Sometimes when I tell people I write middle grade, they nod knowingly and say “Cool. Like a chapter book, then?”
Then I respond, “Well, no, not really. I mean, yes, middle grade books in fact do contain chapters. Lots of them, usually. But middle grade books are different from chapter books.”
The conversation usually stops because pizza delivery guy doesn’t usually care why or how middle grade books are different from chapter books.
But if you’re reading this, I suspect that you do.
A chapter book:
Has a main character who is between the ages of 7-10, and can be anthropomorphic (e.g., a talking dog).
Is illustrated, sometimes on every page, usually in black and white.
Sticks to a word count of between 5,000 and 20,000 words (an average of 45-60 pages)
Is action-focused, with minimal internal character development.
Aims for readers aged 7-10.
Examples of chapter books are The Magic Treehouse, Flat Stanley, or Amelia Bedelia series.
A middle grade book:
Has a main character who is between the ages of 10-13.
Contains few illustrations.
Has a word count of between 25,000 – 40,000 words (an average of 150-200 pages)
Features both a well-developed character journey and motive-driven plot.
Aims for readers aged 8-12.
Examples of middle grade books are here, here, and here
If you write middle grade, you know how important it is to make sure your work is relevant to your reader. Understanding the distinctions between chapter books and middle grade is a great first step.
Happy Writing!
Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.
Ever heard someone say, “I love a good mystery!” That’s more likely than hearing “I love a good suspense story.” What they may mean is they love a good thriller. It turns out the technical definitions of what makes up a story categorized as mystery, suspense, or thriller can be way off from a reader’s understanding of the words.
So, who cares?
All authors should! A greater understanding of what your book means in the eyes of the greatest number of readers can make a significant difference to your sales.
From the industry and technical standpoint, each term has a definition, albeit not agreed upon by everyone. Here’s a stab at the definitions.
Mystery has a main character who may not realize there is danger ahead at first. Once they sense something, they are preoccupied with getting to the bottom of the truth about an event. This can be a murder, but not always. The reader is exposed to the same information as the detective or crime solver.
Thriller’s cause what the names says- supplying a thrill to the reader because the protagonist is in danger, usually from page one.
Suspense has the main character possibly unaware of the danger in the beginning, but the reader is clued in on things that are unknown to the protagonist. The reader may know someone is lurking in the home or see a bomb planted and live with the suspense of wondering what will happen. The argument could be made that suspense must be an element in most books, so the reader doesn’t close the book with a yawn!
After reading those simple definitions, you may strongly agree or disagree. Why? Your preference as a reader is bubbling to the top!
And, what about when the genres cross? This is especially true in mystery and suspense.
Another authority in the book world may have a different definition – the library. Some books with word counts under 75,000 automatically go to the mystery category.
What if you were forced to describe each category in six words or less?
Mystery: Solve the puzzle of what’s happening.
Thriller: Keep the heart pounding on high.
Suspense: Creating tension of what could happen.
What would your six-word description look like for each category?
The truth is, people read books because they like them, not because they understand the genres assigned by the publishing industry. One thing every author and reader can agree on is the need for pacing. Too fast, and you could lose your reader. Too slow, and you could lose your reader! Hooking and keeping your reader is crucial. Definitions become problematic when you think you’re one genre, but your readers use a different moniker to describe your books. This is more common between mystery and suspense. When that happens, readers rule!
To further complicate the genres, sub-categories such as the cozy mystery are a big hit. Usually more light-hearted, involving a small town and an amateur sleuth solving the crime opens up the door to more personal definitions. You know what that means. Soon there will be another new sub-category that doesn’t exactly fit the mold. Readers have a love-hate relationship with genre deviation, but when done well, they will get on board.
So, where are we left when it comes to solving the mystery of mystery/suspense/thriller writing? Right back where we started with everyone having their own opinion.
Here’s what we know for sure:
The industry can make definitions, but none of them is the definitive answer for everyone.
Be sensitive to what your readers are telling you are the “descriptive words” they like over time and adapt to what they say.
Good pacing, hooks, and writing will always keep readers reading no matter the category or labels assigned to a book.
So, go ahead, how would you describe these genres?
Michele Olson writes stories set on Mackinac Island in the Upper Peninsula of Michigan filled with suspense, romance, friendship, faith, and quirky characters. A top seller in Mackinac Island Fiction to the million people who make a trip to the island every year to experience life with no cars, amazing scenery, and the glorious Grand Hotel, she enjoys opening up this incredible island to even more visitors. Incorporating her work as an artist and a voice professional into her writing whenever she can, she enjoys creative endeavors of all genres and fueling faith with fiction.
Michele lives in the shadow of Lambeau Field in Green Bay, WI with her husband and thoroughly enjoys being a wife, mom, and “Gee Gee” to two adorable grandsons.
Want to write a novel, but aren’t sure what genre to pick?
Write What You Love
That’s a good place to start.
If you devour books of certain genre (or subgenre), then you’ll be well acquainted with how the stories unfold in similar patterns. That familiarity might make writing one a natural process. However, it could be problematic if you choose to write a first book in a genre that has a complicated structure. Sometimes simpler is better.
And what if you are like me and love to read everything?
Narrow the Choices
Each genre has its familiar tropes and construction. For most of us, it would be too time consuming to try and learn how to write every genre out there.
Pick a genre that you seem to gravitate toward. Out of those, if your goal is to learn how to write a book, it might be wise to look for the one with the simplest structure. If that prospect isn’t exciting to you, give that one a pass. The project needs to inspire the author for the long days and nights of pounding a keyboard.
If you have experience writing shorter works in one genre, why not try a longer work, even if you love a different genre?
Or maybe you have a great idea for a children’s book, and that’s where your heart is. Go for it!
Write what you are passionate about.
What’s the Easiest Genre to Write?
I’ve heard different teachers suggest an adventure novel is easiest. Others say romance. Then again, some have sworn writing a who-done-it is the way to go to learn story structure. I love to read mysteries, but the idea of plotting one makes my brain freeze up.
The stories I like to write, character driven contemporary, are considered by some to be the hardest of all to write! For NANOWRIMO, I tried to plot a simple romance. I ended up with a contemporary young adult novel about issues with a strong element of romance.
There’s not a one size fits all.
Try Writing Shorter Works First, or Not
Writing a book is a huge commitment. If you’re not absolutely in love with the story idea and characters, the book may not get finished. If you’ve never written a novel length work, you could try your hand at a novella first. It depends on the writer. Do what feels the least overwhelming or frustrating. Even short stories can help writers learn basic story building.
Do I Have to Pick a Genre?
Is it required that an author label the genre of a novel? Not until it is ready to be pitched or published. It helps to know the genre, but isn’t always necessary.
My first attempt at a novel length work ended up as a historical, which was not my intention. I was just trying to get from point A to point B to point C. For me, the genre was beside the point. All I wanted was to learn how to write a novel.
Don’t Feel Locked Into a Genre
Direction is good, but don’t feel you have to decide right away, and don’t feel you are locked into a genre if it turns out another seems to be a better pick.
The best genre to write a first novel is the genre that gets the author putting words on the page!
Donna Jo Stone writes YA contemporary novels about tough issues but always ends the stories with a note of hope. She blogs at donnajostone.com.
We think of writing a book as an act of creative inspiration. The muse strikes and we strive to get the story down, get it right, and out to an audience.
If only it was that easy. Writing a good book is challenging. Most successful writers will tell you that selling a good book is even harder.
On-line bookstores have opened the doors. The market is filled with diverse books from unique voices, offering a cornucopia of great writing to readers. The time has never been better to get your work out.
Getting your book out there requires know-how. While self-publishing authors have boundless opportunities, they undertake the journey alone. Back in traditional publishing days, it was a guided tour, aided by an agent and publisher. Without professionals in your corner, what is a self-publishing author to do? The answer is deceptively simple. The savvy self-publishing author gets informed and uses that knowledge to navigate the strange seas of on-line publishing.
“Writing to market” is a concept self-publishing authors need to understand. What does it mean? Finding out what books readers want to read and focusing on writing those.
The idea might restrain an author’s freedom. It sounds like focusing on writing books that sell. Writing to market translates to increased sales. But there is more to it than that.
These are five writing to market realities you need to understand before embarking on your self-publishing journey.
Do Your Homework
Have you been on Amazon lately?
Do you know what book covers in your genre look like? Do you know how to price a novel? Have you read the book descriptions? This is a baseline of writing to market. You have to know the genre your books are competing in.
If you write science-fiction, you probably read a lot of that genre. The conventions should be familiar. Most authors don’t scrutinize deep enough. Just because you read in a genre doesn’t mean you understand what readers are looking for. Your reading habits can be deceptive. Perhaps you read more classic science-fiction. Perhaps your taste focuses primarily in one sub-genre.
Sampling a range of books in your genre is critical. Don’t rely on your reading habits. Discover the nuanced reading habits of your readers.
It’s About Reaching Readers
Forget sales or a moment. Translate a sale and positive review into what they really mean: signs of a satisfied reader.
I had a hard time understanding this. I believed a sale was the end goal. It’s not though. A sale and a positive review tells you the complete story. It says that the reader liked your cover and description enough to buy it. The review says they were happy.
Authors need fans. I don’t just mean to boost ego, either. Authors need fans because when you do your job right, they go to bat for you. They like your posts, talk about your books to their friends.
You want that.
Wait… I stand corrected. You need that.
Ignoring Market Signals Leads To Frustration
Jumping into a publishing market that you know little about leads to a cycle of frustration.
I thought of my first series, The Strange Air, as “paranormal mystery”. I liked to say it was a small town X-Files with a little horror thrown in for good measure.
But as I began marketing, I realized something. While “paranormal” and “mystery” were the accurate descriptions in my head they were ar from what the market thought. I ended up marketing my books with others that were not similar in any way. I promoted mine with books resembling Twilight with covers featuring naughty witches.
While these are great books, they were nothing like mine. It took me a year (and a gigantic dent in my advertising budget) to figure out two things I could have learned earlier: my genre was limited and I didn’t know what to call it.
Writing To Market Saves Authors Money and Time
Marketing a book is expensive. If an author isn’t careful, they can spend thousands of dollars on the wrong cover, counter-intuitive marketing, and worthless reviews.
Once your book is out, you have crossed the first sea. Congratulations. Now comes the second, more dangerous stretch of water. Selling it.
In today’s book market, in order to make money you need to spend money. These require investments of time and, of course, capital. Yes, you can sell books without a huge advertising budget. If that’s the case, however, you need a lot of time.
Advertising without knowing your book’s market like throwing darts… blindfolded… on the deck of a ship… in a storm. Your odds of hitting your target are slim.
The savvy self-publisher knows their market. They possess key data like who their readers are, where they gather, and how to give them what they want.
Translation: they have a shortcut to effective book marketing.
Writing To Market Can Be Easy
Looking back on my first foray into self-publishing, I can see the forest for the trees. Success in any market will be as easy (or as difficult) as you choose to make it.
Spend time in the Kindle Store. Consider a wide range of successful, recently published books that look like yours. Look at what those authors did and emulate it. Yes, it’s OK. Really. Especially when it comes to marketing. Save breaking new ground for the page. Otherwise, do what works.
Read blogs and articles. Network with writers. Keep up with your genre on social media. Readers gather in tribes. They love talking about what they love. Meet them where they are.
Writing is hard enough on its own. Don’t make the business of writing any more frustrating or expensive than necessary. Before writing your book, or perhaps before publishing it, look at the market. Find out what readers want in your genre and be sure your book gives it to them.
Eric Mertz, writer
Erick Mertz is a ghostwriter and editor from Portland, Oregon. You can read more of his thoughts about the craft and business of writing at www.erickmertzwriting.com/. In addition to his role as a professional ghostwriter, he is also an author, self-publishing The Strange Air series of paranormal mysteries, a story world that blends elements of the X-Files and Unsolved Mysteries. When he is not writing, he enjoys a nice cold craft beer and a baseball game, a bit of travel, dungeon crawling with his board game group, and spending quality time with his wife and son.
This blog has been
such fun. I’ve truly enjoyed writing it, reading what others on A3 wrote, and
occasionally getting to meet a reader in real life (okay, so that’s only
happened once, and it was kind of awkward at the time, but it counts).
I have to confess,
though, that sometimes I’m not entirely sure what you want to read about here.
I research ‘middle grade writers’ and ‘middle grade trends’ and the like. I go
to book talks and local libraries and SCBWI meetups.
In spite of doing all these things, I think it’s time – probably long overdue, in fact – that I put this out there and ask a question: What do you, aspiring middle grade author, want to know about writing for this genre?
Are you curious
about characterization? Awestruck by agents? Plodding through plotting? Or are
you battling writer’s block?
Click this link to fill
out the survey form and tell us what you’re looking for. We will do everything
we can to help.
Happy writing! Introduce yourself in the comments below, follow me on Instagram at @klmckinneywrites, or like my Facebook page, Kell McKinney.
Kell McKinney earned a B.A. in journalism from the University of Oklahoma and an M.S. in documentary studies from the University of North Texas. She’s a part-time copywriter, double-time mom and wife, and spends every free minute writing and/or hunting for her car keys. Connect with her on Twitter @Kell_McK or kellmckinney.com.
In my opinion, anyone
who says they don’t have time to read might as well say they don’t have time to
breathe. Reading is as necessary to my well-being as food, water, and sleep
are. It can be argued that writers must be readers. Most romance writers
are also romance readers.
I also think it’s
necessary to read outside of the genre you write in. I’m not saying that
if you write sweet or Christian or inspirational romance, that you should read
erotica or gay romance. But I am saying that if you write historical romance, maybe
pick up a romantic suspense. If you write Amish, try a romantic comedy. You’ll
be surprised at how the conventions of the other genre will inspire and inform
your own writing.
For instance, I was
working on a sweet, contemporary romance but was stuck on a plot point. I was
using the secret baby trope, which I know lots of readers hate, so I needed a
really, really compelling reason for the heroine to keep this pregnancy
and baby from the father.
I story mapped. I brainstormed
with my critique group. I tried free associating ideas. Finally, I gave up. I
told my subconscious to work on it and I picked up a thriller to read. A couple
of hours later, I put the book down and I knew exactly why the heroine didn’t
tell the father. She couldn’t tell him. Telling him would ruin his life,
and she would never do that. Something in the thriller—a turning point in the
story—jogged my subconscious which had been laboring feverishly while my
conscious mind had been otherwise occupied. Steven King calls this the “boys in
the basement,” at work. My girls in the basement, once I set them loose on the
problem, came up with the solution while I read about spies running around
Rome, trying to stop a terrorist plot to kill the Pope.
Reading in another
genre also helps keep you open to new ways to twist a phrase or expression. Some
genres have specific vocabularies and reading unfamiliar idioms will help your
brain follow new pathways and make new connections. That all helps keep your
writing fresh and unexpected.
If you normally read
hard copy books, try an ebook, or an audio book. Something about shaking up
your normal routine also shakes up your creativity. Speaking of creativity,
let’s touch on the importance of filling up that creative well. Reading outside
your usual genre is part of that. But also take time for other creative
endeavors. Get outside into nature. Visit museums and art galleries. Even if
you live in a rural area, far from a museum, many offer virtual tours online.
With the Internet at our fingertips, we can learn Scottish history as easily as
we can examine the Sistine Chapel up close and personal.
If there’s a popular
romance author that you’ve never gotten around to reading (because, let’s face
it: so many books, so little time), seek out a title by that writer and move it
to the top of your To-Be-Read stack.
Be purposeful in your
reading, yes. But also read for the sheer pleasure of it. Read because you
must. Read because without stories, your brain would shrivel up and crumble to
dust. Read to make your own stories stronger and better.
Carrie Padgett lives in Central California, close to
Yosemite, but far from Hollywood, the beach, and the Golden Gate Bridge. She
believes in faith, families, fun, and happily ever after. She writes
contemporary fiction with romance. Carrie and her Stud Muffin live
in Central California with their cat and dog and within driving distance of
their six grandchildren.
Sometimes writers have a hard time sticking to one genre. I’d thought I see what Judy Christie had to say about the topic.
DJS: You’ve written in a variety of genres, the YA series Wreath, the small-town series Gone to Green, the Trumpet & Vine series, as well as nonfiction. Your new book, Before and After: The Incredible Real-Life Stories of Orphans Who Survived the Tennessee Children’s Home Society, was released last week on Oct 22. You co-authored this book with Lisa Wingate to tell the personal stories related to her bestseller, Before We Were Yours. You also are a journalist! What has been the greatest challenge about writing for different markets?
JC: Different genres mean recalibrating for different readers—and I have to make sure every genre aligns with who I am as a person and fits my writing brand. I try to keep readers in mind at all times, whether I’m writing a magazine profile or a novel. Hint: It’s easier to stick to one genre.
DJS: I know we aren’t
supposed to play favorites with our book babies, but which project seemed more
enjoyable or easier than others? What do you think made it so?
JC: Without a doubt, the new book, Before and After, is the most meaningful project I’ve undertaken; it was both hard to write and enjoyable. What a unique publishing experience—for a novel to inspire a true sequel. Being entrusted with these stories from such kind and loving people made the writing process extra intense. When I sat down to write, I felt like I was in the state of flow writers hear so much about. Plus, I had the pleasure of co-authoring it with the phenomenal Lisa Wingate, which was like playing with a friend while taking a master course in writing.
DJS: I’ve heard that a
novelist should stay in one genre, but many of us are drawn to different
stories and can’t help drifting into new territory. What has been the most
difficult or challenging thing about writing for multiple
genres and how do you think a writer can temper those disadvantages?
JC: I would definitely say: Don’t do as I do, do as I say. *smile* If possible, choose one genre and stick with it. Own it. Become the best at that genre so readers look forward to your next release and know what to expect from your work. An agent once told me that when an author changes genres, the reader feels like she went to her favorite Chinese restaurant and was served an Italian meal. I did not start out to write in different genres, but as I was building a writing career, I took opportunities that arose or wrote projects I was deeply interested in. The hardest thing is building a broad readership when you have a YA audience one time, a self-help audience another, Southern fiction the next. The way to temper that is to be true to who you are in everything you write so that your subjects and themes weave together in some way.
DJS: What’s the best thing about writing in
multiple genres and how can a writer make use of those advantages?
JC: Exploring topics and themes from different perspectives and learning all along the way. Playing with words in totally different ways…. My first book, Hurry Less Worry Less, was about slowing down and enjoying life more, a topic that was so important to me that I had to write about it. But I wanted to write a novel about a big-city journalist who took over a tiny Southern paper. I had so much fun with the Green series. I’ve written a book column for a newspaper for about six years, and that has kept me plugged into publishing in a different way and also keeps deadline skills in good form. Nonfiction worker lets you meet so many good people doing good things. I choose projects that matter to me.
DJS: I’ve often noted
a thread of encouragement in your writing. What encourages you to keep
writing?
JC: That is such a kind thing for you to say because that is my goal in whatever I write. I love telling stories, and that led me into journalism and has stayed with me all these years. Putting words together is a pleasure to me—whether in my journals, which I’ve kept since I was 11, or in a novel that I’m brainstorming. And it is my hope to encourage, entertain and maybe even enlighten.
Thank you, Judy!
Readers, if you’d like to read an interview I had with Judy about Before and After, visit my blog here.
Author Judy Christie has had 18 books published, including three Southern small-town novel series and is an award-winning newspaper reporter and editor. Sign up for her e-newsletter and a free guide to telling family stories at www.judychristie.com. Follow her on Facebook @judychristieauthor.
Donna Jo Stone writes YA
contemporary novels about tough issues but always ends the stories with a note
of hope. She blogs at donnajostone.com.
In the last few years,
there have been lots of Science Fiction and Fantasy publications that also fit
into subgenres, or subcategories, created by the blending of established
genres. For example, we now have historical fantasy, scientific fantasy, steampunk,
space opera, urban fantasy, and the emerging suburban fantasy (which places
magic and mythology in rural areas among middle class humans). There don’t seem
to be many “straightforward” speculative fiction releases lately.
Some readers find these
crossovers and combinations a little daunting; honestly, so do some writers.
How do we know for sure what we’re writing or reading? Is it enough anymore to
say, “My fantasy novel” when describing our work?
And are all these
“mashups”, well…necessary?
Expanding the content and
topics we explore in our preferred genre sounds great to most writers, and to
many readers. Does every additional element really require its own subcategory?
My views on this topic are
kind of cut and dry: I don’t actually see a purpose in calling a novel “the
latest steampunk-space-opera-dystopian-fairytale-retelling-cyborg-romance”. It
takes up too much room on the cover. And it can make things a bit too
complicated for our audience. How about we stick to “a sci-fi twist on the
classic fairytale”? Behind that simple sentence can be a wonderfully deep and
intricate plot awaiting discovery.
I look at it not so much as “genre mashup” as “genre reinvention.”
One of the best things about writing speculative fiction is getting to bend the rules – our characters can travel to far-flung corners of the galaxy in the 23rd century, or back in time to a land where dragons and unicorns exist and chivalry is not dead. Taking a leap into the realm of exploring an actual mortal colony on Neptune, or what would happen if dragons turned up in Seattle tomorrow, feels to me a pretty natural extension of what sci-fi and fantasy authors already do.
No reason to qualify or
quantify it further.
The only major complaint I’ve had with being a SFF reader and writer for most of my life is the somewhat restrictive natures of the genres. Sci-fi tended to be limited to the future, outer space, and aliens. Fantasy was either King Arthur and Lord of the Rings, or ghosts, gouls, vampires and werewolves. The thing I like about authors consciously, deliberately expanding the genres – or, reinventing them – is that now we have so much more to choose from, to enjoy, to mull over during and after reading. As an author, I’ve been very inspired by fellow word-crafters who aren’t satisfied with sticking to the “same old, same old.”
Broadening our horizons – while still keeping to a few words of description on book covers – can make a big difference in how our products are marketed, too. When we’re in a mixed group and admit to writing speculative fiction, there’s usually at least one dismissive, eye-rolling response. Unfortunately, too many readers still associate the genres of sci-fi and fantasy with writers who have their heads in the clouds and refuse to accept reality. In 2019, it seems that we can increase our audience by trumpeting the other aspects of our work first. For my own fantasy series, I also stress to potential readers that my plots contain strong, healthy family dynamics, loyalty to friends or a shared cause, forging new connections, and forgiving well-intentioned but bad decisions made by loved ones. Oh, yeah, there are fairies and shapeshifters, too.
It’s a personal preference, but I don’t want to be seen as “just a fantasy author.” I want to be recognized as an author who writes poignant, humorous, entertaining stories…that happen to fall into the wider genre of fantasy.
If I happen to re-invent
the broader classifications while I’m at it…well, that does make me happy.
Self-published author and blogger Daley Downing is also a stay at home parent, autistic adult, ballet
teacher, and cat lover. She spends her days writing the YA fantasy series
“The Order of the Twelve Tribes,” and wrangling special needs
children.
After several attempts, my best friend and I finally
managed to meet up for our guy’s night out and go see Captain Marvel. Our schedules didn’t line up until the second week
of April.
The problem was that particular week is a nightmare
for locals where we live; Master’s week in Augusta Georgia is a
bumper-to-bumper traveling tourist fiasco. The streets are filled with
out-of-towners who have no idea where they are.
To make matters worse, we usually meet up for dinner
about two blocks away from the Masters. We knew we were in for a fun adventure
just getting to the theater, so we decided to wait until after we ate before
meeting up.
To be honest, I don’t blame people for wanting to be outside in the great spring weather. But I’d rather be doing something other than standing around watching other people trying to chase a ball all day.
I don’t like golf, I’m not a traditional sports fan.
I grew up enjoying other adventures outside. Let’s be clear, spring is the time
a year most people begin taking road trips or other adventures from home. Most
of us seek out new adventures to break free from routines of life.
Hollywood
has cashed in on man’s thirst for adventure since the days of Westerns and
bank/train robberies of the 1920s and 30s. Since then each
generation has been reflected in timeless adventure films of each respective
era. Adventure movies are the most successful films at the box office by far,
they’ve earned nearly $60 billion since 1995.[1] Here
are three of my favorite from my childhood:
I
remember watching these movies repeatedly during the summer while school was
out. And yes being the bad little boy I was (and maybe still am), I used them
for inspiration for my own carefree adventures during the summer, particularly
when my parents bought me my own four-wheeler (ATV.) We lived in a small
southern town where there wasn’t much to do, so I came up with my own adventures.
Adventures?
Adventure films are exciting stories of experiences in new or exotic settings. They are the older brother of modern action films. They are heart racing narratives that thrust the protagonist(s) into unpredictable challenging situations, often taking characters to places far from home.
The
trials they face raise the stakes for the conclusion of the protagonist’s
journey. Successful adventure stories take their audience on a twisted ride to
unfamiliar territories.
It
used to be that adventure movies were primarily for boys and men. But recently,
Hollywood has joined the feminist movement by producing films with strong
female leads whose sense of adventure equal or surpass that of their male
counterparts.
Marvel’s Captain Marvel is proof of this. And its success at the box office proves that women like adventures as well as romantic “chick flicks.” Adventure often borrows aspects from other genres such as war or political drama to use as motivation for explosive action and derring-do.[2]
In
truth, all genres of movies are adventures in and of themselves, because they
are stories that help us escape from everyday life. They move us from one place
of thought to another. Adventure movies up the ante by incorporating more
visuals and adrenaline-packed excitement. Robert McKee continues, “If Action/Adventure
incorporates ideas such as destiny, hubris, or spiritual, it becomes the
subgenre High Adventure. If Mother Nature is the source of antagonism it’s A
Disaster/Survival Film.)”
Adventure films have the clearest conflict, pitting the protagonist or protagonists against obvious opposition, such as:
Regardless of the type of opposition, deep down the fight thrills us because we all want to be the hero in the adventure.
Heroes?
For over a decade now superhero movies have dominated the box office thanks to the Marvel universe. As I write this post, Marvel is releasing the twenty-second film in their universe. Avengers Endgame has been building for eleven years off the adventures of some of the most popular superhero movies ever. You can be sure that my best friend and I will be having a guy’s night out to see Endgame.
Amazingly,
comic books have been around for over a century, but in the twenty-first
century they are taking audiences on new adventures in film for good reasons:
Better
screenwriters.
Better
storytelling techniques.
The
need for hope in an increasingly dangerous world.
And,
of course, the rise of CGI (computer-generated imagery.)
Combined,
these motives have helped take audiences on all-new adventures.
[2] McKee R.
(1997). Story: Substance, Structure,
Style, And The Principle of Screenwriting (Kindle edition) pg 82.
Martin Johnson
survived a severe car accident with a (T.B.I.) Traumatic brain injury which
left him legally blind and partially paralyzed on the left side. He is an
award-winning Christian screenwriter who has recently finished his first
Christian nonfiction book. Martin has spent the last nine years volunteering as
an ambassador and promoter for Promise Keepers ministries. While speaking to
local men’s ministries he shares his testimony. He explains The Jesus Paradigm
and how following Jesus changes what matters most in our lives. Martin lives in
a Georgia and connects with readers at Spiritual
Perspectives of Da Single Guy and on Twitter at mtjohnson51.
At a recent writers’ group meeting, a
member asked, “What, exactly, is young adult?”
I gave the short answer: “When the
protagonist is a young person.”
That didn’t quite satisfy. After all,
scads of books have a teen as a main character, and those aren’t always
categorized as Young Adult. A conversation ensued about various popular books
labeled as YA.
It’s not as straightforward as one would
think.
I thought I’d ask some YA authors.
“Young Adult readers range from age 13 up. Many of
my readers are adults who prefer the “clean” nature typically associated with
YA. Stories may feature mature themes, but do so without resorting to graphic
sex or violence.”
Felicia Bridges, author of the award winning
International Mission Force series
While Young adult novels are written for
people between 12 and 18 years of age, about half of YA readers are 18 and up. Within
the genre the categories include most of those that are found in adult fiction,
such as Mystery, Romance, Historical, Contemporary, Sci-Fi, and more.
The protagonist is young, usually 14 to
20 years of age. The themes are relevant to teens and their experience. I think
what defines the genre is the age of the main character, although coming of age
novels for the adult market may also have a young protagonist, so that isn’t
the only criteria.
“YA novels give insight into the issues teens are
facing and the steps they can take to battle them. Sometimes those issues
aren’t one the reader has faced personally, but viewing the struggle through a
character’s life tears down judgments. And the world really needs less judgment
and more understanding.”
Sarah Tipton, author of Betrayal of the Band, 2018
Carol Award Winner
Teens have a different set of problems they
are concerned with, and this comes across in young adult fiction. Friendship,
self-discovery, identity, and first love are all things adults can relate to,
but these are in the forefront of teens’ thoughts as they navigate the
turbulent years preceding adulthood.
Young adults are often idealistic and
full of hope, and that is reflected in much YA fiction. It is entertaining and
has all the feels. Some brings attention to issues we should take a hard look
at and can foster understanding.
Recently I followed a conversation in
one of my Facebook readers groups and was surprised at how many people suffer
from literary snobbery and will not so much as crack open a young adult book. I
think they are missing out.
Do you have a favorite YA novel? Share
it. I’m always adding to my TBR list.
Donna Jo Stone writes YA contemporary novels about tough issues but always ends the stories with a note of hope. She blogs at donnajostone.com.
Or, to paraphrase William Shakespeare, a romance by any other name would read as sweet. Or would it?
Not only is the romance genre full of sub-genres (romantic suspense, spicy, historical, contemporary, Inspirational, paranormal, erotic, fantasy, time travel, Gothic, Regency, LGBTQ, romantic comedy, and so on), but we also have the tropes, defined as commonly used (some would argue over-used) themes.
Friends to lovers. Enemies to lovers. One-night stand to true love. Secret babies. Soul mates. Second chance loves. Reunited lovers. Love triangles.
Tropes are used because they’ve proven their worth. They’re popular and they work.
Some classic friends to lovers stories would include Emma by Jane Austen and the movie When Harry Met Sally. Enemies to lovers’ stories are The Taming of the Shrew by our Mr. Shakespeare and Pride and Prejudice by Miss Austen, and I’d include the Katherine Heigl movie 27 Dresses.
The best second chance at love book I’ve read is The Five Stages of Falling in Love by Rachel Higginson. It’s the story of a young widow and mother of three finding love again and is framed by the five stages of grief. Second Chance Summer by Jill Shalvis (the title is a pretty good clue to its trope), is another good second chance book.
Secret romance and fake romance are tried and true tropes in Hollywood. The Sandra Bullock/Ryan Reynolds movie The Proposal is an excellent example of the fake romance, with a nod to enemies to lovers.
But why do genre, sub-genre, and trope matter?
They help you stay focused on the story you started out telling
They help you formulate your pitch and query
They help your editor/agent/reader know what to expect when they read your work
I’m sure I’m not the only reader who picked up a book based on the back-cover blurb expecting one kind of story then discovering that what was between the covers was an entirely different kind of story. Or started a book that promised to be a feel-good, funny romp that took a dramatic and unexpected dark turn.
Did the author lose their way? Did they not know the story they were telling? I’m not sure. But having a firm grasp of their genre and trope may have prevented the bait and switch.
My Work in Progress (WIP) has a secret baby trope. I know some readers hate and refuse to read secret baby stories. They think the woman has no excuse for not telling the man he’s going to be a father. Ignoring the fact that we’re talking about fiction, not real life, I spent a lot of time thinking and brainstorming about how to answer that objection.
It finally came to me, as all my most brilliant ideas do, while out walking. My protagonist, Frankie, was born to an unwed mother who constantly told Frankie she’d ruined her mother’s life by being conceived. When Frankie got pregnant, she refused to ruin her boyfriend’s life with an unplanned pregnancy and sent him off to college without her, had the baby, and gave her up for adoption. My story begins twenty years later when the daughter’s adoptive parents have died, Frankie has given her a job to keep a roof over her head, and no one knows their biological relationship. Then the father comes back to town.
Genre: Contemporary
Trope: Secret baby
Take a minute to think about your WIP. Assuming you have your genre dialed in, what trope does your manuscript fit most closely? I’m not saying you need to change anything in your story, just that knowing your trope may be helpful as you craft your story, your pitch, your synopsis, and your query.
Because your story, that beautiful rose, deserves a description that raises it above the wildflowers.
Carrie Padgett lives in Central California, close to Yosemite, but far from Hollywood, the beach, and the Golden Gate Bridge. She believes in faith, families, fun, and happily ever after. She writes contemporary fiction with romance. Carrie and her Stud Muffin live in Central California with their cat and dog and within driving distance of their six grandchildren.
When I first started pursuing a career as a writer of the screenplays and began learning the craft, I learned that the first rule is to know your audience. And this isn’t just for screenwriting; it’s across the board for all writers, because, ultimately that is who we are writing for.
Knowing our audience helps us determine what we want to say and how we’re going to say it. We may not know the details of the narrative or how it will play out, but we can determine what we want to say.
Your theme or takeaway will be your message to your target audience. To help decide who you want to write to, look around at the world and pay attention to what is going on. There are so many possibilities with the new year; people are looking for fresh starts and new adventures.
People are looking for different things; our job as writers is to provide new adventures and new messages. In film different messages and narratives are divided into many genres. For the sake of this post, I will briefly discuss the top seven of 2018.
The general rule in screenwriting is for the writer to establish the genre of the film of the screenplay in the first 10 pages. That way the reader, studio, execs or whoever the first audience is will understand the kind of film or genre it is.
GENRES?
The word genre comes from a 19th-century French word that means, “a kind.” It’s also where we get our word gender from. The idea here is rather simple. Genres are different kinds of films that contain similar structures, themes, and characteristics.
There are endless possibilities when it comes to genres, subgenres, and hybrid genres. Robert McKee wisely notes, “You must not only respect but master your genre and its conventions. Never assume that because you’ve seen the films in your genre you know it. “[ii]
McKee notes six primary genres not necessarily in this order. [iii]
There are always multiple combinations or subgenres of each of these and it’s common for them to overlap. For instance, the last movie listed above is a romantic story set in war times. But the romantic theme of love never gives up is the ultimate theme of the film.
By the end of the film, it is clear that undying love is the heart of director and screenwriter Jean-Pierre Jeunet’s message. It is a love story from the first scene until the end.
The Heart of it All!
Throughout this year we’ll explore a few of these different genres from time to time. But we must never forget that regardless of the genre, what we want to say to our audience through the basics I discussed last year:
Action
Character
Setting
Plot
That is the heart of our narrative and will determine our genre.
[ii] McKee R. (1997). Story: Substance, Structure, Style, And The Principle of Screenwriting (Kindle edition) pg 89.
[iii] McKee R. (1997). Story: Substance, Structure, Style, And The Principle of Screenwriting (Kindle edition) pg 80-81.
Martin Johnson survived a severe car accident with a (T.B.I.) Truamatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter at mtjohnson51.
I just returned from Blue Ridge Mountains Christian Writers Conference, and there was much talk about how most writers are introverts, people who prefer solitude and who are somewhat uncomfortable in big crowds.
I don’t know what they’re talking about! I am an off-the-charts extrovert, and my wife says I’ll talk to anyone. At writers conferences, I make friends standing in meal lines, waiting on group meetings, walking to classes, sitting outside . . . well, you get the picture. Writing can be hard for me for this very reason: I’d rather be cutting up with someone somewhere rather than sitting alone writing. God does, indeed, use the foolish things of this world to confound the wise.
One thing that has always fascinated me about this introvert/extrovert conundrum is Genre Night. BRMCWC (I’ll say it again—Pat, we need to buy a vowel) started this now-annual event a few years ago, and, quite frankly, I have found it a bit weird.
For those who are uninitiated, at Genre Night, writers/conference attendees dress in costume based on the type of writing they do or their current project, march across the stage, and explain their genre to the audience.
Even as an extrovert, I never thought it sounded fun. Until this year.
I had never participated in Genre Night because (1) it’s hard to dress up based on what I write (What does a humorist/freelancer/blogger/general writer-for-hire wear, anyway?) and (2) I don’t own a velvet gown, a Klingon costume, nor any authentic 18th century garb (shocking, I know).
In the lead-up to this year’s event, attendees were blowing up the conference Facebook with their dress-up plans, and one lady even offered to loan items from her costume stash. All that talk got me thinking about joining the parade, but what could I wear?
I thought of my favorite t-shirt, featuring Snoopy wearing glasses, a dress shirt and tie and holding a pencil. I like to say it’s “Joe Cool Carlton.” I spotted a wild-looking Hawaiian shirt my son got me for Christmas one year. I had been “saving” it to wear for a special occasion, so why not? But I needed something to top it off.
Sometimes being a children’s pastor comes in handy. I have a multi-colored beanie with a plastic helicopter blade on the top, held up with a pig. Perfect! I also found some googly-eyed nerd glasses for good measure.
I knew I would have to get on stage and explain my genre, but what if . . .
As a humorist and an extrovert who needs people to notice him, I didn’t want to say, “I write humor.” Combined with my silly costume, that might get some chuckles. I’ll say it again—I WRITE HUMOR. I wanted to go for the belly laughs. We had to wear our costumes to dinner, and I got many comments and curious looks. Then, my moment came to walk onstage and explain myself.
“My name is Carlton Hughes, and I represent . . . Amish romance.” A hush fell over the crowd for a split second, as if they were thinking, What? Then, the kicker.
“I actually write humor.” The crowd exploded with laughter.
The rest of the week I met lots of people who wanted to know this crazy guy. One of the conference directors even yelled, “Amish Romance!” each time she passed me. My job as an extrovert in a sea of introverts was done. Through it all, I learned God makes us all different, giving spice to life. He needs loud people like me to entertain the quiet ones.
Now, what to do next year?
Carlton Hughes wears many hats—some serious, some goofy.
By day, he’s a professor of communication at Southeast Kentucky Community and Technical College. On Wednesday evenings and Sunday mornings, he does object lessons and songs with motions as Children’s Pastor of Lynch Church of God. In his “spare time,” he is a freelance writer whose work has appeared in numerous publications, including Chicken Soup for the Soul and several devotional books from Worthy Publishing—Let the Earth Rejoice, Just Breathe, So God Made a Dog, and the soon-to-be-released Everyday Grace for Men. Carlton and his wife Kathy have two college-age sons, Noah and Ethan. He is on the planning committee for Kentucky Christian Writers Conference and is a year-round volunteer for Operation Christmas child.
Are you writing a mystery or a thriller? Do you know how to tell the difference between suspense, thriller and mystery subgenres?
The three categories are related and often overlap. Mysteries often have elements of suspense and a thriller may involve a mystery.
However, experts advise writers to identify the primary subgenre before pitching a manuscript. A story may be clearly in one genre, or straddle two, but it can’t be all three.
The following descriptions will help you determine which category fits best.
A mystery is about solving a crime or a puzzle. The protagonist’s goal is to uncover the clues, solve the mystery and bring the antagonist to justice. Typically, the crime happens near the beginning of the story the identity of the antagonist (murderer) is not revealed until the end. See a list of common mystery subgenres below. Examples include Agatha Christie, Murder She Wrote and Psych.
A suspense novel is about suspense. The reader knows the protagonist is endangered from the start, but the protagonist may only gradually become aware of the danger. The suspense genre covers everything from romantic suspense to psychological suspense and horror. Examples include Nora Roberts, Lynette Eason and Alfred Hitchcock movies.
A thriller is about action and danger. The protagonist’s goal is to stop the bad guy’s evil plan from succeeding. The protagonist and/or others are in danger from the start. Thrillers come in a wide variety of subgenres, including: espionage, political, legal, eco-terror, disaster, treasure, and sci-fi. Big names include Tom Clancy, John Grisham, and Clive Cussler.
Common mystery subgenres
Amateur Sleuth—the protagonist is not a P.I. or employed in law enforcement, and he or she does not get paid for solving the crime. Examples include Dorothy Sayers and the Hardy Boys.
Cozy—clever sleuthing without the gore, violence or naughty words. Miss Marple is a classic example. Modern cozies often feature a theme like cats (Lillian Jackson Braun) or cooking (Diane Mott Davidson).
Hard-boiled/Noir—crime fiction with a dark tone, plenty of gritty brutality, and tough-guy protagonists. Most definitely not cozy. Dashiell Hammett and Raymond Chandler are classic examples.
Historical—a mystery set in the past. The sleuth may be an amateur, a PI or a policeman. Examples include Anne Perry, Elizabeth Peters, and Miss Fisher’s Murder Mysteries.
Legal/Medical—the protagonist is a lawyer or doctor and the plot revolves around details of that profession. Usually written by medical or legal professionals. Big names include Lisa Scottoline and Robin Cook.
Police Procedural—the protagonist is a law enforcement professional, the solution involves detailed investigative techniques, and the story is more about proving guilt than discovering whodunit. Think CSI or Law and Order.
Private Investigator/Private Eye—the protagonist is a professional rather than an amateur sleuth. Like the police, solving crimes is how they earn their living. Think Sue Grafton, or The Rockford Files.
Psychological Suspense—these crime novels explore psychological issues, and typically feature a protagonist who is a psychologist or psychiatrist. Gillian Flynn and The Silence of the Lambs.
Romantic Suspense—a female protagonist is in danger, often while trying to solve a crime. In the end justice prevails and true love wins out. Authors include Terri Blackstock and Colleen Coble.
Which world, or sub-genre, does your novel belong to?
Bookstores have general genre sections in which to categorize their books making it easier for consumers to locate a specific subject. However, within each genre there are always dozens of sub-genres to help narrow down a reader’s search.
Science fiction is no different, encompassing a large number of categories. Novels in this genre often deal either with a natural science or technological science, but the variances can go even deeper.
Here is a brief breakdown of some of the most popular sub-genres within sci-fi.
The sub-genre of Alternate History asks the question, “How would our world be changed if a specific historical event had ended differently?” These books use actual historical settings to explore a fantasy world that does not exist but could have existed. A similar sub-genre is the Parallel Universe. These works consist of one or more worlds that coexist with our own, often reflecting an almost identical reality but with only minor differences that may or may not affect a major change.
Artificial Intelligence and Robot sub-genres are closely related in that they are both computer science based. These sub-genres reflect the idea of intelligent and self-sustaining machines. On the flip side, Virtual Reality stories dive into a world where computer-simulated environments play a role within which the characters are able to interact.
In recent years the idea of an Apocalyptic, Post-apocalyptic or Dystopian society have become quite popular among audiences. These novels deal with end of the world events and how mankind is able to survive in the aftermath of an almost global extinction. They are often a man vs. nature conflict and sometimes include a corrupt government that challenges human survival.
The Steampunk sub-genre of science fiction is by far one of the most popular. This sub-genre is set in the 19th century when steam powered engines were still in use and it often crosses over with the Alternate History category. Mixed with the traditional lifestyle of this era are more modern technologies such as computers, robots and futuristic machinery or weaponry.
Alien Invasion of earth or First Contact between humans and another unknown life form are other popular sci-fi sub-genres. In recent decades the subject of Mutants—humans that change or develop in some way to produce superpowers or defy nature—is another well-liked category. With the rise in popularity of superheroes both in books and on the screen, this sub-genre continues to grow.
Closely related to the previous categories are Space Exploration and SpaceOpera. The idea of Space Exploration usually stems from modern day reality answering the “What if?” question of a major space discovery and the effects on our planet or the near future. These books usually attempt to stay within the confines of our current knowledge of science and space travel. The category of Space Opera is often set on a distant planet in a universe unlike our own, with a mixture of human and alien characters, and various unknown languages and cultures. This sub-genre allows the story to go against the laws of physics and often makes the impossible, possible, through a source of magic or power.
The Time Travel sub-genre includes stories where one or more of the characters travel to any point within history or into the future. This subject remains a popular category within scifi.
Your work may cross over into multiple sub-genres within the world of science fiction. Make an effort to choose just one or two categories to narrow down your theme so it will be easier to market when the time comes. It’s important to know your book’s sub-genre so you can discover your target audience and in turn, your readers will be able to find your book!
Laura L. Zimmerman is a homeschooling mama to three daughters and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her through Facebook, Twitter @lauralzimm, Instagram @lauralzimmauthor and at her website, Caffeinated Fiction, www.lauralzimmerman.com.
Back in my carpool driving days, I discovered that if I arrived early for afternoon pickup, I’d get a close up spot in line, I’d go for a run, then the kids would pop out and we’d be off. I began running in the neighborhood behind the school for mere convenience. It appeared to be low income housing with broken down chain link fences in some front yards and lots of guard dogs chained to trees in the other yards. Scary dogs, I might add. I soon discovered that not all those dogs were chained. I ran past a house one day, with a pit bull-looking mutt lounging in the front yard that jumped up barking at me and ran towards me, chasing me down the street. I tore off at high speed, as if I thought I could outrun this four legged creature. After a couple houses, he turned around and ran home. Thankfully.
I ran in this neighborhood several more times. Thinking surely, this dog wasn’t out there every day. Well, he usually was and so were many of his friends at various houses. But, it just worked well for me to get my run in during carpool. One afternoon I heard barking from a yard as I passed by. That stinkin’ dog took off after me and actually nipped my heels. I yelled at the dog, and picked up my heels and swore I was done running in this ‘hood.
That weekend I attended a gathering with friends. One of my friends there happened to be the mayor of this town. I asked her as politely as I could if they had leash laws in that town and explained my terrifying dog chases and nipping. She told me if I thought that was bad I should hear her story. She lives further out of town and when she was running one day, she found herself face to face with a Billy goat charging towards her ready to gore her with his horns. She did the only logical thing she could think of and grabbed him by the horns. He did the only thing that Billy goats do when they are grabbed by the horns – He stood up and began projectile urinating as she dodged the stream coming towards her.
I laughed and agreed a few nipping dogs weren’t as bad. Then she suggested I run on the running trails at the park across the street from the school. Umm. There’s a park there? I found it on my next carpool day and ran safely on the jogging trail without fear of nipping dogs or charging Billy goats.
All that to say, if you’ve hit a wall with writing, if things aren’t falling into place as they once were, maybe it’s time to change your course. Are you feeling the nipping at your heels to change direction? Are contracts not coming your way? Are you hitting a wall? There’s no leash law keeping you restrained to your genre. Is there a way you can change your course, even for a little while? If you write children’s books, maybe try an article and submit to children’s magazine publications, write devotionals, try your hand at writing that novel that’s been lurking in your mind. How about greeting cards, a blog, an article for your local newspaper. We writers tend to stick within our genre but it’s perfectly fine to explore other genres. Try different paths, look for new horizons, discover new worlds of writing. But if you come face to face with a charging Billy goat on your adventures maybe avoid grabbing him by the horns…
I’ve received several questions concerning how one recognizes their writer’s voice. For those of you who discovered your voice early on, it’s hard to understand why others struggle with this issue. To those who are still wandering in the writer’s desert, seemingly voiceless, it is indeed frustrating.
So let’s start this New Year off by addressing a few of these questions:
What is the first thing to do when searching for my writer’s voice? Since starting this column I’ve offered many tips on this subject. Some of you have written to me saying your voice was much clearer after reading through my suggestions. Others said your voice is still illusive. My answer for you is to write, write, write, then read, read, read! Read what you’ve written, out loud, and listen to the tone of the pieces. Your voice will be recognizable after reading and comparing numerous pieces of your work. You will hear yourself coming through the words; the essence of you, and that is your voice.
How can I be sure I’m using my voice and not someone else that I have patterned? I believe we read the authors whose writing we enjoy, and in doing so, we often pattern ourselves after them, at least somewhat, with our first attempts. As you settle into your writing style your unique voice will emerge. I read a lot of authors whose books were set in the Appalachian Mountains where most of my stories are birthed. My voice developed a flavor of its own with just a soft coloring from those favorite writers.
Does my voice change when I write in different genres? When writing fiction, my voice shines through loud and clear. In other genres I still hear hints of my style. I am sure if I were to write technical articles my voice would be shelved…a reader would not care to hear my warm and fuzzy discussions of, lets say, heating units.
Will someone else be able to tell me my voice? Other writers will often hear your voice in your work. Asking them to share their thoughts on your voice could be a great help, especially if you ask several people and their opinions are similar.
Please share your questions on discovering your writers voice in the comment section below. We will address these as time permits.
“We will open the book. Its pages are blank. We are going to put words on them ourselves. The book is called opportunity and its first chapter is New Year’s Day.”
Edith Lovejoy Pierce
I wish you a happy New Year filled with wonderful writing opportunities.
