, but I think it could be a great thing. If you haven't heard of New Adult as a category, don't fret. It's not widely used or promoted just yet, but that doesn't mean it isn't worth pursuing. Hopefully I can provide some clarification and information for you to make your own decision on this emerging category.
First, let's be clear about one thing: New Adult (like YA) is not a genre. It's a category. Just as you can have YA or adult fantasy, romance, or any other genre, you would also have NA fantasy, romance, etc. With that out of the way, let's look at some other questions surrounding the NA concept.
Isn't it condescending?
I came across a blog post that asked this very question recently. In my mind, this is an easy no. Some people seem to think a New Adult categorization is somehow prescriptive, telling twenty-somethings this is what they ought to be reading, and nothing else. It's not, just as YA isn't telling teens they should be reading Sarah Dessen and not Tami Hoag. Plenty of adults enjoy reading YA, and plenty of teens enjoy adult novels. The NA category is descriptive. It allows readers and writers to identify some general characteristics of a book before they ever pick it up. Proponents of NA aren't suggesting we start carding all book buyers and only let them purchase books in their prescribed age category.
Why aren't "new adults" reading [insert list of Classics here] like I did at that age?
I've seen this argument both in YA and NA discussions of what's good or appropriate for certain age groups to read. If there's a condescending or prescriptive attitude in the discussion of NA's validity, this is it. Of course there are plenty of wonderful classic novels that encompass the spirit of what it is to be a new adult. That doesn't negate the need for more, though, does it? And it does nothing to address an audience who may want more contemporary settings, characters, and plots. Plus, I don't know about you all, but the classics (like Catcher in the Rye) were usually the subject of English class assignments and discussions, which means I wasn't going near them with a ten-foot pole when it came time for pleasure reading in high school. I've since revisited some of them now that I'm out of school.
Is it just YA: The College Years?
In talking about the New Adult category with some of the Write Angle Crew, as well as reading through blog posts and comments from other writers and agents, it seems that many people have a very narrow view of what NA is, could, or should be. The thought behind creating a New Adult category has to do with much more than just the age of the protagonist, though that is an obvious indicator. Check out this post from St. Martin's Press editorial assistant, JJ, for more on how the age of the protagonist, voice, and scope of a novel differ between YA, NA and adult fiction. She pinpoints it better than I ever could. Here are a couple of quotes that encompass the general idea:
The market isn't strong for NA because college-goers are too busy to read outside of academia.
Really? I suppose it's true for many, but I doubt for all. Maybe not even the majority. I can't say for certain. I know I didn't read as much during the school year, but during winter break I'd read a couple books, and over the summers I'd read as many books as I could find. Personally, my reading for pleasure peaked in late middle school and the first half of high school. Not so much because I didn't have time, but because I had a hard time finding things that interested me. Once I reached a certain age and maturity/reading level, I wasn't sure where to find books I could identify with. I devoured Dean Koontz and his backlist, and I love him to this day, but I was at a loss when it came to more literary stories that spoke to me. Even now, over the past few years, I haven't been reading as much as I used to because while Jodi Picoult and Nicholas Sparks are fine, I'm not always able to identify with the divorcee, or the widow, or the mother of two, and other kinds of protagonists that often populate contemporary women's fiction. My other option, then, is Chick Lit, which fulfills my need for a protagonist closer to my age, but I still find many of them unrelatable on other levels.
Literary agent Sarah LaPolla uses this argument as one of her reasons why NA isn't a viable market (yet) in a post from October 2011. She says:
There's no universal "new adult" experience.
Again from LaPolla's blog post:
Variety is really the whole point here. There's variety in both YA and adult literature, and as a supporter for a New Adult category, what I'm rallying for is even more of it. Why? Because even with all the options out there, I feel like there's still a gap, and it happens to be a gap in an area I'd very much like to read.
Is it just a matter of shelving and marketing support?
I don't know, to be honest. Would you go to a section in the book store marked "New Adult"? I might. Others may not, for whatever reason. Maybe it needs a different name (especially because in a Google search I was prematurely excited to see lots of results for new adult fiction from public library websites, only to realize they were talking about new releases in adult fiction). There's obviously the conundrum of "if there's no shelf for it in the bookstore, publishers won't acquire it, so agents won't rep it."
From the perspective of traditional publishing, I agree with Sarah LaPolla's assessment that the New Adult category will come into its own eventually, but it will take time, the same way it took time for YA to be accepted and recognized. As a reader, I don't necessarily buy into the idea that it's not currently a viable market. From my experience in retail clothing sales, I know it's possible for there to be a ready and willing set of consumers for a non-existent product. Take plus size clothing as an example. For a long time there were next to no options for plus size women to find fashionable clothing, despite the overwhelming number of consumers who would've gladly spent their money on such a product if only someone was making it. Now that the plus size clothing market is booming, it's difficult to fathom that anyone would've ever thought it wasn't a viable market.
How can consumers communicate to product/service providers (whether it's a clothing company or the publishing industry) that they want a certain product if that product doesn't currently exist? And how can retailers measure sales lost to the consumer who never even walks in the door because they already know the retailer isn't selling what they want? It has to start somewhere. Perhaps this is one area where indie authors and eBooks, mostly unrestricted by bookstore shelf labels, can help pave the way and demonstrate the market for New Adult literature. However it happens, I fully support the idea of a New Adult category. What about you?
What do you think "New Adult" as a category? Would you read it? Do you write it?
Back in 2009, St. Martin's Press held a contest for a new category of fiction: New Adult. They coined the term themselves to describe fiction with protagonists slightly older than YA (age 18-26) and that would appeal to adults. There was some good response to the contest, but there were critics as well. Still are, of course. I know not all of the Write Angle crew feels NA is viable or necessary, but I think it could be a great thing. If you haven't heard of New Adult as a category, don't fret. It's not widely used or promoted just yet, but that doesn't mean it isn't worth pursuing. Hopefully I can provide some clarification and information for you to make your own decision on this emerging category.
First, let's be clear about one thing: New Adult (like YA) is not a genre. It's a category. Just as you can have YA or adult fantasy, romance, or any other genre, you would also have NA fantasy, romance, etc. With that out of the way, let's look at some other questions surrounding the NA concept.
Isn't it condescending?
I came across a blog post that asked this very question recently. In my mind, this is an easy no. Some people seem to think a New Adult categorization is somehow prescriptive, telling twenty-somethings this is what they ought to be reading, and nothing else. It's not, just as YA isn't telling teens they should be reading Sarah Dessen and not Tami Hoag. Plenty of adults enjoy reading YA, and plenty of teens enjoy adult novels. The NA category is descriptive. It allows readers and writers to identify some general characteristics of a book before they ever pick it up. Proponents of NA aren't suggesting we start carding all book buyers and only let them purchase books in their prescribed age category.
Why aren't "new adults" reading [insert list of Classics here] like I did at that age?
I've seen this argument both in YA and NA discussions of what's good or appropriate for certain age groups to read. If there's a condescending or prescriptive attitude in the discussion of NA's validity, this is it. Of course there are plenty of wonderful classic novels that encompass the spirit of what it is to be a new adult. That doesn't negate the need for more, though, does it? And it does nothing to address an audience who may want more contemporary settings, characters, and plots. Plus, I don't know about you all, but the classics (like Catcher in the Rye) were usually the subject of English class assignments and discussions, which means I wasn't going near them with a ten-foot pole when it came time for pleasure reading in high school. I've since revisited some of them now that I'm out of school.
Is it just YA: The College Years?
In talking about the New Adult category with some of the Write Angle Crew, as well as reading through blog posts and comments from other writers and agents, it seems that many people have a very narrow view of what NA is, could, or should be. The thought behind creating a New Adult category has to do with much more than just the age of the protagonist, though that is an obvious indicator. Check out this post from St. Martin's Press editorial assistant, JJ, for more on how the age of the protagonist, voice, and scope of a novel differ between YA, NA and adult fiction. She pinpoints it better than I ever could. Here are a couple of quotes that encompass the general idea:
What makes YA compelling as a read is its immediacy; a young person cannot write of him/herself from any perspective aside from “now” and “later”. With a YA voice, the past is less present, the present looms like a storm, and the future ever just out of reach. With an adult voice, there is a sense that the future has come to pass, the past is present, and the present encompasses all that has been and all that will be.And later she states:
We, the “new adults”, have some perspective on our lives, but scope? We’re not old enough, we’re not experienced enough, we’re simply not grown-up enough. Our lives have immediacy, just as a teenager’s does, but we also possess the wisdom to understand that this immediacy cannot last for long. It’s a curious place in life [...]. The “quarter-life crisis”, if you will.So, no. NA is not simply about kids in college, though that would certainly be a portion of the material.
The market isn't strong for NA because college-goers are too busy to read outside of academia.
Really? I suppose it's true for many, but I doubt for all. Maybe not even the majority. I can't say for certain. I know I didn't read as much during the school year, but during winter break I'd read a couple books, and over the summers I'd read as many books as I could find. Personally, my reading for pleasure peaked in late middle school and the first half of high school. Not so much because I didn't have time, but because I had a hard time finding things that interested me. Once I reached a certain age and maturity/reading level, I wasn't sure where to find books I could identify with. I devoured Dean Koontz and his backlist, and I love him to this day, but I was at a loss when it came to more literary stories that spoke to me. Even now, over the past few years, I haven't been reading as much as I used to because while Jodi Picoult and Nicholas Sparks are fine, I'm not always able to identify with the divorcee, or the widow, or the mother of two, and other kinds of protagonists that often populate contemporary women's fiction. My other option, then, is Chick Lit, which fulfills my need for a protagonist closer to my age, but I still find many of them unrelatable on other levels.
Literary agent Sarah LaPolla uses this argument as one of her reasons why NA isn't a viable market (yet) in a post from October 2011. She says:
There's a reason "The College Years" of high school TV shows fail. There's just not enough people who care. The original teen audience can't relate, the adults out of college think of it as too young, and the actual target audience is too busy being in college, working, or starting families to watch TV or read for fun.Sure, we "new adults" are busy, but not too busy for entertainment. As for the TV show analogy, I think there are many other reasons why those types of shows usually tank (like the fact that it's often exactly the same stories as high school, except on a college campus) and it doesn't exactly translate to the New Adult category of literature.
There's no universal "new adult" experience.
Again from LaPolla's blog post:
It's true that not everyone goes to the same type of high school, or even goes to high school, but everyone goes through puberty. Everyone feels what it's like to not understand any of your emotions or why they are suddenly happening all at once or why hugging your parents is much more embarrassing than it was the year before.First, I think she simplifies the universal experience and emotional appeal in YA. There are home-schooled teens who don't know the "typical" high school experience. And while we all take the same types of general education courses, the last time I checked extracurricular activities weren't forced, and included a lot of variety for those who did participate. There are teens who excel in school, some who don't do well, and some who drop out and (maybe) get their GED. Of course we all went through puberty and there are certain emotions and phases many of us went through, but we all still experienced and coped with them differently. There's a rich and varied experience even within what some would see as the "universal" appeal of YA, and yet this same variation is seen as a negative when it comes to NA.
With New Adult, there is no universal experience. Within the genre, there are too many niche markets to consider, which makes it that much harder to place. Not everyone goes to college or makes the same choices when entering adulthood. Even within the group who goes to college, the experiences differ in ways that are much more polarizing than going to different high schools. No matter what kind of high school you went to, we were all forced to take the same general courses or participate in the same extracurricular activities.
Variety is really the whole point here. There's variety in both YA and adult literature, and as a supporter for a New Adult category, what I'm rallying for is even more of it. Why? Because even with all the options out there, I feel like there's still a gap, and it happens to be a gap in an area I'd very much like to read.
Is it just a matter of shelving and marketing support?
I don't know, to be honest. Would you go to a section in the book store marked "New Adult"? I might. Others may not, for whatever reason. Maybe it needs a different name (especially because in a Google search I was prematurely excited to see lots of results for new adult fiction from public library websites, only to realize they were talking about new releases in adult fiction). There's obviously the conundrum of "if there's no shelf for it in the bookstore, publishers won't acquire it, so agents won't rep it."
From the perspective of traditional publishing, I agree with Sarah LaPolla's assessment that the New Adult category will come into its own eventually, but it will take time, the same way it took time for YA to be accepted and recognized. As a reader, I don't necessarily buy into the idea that it's not currently a viable market. From my experience in retail clothing sales, I know it's possible for there to be a ready and willing set of consumers for a non-existent product. Take plus size clothing as an example. For a long time there were next to no options for plus size women to find fashionable clothing, despite the overwhelming number of consumers who would've gladly spent their money on such a product if only someone was making it. Now that the plus size clothing market is booming, it's difficult to fathom that anyone would've ever thought it wasn't a viable market.
How can consumers communicate to product/service providers (whether it's a clothing company or the publishing industry) that they want a certain product if that product doesn't currently exist? And how can retailers measure sales lost to the consumer who never even walks in the door because they already know the retailer isn't selling what they want? It has to start somewhere. Perhaps this is one area where indie authors and eBooks, mostly unrestricted by bookstore shelf labels, can help pave the way and demonstrate the market for New Adult literature. However it happens, I fully support the idea of a New Adult category. What about you?
What do you think "New Adult" as a category? Would you read it? Do you write it?
Wednesday, December 14, 2011
Extend Your Shelf Life: Tackling the Library Market
by Cat Woods
Personally, I love libraries. I love the atmosphere, the sense of peace and the very smell of thousands of amassed books. I hope someday, my books will love the library as well. As a writer of juvenile literature, I fully realize the library market has the ability to make a title.
Young kids take weekly trips to the library from their classrooms. There, they are exposed to hundreds of books and authors they otherwise would never hear about. Think of libraries as television commercials for the elementary student. Students are captive audiences to the books on the shelves, and when they find one they like, they become instantly gratified. Books are checked out and drug home in back packs for use as bed time stories. In this scenario, both parents and children can fall in love with an author and look for new titles to grace their private collections at home.
In middle school and high school, books are often bought for classroom curriculum. If your title is picked, multiple copies are purchased to be read year after year. Not to mention, teens and preteens visit the library to check out the newest author-of-the-month. This age-group reads voraciously and will often latch onto a genre or two with such gusto that librarians struggle to keep titles on the shelves. This can lead to outside sales, as youth are notoriously impatient when it comes to waiting.
Each month, library boards wrack their brains to find presenters who will bring patrons into their facility. They adore authors who can offer a fun or exciting program to any age group. They use you to make their library a happening place to be. After all, their funding is impacted by their circulation. And more funding means more sales and more choices, which in turn feeds circulation. It's a win-win situation for all involved.
Yet, some writers I know shy away from the library market, pooh-poohing it as an unnecessary avenue in which to sell their books. After all, library books are free, no?
Well yes, to the public. But not really, because every book on library shelves has been purchased with real money. Often times at double or triple the cost of a book store edition. Thinking e-books? Many libraries have already weighed in on the great debate and are showing their support to both patrons and writers by connecting them through e-book subscriptions.
Check out Books and Such Literary Agency's blog for a low-down on how it all works and how this motivated agency is making inroads in the marketing world. With over 2,500 on the Library Locator—the nifty thing Books and Such is part of—this "free" market could help an author sell-through and earn back an advance.
So, is the library market an untapped avenue for you as a writer, or does this free service seem a bit too trifling to pursue? Which shelves would you like to see you work on and why?
Personally, I love libraries. I love the atmosphere, the sense of peace and the very smell of thousands of amassed books. I hope someday, my books will love the library as well. As a writer of juvenile literature, I fully realize the library market has the ability to make a title.
Young kids take weekly trips to the library from their classrooms. There, they are exposed to hundreds of books and authors they otherwise would never hear about. Think of libraries as television commercials for the elementary student. Students are captive audiences to the books on the shelves, and when they find one they like, they become instantly gratified. Books are checked out and drug home in back packs for use as bed time stories. In this scenario, both parents and children can fall in love with an author and look for new titles to grace their private collections at home.
In middle school and high school, books are often bought for classroom curriculum. If your title is picked, multiple copies are purchased to be read year after year. Not to mention, teens and preteens visit the library to check out the newest author-of-the-month. This age-group reads voraciously and will often latch onto a genre or two with such gusto that librarians struggle to keep titles on the shelves. This can lead to outside sales, as youth are notoriously impatient when it comes to waiting.
Each month, library boards wrack their brains to find presenters who will bring patrons into their facility. They adore authors who can offer a fun or exciting program to any age group. They use you to make their library a happening place to be. After all, their funding is impacted by their circulation. And more funding means more sales and more choices, which in turn feeds circulation. It's a win-win situation for all involved.
Yet, some writers I know shy away from the library market, pooh-poohing it as an unnecessary avenue in which to sell their books. After all, library books are free, no?
Well yes, to the public. But not really, because every book on library shelves has been purchased with real money. Often times at double or triple the cost of a book store edition. Thinking e-books? Many libraries have already weighed in on the great debate and are showing their support to both patrons and writers by connecting them through e-book subscriptions.
Check out Books and Such Literary Agency's blog for a low-down on how it all works and how this motivated agency is making inroads in the marketing world. With over 2,500 on the Library Locator—the nifty thing Books and Such is part of—this "free" market could help an author sell-through and earn back an advance.
So, is the library market an untapped avenue for you as a writer, or does this free service seem a bit too trifling to pursue? Which shelves would you like to see you work on and why?
Monday, August 1, 2011
An Artistic Cross-Training SAT with Hilary Graham
by Mindy McGinnis
On my personal blog Writer, Writer, Pants on Fire, I've been hosting a series of interviews focused on gleaning the secrets of success from writers who have been there, done that. I call it the SAT—Successful Author Talk.
In the course of my internet wanderings I came across Hilary Graham, a screenwriter turned YA author whose artistic journey fit in so perfectly with our philosophy here at From the Write Angle that I thought I might relocate an SAT to my second blogging home.
Hilary Weisman Graham is a screenwriter, novelist, and director whose work spans nearly two decades. Her debut young adult novel, REUNITED (Simon & Schuster), is due out in June 2012.
Hilary's essays have appeared in The Sun, Utne Reader, and Imagine Magazine. An Emmy-nominated television producer, her broadcast credits include WMUR's Chronicle, the nationally syndicated television show Wild Web (CBS/Eyemark), as well as freelance work for The Discovery Health Channel, Access Hollywood, A&E's Biography, and PBS's Zoom.
In the summer of 2007, Hilary was selected as a contestant on the Mark Burnett/Steven Spielberg produced reality series On the Lot: The Search for America's Next Great Director. Out of a pool of 12,000 submissions, Hilary made it onto the show as one of the eighteen finalists and stayed in the competition until only nine contestants remained, making her the longest-standing female director.
MM: What skills do you find come in useful in both screenwriting and novel writing?
HG: One of my most prized skills as a writer is my ability to allow myself to write crappy first drafts. It took me YEARS to learn to do this, but it's really an invaluable part of my process. RARELY do I get it right the first time. As in basically never. So it's nice to be able to let myself off the hook for getting it wrong and so I can give myself the space I need to work it out in rewrites.
I am also a very disciplined writer, a skill that gives me the benefit of creating lots of new material (and occasionally gets in the way of my self-care). i.e, there are times my writing (and my sanity) would probably be better served by stepping AWAY from the computer and going to yoga class. ;)
MM: Are you a Planner or Pantster? Do you find that you use the same approach in both screenwriting and novel writing?
HG: I'm a Planner with Pantster tendencies. I ALWAYS outline my fiction, though in the past, I have written screenplays without outlines. As I've matured as a writer, I've learned that it's crucial for me to know where I'm going plot-wise before delving into a screenplay or a novel. That being said, I view my outlines as malleable things and use them with the assumption that there will be changes. A strong structure also gives me freedom to explore my characters and plot without worrying that I might go off the rails. Some of the best moments in my work are the result of discoveries I've made along the way.
MM: Do you work on one project at a time, or are you a multitasker? Do you tend to focus on screenwriting all at one time, then novel-length works? Or do you mish-mash?
HG: In a perfect world I'd focus on one project at a time, but since this is reality (sigh) I've learned to live as a multitasker. Luckily, I do it quite well. Of course, there are stretches of time when I'll only work on my book, or a screenplay, and I feel that's the ideal way to work. However, there have been weeks when I've juggled my book, a screenplay, a treatment for a TV show, AND a pitch for a new screenplay. And yes, it was exhausting as it sounds. But if I can get myself into the right frame of mind, it can actually be creatively stimulating to have multiple storylines rolling around in my head, and sometimes, if I'm lucky, the various plots and characters end up informing each other. Though I might not be the most pleasant person to be around when I've got four different projects in my brain. ;)
And I will say that in the screenwriting world, it pays to be a multitasker since the ability to generate new material is so important.
MM: Have you ever quit on a project, and how did you know it was time?
HG: I have a really hard time letting go of a project and I almost never do it. In fact, the only project I can recall giving up on is a recent effort to make a video trailer for a completed script I've written. I wanted the video to be hilarious and have the potential to go viral, but it just wasn't gelling. So I tossed it aside and I haven't looked back.
But typically, I'd rather work myself to the bone to try and fix something I care about and make it great than to give up on it. However, there are TONS of ideas in my filing cabinet that will never even get off the ground, because the concepts don't seem appealing to me anymore, or because they fail to excite me in the way they (presumably) did once. But even then, I still can't bear to throw ANYTHING away.
MM: Who is your agent and how did you get that "Yes!" out of them? Did you consciously choose an agent who repped both screenwriting and novels?
HG:I signed with my amazing manager—Seth Jaret of Jaret Entertainment—after I was on the FOX reality show ON THE LOT: THE SEARCH FOR AMERICA'S NEXT GREAT DIRECTOR (which aired on FOX the summer of 2007 and was produced by Mark Burnett/Steven Spielberg). Seth represents my screenwriting efforts and he hooked me up with my book agent, Steve Malk at Writer's House. I think Steve and Seth share quite a few screenwriter/YA novelist clients.
MM: How much of your own marketing do you? Do you have a blog/site/Twitter?
HG: It's funny you should ask because I'm doing it all right now! My website (which currently only details my film career) should be updated in the next couple of weeks. I also have a brand spankin' new blog, an Author Page on Facebook, I'm on YouTube, and of course, I'm on Twitter.
As REUNITED's release date gets closer (June, 2012), I'm planning to do a HUGE online campaign to promote interest in the book. I've already shot a killer BOOK TRAILER (since I'm a filmmaker, too) and it will be released as soon as the book's available for sale. (But watch for teasers on my YouTube page & Blog.) And as June 2012 gets closer, I plan to start doing contests and giveaways on my blog on my blog as well as creating a big web presence for the band in the book, Level3.
Because REUNITED focuses so heavily on music (it's the story of three ex-best friends on a cross-country road trip to see their old favorite band, Level3, in concert) I figured there was a huge opportunity to promote REUNITED using Level3's music.
So, I've actually gone and created the band!
A professionally produced version of Level3's hit single “Parade” is already in the works! This song will be available for download on my website (for free) and possibly even in the e-book version.
I'm really hoping to attract a following for the band, and Level3 Myspace and Facebook pages should be live within the next few weeks.
MM: When do you build your platform? After an agent? Or should you be working before?
HG: Hmmm. I'm not sure I know the answer to this one. I think these days, it never hurts to “brand” yourself if you've got something to sell.
MM: Do you think social media helps build your readership?
HG: Gosh, after all I'm planning to do, I sure hope so. ;) But going to the Book Bloggers Convention in NYC this past May meeting so many wonderful bloggers really helped me understand the power the internet has to foster a book's success. And on a personal level, I'm really looking forward to being able to connect with my readers online.
A big thanks to Hilary for participating in the SAT here on FTWA!
Do you have other artistic outlets that help inspire your writing? What are they?
On my personal blog Writer, Writer, Pants on Fire, I've been hosting a series of interviews focused on gleaning the secrets of success from writers who have been there, done that. I call it the SAT—Successful Author Talk.
In the course of my internet wanderings I came across Hilary Graham, a screenwriter turned YA author whose artistic journey fit in so perfectly with our philosophy here at From the Write Angle that I thought I might relocate an SAT to my second blogging home.Hilary Weisman Graham is a screenwriter, novelist, and director whose work spans nearly two decades. Her debut young adult novel, REUNITED (Simon & Schuster), is due out in June 2012.
Hilary's essays have appeared in The Sun, Utne Reader, and Imagine Magazine. An Emmy-nominated television producer, her broadcast credits include WMUR's Chronicle, the nationally syndicated television show Wild Web (CBS/Eyemark), as well as freelance work for The Discovery Health Channel, Access Hollywood, A&E's Biography, and PBS's Zoom.
In the summer of 2007, Hilary was selected as a contestant on the Mark Burnett/Steven Spielberg produced reality series On the Lot: The Search for America's Next Great Director. Out of a pool of 12,000 submissions, Hilary made it onto the show as one of the eighteen finalists and stayed in the competition until only nine contestants remained, making her the longest-standing female director.
MM: What skills do you find come in useful in both screenwriting and novel writing?
HG: One of my most prized skills as a writer is my ability to allow myself to write crappy first drafts. It took me YEARS to learn to do this, but it's really an invaluable part of my process. RARELY do I get it right the first time. As in basically never. So it's nice to be able to let myself off the hook for getting it wrong and so I can give myself the space I need to work it out in rewrites.
I am also a very disciplined writer, a skill that gives me the benefit of creating lots of new material (and occasionally gets in the way of my self-care). i.e, there are times my writing (and my sanity) would probably be better served by stepping AWAY from the computer and going to yoga class. ;)
MM: Are you a Planner or Pantster? Do you find that you use the same approach in both screenwriting and novel writing?
HG: I'm a Planner with Pantster tendencies. I ALWAYS outline my fiction, though in the past, I have written screenplays without outlines. As I've matured as a writer, I've learned that it's crucial for me to know where I'm going plot-wise before delving into a screenplay or a novel. That being said, I view my outlines as malleable things and use them with the assumption that there will be changes. A strong structure also gives me freedom to explore my characters and plot without worrying that I might go off the rails. Some of the best moments in my work are the result of discoveries I've made along the way.
MM: Do you work on one project at a time, or are you a multitasker? Do you tend to focus on screenwriting all at one time, then novel-length works? Or do you mish-mash?
HG: In a perfect world I'd focus on one project at a time, but since this is reality (sigh) I've learned to live as a multitasker. Luckily, I do it quite well. Of course, there are stretches of time when I'll only work on my book, or a screenplay, and I feel that's the ideal way to work. However, there have been weeks when I've juggled my book, a screenplay, a treatment for a TV show, AND a pitch for a new screenplay. And yes, it was exhausting as it sounds. But if I can get myself into the right frame of mind, it can actually be creatively stimulating to have multiple storylines rolling around in my head, and sometimes, if I'm lucky, the various plots and characters end up informing each other. Though I might not be the most pleasant person to be around when I've got four different projects in my brain. ;)
And I will say that in the screenwriting world, it pays to be a multitasker since the ability to generate new material is so important.
MM: Have you ever quit on a project, and how did you know it was time?
HG: I have a really hard time letting go of a project and I almost never do it. In fact, the only project I can recall giving up on is a recent effort to make a video trailer for a completed script I've written. I wanted the video to be hilarious and have the potential to go viral, but it just wasn't gelling. So I tossed it aside and I haven't looked back.
But typically, I'd rather work myself to the bone to try and fix something I care about and make it great than to give up on it. However, there are TONS of ideas in my filing cabinet that will never even get off the ground, because the concepts don't seem appealing to me anymore, or because they fail to excite me in the way they (presumably) did once. But even then, I still can't bear to throw ANYTHING away.
MM: Who is your agent and how did you get that "Yes!" out of them? Did you consciously choose an agent who repped both screenwriting and novels?
HG:I signed with my amazing manager—Seth Jaret of Jaret Entertainment—after I was on the FOX reality show ON THE LOT: THE SEARCH FOR AMERICA'S NEXT GREAT DIRECTOR (which aired on FOX the summer of 2007 and was produced by Mark Burnett/Steven Spielberg). Seth represents my screenwriting efforts and he hooked me up with my book agent, Steve Malk at Writer's House. I think Steve and Seth share quite a few screenwriter/YA novelist clients.
MM: How much of your own marketing do you? Do you have a blog/site/Twitter?
HG: It's funny you should ask because I'm doing it all right now! My website (which currently only details my film career) should be updated in the next couple of weeks. I also have a brand spankin' new blog, an Author Page on Facebook, I'm on YouTube, and of course, I'm on Twitter.
As REUNITED's release date gets closer (June, 2012), I'm planning to do a HUGE online campaign to promote interest in the book. I've already shot a killer BOOK TRAILER (since I'm a filmmaker, too) and it will be released as soon as the book's available for sale. (But watch for teasers on my YouTube page & Blog.) And as June 2012 gets closer, I plan to start doing contests and giveaways on my blog on my blog as well as creating a big web presence for the band in the book, Level3.
Because REUNITED focuses so heavily on music (it's the story of three ex-best friends on a cross-country road trip to see their old favorite band, Level3, in concert) I figured there was a huge opportunity to promote REUNITED using Level3's music.
So, I've actually gone and created the band!
 |
| Level3 |
A professionally produced version of Level3's hit single “Parade” is already in the works! This song will be available for download on my website (for free) and possibly even in the e-book version.
I'm really hoping to attract a following for the band, and Level3 Myspace and Facebook pages should be live within the next few weeks.
MM: When do you build your platform? After an agent? Or should you be working before?
HG: Hmmm. I'm not sure I know the answer to this one. I think these days, it never hurts to “brand” yourself if you've got something to sell.
MM: Do you think social media helps build your readership?
HG: Gosh, after all I'm planning to do, I sure hope so. ;) But going to the Book Bloggers Convention in NYC this past May meeting so many wonderful bloggers really helped me understand the power the internet has to foster a book's success. And on a personal level, I'm really looking forward to being able to connect with my readers online.
A big thanks to Hilary for participating in the SAT here on FTWA!
Do you have other artistic outlets that help inspire your writing? What are they?
Monday, July 11, 2011
Censoring Books for Kids
by Jemi Fraser
I've been teaching MG and lower YA aged kids for a lot of years now. The first day of every school year, I tell the kids that if they don't already love to read, they will before winter break. They always prove me right.
One of the keys to encouraging kids to read is to have a lot of books available. Not just a lot of books, but a wide range of genres, levels and styles. You have to find the 'home run' book for a reluctant reader if you want to create a lifelong reader out of him or her.
In every class there are always a few kids who read way ahead of the rest. Kids who read voraciously and devour every book in sight. These kids almost always read books that are 'too old' for them. In my classroom of 10 and 11 year olds, that means they're reading books most 13 and 14 year olds read.
Is it a problem? Should we be censoring what they read? What they have access to?
For the most part I believe the answer is no. I think parents should have lots of conversations with their kids about what they read and make those choices together. At school I do the same thing. We talk a LOT about books. But to take away their freedom of choice, stifle their interest and curiosity because we're afraid of what they might read? No.
I think most adults would be surprised at what kids read when there is freedom of choice. They don't automatically head to the books that have sex and swearing and violence. In fact, most of the kids avoid these. Even when an advanced reader raves about a mature book, most of the kids totally ignore it. Kids gravitate towards books that match their emotional maturity. They don't enjoy books that are above it. If they're not ready for the book, no matter how popular it is, they just don't read it.
In my class, I've got my books sorted into buckets. The buckets are identified on the front by genre and some buckets by author. They also have labels: At Level, Below Level, Above Level. I explain this indicated reading level and that reading level and subject matter match. They choose their reading material accordingly.
I've taught hundreds of MG & YA aged kids over the years and I've NEVER had a kid read more than 2 or 3 pages of a book they're not ready for. NEVER. EVER. On the other hand, I've had dozens and dozens of kids give up reading certain books because they were 'boring'. You guessed it, those 'boring' books are the ones with the sex and swearing and violence. If they're not ready to read it, they don't.
I think we need to trust kids & teens to make choices. They're much smarter than many people give them credit for.
Emotional readiness and maturity are the #1 factors for kids in choosing books. They make great choices. Trust them.
So, what's your opinion on censoring books for kids?
 |
| (Source) |
One of the keys to encouraging kids to read is to have a lot of books available. Not just a lot of books, but a wide range of genres, levels and styles. You have to find the 'home run' book for a reluctant reader if you want to create a lifelong reader out of him or her.
In every class there are always a few kids who read way ahead of the rest. Kids who read voraciously and devour every book in sight. These kids almost always read books that are 'too old' for them. In my classroom of 10 and 11 year olds, that means they're reading books most 13 and 14 year olds read.
Is it a problem? Should we be censoring what they read? What they have access to?
For the most part I believe the answer is no. I think parents should have lots of conversations with their kids about what they read and make those choices together. At school I do the same thing. We talk a LOT about books. But to take away their freedom of choice, stifle their interest and curiosity because we're afraid of what they might read? No.
I think most adults would be surprised at what kids read when there is freedom of choice. They don't automatically head to the books that have sex and swearing and violence. In fact, most of the kids avoid these. Even when an advanced reader raves about a mature book, most of the kids totally ignore it. Kids gravitate towards books that match their emotional maturity. They don't enjoy books that are above it. If they're not ready for the book, no matter how popular it is, they just don't read it.
In my class, I've got my books sorted into buckets. The buckets are identified on the front by genre and some buckets by author. They also have labels: At Level, Below Level, Above Level. I explain this indicated reading level and that reading level and subject matter match. They choose their reading material accordingly.
I've taught hundreds of MG & YA aged kids over the years and I've NEVER had a kid read more than 2 or 3 pages of a book they're not ready for. NEVER. EVER. On the other hand, I've had dozens and dozens of kids give up reading certain books because they were 'boring'. You guessed it, those 'boring' books are the ones with the sex and swearing and violence. If they're not ready to read it, they don't.
I think we need to trust kids & teens to make choices. They're much smarter than many people give them credit for.
Emotional readiness and maturity are the #1 factors for kids in choosing books. They make great choices. Trust them.
So, what's your opinion on censoring books for kids?
Wednesday, July 6, 2011
Is It Dark In Here, Or Is It Just the YA?
A lot of the reaction involved people addressing the obvious—hey, there's plenty of lighter material as well. And I don't have a lot of add to that other than ... uh, yeah. Instead, I want to agree (to a point)—there IS a lot of dark stuff going on in YA these days. And you know what? Good.
I admit, when I first started my job as a YA librarian I was more than a little taken aback by what I could find in the pages of the books I was processing. Then I took a look at my patrons and began to understand. My best readers are what people would term "troubled kids." They need to escape from God knows what is going on in their lives, and part of that escape involves relating to what's going on in the pages. So they connect with that first, dark story that mirrors their own lives and (in my experience) a few things come from this.
1) They find out that reading isn't all dry Victorian classics or kiddo stories about hiding a puppy in your basement and hoping your mom doesn't find out. No—there are books about sex, drugs, & rock n' roll. There are also books about sexual abuse, addiction, and getting wasted way too often with your band. If my librarian senses ring true (and they often do) the kid who said, "I hate reading. Books suck," will come back a little shame-faced and ask, "You got any more like that one?" Yeah, baby. Sometimes that dark material is a gateway drug—to a new habit called reading.
2) They find out that whatever is going on in their life—be it abuse, addiction, depression, questioning their sexuality, or self-harm—it is NOT unspeakable. There are books about it. People talk about it. I can't tell you how often "dark" books have opened a door for kids, a door that leads to a room where they can TALK.
One of my jobs involves inventory. At the end of the year, I tally up what's on the shelves, what's checked out and what's ... "walked off." Without fail we've lost a few really popular series books here and there, and many, many titles of a darker nature.
Books like IDENTICAL by Ellen Hopkins and SUCH A PRETTY GIRL by Laura Weiss, which deal with parental sexual abuse, or SPEAK by Laurie Halse Anderson, SAFE by Susan Shaw, STOLEN by Lucy Christopher and LIVING DEAD GIRL by Elizabeth Scott, all books that center around rape victims. Gutsy authors like Brian James and Kathleen Jeffrie Johnson deal with the still-taboo subject of male rape with their titles DIRTY LIAR and TARGET, respectively.
Lauren Myracle's KISSING KATE and KEEPING YOU A SECRET by Julie Anne Peters, as well as David Levithan and John Green's WILL GRAYSON, WILL GRAYSON deal with teens who are questioning their sexuality.
HANGING ONTO MAX by Margaret Bechard, THE FIRST PART LAST by Angela Johnson, and AFTER by Amy Efaw all deal with teen pregnancy—go walk down a high school hallway and tell me those aren't necessary.
Drugs? Yeah, we've got those (or rather, by the end of the year, we usually don't) in the form of SMACK by Melvin Burgess, CRANK & GLASS by Ellen Hopkins, SHOOTING STAR by Frederick McKissack, BOOST by Cathy Mackel—the last two dealing with teen athletes looking for an edge.
SCARS by Cheryl Rainfield and CUT by Patricia McCormick address the very real problem of self-harm among teens.
BLACK BOX by Julie Schumacher and the now famous autobiography of Susanna Kaysen—GIRL, INTERRUPTED, deal with depression, and apparently kleptomania is a side-effect because I keep having to mark them "Lost" in inventory.
And that's alright. If a kid is too ashamed or embarrassed to check a book out because of the topic, it's okay. Go ahead and steal it.
I'll buy another one.
Wednesday, June 8, 2011
Sex in YA—You Know You Want It
by Mindy McGinnis
"... and you know you want me to give it to you." Biff's words to Lorraine in Back to the Future had me totally flummoxed for a looong time. What was it? How could Biff give it to her? And why was he trying to touch her panties in the front seat of the car during the dance? Why was Lorriane talking about Marty's Calvin Kleins in their meeting scene? What's the fixation with underwear?
I remained in the dark about these topics for awhile. I knew sex existed, but I didn't have the whole Tab A, Slot B mechanics of the dance figured out until er... well... later. Not so today's teens. Blame it on the media, blame it on the culture, blame on parenting, blame it on the rain. (How many '80s references can I get in here?) Let's just set blame aside and focus on the fact that it simply IS. My opinion—kids aren't having more sex, or earlier than before—it's simply no longer a taboo subject.
So, because it's not taboo, because they do know the mechanics—what do we write about it? Do we write about it?
It's up to you. I've read some really graphic sex scenes in YA. I don't find them offensive. I have a hard time believing there's anything in there that the average teen hasn't already been exposed to. However, I do monitor content in the books that I give out to junior high students—not necessarily because I think they're about to have their minds deflowered—but because their parents DO believe that, and they might have my ass in a sling. And I need my ass. I use it every day.
My own philosophy runs thus: I have always believed that less is more. Why does Jaws work? 'Cause you don't see the shark. I typically refrain from physically describing my characters because I want my readers to fill in their hot guy, their hallway bitch, themselves as the MC. So when it comes to those backseat moments, or when my MC invites a guy over to "watch a movie," (yeah right, I have yet to see the end of Ferris Bueller's Day Off), I want them to fill in slot B on their own. Something happened. Unless it's imperative to the plot, does it matter what? Do they need the description? Do they need to see that shark?
Here's a great example from Harry Potter & the Order of the Phoenix: (I know you're saying "What! An HP makeout scene?") Oh yeah... it's there. A meeting of Dumbledore's Army has just ended. Everyone has filed out except for Cho and Harry, who are kinda hanging out there in the Room of Requirement... and who didn't guess that thing had multiple uses? pg. 456-457:
"I really like you Harry."
He could not think. A tingling sensation was spreading throughout him, paralyzing his arms, legs and brain.
She was much too close. He could see every tear clinging to her eyelashes...
*PAGE BREAK*
He returned to the common room half an hour later to find Hermione and Ron..."
Hey! Wait a second!! Half an hour later? Gee... what were they doing? Now, obviously Rowling had a duty to her young readers to keep it clean, and to her older readers to keep it interesting. Not so for all writers, certainly. But I think it's a good example of letting the reader take it to their own level—of comfort, of familiarity, without being told what happened.
My own writing gives a little more detail than this highly gratuitous page break, but you get the idea.
One last thought—what do you want your readers to take away from your book? I haven't read Breaking Dawn, but I know that Edward and Bella break the headboard, 'cause that's all anyone wanted to talk about. Other than that—zero clue what the plot is about.
I'd love some feedback! What are your thoughts? Show the shark, or keep him underwater? :)
"... and you know you want me to give it to you." Biff's words to Lorraine in Back to the Future had me totally flummoxed for a looong time. What was it? How could Biff give it to her? And why was he trying to touch her panties in the front seat of the car during the dance? Why was Lorriane talking about Marty's Calvin Kleins in their meeting scene? What's the fixation with underwear?
I remained in the dark about these topics for awhile. I knew sex existed, but I didn't have the whole Tab A, Slot B mechanics of the dance figured out until er... well... later. Not so today's teens. Blame it on the media, blame it on the culture, blame on parenting, blame it on the rain. (How many '80s references can I get in here?) Let's just set blame aside and focus on the fact that it simply IS. My opinion—kids aren't having more sex, or earlier than before—it's simply no longer a taboo subject.
So, because it's not taboo, because they do know the mechanics—what do we write about it? Do we write about it?
It's up to you. I've read some really graphic sex scenes in YA. I don't find them offensive. I have a hard time believing there's anything in there that the average teen hasn't already been exposed to. However, I do monitor content in the books that I give out to junior high students—not necessarily because I think they're about to have their minds deflowered—but because their parents DO believe that, and they might have my ass in a sling. And I need my ass. I use it every day.
My own philosophy runs thus: I have always believed that less is more. Why does Jaws work? 'Cause you don't see the shark. I typically refrain from physically describing my characters because I want my readers to fill in their hot guy, their hallway bitch, themselves as the MC. So when it comes to those backseat moments, or when my MC invites a guy over to "watch a movie," (yeah right, I have yet to see the end of Ferris Bueller's Day Off), I want them to fill in slot B on their own. Something happened. Unless it's imperative to the plot, does it matter what? Do they need the description? Do they need to see that shark?Here's a great example from Harry Potter & the Order of the Phoenix: (I know you're saying "What! An HP makeout scene?") Oh yeah... it's there. A meeting of Dumbledore's Army has just ended. Everyone has filed out except for Cho and Harry, who are kinda hanging out there in the Room of Requirement... and who didn't guess that thing had multiple uses? pg. 456-457:
"I really like you Harry."
He could not think. A tingling sensation was spreading throughout him, paralyzing his arms, legs and brain.
She was much too close. He could see every tear clinging to her eyelashes...
*PAGE BREAK*
He returned to the common room half an hour later to find Hermione and Ron..."
Hey! Wait a second!! Half an hour later? Gee... what were they doing? Now, obviously Rowling had a duty to her young readers to keep it clean, and to her older readers to keep it interesting. Not so for all writers, certainly. But I think it's a good example of letting the reader take it to their own level—of comfort, of familiarity, without being told what happened.
My own writing gives a little more detail than this highly gratuitous page break, but you get the idea.
One last thought—what do you want your readers to take away from your book? I haven't read Breaking Dawn, but I know that Edward and Bella break the headboard, 'cause that's all anyone wanted to talk about. Other than that—zero clue what the plot is about.
I'd love some feedback! What are your thoughts? Show the shark, or keep him underwater? :)
Monday, May 2, 2011
Why YA? Why Now?
by Mindy McGinnis
For a while now it's seemed that YA is the market to be in. Writers whose usual stomping grounds are certainly not in that arena have been throwing their hat in the ring—Joyce Carol Oates, James Patterson and now John Grisham. Even Rick Riordan, of Percy Jackson and the Olympians fame was not originally a YA/MG author.
The market shift can easily be spotted in the changing genre coverage of agents, as well. At least twice a week I get emails in my inbox from QueryTracker, alerting me to an agent who has expanded their area of interest. More often than not, they're adding YA to the mix.
It's easy to name the catalysts—J.K. Rowling, Stephenie Meyer—but they wouldn't be household names if people weren't reading the books. There are plenty of excellent writers with original plots out there—across genres and readership-age—who haven't initiated worldwide culture shifts.
So what gives? Why did your local Barnes & Noble knock down a wall to expand the teen section?
Recently, I had my college buddies over for yet another Twizzler and Dove chocolate fest. Books came up, and everyone turned to me for recommendations, since I spend 40 a week surrounded by them. I tossed off three or four titles, pens started scribbling and I said, "Sorry guys, I just realized everything I'm telling you is YA. It's pretty much what I'm reading right now."
To my surprise, this group of above-average intelligence, thirty-something women all said, "Oh—us too, it's totally cool." Since I had a captive audience I picked their brains—why? Why are adults reading YA? I have to admit, it's kinda been killing me. And their answer echoed what I had come up with on my own:
Because we didn't have any.
Readers in my age frame had to leap across a massive gap in our early to late teens. We went from R.L. Stine to Stephen King, Sweet Valley High to Danielle Steele, Nancy Drew to Kinsey Milhone. With few exceptions (God bless you Lois Duncan, Judy Blume & Christopher Pike) there wasn't a market for edgy, intelligent YA—definitely not in the numbers we're seeing now. As a teen, I had to search out titles that interested me in my age range. As an adult, I'm saturated with YA books in the TBR pile, and the bedstand is hating life.
Teens are reading in massive numbers. I speak from firsthand experience when I say there has been a major shift in the way pleasure reading is viewed in the high school where I work. The quarterback is carrying around the same book as the mousey girl with glasses, and he's not trying to hide it underneath a copy of Men's Fitness, either.
Adults are reading those same books. There's a reason why Sweet Valley was trending on Twitter days after the release of Sweet Valley Confidential: Ten Years Later. It's 'cause women like me were happily throwing down our college degrees and rolling around in some trash-awesome. Am I vicariously attempting to recapture my youth?
Or am I trying to fill a fifteen-year-old gap?
For a while now it's seemed that YA is the market to be in. Writers whose usual stomping grounds are certainly not in that arena have been throwing their hat in the ring—Joyce Carol Oates, James Patterson and now John Grisham. Even Rick Riordan, of Percy Jackson and the Olympians fame was not originally a YA/MG author.
The market shift can easily be spotted in the changing genre coverage of agents, as well. At least twice a week I get emails in my inbox from QueryTracker, alerting me to an agent who has expanded their area of interest. More often than not, they're adding YA to the mix.
It's easy to name the catalysts—J.K. Rowling, Stephenie Meyer—but they wouldn't be household names if people weren't reading the books. There are plenty of excellent writers with original plots out there—across genres and readership-age—who haven't initiated worldwide culture shifts.
So what gives? Why did your local Barnes & Noble knock down a wall to expand the teen section?
Recently, I had my college buddies over for yet another Twizzler and Dove chocolate fest. Books came up, and everyone turned to me for recommendations, since I spend 40 a week surrounded by them. I tossed off three or four titles, pens started scribbling and I said, "Sorry guys, I just realized everything I'm telling you is YA. It's pretty much what I'm reading right now."
To my surprise, this group of above-average intelligence, thirty-something women all said, "Oh—us too, it's totally cool." Since I had a captive audience I picked their brains—why? Why are adults reading YA? I have to admit, it's kinda been killing me. And their answer echoed what I had come up with on my own:
Because we didn't have any.
Readers in my age frame had to leap across a massive gap in our early to late teens. We went from R.L. Stine to Stephen King, Sweet Valley High to Danielle Steele, Nancy Drew to Kinsey Milhone. With few exceptions (God bless you Lois Duncan, Judy Blume & Christopher Pike) there wasn't a market for edgy, intelligent YA—definitely not in the numbers we're seeing now. As a teen, I had to search out titles that interested me in my age range. As an adult, I'm saturated with YA books in the TBR pile, and the bedstand is hating life.
Teens are reading in massive numbers. I speak from firsthand experience when I say there has been a major shift in the way pleasure reading is viewed in the high school where I work. The quarterback is carrying around the same book as the mousey girl with glasses, and he's not trying to hide it underneath a copy of Men's Fitness, either.
Adults are reading those same books. There's a reason why Sweet Valley was trending on Twitter days after the release of Sweet Valley Confidential: Ten Years Later. It's 'cause women like me were happily throwing down our college degrees and rolling around in some trash-awesome. Am I vicariously attempting to recapture my youth?
Or am I trying to fill a fifteen-year-old gap?
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