Tag: writing for YA

Categories
Writing for YA

Writing a Sequel

Guest Post by YA Author Melody Personette

I’ve never been very good at writing sequels. They’ve always given me the hardest times.

The first sequel I ever wrote in full was for my YA superhero novel Weapon Icean. I ended up having to rewrite it from scratch and do major edits even after the rewrites. For Cursed, the sequel to my Fae fantasy book Wayward, thankfully, did not have to go through a huge rewrite but it was one of the hardest books I’ve written and edited.

Sequels have a lot of expectations on their shoulders. They have to live up to the first book, and if your first book sold big time or did even marginally well, that can be a lot of pressure.

I always worry my sequels will never live to readers’ expectations or to how well the first book did. But now, having written three published sequels and three unpublished sequels, I feel like I have a bit of a better grasp of them. I thought I’d share a few things I’ve learned over the years of writing several sequels.

Same, but Different

The very first thing, and possibly the most important, is to make sure your sequel is the same… but different. Readers are coming back for more because they loved something about the first book, whether it be the characters or the world or the theme. They’re going into the second book expecting to get the same thing… but slightly different. In a way, it’s keeping the same tone as book one, but adding new elements.

One of the best examples I can think of when it comes to this is Catching Fire from The Hunger Games series. In Catching Fire, you’re getting all the things you loved from book one: the danger, the characters, the world, the themes, and the action. It’s book one, but slightly to the left. 

Up the Stakes

To go off of that, Suzanne Collins also upped the stakes. Suddenly it wasn’t just about Katniss surviving the Hunger Games. She now has to survive real life, too. Her problems and life and death situations slowly bleed into real life. It’s not just her life on the line anymore. It’s her friend’s and family’s lives in danger as well.

The sequel should up the stakes, even just a little bit. The threat needs to get bigger; the villain needs to get more involved and become more dangerous, the protagonist needs to be challenged more than they were in book one.  

Add a Twist

In that vein, it can also add suspicion, stakes, and something new to the story by having a big surprise or a reveal in book two. This can be as simple as adding a surprising new character or as huge introducing a new villain to the scene.

Legendary by Stephanie Garber not only introduces new characters but also has a few big reveals about each of the characters. She left some secrets unturned in book one for readers to discover in book two. In Emerald Phantom, the sequel to my book Golden Touch, there’s a big reveal at the end that sets the stage for higher stakes throughout the rest of the series. Catching Fire also waits until the end of the book to have a big reveal and for Katniss to discover a bigger plan she’s been a part of the entire book.

Deepen World Building

Another aspect of a sequel, especially if this is going to be a trilogy or a longer series, the world building needs to be deepened in some way. You need to expand upon what you already have in book one. Readers fell in love with the world in book one and now they’re hungry to see more of it.

In Legendary, the sequel to Caraval by Stephanie Garber, we get to see the city of Veranda and are introduced to the Fates and a new magic we didn’t get to see in book one. In Catching Fire, we get to meet the winners of previous Hunger Games, see more of the different Districts and the Capital. 

These are just a few ways to keep a sequel interesting and keep readers coming back for more. Each writer is different and so it makes sense that we’ll each approach writing sequels in different ways. None of these have to be hard rules to how to write a good sequel, but if you’re stuck or are like me and really struggle with writing sequels, these are a few tips that might help you out.

Melody Personette, a YA author, book dragon and follower of Jesus. She’s been writing since she can remember and now tells stories about the magic of hope, light in the darkness and love conquering all and is passionate about inspiring teens and young adults with her novels.

Golden Touch: Book One in the Adventurous Archive Series.

Amaya Wilson already thought her family was struggling to make ends meet when she comes home one night to find her father has lost his job. Hopelessness starts to settle in until her younger brother, Tyler, remembers a map and a story their grandfather used to tell them: a story of their ancestor who found and hid a Golden Gift up in the mountains of Tennessee.

Find out more about Melody at melodypersonette.com or on her Instagram.

Categories
Writing for YA

Using Kindle Vella: Interview with Historical YA Author Stephanie Daniels

Amazon launched Vella this past month! Kindle Vella story episodes can be read in the Kindle for iOS app and on Amazon.com.

This seemed like an interesting and exciting new way of publishing, but I had questions.

I talked a bit with YA historical author Stephanie Daniels about her experience with Vella.

Thanks for sharing your knowledge with us, Stephanie. Can you give us a short overview of what Vella is?

First, thank you so much for inviting me to share my publishing journey. Kindle Vella is Amazon’s new platform for episodic/serial reading. The first three chapters of every story are available for free so readers can try it out. Then they can buy tokens to unlock additional episodes. Some stories are already complete, while others release episodes on a daily or weekly basis.

What drew you to consider using the Vella platform?

I think it’s the way people will read in the future, especially the younger generation. Since I write for the young adult market, it’s a great place to explore finding an audience.

Did you run into any snags or anything unexpected?

With any new thing, there will be road bumps. Amazon chose to do a “soft” roll out, which made the initial release difficult since few people know how to use the site. But I think they’re gearing up to market it more in the coming months.

From your experience so far, what type of authors do you think would benefit from using Vella to publish their work?

I’ve been surprised by the wide variety of stories on it so far. I think it will have a really big young adult readership. There seem to be an abundance of fantasy/supernatural stories, and a lot of romance. They’re getting the most readers right now.

Any words of advice?

It’s easy to get impatient. Trust God with the writing journey. Trust Him before publication and after publication. We tend to strive and get anxious, but when we use this gift for Him, then the results also belong to Him. Try to enjoy every step.

Check out Stephanie’s historical inspy YA, The Uncertainty of Fire, a Kindle Vella story. I’ve had a peek at the first chapters and can’t wait to keep reading!

Click here The Uncertainty of Fire

Privileged teen, Whimsy Greathart, loses everything during the Great Chicago Fire of 1871, and must choose a home for her heart between the two young men who help her face hardship–a charming newsboy and a shy preacher’s son.

Stephanie Daniels

Stephanie Daniels is a Christian wife and homeschool mom of three young men. She writes Christian historical fiction for young adult readers and the young at heart. Her stories carry strong faith themes and often romance.

Facebook Instagram Twitter Blog Goodreads

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.

Categories
Writing for YA

Interview with Olivia Smit: Reading Advice for YA Authors

Young Adult author Olivia Smit just released her newest contemporary, Hearing Lies. She’s also is in my crit group, and she’s fellow book lover! I had to ask her a few bookish questions and get her advice for YA writers about reading.

I’ve heard some authors say they avoid reading books too similar to their own out of fear they may inadvertently copy style. I can see how that could be a problem for some, but I don’t seem to have that issue. For me, the greatest pitfall of reading a good book is that it distracts me and keeps me from working on my own novels!

What are some of the things you watch out for when reading that could adversely affect your writing?

This is an excellent question! I think for me, it’s most important not to play the comparison game. I’m not worried about copying other authors. Like you, it just hasn’t been a problem for me. But it is easy to get discouraged when I read something brilliant.

Sometimes I think, “I will never write like this,” or “My book will never sell this well.” But that mindset is damaging and unproductive. It doesn’t help anyone. I try to turn the comparison game into something that will inspire me instead. When I read something excellent, I like to ask myself why it inspires me the way it does.

That is great advice!

Do you think authors should read outside their genre? Or stick with only reading the genre they write?

I think outside of the necessary demands of a book-related career, authors should feel free to read what they enjoy in their spare time. For me at least, putting too many “should-read” books on my TBR is the fastest way to make me NOT want to read … which in turn affects my writing ability.

But is there value in reading outside your genre? Absolutely. When you step outside of the genre you’re used to, your brain starts absorbing new information, new plotlines, and new tropes.

There’s always the chance that your favourite genre might not be the one you write in! I actually enjoy reading contemporary and fantasy in equal measure, but I haven’t written anything fantasy-related since I was in elementary school. Maybe someday, but for now, I gobble fantasy novels up in my spare time.

Do you have a favorite classic novel? Do you think reading classics is still relevant for authors today?

If The Chronicles of Narnia count as classics, they’re an easy win! If not, I really like Anne of Green Gables, Watership Down, The Blue Castle, North and South, and The Three Musketeers.

I think stories are stories. There are brilliant classic novels and it would be a true tragedy to refuse to read them simply because they weren’t published in the last 50 years. Similarly, there are gorgeous works of art being written today, and it would be a shame to turn up your nose at them simply because they are too modern. I’m a little passionate about this! For me—and for many people—reading is a hobby and a joy. I think people should be free to read what they want while being encouraged, occasionally, to try something new.

In your books, your main character, Skylar, gets a job at the library. Why did you choose the library as part of your setting? Do you have any favorite memories of the library?

I used to visit the library weekly, if not more often, when I was a child, and I frequently checked out 10-15 books at once. I sometimes had to use my chin to carry them to the counter! I’d start reading while I waited for my family to finish, read in the car on the way home, and not look up again except to eat dinner until bedtime. I still have a habit of checking out 5+ books at once, even though I have less reading time than I used to.

Part of the reason I set so much of Seeing Voices and Hearing Lies inside a library is because of how much I love libraries! But I also do have experience working there. I shelved books at my childhood library while I was in high school, and I thought it would make a fun summer job for Skylar, too.

Thank you, Olivia!

Olivia smit

Olivia Smit loves baking, visiting small towns, and writing stories that face hard truth with hope and encouragement. Olivia has an Honours Specialization in Creative Writing, English Language, and Literature. She lives in Canada with her husband and their dog, Cassiopeia. You can also find her on Instagram and Twitter. Her website is oliviasmit.ca.

Columnist 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.

Categories
Writing for YA

Avoiding Preachy Prose

Much young adult fiction today deals with contemporary issues and is a reflection of the times. Authors have important things to say. But if the writing is preachy, readers may disengage.

What is preachy prose?

Writing can come off as preachy when the author is too heavy handed in their delivery of a message or a story’s theme. Sermonizing isn’t exclusive to religious themes. Social issues, politics, cultural views, anything the writer has an opinion on can be presented in a preachy way.

Not all readers will agree on whether or not a particular book is preachy. One reader may embrace the story while others criticize it. The trick is to be true to your theme without becoming strident.

But I want my book to have a message.

It’s perfectly fine and desirable to have a message in your book, but if it’s fiction, use characters to illustrate the point and trust your reader. The message should feel natural, unforced, and be interwoven into the story. 

How can a writer avoid preachy prose?

Produce well-rounded characters with plenty of realistic opposition and conflict.

Use external conflict. Give characters opposing viewpoints. Through their interaction, allow the story to develop and reveal the theme. 

Use internal conflict. Instead of presenting a single viewpoint as cut and dried, let your character come to conclusions about their beliefs. Let them struggle, grow, and learn.

Use realistic character action and reactions to illustrate the theme. Just like in real life, a guy passing out Bible verses doesn’t have quite the same impact as a character walking through hard places while clinging to his beliefs.

Think about how you react when a person in real life delivers a personalized sermon on your shortcomings. Do you feel grateful?

If you have a preachy character, have the other characters react to them in a realistic way. As a bonus, this could make for some good conflict! If that doesn’t work for your story, rewrite the preachy character to reflect your vision.

There’s no need to avoid prayer or religious language—if it’s true to your characters. Preachiness has less to do with what a character believes, and more to do with how the character’s beliefs are presented.

Use story events interspersed with dialogue to make the point. Don’t restrict the message to a large chunk of dialogue in one scene. The entire story should reflect the theme. Sprinkle it around!

Setting, imagery, and symbolism can all reinforce the theme. It isn’t necessary to use every technique in the book and subtlety is the key. 

Do you have any tips on avoiding preachy prose?

Leave a comment below.

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.

Categories
Writing for YA

Writing a First Novel: Creating Characters

In past blog posts, I’ve written about choosing a genre, story premise, and GMC.

A key element of any story is character development. Character development is the process of creating fictional characters, but can also refer to a character’s arc. In this article, I’ll talk about the process of creating characters and leave the arc for another day.

Key Characters

Every story has a hero, or main character, also called the protagonist.

Some have a villain, the antagonist. In some stories, the main character (MC) fills both roles of antagonist and protagonist.

Most have secondary characters. These assist the MC, oppose the MC, or otherwise help the reader understand the MC’s journey.

Fully developing the protagonist and antagonist is essential to a good story.

In order to be three dimensional, characters should have occupations, hobbies, friends, favorite foods, talents, etc. but they also require fleshing out in other ways. Some writers spend a lot of time describing the physical attributes of their story people. While this is important, the emotional make up—dreams, ambitions, struggles, and so on—of your character is what resonates with readers.

Flat and Round

Have you been told your characters are flat, or that they need more rounding? What does this mean?

Flat characters are one-dimensional. Some minor characters can be flat and serve the story just fine. However, main characters need to have depth and personality.

Ever met someone who appeared to be perfect? Did it feel like you were waiting for the authentic person to reveal themselves?

Don’t make your characters too good to be true.

But it’s fiction!

Even so, your reader wants to feel as if the story is real. To capture the reader, a main character should have both attributes and flaws. 

But I want my hero to be good!

No one is all good or all bad. Perfect characters are hard, if not impossible, to relate to. They can come off as unrealistic, preachy, or just plain boring. If readers don’t feel an affinity with the protagonist, they won’t be invested enough to keep turning pages.

A superhero who is afraid of spiders. The psychiatrist who has a dysfunctional family. The miracle worker who cannot heal his own child. These are more interesting than a flat hero.

What about the “bad guy” in a story?

While reading a novel, do you ever find it hard to believe a “bad” character is all bad? A villain becomes a cartoon image, and the book gets tossed aside. Both heroes and villains need to have core values. I’ve heard it said that all villains believe they are the good guy.

Often, a character’s greatest strength will have negative aspects, just like in real life. A character who is responsible may take responsibility too seriously, or take on responsibility that isn’t theirs. This could cause all sorts of story problems!

A character who is consistent, a good trait, can be inflexible, which is bad in certain situations.

The character who values family above all else, can cross lines and cause tension because they put such high regard on family relationships.

Round characters come with built in opportunities for conflict.

A good tool to figure out the natural balance of your characters’ dominant traits is by determining their personality type using something like 16Personalities.com.

Creating Compelling Characters

To further develop rounded and interesting characters, go beyond a list of the basics. Try character interviews, asking deeper questions. A google search should turn up plenty of fiction writing character interviews, or you can make up one.

Or try this. Put your character in different situations, awkward, stressful, relaxed, and write their interior dialogue. Do this exercise in first person, even if your novel is in third.

Does a writer have to do all of this before they start writing? Not necessarily. Often, my characters flesh themselves out during the process of writing. But not knowing enough to have a solid GMC is usually a guarantee my story will stall.

Having a well-developed character in mind will help the story unfold easier. As long as the writer doesn’t get bogged down in endless character questionnaires and interviews, such exercises are a useful addition to the writer’s toolbox.

Recommended Reading

Write Great Fiction Series: Characters, Emotion & Viewpoint by Nancy Kress

Related Blog Posts

WRITING A FIRST NOVEL: CHOOSING A GENRE

WRITING A FIRST (OR SECOND) NOVEL: STORY PREMISE & GMC

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.

Categories
Writing for YA

Writing a First (or Second) Novel: Story Premise & GMC

I love new, fresh story ideas.

When I first started writing stories, I would attempt to capture a thought or feeling the minute it sprang to mind. I didn’t plan my stories. Needless to say, many of these vignettes meandered or ended up unfinished.

What was I missing? Story premise.

This isn’t an article about plotting versus pantsing. This is about generating a viable story idea from a seed or impression.

How do you know if a concept is story worthy?

With my first novel, I accidentally managed to produce good structure. My main character had a concrete story goal early on. She also had a strong emotional desire stated in the opening sentence. From the initial moment of external conflict, the stakes continually increased, following a logical progression. It unfolded this way until the conclusion.

Easy peasy, right? Surely I had mastered the art of story structure and could replicate the process.

Not exactly.

I began a second book and focused on the emotional state of my character, neglecting to give her an external goal. Even though I was attempting a character-driven work and wanted to explore emotional growth, my protagonist still needed to have an external goal. 

The book had to be restructured to include both internal and external GMC – goal, motivation, conflict.

Broken down, it looks like this:

Goal: What does your protagonist want?

Motivation: Why do they want it?

Conflict: What’s in their way?

{Protagonist} wants {goal} because {motivation} but can’t succeed, because {conflict}.

All of the important characters in a successful story have both external and internal GMC. The differing goals produce conflict. They initiate the action and keep it going. Without a clear and concrete external goal for the protagonist to pursue and obstacles (conflict) to overcome, the story stagnates.

In plot driven stories, the external GMC is what keeps the story moving along. I find these easier to figure out. With character driven work, the character’s want directly opposes the (true) need. This produces conflict and forces growth in the character. Every character has internal and external goals and motivations. The two GMCs, external and internal, go hand in glove.

There will be many smaller goals and conflicts along the journey, but the overarching, or main, GMC of your story is the foundation of your premise.

The story premise is a few sentences distilling the key elements of your story, and incorporates the main GMC.

The premise contains:

The protagonist, set-up, protagonist’s goal, the source of resistance or antagonist, the core story conflict, and the protagonist’s motivation. A story premise can also include the other essential character(s).

Does the GMC or premise have to be perfectly expressed before you begin writing a novel? Not at all, but I’ve found the process goes much smoother if I understand what my character wants, needs, why they want what they do, and why they can’t have it. The better I solidify these things early on, the more likely I am to end up with a coherent story.

Nailing down GMC can take a few tries and a bit of time, but is well worth the effort.

Resource for Further Study

GMC: Goal, Motivation, and Conflict Book by Debra Dixon

Related Post 

WRITING A FIRST NOVEL: CHOOSING A GENRE

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.

Categories
Writing for YA

Story retellings: Interview with A. K. Pittman

Allison Pittman, writing as A. K. Pitman, has a brand new book out, and it’s a YA P & P retelling, Pudge and Prejudice, set in 1984 North Texas.

February is Body Image Awareness Month, and the timing felt perfect to ask Allison a few questions about her book, which deals with body image.

I love the idea of mingling one of my favorite Austen novels with a more recent historical setting.

I love the idea, too! It really showcases the timelessness of Austen’s story. Human emotions and motivations and desires are so transcendent, even if our surrounding society changes.

What was the strangest thing you had to research or the most surprising thing you learned when you were researching for this project?

Well, I learned that high schools outside of Texas don’t do homecoming mums. They are huge in Texas (literally and figuratively).

As a fellow Texan, I can attest to the hugeness of mums.

What are some of the unique challenges you faced when writing Pudge and Prejudice?

I was always surprised when I learned that something—some TV show or song—that I clearly remember from that year (1984) actually hadn’t happened yet.

Time passes, I guess, and everything gets mixed up. Over and over I was “redirected” by my lovely editor who hadn’t even been born yet! Quite a humbling experience.

Your novel is set in the 80s. How do you feel the landscape of the current high school culture has changed since then? What are the main things that have stayed the same?

It’s much easier to mention what has stayed the same: Kids still group themselves and establish crushing hierarchies within their ranks. What has changed? There’s such a lack of naiveté and innocence. They are exposed to so much, and with cellphones, they are never more than a click away from hurtful messages.

If you had fifteen minutes to talk to a young person who was struggling with body image, what is one main thing you would want them to understand?

I would want them to understand that, right at this moment, they are exactly what God intendeds them to be.

That’s hard to understand and accept, especially if they are unhappy, but that unhappiness can be channeled into something positive.

And then, I would emphasize that they need to compare themselves with themselves, not other people. You have to accept yourself, but you don’t have to accept your habits. Find out what is best for you, and don’t allow anything less.

Do you have any resources you’d like to share for young people struggling with body image issues?

As a blanket answer, I would say to step away from social media and develop good, in-the-flesh friendships where you interact outside of a tiny screen. That said, I would caution against any resource that promises anything other than restoring health in mind, body, and spirit. In fact, stay away from outside promises, period.

A healthy body image comes from within. You’ve made the decision to eat healthier? Study up on healthy cooking. You want to exercise more? Test your body to see what it can do and go from there.

Finally, there is no greater resource than God’s word—for anything, but most of all for inspiration about just how beloved and valuable you are.

Psalms 139:14 says, “I will praise you, for I am fearfully and wonderfully made; marvelous are your works, and that my soul knows very well. Part of that “wonderfulness” is how our outer appearance reflects our inner care. We need food, water, sleep, rest, and purpose—all in balance.

Find the best of those things, and you will find the best of yourself.

Allison K. Pittman is an award-winning author of thirteen novels. An enthusiast for all things writing, she leads two writing groups where she gets to blend her two passions: writing and teaching. (She gets to teach every day, too. Middle School.)

You can follow her around on Instagram (@allisonkpittman) or Twitter (@allisonkpittman) and keep up with the latest writing news on her Allison Pittman Author Facebook page—all of which will keep you up-to-date on not only her books, but also life with her husband, Mikey, and Snax, the world’s worst dog.

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.

Categories
Writing for YA

Talking About Writing and Contests with 2020 First Impressions YA Finalist Annette Griffin

The First Impressions Contest is held every year by ACFW. This year, Annette Griffin made it to finalists’ list for the young adult category.

Congratulations, Annette!

What advice would you give writers considering entering writing contests?

Entering contests has been one way I challenge myself to become a better writer. Here are a few things I’ve learned–the hard way– about submitting successful contest entries:

1) Be sure to pay close attention to the contest submission guidelines, follow them precisely, then check again for compliance before you hit the send button.

2) Write with passion, but when you’re done go back and highlight all the passive language and replace it.

3) Before you hit the send button be sure to pray. Ask God to align your heart with His plans for your writing and pray for favor and open doors according to His will. 

Why did you decide to write young adult fiction?

My characters tend to choose the genres I write. My YA characters are some of my favorites–each are inspired by my work with young adults through years of youth ministry. 

What is your biggest writing dream or goal?

I have a different take on this question than most of my author heroes and mentors. Yes, goals are very important. Without them I would wind up spinning my wheels most days. I do have practical short term and long term goals that include word counts, craft development, marketing aspirations, networking etc. but when it comes to my biggest writing “dream” I really just want to accomplish WELL what God has already pre-planned for me to do (Eph 2:10). I can dream big, but I learned a long time ago that MY idea of big may not look at all like God’s does. His ways are better, higher, and perfect. His plans for me are good and will be used for His glory. I want to do Him proud as I work to fulfil His dreams for me.

Great advice. When I get caught up in the work, it’s all too easy to lose sight of the main purpose, the reason for starting in the first place. It’s always good to remember the big picture vision behind the effort.

Who has been your biggest inspiration?

If you’re talking about my biggest inspiration in life, Joni Earekson Tada has inspired me since I was a young girl. She is an example of a woman who despite physical devastation, heartache, trial, and constant pain has chosen to live her love for Jesus publically–with so much joy–to help others find their strength in Him. 

I’ve always admired Joni. She’s one of my heroes, too.

I love your answers!

Thank you for talking with us, Annette.

Annette is an award winning author who writes inspiration and fiction for women & children. Her debut children’s book What Is A Family? released this July. She and her husband live in NC with their two teens and beagle named Bella who keeps them all on a leash. 

Website: annettemariegriffin.com

FB: @annettemariegriffin

IG: @annettemariegriffin

book link: https://www.workman.com/products/what-is-a-family

For more encouragement from Annette, check out her Embrace the Wait column.

Readers, have you had success with a writing contest or reached a writing goal this year? Share your good news in the comments.

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.

Categories
Writing for YA

All About Writing Mentors: Q & A with Lisa Samson

Guys, I have been a huge Lisa Samson fan since forever. In fact, I distinctly remember reading the Christy Award winning novel, Songbird, and thinking, “This is how I want to write.”

When I found out about her service called Writerly Conversations, I thought I’d ask her a few questions about finding mentors.

At what point in a person’s writing journey do you feel it’s a good idea to seek out a writing mentor, and where can authors find writing mentors? 

It’s good to seek out a mentor when your serious about getting published and have done some of the hard work of figuring out how to write up front. Perhaps you’re already submitting to agents and houses and getting rejection letters. That’s a great time to get help. An experienced writer/mentor has been through enough critique with their editors, they inherently know what a writer needs to do to not only catch the eye of an editor but what the editor needs to know: Is this writer really ready? I see those things intuitively now and look to various aspects of a writer’s manuscript with an agent’s and an acquisitions editor’s eye. If it looks like too much work needs to be done up front, they are going to take a pass.

It’s always exciting to have someone interested in your work. How can an author tell if their writing mentor is a good fit for them?

I truly believe that’s a matter of personality and expectation. When I mentor it’s with people who want to enjoy the process, be truly encouraged as a creator, and who like truth with a spoonful of sugar and a nice chat. There are people I would drive crazy because I view my clients as real people with which a good, strong creative connection can grow. That takes emotional finesse as well. I believe feeling safe and heard is the most important flow. Who do you get a good connection with? Who makes you actually want to write? Who gets you excited about your work? There it is.

Do you think there’s ever a time when having a writing mentor is a bad idea?

Absolutely. When a writer just wants affirmation not guidance, when any time a helpful suggestion is made the writer feels umbrage, they are not the ones for mentors. They’re not ready to set their ego aside. In many ways, a writer has to admit the need for it, and the experience can be helpful.

Oftentimes, it’s difficult to find a writing mentor. What are some alternatives?

There’s really nothing that beats personal communication. Mentoring means one on one guidance in a relationship setting. However, there are good alternatives to receive personal feedback. Critique groups, a writing buddy with whom you can let the chapters fly between you, and critique services. I do something called a Writerly Conversation, which is almost like a drive-through mini-mentor moment. I ready twenty pages and we have a 60-minute conversation. It’s amazing the connection writers and I get to have, even in that short amount of time.

Thank you, Lisa!

You can find Lisa around the web at the links below.

Lisa Samson’s Patreon Page 

Lisa Samson’s Website

Writerly Conversations on Facebook

Lisa has coauthored a new book with Len Sweet. This Christmas tale is arriving just in time for the season. ST. IS will be available on Amazon starting 11/11.

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.

Categories
Writing for YA

Writers Gotta Read: Where to Find Book Recs and A Short List of Suggested Reading for YA Authors

I cannot remember the books I’ve read any more than the meals I have eaten; even so, they have made me.

Ralph Waldo Emerson

Next month is National Book Month!

Attend any writing class or conference and someone is bound to tell you if you want to learn how to write well, read a lot of books. This is timeless advice. 

To write well, there are required three necessaries: to read the best authors, observe the best speakers, and much exercise of his own style.

Ben Jonson (1640)

Read your genre, but also read other genres. While craft books are a must, don’t limit yourself to only how-to books, but immerse yourself in novels.

Where to Find Book Recommendations

I asked a bunch of readers where they get most of their recommendations. Goodreads is a popular choice. Facebook book groups, the Bookstagram Community on Instagram, and Booktube also top the list, but let’s not forget the old-fashioned bookstore, friends, and librarian recommendations. 

If you’re looking for a specific genre or type of book, Goodreads is a good place to start. Readers can sort their books by shelves, tagging and categorizing books. Goodreads is great for organizing to-be-read lists, books you’ve read, and posting opinions and reviews.

My all-time favorite place to find bookish friends and book recommendations is in the Bookstagram community on Instagram. It’s fun to connect with readers of all sorts. It’s an easy way to find a genre or type of book.

I write YA Contemporary, but struggle to stay within a single genre for the posts I upload because I love books so much. I tend to roam widely in the Bookstagram community and check out what other bookish folks are reading. What’s a writer without a massive, impossible to finish TBR list?

Genre Specific Recommendations

Some of my YA author friends suggested a few books to specifically help YA writers hone their craft. I am listing both novels and instructional books.

Sara Baysinger writes YA fantasy, and is the author of The Vanishing Spark of Dust, Ashen City, Black Tiger, and White Dawn.

Her recommendations:

Plot and Structure by James Scott Bell is Sara’s go to craft book. I agree with this one wholeheartedly! My copy is dog-eared and highlighted. (This book is part of the Write Great Fiction by Writer’s Digest. The entire series is excellent.) 

For fantasy writers, Sara recommends The Cruel Prince by Holly Black and the Shatter Me series by Tahereh Mafi. 

Diana Sharples is a multi-published author of Contemporary YA (Running Lean and Running Strong) and Contemporary YA Mysteries (Finding Hero, and The Because…series.) Diana has turned her pen to mostly mystery these days, so I asked her for books to help YA writers interested in that genre.

Her recommendations:

She chose A Good Girl’s Guide to Murder by Holly Jackson (added this one to my list!) and

Writing and Selling your Mystery Novel by Hallie Ephron.

Diana also recommended Felicia Bridges novels for those interested in YA Historical fiction.

Tara Ross is the author of the YA Contemporary Fade to White and the host of The Hope Prose podcast for writers.

Her recommendations:

Tara picked Nadine Brandes’ Fawkes for Historical Fantasy and Shawn Smucker’s The Day the Angels Fell for Contemporary Magical Realism. 

She loves The Emotional Craft of Fiction for an inspiring and educational craft book. For practical use, Tara recommends anything by Angela Ackerman and Becca Puglisi, but The Emotional Thesaurus is a fav of hers. I second The Emotional Thesaurus. It’s a great, easy to use, tool to help a writer get unstuck when describing emotions.

My Picks:

In addition to popular fiction, I read classics, curious as to what gives them their staying power. One classic YA writers may want to peruse is The Outsiders. 

I write contemporary young adult and enjoy authors such as Laurie Halse Anderson, Jason Reynolds (The Boy in the Black Suit), Laura Namey (The Library of Lost Things), Alison Gervias (The Silence Between Us), Kasi West and Jenni Han (for romance), and more! 

For craft, books by Writer’s Digest Publishing always seem to provide solid advice.

What about you? Where do you get your book recommendations? Do you have any must reads for young adult writers?

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.

Categories
Writing for YA

Building a Compelling Fantasy World: Q & A with YA Author Amy C. Blake

It’s not always easy creating a whole world from scratch. Amy C. Blake agreed to give a few words of writing advice about building story worlds.

What is a common pitfall fantasy writers fall into when building their story world?

It’s easy for fantasy writers to forget they have to follow the “rules” they created for their story world. If they choose to break a rule, they have to explain why. Otherwise, readers get frustrated. For instance, in the first book of my Levi Prince YA fantasy series, I established that people can only enter Terracaelum (an invisible land suspended above Lake Superior) from Castle Island when the prince or princess lowers the drawbridge and admits them. In subsequent books, I couldn’t simply ignore my rule when I needed to allow access without the prince or princess being present. I had to not only create an alternate way in, but also to provide a logical reason why the exception was made.

What essential ingredients do readers expect from a story world?

Besides clear rules, readers expect to be given the proper amount of details to let them experience the story world. Too many specifics can bog down the flow of the story, but too few can make readers feel unmoored. Sprinkling sensory details throughout the dialogue and narrative tends to work best. Of course, in fantasy stories, readers expect something outside of their ordinary worlds—superhuman abilities, time jumping, mythical creatures, etc.—and they can best enjoy those elements when given the right particulars at the right moments.

How can writers make sure they balance their novel in regards to world building, character development, and the other elements needed?

Again, it’s a matter of dispensing information at the optimal time. Authors shouldn’t do an information dump about their character’s backstory any more than they should pile on too much minutiae about the story world. They don’t want to overuse dialogue, internal monologue, or narrative in any one spot; instead, they want to use the appropriate amounts of each at the appropriate times. It’s all a matter of finding the proper pacing to allow the story to unfold to maximize the reader’s delight.

Where do you find inspiration for creating a story world?

I’m an avid reader, and my family enjoys exploring museums and historical sites. I’m also an avid daydreamer, so I tend to find inspiration during quiet moments—sometimes while on a long car ride or when I can’t sleep. During those quiet moments, ideas blend with the information I’ve gleaned, and my story world expands. I just have to remember to jot down my daydreams so I can flesh them out later.

Great advice!

Thank you so much for stopping by, Amy.

Award-winning author Amy C. Blake is a pastor’s wife and homeschooling mother of four. She has an M.A. in English from Mississippi College and has written articles, devotionals, and short stories for a number of publications. She’s also writing two series for the Christian market, her On the Brink Christian suspense trilogy and her Levi Prince YA fantasy series.

Whitewashed, Colorblind, and Tie-Dyed, featuring three homeschooled girls who head off to college and find themselves on the brink of danger, are available in paperback and Kindle. The Trojan Horse Traitor, The Fall of Thor’s Hammer, and The Fay’s Apprentice, about homeschooled pastor’s kid Levi Prince and his adventures in Terracaelum, are also available in paperback and Kindle.

Visit Amy’s website at amycblake.com.

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.

Categories
Writing for YA

Write Anyway

There will be days when writing is hard. When your eyes burn and your back hurts. You will scrape dried ink from the bottom of the well, wondering if these tiny, insignificant flakes are worth anything. 

Hours, days, years of work languish with no guarantee of display in the light of day.

Write anyway.

Some days your words and lines will rip out your heart with their truth and beauty. You will feel naked and afraid. 

Some days the emotion you are desperate to share dribbles away, never caught and put to page. An unspoken message is worse than letting the world taste your secret sorrows. The tale must be wept out and sweated out onto paper even if it doesn’t want to be confined—or set free—by a pen. Story will haunt, steal your rest, demand attention. You will pound a keyboard while dinner burns.

Write anyway.

There will be people who tell you the harsh truth, and those who whisper sweet lies. And others who are purposely unkind, cruel with breath-stealing carelessness that makes you doubt your own passion. 

There will be rejections wrapped in softness. Slamming shut doors will become a commonplace sound. 

There will be hindering mentors, jealous companions, and friends who mean well but let you wallow in mediocrity and blissful ignorance.

Write anyway.

Some days you will be your own worst enemy, second-guessing, unsure as a newborn colt. Some days you will be too sure of yourself, and ignore horrendous flaws, until, stumbling over the cracks, you fall flat on your face, hard. The danger is invisible to the scribbling storyteller. You will fail and embarrass yourself time and time again.

Write anyway.

If you succeed, the monetary rewards are likely to be small. There will always be ugly reviews. People will inform you point-blank they didn’t like your book. Family members and friends won’t even bother to read it. But someone will. And sometimes it will mean a great deal to the reader, your reader. They may or may not tell you—this really happens—how it touched them, comforted them, and made them feel understood.

It’s why we write anyway.

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.

Categories
Writing for YA

Researching and Authenticity in Fiction: Interview with YA Author Felicia Bridges

I’ve always loved books about far flung places. It’s a wonderful way to expand horizons. I decided to talk with YA author Felicia Bridges about her experiences and ask her advice about writing about other cultures and countries.

Felicia believes life is a great adventure written by the Author and Perfecter of our faith. Her adventures as an Army BRAT included living in eight states and two foreign countries by age fifteen. Along with a strong foundation of faith, this nomadic childhood created a passion for missions and travel which leads her writing to exotic places. Felicia has a degree in Psychology, but her experience as a short-term missionary, HR Manager, mother of four, and pastor’s wife provide her most unusual tales.

Find Felicia Bridges at:

DJS: I’ve always found studying and learning about different countries and cultures fascinating. When learning about and researching other cultures for fiction writing, what do you feel are the most important things to keep in mind?

FB: Bearing in mind that while customs which are unfamiliar to us may seem odd, they usually have a logical basis. It’s critical to keep digging until we can portray another culture authentically in a way that helps broaden our readers’ understanding.

DJS: What was the most interesting or surprising thing you discovered as you were delving into your research for your books?

FB: There have been so many surprising and amazing discoveries, it’s impossible to pick one. One of my favorite discoveries was in researching Czech folklore. They have such a rich history and I would spend hours one the internet reading one story after another. The most surprising discovery was the legendary story of Campbell Bridges that I wove into KenyaQuest. This real-life Indiana Jones figure lived a fascinating life and I was honored that his widow and son worked with me to ensure I portrayed that accurately. In BoliviaKnight, the most amazing discovery was the Salar de Uyuni, the world’s largest salt flat. This amazing place forms a giant mirror during the rainy season providing stunning pictures of the sky reflected on the salt. This place tops my bucket list of places I’d love to visit!

DJS: It’s so important to respect other cultures. How can an author make sure to stay authentic when writing about a segment of society they are not a part of?

FB: In today’s world it is absolutely critical to be respectful in our depiction of other cultures. Failure to recognize and eschew stereotypes can literally ruin your career with a single tweet. I’ve spent the past ten years pursuing a greater understanding of my own biases and privilege, and a deeper understanding of the perspectives of marginalized people groups. Since my series necessitates portraying people from different cultures, I’ve tried to be intentional about researching the culture and avoiding stereotypes. We also need to communicate well that authors of fiction are working from our research plus imagination.

DJS: I’d love to take research trips. Who wouldn’t? It sounds like fun! Unfortunately, that’s not always possible. What advice would you give to someone who wants to learn about other countries or cultures, but their resources are limited?

FB: We are so privileged to live and write in a time where we can virtually visit anywhere on the planet. Although nothing can compare to actually walking in the places that you are writing about, I’ve learned so much from building relationships with missionaries, from using technological tools like Google Earth ™ and the internet to search out answers for any question that arises. For the relatively small cost of internet service, we can zoom in to street level in Prague, read a firsthand account of an expedition in the Amazon, or see glorious pictures of the cultural festivals in Papua New Guinea. I would advise them to research all they can online and save all they can to be able to travel to their favorite places.

These are all great points and suggestions! Thanks so much for sharing your knowledge.

Felicia’s series debut, The International Mission Force, features the exploits of teenage missionaries around the globe and begins with CzechMate, which is set in Czechia. BoliviaKnight and KenyaQuest carry readers to Bolivia and Kenya. The next book in the seires, IslandGambit, is set in Papua New Guinea and due to release in 2020.

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.

Categories
Writing for YA

How to Alienate and Offend Readers: Diversity and Sensitivity

What’s sensitivity reader?

A sensitivity reader may not be what you think it is.

These are not “thin-skinned” readers ready to roast a writer for making a misstep. They are fact checkers who examine your writing for specific things. Sensitivity readers help authors find places in their manuscript where they have unwittingly used inaccurate information in describing a diverse character, and to check for things that could be considered offensive. They are Diversity Editors.

Who needs sensitivity readers?

Everyone writing a character from any marginalized or diverse community.

Even if a person is writing about a group they feel they know everything about, a sensitivity reader isn’t a bad idea. Different points of view enrich understanding.

An author can write beautiful prose, have a great story idea, and even be well known, but if a story doesn’t pass muster, the manuscript may not have a chance with an agent or publisher. And it shouldn’t!

When does it matter?

Always.

A novelist is duty bound to represent all sorts of people in such a way that it does not harm or perpetuate harmful stereotypes and myths. People are influenced by what they read, and there is no magic loophole. Claiming it’s “just fiction” or it’s “just a minor character” won’t fly. Words influence.

Listen to your sensitivity readers.

When engaging a sensitivity reader, a writer doesn’t get to tell them what they’re being nitpicky about. As with most differences of opinion, finding common ground requires listening. If there is a disagreement about feedback, engaging more sensitivity readers and going with the majority is the best course of action.

If a writer chooses to ignore their suggestions on style, grammar, plot lines, they are not hurting anyone, except possibly themselves, but ignoring information acquired from a sensitivity reader poses a real danger of failing the author’s audience.

Once a novelist has done harm, I no longer trust them.

As a reader, I don’t often let novelists off the hook for representing of groups of people in a harmful way.

If I read a novel I know is misrepresenting people, I am not likely read books by the author again or suggest his or her books to anyone. If their name comes up in conversation, I may not have a positive reaction, no matter how famous they are.

Our stories influence.

Sadly, there are novels out there that continue to do damage by perpetuating falsehoods and stereotypes, encouraging attitudes and prejudices. Writers have a certain amount of responsibility. The stories we write influence the world around us. The best ones influence in a positive way.

Sensitivity readers can be found by searching for readers within the community you are writing about, or by finding paid sensitivity readers online. I start my search with writing groups, then the community groups, both local and on Facebook.

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.

Categories
Writing for YA

New Year, New Goals

The new year is almost upon us. Instead of making New Year’s resolutions, why not try to come up with New Year’s goals?

Make a plan.

Gather information about the task you want to achieve. Have a general idea of the steps you need to take to get a grasp on the big picture. I’ve found it to be a good idea to use more than one source. For a novelist or nonfiction writer, this can include authors you know, websites (like this one!), books, magazines, and organizations. What you are writing determines the steps in your plan. Indie or traditional? Fiction or nonfiction? These have different processes. 

Determine what the primary goal is and list the tasks needed to do to achieve the objective in order of importance. Having a first things first policy helps me stay focused and having incremental guides keeps me motivated as I mark my progress.

Unrealistic expectations are a set up for deep disappointments when things don’t pan out as expected. Wrong turns and dead ends can be avoided by getting the lay of the land beforehand.

Set reasonable goals.

Often, when tackling a new project or activity, the tendency is to overreach. Setting reasonable goals increase the likelihood success will come to pass.

When I first began writing novels, I struggled to be consistent. I decided to try for large word counts and grind away every day until I produced a massive amount of words. Predictably, the only thing I was consistent about was failing to pound out those words! I’d get to the end of the week or month feeling like a failure.

I changed my thinking, and set a small goal of five hundred words a day. In this way, I established a habit of writing. Sometimes I would surpass my desired output, but when I started out, most days I was right around five or six hundred words. Producing small, manageable chunks was within my reach and watching the words add up day by day kept me faithfully working. Persistence pays off, and I got my novels written. As time went on, my daily word counts went up. Establishing the habit kept me going and still does on difficult days.

If your objective is to find a critique partner, try to determine the time required to exchange feedback before you commit. If you want to learn a new skill, don’t expect to become proficient overnight. Divide the task you set for yourself into manageable chunks and be patient with yourself.

Be flexible.

If your goals are too challenging, or not challenging enough, allow yourself to make adjustments. Life is in a constant state of change. To be successful, flexibility is vital. The point is to keep working towards the prize.

Find a cheerleader. Or two or three!

There’s bound to be periods of difficulty in any endeavor. Some days are harder than others. Surround yourself with people who will lift you up.

Be an encouragement to yourself by keeping track of your past successes. Remind yourself of why you write.

Don’t give up!

If you find the set goals are not as easily attainable as you thought they would be, don’t give up. Instead, reevaluate and adjust your plans. The journey never quite unfolds the way we expect it to but if we stay on the path, we will get there. It’s all part of the adventure.

Keep going. 

Organizations for YA Writers

https://www.scbwi.org/

https://www.acfw.com/

Writing Aid Program

https://prowritingaid.com/

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.

Categories
Writing for YA

How to Succeed with PitMad

Are you familiar with PitMad?

#PitMad is a pitch party on Twitter where writers tweet a 280-character pitch for their completed, polished, unpublished manuscripts. Agents and editors make requests by liking/favoriting the tweeted pitch. Every unagented writer is welcome to pitch. All genres/categories are welcomed. #PitMad occurs quarterly.

Pitchwars.org website

The next PitMad is coming up December 5th. I considered the last PitMad to be a success for me because I got a heart from an agent on my list, and another from a publisher I recognized.

On PitMad days, the camaraderie among writers gives me such a boost. It’s the perfect time for connecting with other writers and supporting each other.

After I’d done a few pitch parties, I had the sense to search for other people who are writing work similar to mine by looking for their hashtags. I’m not good at Twitter. Even so, I am figuring out how to participate in Twitter parties. To participate in a Twitter party you don’t necessarily have to be great on Twitter. 

TIP: Follow other authors in your genre and support them.

One of the best things about participating in PitMad was that it forced me to be concise and specific about my book descriptions. The tweet that got the most attention was short and simple.

My Tweet

Theater kids, small town, Asperger love. WHAT TO SAY NEXT x GEM & DIXIE #PITMAD #YA #CON #MH #DIS #ND #autism Coming of Age + Sweet Romance

This tweet went against a lot of advice I’d received about how to craft the perfect tweet. I am impatient when reading tweets, so I wrote one likely to get my attention, as descriptive as I could, using as few words as possible. (I posted another tweet that did well for a different pitch party on my blog here.)

TIP: Practice writing your tweets ahead of time.

Another key may have been how many times it was re-tweeted. I got a huge boost from my WFWA group. There was a specific list to join if you were participating in PitMad so that we could easily find each other’s tweets and support each other by retweeting. It’s difficult to keep up with everyone’s tweets, and without that list I would have been lost.

TIP: Pin your latest tweet so your friends can find it easily and retweet.

I was pleasantly surprised to get a heart from Flux books. At the end of the day, I had a hard time winding down. Several hours after the party was over, I got another heart. This one was exciting, because not only did I recognize literary agent, they were on my query list. 

TIP: Not all hearts are the same. Do your research.

I couldn’t sleep, so by 3 o’clock in the morning (!) I’d sent my submissions, one of which was a full. I also used the PitMad requests as an opportunity to nudge to an agent who’d had my manuscript for a few months.

TIP: Have your materials ready to go.

PitMad isn’t the only Twitter party. 

You can try out your tweets for #faithpitch, #REVpit, #kisspitch, #sffpit, or #IWSGPit and more.

Have your manuscript finished and polished, write your tweets, and join the party. If you aren’t ready to pitch, use a pitch party to connect and support other writers.

There’s nothing to lose and quite a bit to gain.

Have you participated in a pitch party? Do you plan to? Leave a comment!

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.

Categories
Writing for YA

YA Slang in Writing

Every once in a while, on one of my writers’ lists or on facebook, someone will want to know what slang they should use in their young adult novel. My answer? None. Don’t do it. I think the exception is when you are trying to date your story. If you feel compelled to use slang for your story, consider keeping it to a minimum.

If you are writing a contemporary, by the time it gets on the shelves you can be sure new jargon will have replaced what was in vogue when you wrote it, assuming you could keep up with the ever-changing meaning of teen language while writing the book. Current lingo will likely be outdated before the first draft is finished.

You could invent your own vocabulary for your fictional world, though. I’ve seen this done quite well in many books. Kids do this is real life constantly. Within groups, teens make up their own private language, nicknames, and figures of speech unique to their crowd.

As an “old” person, I’m not aware of how widespread certain sayings are. At this moment as I am writing, in the small young adult circle I am familiar with, dishing out juicy gossip is known as “giving the tea.” For all I know, by the time this post goes up it will be out of fashion. I may not even be using this saying correctly, which is another pitfall when appropriating slang for a novel. It’s like the outdated youth worker trying to be “hip” with the kids.

I’ve been told words like awesome, cool, bummer, and totally are completely out, even though I’ve heard, or overhead, teens using them, and read them in books.

Will writing devoid of colloquialisms sound authentic? In any fiction, voice is what makes it authentic.

While it’s true kids have a few words they like to repeat in conversation, having dialogue in your story reflecting actual repetitive speech, or speech with slang can annoy the reader. We don’t write exactly the way we use language in our everyday lives. Writing an authentic character develops relatability with the reader. Peppering prose with the latest sayings may not do that.

Being cool happens the same way it always has. You’re only cool when you’re not trying to be.

Write realistic, well-rounded characters, and save the slang for those opportunities to embarrass the special young people in your life.

That’s my totally cool and awesome advice for writing slang. Do you have a tip to share? Leave a comment!

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.