The Power of Descriptive Language

When it comes to descriptive language in fiction, some authors revel in rich, detailed descriptions, while others prefer a minimalist approach. But most writers agree that well-crafted descriptions, no matter their length, build worlds that come alive in our hearts and minds, creating an immersive experience for the reader.

I love this quote by Anton Chekhov: “Don’t tell me the moon is shining; show me the glint of light on broken glass.”

In my mind, this advice reaches beyond the standard catch phrase of “show, don’t tell.” It teaches us to imagine ourselves in our characters’ circumstances, to see what they see, feel what they feel. To draw on personal experience, tune in to every emotion, engage every sense. Then, after sifting through that wealth of data, to capture and re-create those circumstances by putting words to page.

Descriptive Language Pic

Think of your favorite novels, the ones where you’re left blinking in surprise at your real-life surroundings when you finally put the book down. Whether the story took place in your own hometown or on an alien world, the author’s skill with building and conveying the setting doubtless played a role in drawing you in.

What types of descriptive language are most effective? What techniques? Are adjectives becoming a thing of the past, or should you use as many as you want? I suspect that every writer will give you a different answer. It can be dangerous to get caught up in the game of what’s “okay” and what isn’t: counting adjectives and adverbs, using words other than “said,” or agonizing over whether you’re allowed to describe what a character is wearing. So much depends on personal taste, style, and instincts.

Don’t ever stop honing your craft. Find critique partners. Always do your research. But please allow yourself some freedom of expression. The debate that’s currently raging in the literary world about what authors are and are not allowed to write about is a sure path to self-doubt and creative stagnation.

Maybe your description of a spaceship’s corridors will be sterile and crisp, with clipped phrases and stark language to convey the coldness and loneliness of space. Or maybe you’re writing an epic space romance where the main character waxes poetic on the infinite beauty of the stars.

At the end of the day, your goal is to create an experience for the reader that is both visceral and vicarious. How you achieve that is the real trick, as any writer well knows.

There is no perfect way to write. But I will close with a favorite passage from one of my absolute favorite books, The Empty Grave by Jonathan Stroud:

“Long gray hair lay thick and lush across an ivory pillow. It cradled a gaunt white face, the skin flowing like wax beneath our candlelight. It was the face of a woman; an aged, wrinkled woman—bony, with a nose curved thin and sharp like the beak of some bird of prey. The lips were closed tight; the eyes, too.”

In this one short passage I count 13 adjectives (14 if you count curved as an adjective vs. a verb) and two similes. And it’s freaking fantastic.

Enough said.

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Growing up, Christine Hayes loved reading stories about creatures that curl your toes and legends that send a shiver down your spine. Now she loves writing about them, too. Her debut novel, MOTHMAN’S CURSE, was released in June 2015 through Roaring Brook Press/Macmillan. Christine seeks inspiration by haunting flea markets and estate sales, searching for cool vintage finds with a story to tell. While earning her degree in music she visited Asia for the first time, and later moved there with her family for several years. She has been addicted to travel ever since. Christine and her clan now live in northern Utah. Find her online at www.christinehayesbooks.com.

 

Tell The Story

I just got back from a whirlwind trip in various European countries after two weeks of traveling for a writing retreat and work. There are many MANY things that I saw and experienced that I know I don’t fully appreciate yet because I’m still a bit jet-lagged and haven’t had the mental capacity to really reflect yet. But there was one thing that stood out to me as I wandered through hotels and churches and communities and cities: while many people had a part in each of these, a stranger who is visiting can relate through the power of story.

Tell The Story.png

Story is Necessary for Societies to Survive

Really, this isn’t a new insight for me – it probably isn’t for anyone. When I taught high school English and walked teens through the nuances of The Odyssey by Homer, The Adventures of Huckleberry Finn by Mark Twain, or The Scarlet Letter by Nathaniel Hawthorne, I would emphasize over and over again that there are four things necessary for a society to survive: shelter, sustenance, sex and story.

You can guess which one they wanted to talk about first.

Shelter and sustenance are fairly easy to understand – we mere mortals are fragile beings not well-suited to just “wing it” when it comes to the forces of nature. We only need to scan through the headlines of any current news source to see that this is true.

Sex is necessary in order for people to have more people. Societies that have tried to avoid this don’t last very long. There are all kinds of other reasons this is a fundamental element for a successful community, but that’s a topic for a different day.

Story was the one that confused my students. Why does it matter, they’d ask, whether or not they read about a guy who blinded a cyclops, or a boy who ran away from a drunkard father, or a women who kept a secret? What they came to learn, what writers and readers need to remember and understand, is that story is how we share traditions, lessons learned, insights gathered, and then, in turn, share that advice with others.

Don’t Start with Advice in Mind

As soon as we realize (or remember) the power that story can have, we can quickly become overwhelmed with what it might mean to us as people, and in particular, writers. We can start questioning if our story needs to have meaning, if we pick the message before the characters, how we can implement symbolism that will stump students and thrill English teachers for decades (or even centuries!) to com.

Stop.

These are all good things, but they aren’t what we should be doing from the very beginning. No, instead we need to consider our characters, what their story means in their world. We need to craft experiences, allow our character to engage with others in their world, consider their strengths and weaknesses, all of the nuances  that make characters GOOD characters.

Sure, there may be themes that show up, metaphors that add depth to the story, etc., but the main purpose is to write a story that allows readers to gain a little better understanding into the nuances of someone’s life. Because as we read, we develop better empathy for what other people have experienced, making us relate to those around us in a more meaningful manner. And in today’s world, a little more understanding, both of those who are around us and those who may have experienced similar things in days gone by, just might be the thing that draws us together when so many things appear determined to drive us apart.

_________________________________________
TashaTasha Seegmiller is a mom to three kids and coordinator of the project-based learning center (EDGE) at Southern Utah University. She writes contemporary women’s fiction with a hint of magic, and thrives on Diet Coke, chocolate and cinnamon bears. She is a co-founder and the managing editor for the Thinking Through Our Fingers blog as well as a board member for the Women’s Fiction Writers Association. Tasha is represented by Annelise Robey of the Jane Rotrosen Agency.

Story Soup -or- Where Do You Get Your Ideas?

Next Tuesday, my sophomore novel, Paper Chains, will be released into the world. In the weeks ahead, I’ve got school visits, a book festival, a writing conference, a library event, and the high-profile privilege of being interviewed by a fourth grader (one of the perks of writing for kids.) This particular fourth grader asked some really insightful questions, one of which I’m absolutely certain will be posed again at my upcoming events:

Ideas graphic.jpegWhere do you get your ideas?

As authors, this may be the question we’re asked most often, and others (including Stephen King, Elizabeth Gilbert, and Neil Gaiman) have answered it with great insight. I love this question because to me, it embodies a core curiosity. Where do these stories we love come from? If we keep walking upstream to where it all began, what will we find?

I have two answers for this question:

Stories are all around you.

Stories are within you.

If you think of your current work, you can probably find both origins. Often (but certainly not always), the outer spark that starts a story—the part from the world around you—gives rise to its plot, and the inner spark—the part from within you—gives rise to its theme.

Paper ChainsIn early conversations about Paper Chains, I would tell people, “The idea came from The Snow Child, an adaptation of a Russian folk tale my grandmother read to me when I was a little girl.” And this is true. Paper Chains is a bit of an allegory of the Snow Child. Katie’s relationship with her parents, her cultural heritage, and parts of her personality were drawn from this core idea.

But as the manuscript—and my understanding of it—progressed, I realized that I’d set out to do more than write a story inspired by a book my grandmother read to me. I realized that The Snow Child—and, in fact, all the stories I’d grown up with—had become part of who I was, and so had the grandmother who read them to me. And without even realizing it, that had become what I was writing about: the idea that we are all made of stories, sort of a “story soup” (to use a term coined by one of my characters) composed of not only our own life experiences, but the stories that shaped us as well.

I really believe this. I’m shaped by stories. They are all around me, they are within me. And maybe, for me, that’s what’s so sacred about writing. It’s a way to give back to the well and wealth of stories that have made me the person I am. In five days, Paper Chains will be released, and the process will come full circle. This idea that came from around me and within me will be out there in the world, and it will become part of each person that reads it. And maybe someday, pieces of Paper Chains will find their way into another story, and the cycle can begin again.

If you, like me, are looking for your next story, I hope the idea will come from both places. Because when we can say something meaningful about the world around us and the soul within us, that is a story worth telling.


profile-picElaine Vickers is the author of Like Magic and Paper Chains (HarperCollins). She loves writing middle grade and chapter books when she’s not teaching college chemistry or hanging out with her fabulous family. You can find her at elainevickers.com on the web, @ElaineBVickers on TwitterInstagram, and Pinterest, or generally anywhere there are books and/or food for her consumption.

Survey Analysis: How Far Is Too Far? How Much Is Too Much?

YA-bobby-socks-puppy-lovetIn my post from last month, “How Far Is Too Far? How Much Is Too Much?” I talked about how authors of young adult books are including more profanity, sexual situations, drug use, and other controversial content in their novels. I was really curious to find out in greater detail what readers of all ages thought about various difficult topics. Leveraging Google Forms and Sheets, I created a survey to find out.

The survey was both a success and a failure. On the plus side, I got almost 200 responses, which was more than I expected. On the negative side, only six of those responses were from actual young adults. The rest were from grownups (18 and older) who read young adult literature.

I promised to provide an analysis of the results, so here they are. Please note that I’m not claiming statistical significance here. I’m not a stats person, though I do consider myself something of an Excel ninja. Though it’s interesting, I would caution against reading too much into the data I present below. When in doubt, write the book you want to write.

Respondents

From sharing my results with various groups, I managed to get a total of 195 responses. The demographic section of the survey tells us a little about the people who completed it.

Age

As I mentioned above, the overwhelming majority of people who responded to the survey were adults. The breakdown by age category is here:

Age Category

Respondents

Percent

12 – 14 years old

1

0.5%

15 – 17 years old

5

2.6%

18 – 29 years old

28

14.4%

30 – 39 years old

94

48.2%

40+ years old

67

34.4%

Gender

The overwhelming majority (86%) of respondents were female. Here’s the full breakdown:

Gender

Respondents

Percent

Female

167

85.6%

Male

27

13.8%

Something else, or I prefer not to answer

1

0.5%

Last year, I was at a writing conference, attending a panel about writing young adult fiction. During the Q&A, a woman stood up and asked the question: “What can be done about the perception that YA is dominated by females?” I actually laughed out loud when I heard this. All four panelists were women. Maybe 80% of the audience were female. This isn’t a “perception” … it’s a reality.

Location

Survey respondents came from 27 US states, plus some international locations. However, because of my circle of friends (and also because of the groups where I went to solicit responses), the vast majority of the responses (54%) came from people who live in Utah.

Here’s the breakdown of how many responses came from each location;

Alabama (1), Alaska (1), Arizona (14), California (7), Colorado (4), Hawaii (4), Idaho (11), Illinois (1), Indiana (2), Louisiana (1), Maryland (1), Michigan (3), Minnesota (1), Nevada (5), New Mexico (1), New York (2), North Carolina (1), Ohio (1), Oklahoma (1), Oregon (4), South Carolina (1), Tennessee (2), Texas (8), Utah (105), Virginia (2), Washington (5), Wyoming (1), Other or International (5)

Average number of books read per month

I thought it would be interesting to know whether the respondents were voracious or more casual readers. Because of this, the survey asked how many books, on average, each of the respondents read.

Books per Month

Respondents

Percent

less than 1

17

8.7%

1 or 2

50

25.6%

3 or 4

64

32.8%

five or more

64

32.8%

Percentage of books read in the young adult genre

Finally, I asked what percentage of books each of the respondents read in the young adult genre.

Books in the YA Genre

Respondents

Percent

less than 25%

33

76.9%

25 to 50%

79

40.5%

51 to 75%

45

23.1%

75% or more

38

19.5%

Methodology

Using the word “methodology” automatically makes things more scientific, right? Well, probably not, but I did have a method to my madness. For every topic or subject matter in the main section of the survey, I asked respondents to rate their comfort level using the following rating scale:

  1. Very uncomfortable. I actively avoid books like this, and won’t read them at all.
  2. Uncomfortable. I have a low tolerance for books like this, and sometimes stop reading if I encounter the topic.
  3. Moderately comfortable. I don’t seek out books like this, but I don’t avoid them if the story is good.
  4. Comfortable. I don’t mind reading books like this, and often enjoy them.
  5. Very comfortable. I enjoy reading books like this, sometimes seeking them out specifically.

To analyze the responses, I considered a 1 or 2 to be negative (discomfort) and a 4 or 5 to be positive (comfort). The 3 responses were neutral, so I ignored them for the purposes of analysis. Using this methodology, I created Pro/Con comparison for each item, and then compared them as percentages.

As an example, the first question asked the respondents’ comfort levels with “Bible” curse words like “damn” and “hell.” (I actually asterisked them on the survey so nobody could complain about being exposed to profanity). In the results, I got 60 5s, 63 4s, 61 3s, 8 2s and 3 1s. (Yes, three people indicated they were “Very uncomfortable” with encountering the words “damn” and “hell” in a YA novel. Go figure.) Adding the 4s and 5s and the 1s and 2s together, I got a Pro score of 123 and a Con score of 11, or 91.8% Pro and 8.2% Con. Make sense?

So let’s look at the individual sections and scores. To reduce clutter, I’ll provide just the Pro and Con tallies and percentages for each item. However, you’ll find a link to a PDF with the full scoring at the bottom of this post.

Language

I grouped the questions about language into three categories: “Bible” curse words, scatalogical and “body part” curse words, and F-bombs (which my teenaged son calls the “Elder Swear”). The results didn’t really surprise me:

Language

Pro %

Con %

Stories with characters who use “Bible” curse words (d**n, h**l)

91.8%

8.2%

Stories with characters who use scatalogical or “body part” curse words (s**t, a**, d**k, c**k, c**t, p***y)

30.5%

69.5%

Stories with characters who drop F-bombs (f**k)

23.2%

76.8%

On one of the groups where I posted this survey, a group member took me to task for grouping words like “shit” and “ass” in with the body part swear words. The names for female body parts, she claimed, were used more for sexual power games than for curse words. I can see her point (to a point), but I was just trying to do a survey, not make a statement about gender politics.

Sexual Content

As far as I can tell, one thing that distinguishes young adult from middle grade fiction is the introduction of sexual situations. (Sometimes, when meeting other writers, I like to joke that I write “middle-grade erotica.” It’s just fun to see the looks on their faces as they try to parse that.) As in all of the categories, I ordered the items based on what I expected the relative comfort/discomfort levels to be.

Sexual Content

Pro %

Con %

Stories with lots of sexual content but no actual sex between teens

42.9%

57.1%

Stories that talk frankly about pornography and masturbation

12.8%

87.2%

Stories depicting hetero sex between teens

19.9%

80.1%

Stories depicting sex between teens and adults

7.8%

92.2%

Stories depicting taboo sex involving teens (incest, BDSM, etc.)

5.5%

94.5%

One aspect of the results surprised me: overall, the respondents were slightly more comfortable reading stories about actual sex than about pornography and masturbation. I don’t know why, but I was really taken aback to see that readers found simulated, solitary sex more disturbing than the real thing.

The last question in this section is interesting in the sense that it doesn’t seem that the “Fifty Shades of Gray” phenomenon has trickled down to the YA reader. E.L. James’ books pushed BDSM into the mainstream to a certain degree, but that’s not happening for adult readers of YA fiction.

LGBTQ+ Content

Like it or not, young adult fiction tends to be heteronormative in the sense that it assumes that most boys like girls and most girls like boys. (It reflects the real world in this way.) Since I personally know a number of readers who intentionally steer clear of books with gay and lesbian protagonists, I figured it made sense to ask these questions separately.

LGBTQ+ Content

Pro %

Con %

Stories with major LGBTQ+ characters, in which the characters’ orientation is incidental to the plot

57.7%

42.3%

Stories with major LGBTQ+ characters, in which the characters’ orientation is crucial to the plot (including “coming out” stories)

39.9%

60.1%

Stories with minor LGBTQ+ characters

73.8%

26.2%

Stories depicting sex between LGBTQ+ teens

13.0%

87.0%

Stories depicting sex between LGBTQ+ teens and adults

5.9%

94.1%

YA readers seem to be more accepting of LGBTQ main characters if their sexuality isn’t directly tied to the plot. The big difference in comfort levels between the first and second items above kind of surprised me. Minor gay and lesbian characters (I was careful not to use the word “token”) seem to be more acceptable to more readers.

Substance Abuse

I remember being shocked, as a young teenager, reading about teenagers drinking and smoking in The Outsiders. I was probably 13 when I discovered that book, and nobody in my sheltered circle of friends did any of that stuff. My kids had a very different experience. In my kids’ school, vaping and seems to have replaced smoking as the default bad-habit-du-jour.

And remember: The Outsiders was published in 1967. Teens have always smoked and boozed and used drugs.

Substance Abuse

Pro %

Con %

Stories depicting teenagers smoking or vaping

64.2%

35.8%

Stories depicting recreational drug use by teens

38.0%

62.0%

Stories depicting alcohol use by teens

50.4%

49.6%

Stories depicting the abuse of prescription drugs by teens

42.1%

57.9%

Stories depicting the sale or purchase of illicit drugs by teens

36.8%

63.2%

I actually expected the Pro scores here to be a little higher. It’s possible that the older audience skewed the numbers here to the Con side.

Mental Illness

There has been a huge effort over the past several decades to destigmatize mental illness. In the past several years, I’ve read YA books with protagonists who have Tourette syndrome, with severe depression, and even sociopathy. Readers seem to see mental illnesses as just another obstacle for characters to overcome.

Mental Illness

Pro %

Con %

Stories focusing on protagonists dealing with mental illnesses

95.1%

4.9%

Stories that prominently feature self-harm (cutting and other self-injury)

52.5%

47.5%

Stories focusing on protagonists who have eating disorders

85.5%

14.5%

Stories depicting characters with suicidal thoughts or who attempt suicide

68.1%

31.9%

The one surprise here is the balanced Pro/Con score for self-harm. From what I can tell, in the United states, around 6-10 percent of teenagers intentionally hurt themselves, with “cutting” being the most common activity of this type. At the same time, less than 3 percent of of teens struggle with eating disorders. With self-harm being two or even three times more common than eating disorders among U.S. teens, you’d think it would be a topic more people would be comfortable reading about. Not so, apparently. That self-harm is significantly less acceptable to readers than suicide should be an eye-opening fact.

Abuse and Violence

I’m not certain I got the questions in this category “right.” Violence is a staple of growing up—kids beat up on each other all the time. I tried to think of the types of abusive situations that might cause someone to put a book down.

Abuse and Violence

Pro %

Con %

Stories depicting sexual abuse involving teens or children

17.9%

82.1%

Stories depicting sexual assault involving teens or children

19.5%

80.5%

Stories depicting domestic violence

43.1%

56.9%

Stories depicting other kinds of violent situations

68.1%

31.9%

Interestingly, the Pro/Con rating for sexual assault is within half a point of the rating for hetero teenaged sex (see above). And the readers I polled are more comfortable reading about sexual assault than about consensual sex between LGBTQ teens. That last question is kind of a catch-all, and doesn’t really say much about anything.

Social Issues

Speaking of catch-alls, this last category was exactly that.

Social Issues

Pro %

Con %

Stories involving bullying (real-world or cyber)

92.2%

7.8%

Stories involving racism, racial discrimination or racial inequality

89.3%

10.7%

Stories involving sexism, sexual discrimination or sexual inequality

83.2%

16.8%

Stories in which teens talk about or get an abortion

46.6%

53.4%

Stories involving firearms

88.5%

11.5%

Stories with heavy political content

67.8%

32.2%

The bullying question was a gimme. Bullying is so pervasive in all aspects of teenagerhood that I would defy anyone to come up with a single YA novel that didn’t feature bullying of some kind.

I wasn’t surprised by the Pro/Con ratings on the “ism” questions. I was pretty surprised that my respondents were more comfortable reading about teenagers with guns than they were about teenagers getting abortions. (But then, I had a very Utah-heavy population that responded.) The question about politics was also interesting. I wasn’t expecting a two-thirds Pro rating on that one, though I’m not sure whether I expected it to be higher or lower.

 

Conclusion

Again, since this turned out to be essentially a poll of adults, I’m not sure how much we can extrapolate regarding teen readers. It’s worth pointing out, though, that adult readers of YA fiction are often the “gatekeepers” who buy the books, put them on library shelves, assign them for classes, and so on. So grownup attitudes about young adult fiction are still worth considering.

You can download a more detailed analysis of numbers below. Enjoy!

YA Fiction – How Edgy Is Too Edgy?

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David-Profile-PicDavid Baker is an author, playwright, marketing professional, blogger and freelance editor. He has ghost-written several books and authored dozens of published articles on such topics as business technology, the insurance industry, marketing and data security. He writes both YA and “grown-up” fiction and is actively querying several projects. He also edits the monthly journal of a national trade organization. In his spare time, he runs marathons, volunteers with young people, cooks curries, paints shoes and builds things. He has an A.A. in theater, a B.A. in English and an M.A. in linguistics. Born in Arizona, raised in Hawaii, currently living in Utah, David is actively involved in theater. His stage play, Inside Al, won the Henry Fonda Young Playwright Award and premiered at the Kennedy Center for the Performing Arts in Washington, DC. The play was subsequently published by Samuel French and has been in near-continuous production for more than two decades, with hundreds of performances across the US and Canada. You can find his personal blog at blog.bakerdavid.com.

How Far Is Too Far? How Much Is Too Much?

YA-bobby-socks-puppy-lovet

I didn’t actually set out to answer those questions. But over the past several months, they’ve been on my mind. A lot.

Let’s back up. My teenaged daughter is a voracious reader. She always seems to discover and read the “hot topic” books months before I even hear about them. She’d read all John Green’s books before I even got a whiff of The Fault in Our Stars, and she read Thirteen Reasons Why way before Netflix even thought about vandalizing the book as a miniseries.

In the run-up to my NaNoWriMo project last year, I decided I wanted to write the kind of YA book my daughter likes to read: edgy, real, and touching on the scarier areas of high school life. I settled on a revenge novel, one that used multiple points of view. Then she and I sat down and brainstormed about the horrible things high schoolers do to each other.

Some of the ideas we came up with together were pretty dark. But I was drawn to the characters they suggested, and I thought they made for a great story. I’m revising now, struggling with my beginning, but I’m still happy with the way the book is shaping up.

To help me get in the right frame of mind for this book, I’ve been reading extensively in the “edgy YA” category. Here are a few of the books I’ve devoured in the past few months:

  • Thirteen Reasons Why, by Jay Asher. Deals with suicide, bullying, violence, alcohol and drug use, rape and voyeurism.
  • King Dork, by Frank Portman. A comedy dealing with sex, drugs and (of course) rock ‘n’ roll—plus bullying, alcohol and assault with a deadly tuba.
  • Hate List, by Jennifer Brown. The main character is the survivor (and unwitting participant) of school shooting rampage. Also touches on bullying, violence, alcohol and drug use, sexual issues.
  • Me and Earl and the Dying Girl, by Jesse Andrews. A very funny, profoundly weird story about terminal illness, bullying, racial issues, drug use and gangs. Contains copius F-bombs.
  • Looking for Alaska, by John Green. This multiple award-winning book deals with sex, smoking, death, more sex, and alcohol and drug use, with enough profanity to earn it a hard R from the MPAA.
  • The Serpent King, by Jeff Zentner. Abuse and poverty, some surprising violence (domestic and otherwise), lots of language and bullying and mentions of kiddie porn mixed in. So far, my favorite book of 2017.
  • Castration Celebration, by Jake Wizner. Billed as “High School Musical—rated R,” this book revolves around sex, drugs, rock ‘n’ roll, alcohol, suicide, and depression. And it’s a comedy!

Now, I live and write in southern Utah, so I work in a bubble. Though this isn’t an absolute, readers here tend to gravitate more toward sci-fi and fantasy, focus on “clean romance,” and stay away from heavy realism. The bubble is thick and isolating—so much so that, when I began introducing my current project to my writing group, one of the members asked, “Do books like this actually sell?”

Publishers don’t release sales numbers, but if we look at Thirteen Reasons Why on Amazon, we see the book has 29 separate formats and editions, including seven hardcover, nine paperback, two digital and four audiobook. There’s also the popular miniseries on Netflix. What this says to me is that Jay Asher probably doesn’t have to feel around under his couch cushions for gas money. Similarly, Looking for Alaska is available in 55 different formats and editions. Millions of copies of both books have been sold.

Obviously, books for teens with lots of “adult” material can be incredibly popular and make bucketfuls of money for their authors and publishers. But I’m still curious to know: how far is too far, and how much is too much? Are there specific topics that readers just don’t want to encounter in young adult novels?

I can’t answer that question. In fact, it’s a question I’m asking TTOF readers. I’ve put together a survey for you to fill out:

Take_Survey_button

Copy-and-paste link:
https://goo.gl/forms/AyEmZ23eLdXptYMt2

You’ll be asked about various thematic elements and  your level of comfort with them. I encourage you to respond to the survey, and to ask your friends to do so as well. I’ll summarize the results in a future column.


David-Profile-PicDavid Baker is an author, playwright, marketing professional, blogger and freelance editor. He has ghost-written several books and authored dozens of published articles on such topics as business technology, the insurance industry, marketing and data security. He writes both YA and “grown-up” fiction and is actively querying several projects. He also edits the monthly journal of a national trade organization. In his spare time, he runs marathons, volunteers with young people, cooks curries, paints shoes and builds things. He has an A.A. in theater, a B.A. in English and an M.A. in linguistics. Born in Arizona, raised in Hawaii, currently living in Utah, David is actively involved in theater. His stage play, Inside Al, won the Henry Fonda Young Playwright Award and premiered at the Kennedy Center for the Performing Arts in Washington, DC. The play was subsequently published by Samuel French and has been in near-continuous production for more than two decades, with hundreds of performances across the US and Canada. You can find his personal blog at blog.bakerdavid.com.

We ALL Need Superheroes

There has been much buzz lately about the blockbuster hit Wonder Woman, and I have to agree with those that say the buzz is for a GOOD reason. I won’t give any spoilers, but I will say that there was so much about this movie that hit my heartstrings and made me ponder many things, long after I left the movie theater. A week and a half later, and I’m still processing and enjoying the message and the story, and I can tell you this: Wonder Woman gave me hope about multiple things both personal and on a large-scale, at a time when I think I needed her.

Wonder

(^ When you just HAD to snap a picture of an epic scene because you thought you might need it for later).

One more thought has been rattling around in my brain about Wonder Woman, and it involves the pre-viewing buzz. Prior to seeing this movie, I did my best to stay away from spoilers and so really had no idea what to expect — except for the fact that this was a superhero story, which I typically enjoy (non-spoilers note: it is so much more than that). However, I had seen more than a few times on social media that people were urging all of their friends to take their daughters to see this movie. I was invited by a group of women to go see it a few days after I’d already seen it. As I reflect upon my own viewing of the movie, I completely understand this sentiment. Wonder Woman fought for so much, for her loved ones, for herself, and for humanity. I understood the call to take daughters to see this movie because as a woman, I was very inspired.

However, I did not take any of my daughters with me to this movie.

Okay, so I don’t have any daughters. But I went with my husband and two young sons (ages 6 and 10). We had planned to take the kids to see a movie that day, but our sons chose Captain Underpants. Nothing personal against the briefs-wearing caped crusader, but my husband and I wound up arguing (yes, literally arguing) over who would be the *cough* unlucky person to go to see Captain Underpants because he’d taken them to see Trolls, and I’d taken them to see The Secret Life of Pets, and honestly, neither of us wanted to go see this movie that day. My husband then said to the boys, “We aren’t going to see Captain Underpants today. But maybe we should all go see Wonder Woman. Because you know — your mom is a Wonder Woman.” ❤  *cue heartmelt*

I waited for the counter-argument. I waited for one of my sons to say, “But that’s a movie for girls. But we want Captain Underpants!” There was none of that, and aside from one brief pout from the youngest one, we went and saw Wonder Woman. And my boys, husband, and I all loved it. My boys especially loved seeing Princess Diana as a little girl, they loved how funny and determined Diana Prince was as an adult, and perhaps most of all, they loved how kickass Wonder Woman was.

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Here are some direct quotes of what my boys had to say today (about a week and a half after we saw it as a family):

“I liked how Wonder Woman could do all of those cool things, like jump this huge distance and land on a building, and how surprised she was that she could even do it.” *makes flying noises*

“I liked when she tried to blend in and how she was trying on normal clothes but wanted to make sure she could fight in them.” *kicks and punches the air*

“I liked the part when she was figuring out things about people and our world for the first time.” 

“I liked her as a little girl when she was learning how to fight, just like I do karate.” *does awesome karate moves*

“There are too many cool things to say them all, Mom.” 

Wonder Woman is a story for everyone, you see, not just for daughters and sisters and mothers and female friends. Men and boys need to see kickass women as much as women and girls need to see kickass women. One way we can empathize with people from all walks of life is to experience their stories — and this applies to readers and writers of stories as well. When I was younger, I loved Nancy Drew and The Hardy Boys. I read (and reread) Judy Blume’s Are You There God? It’s Me, Margaret and Then Again, Maybe I Won’t when I was in elementary school (and asked my mom tons of questions about each, which she frankly answered, bless her heart). My oldest son is an avid reader, and while his current favorite series is Tyler Whitesides’ The Janitors, he also loved Judy Moody.

If only we could live long enough to read and write ALL the books. Writers often talk about the need for writing and reading diversely. Usually we mean writing about groups that aren’t widely represented in stories, and this post and others explain why writing diversely is so very crucial for our readers to understand different perspectives. Yet as authors, our books may be categorized and marketed as girl’s books or boy’s books, as women’s fiction, men’s fiction, gay and lesbian fiction, multicultural fiction, and so on (I’ve even seen the category “men’s adventure fiction” pop up somewhere). These designations are primarily for marketing toward target audiences, as these stories depict women’s life experiences, or the experiences of LGBTQIA+ characters, or the singular experience of a man’s adventure, I suppose. But as a reader and writer, there is great value in crossing those bridges and experiencing (through reading) and representing (through writing) a wide variety of struggles and triumphs, just as my sons experienced the struggles and triumphs of Princess Diana / Diana Prince / Wonder Woman and now have an even broader perspective about certain things. And okay, I’m not going to lie when I say my heart melted when my 6 yo hugged me and told me that I’m like Wonder Woman (he didn’t tell me why, but that’s for him to decide).

When I was a teenager, I read my dad’s Ken Follett, Tom Clancy, Stephen King, and Dean Koontz paperbacks, and I enjoyed them (Ken Follett’s “men’s adventures” were some of my favorites, TBH). But my dad also had his Danielle Steele paperbacks that filled up an entire shelf on his floor-to-ceiling bookshelves, and I read a lot of those as well. I still remember the day when he gestured to his personal collection and told me that I could read anything I wanted to because I could be anything I wanted to someday.

Maybe even a superhero.

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HelenHelen Boswell loved to get lost in the pages of a story from the time she could sound out the words. She credits her dad, an avid fiction reader, with encouraging her to read ALL OF THE BOOKS on his shelves from the time she was a teenager (and this post explains why). An author of both paranormal and contemporary romance, she loves to read and write characters that come to life with their beauty, flaws, and all. She is the author of the Mythology trilogy (MYTHOLOGY, THE WICKED, THE ETERNAL), and contemporary romance-suspense LOSING ENOUGH. You can find out more about her writing life at www.helenboswell.com.

Good Writing vs. Good Storytelling

A couple of years ago, I developed a sneaking suspicion that I might be a good writer—sometimes a very good one—but not a very good storyteller.

Then I went to grad school and found out I was right. No one told me. I just figured it out after taking apart scores upon scores of novels and analyzing out which ones failed, which succeeded, and why. I could see the problems in my own writing far more clearly when I returned to it.

So, here’s the difference: good writing erases the outside world if just for a moment or a scene. Good stories always draw you in but then keep drawing you forward.

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I recently joined a critique group of writing pros. Everyone is either agented or published and they all have excellent insights. One of my critique partners after seeing my work for the second time said, basically, “It’s like this. If you grabbed a jar of spaghetti sauce from your pantry and we all had to write a paragraph about it, yours would be the most polished, but NOTHING would happen. Words come really easily to you.”

Correct. She’s absolutely correct. It’s exactly what I had diagnosed in myself and I’m especially guilty of this in the early stages of the story. This is largely because I’m a character-driven reader and writer. I’m perfectly happy just following my character around, taking in what they see, watching how they interact with people, observing them. I don’t really need a lot to happen to them. They’re just interesting to me in the same way that real people are interesting to me.

But. That’s not great storytelling. So . . . what to do? How to get to good storytelling?

The solution is NOT to plot.

You maybe weren’t expecting that, hm?

Yeah, me either, because I’m actually a plotter. In fact, all the romantic comedies I’ve written have come really easily to me because the goal, the protagonist’s heart desire, is always obvious: it’s the Adorable Love Interest. I just get to have the fun of getting her there. However, when I write outside of romance, I really, really struggle. The plots get fuzzy. But honestly, that’s kind of silly when the solution is the same. Regardless of genre, you must know your protagonist’s DEEPEST desire. It’s just more clear in romances.

Much of my wandering around in the beginning stages of a story is a symptom of a few things: I may have started with a cool hook and tried to craft the character that lets me make that hook happen. I can’t possibly know that character’s deepest desire without doing some serious sidewriting and character exploration. It could also be that I THINK I know the character’s deepest desire but I haven’t gone nearly deep enough yet.

But I make both of these mistakes over and over and over, so I’ve been trying to figure out an efficient self-monitoring test to make sure my story is staying on the rails and moving forward, not following my character around to moon over flowers or injustices or grades or whatever may be preoccupying her.

This may sound totally obvious to most of you, but the closer I get to internalizing this, the sharper my storytelling is becoming. The test is just asking myself these questions:

  1. What is my character’s deepest desire?
  2. Does this desire set up high enough stakes in the story, at least at key points, to make the reader uncomfortably tense?
  3. Is this scene (ask about EVERY scene) connected to this desire, either driving her toward it or away from it? If not, the scene needs to, or it needs to go.

Time after time, I find the first question is the hardest to answer. If anyone has some great tricks for figuring out their character’s deepest desire, TELL ME. Until then, I’ll be over here writing beautiful prose about jars of spaghetti sauce.

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Melanie Bennett Jacobson is an avid reader, amateur cook, and shoe addict. She consumes astonishing amounts of chocolate, chick flicks, and novels. She lives in Southern California with her husband and three kids and a series of doomed houseplants. Her seventh novel, Southern Charmed, released in October. Melanie is pursuing a Masters degree in creative writing from the Vermont College of Fine Arts. Her contemporary YA novels are represented by Alyssa Henkin..