Keeping it real...

Let me start by saying I don’t have kids—not the two-legged kind, anyway—so I’m by no means an expert on the subject of teenagers. I am, however, realistic. I have eyes and ears. I pay attention. I’m also not that far removed from my youth that I live in a rose-colored fantasy.

I wasn’t what you’d consider a wild child in my teen years, but I wasn’t an angel either. Judge if you must, but I snuck out and got in fights. I lied. I—get ready for it—drank alcohol. 

The majority of YA authors gloss over certain aspects of the normal teenage existence, and for some characters and stories, it works. For my books, that kind of hazy, filmy glimpse of the world wouldn’t fly. My characters would never tolerate anything less than the whole, gritty picture. I know there’s a big debate on whether sex should be included in young adult novels, and personally, I find the entire issue ridiculous. 

As a YA author, I want to connect with teenagers in a real way. I feel this includes respecting them enough to avoid fading to black when it comes to real issues. Guess what? Sex is a real issue for teens. We may not like it, but the truth is, sweeping it under the rug is irresponsible. 

About a month after Touch came out, I received an email from a family friend. The entire letter was an enraged tirade berating me for being so careless. Why? Because close to the end of my book, there’s a sex scene. Yes. A real honest-to-God sex scene.

It’s okay. You can gasp now.

The scene isn’t graphic or remotely pornographic by any definition, nor does it go on for pages and pages. It doesn’t scream of depravity, promote goat sex, or subliminally suggest going out and getting down and dirty with every Edward, Jacob, or Jace, but apparently the subject matter is offensive to some. This woman closed her email stating I should be ashamed of myself, and that her daughter would never be allowed to read or watch anything containing sex. The same daughter—fourteen years old as of a week ago, by the way—recently gave birth to a healthy baby boy.

Yeah. 

Scenarios like this are why I find the debate ridiculous. This woman tried to shelter her daughter, and what good did it do? The girl still ended up pregnant at fourteen. What are we trying to shield our children from? Reality? We’re turning sex into a dirty little secret. 

There are exceptions to the rule—there always are—but if you think teenagers never have sex, then I want whatever’s in your water. The truth is, they do have sex. In my opinion—and remember, that’s all this post is—I feel shielding teens from reality harms, rather than protects. We’re making it seem like having sex is something they need to hide, and by feeling that way, they won’t come to us for advice. And if they don’t come to us for advice, we can’t guide them. They’re going to make their own mistakes—and that’s a good thing. Growing up is all about making bad choices and learning from them. 

I’m not an advocate for gratuitous violence, sex, and drugs in books, but I do advocate reality. If it fits the character and isn’t thrown in simply for shock value, then I see nothing wrong with these “taboos”. The reality is, they’re a part of life. 

Equally disturbing as the handful of emails I’ve received about that one sex scene, are the ones I’ve gotten over simply the mention of drugs, alcohol, and cigarette smoking. Seriously? You don’t think teens are doing these things, either? 

While I write fiction, I do live in reality. And the reality of it is, teenagers do have sex. They drink. They experiment with drugs. They smoke. They make bad choices. They’re also smarter than most give them credit for.

Good Storytellers Show (and don't tell ((except sometimes))).

From Wikipedia Show, don't tell is a technique often employed by writers to enable the reader to experience the story through action, words, thoughts, senses, and feelings rather than through the author's exposition, summarization, and description. The goal is not to drown the reader in heavy-handed adjectives, but rather to allow readers to experience the author's ideas by interpreting significant, well-chosen textual details.

I'm going to go out on a limb here, and assume that the readers of this blog are savvy enough to understand this technique and apply it to their own writing. In fact, showing is so ingrained in us, I suspect it's the reason we all agree that synopsis writing is torture sent from the depths of hell. When we write a synopsis we are telling telling telling, slip a little showing in, nope, no room here for that. When I write a synopsis I always imagine I'm in that drive-in scene in Dude Where's My Car where they try to order Chinese food. And then this happens. And then this happens. And then more things happen. And then something explodes. And then, and then, and then...we would never write a story like that. 

But I don't think there is any time in your writing (except maybe the frantic heat of an inspired first draft) that's the wrong time to re-evaluate our understanding of this writing rule and it's use in our writing. 

We all know the difference as readers. And as writers, sometimes we choose to tell things for brevity or to move a story along (and sometimes we get called out on it and have to change it). 

Working with beginning (high school freshman) creative writers has helped me break showing and telling down to its rather confusing core. 
Me- okay your character is depressed. Show me...
Student- (writing furiously) the character keeps their head bowed all the time.
Me- yes, that's the right direction (physical and physiological descriptions are great for showing)
Student- but I'm still telling...I'm telling you that the character keeps their head bowed all the time.
Me- okay, but don't necessarily tell it to me. Show it to me in a scene. All the while thinking, the line, [character's name] never raised his head or looked anyone in the eyes- is a great line. Regardless of the fact that it is telling you something (while showing you something). 
Student- but I'll still be telling their mannerisms, to show you how they are slouching and also show you their state of mind...
Me- yes but... yes but..wow...I see what you mean. Can someone fetch me something with caffeine? 

The scene above is completely fictional, in that my creative writing students never question me that directly, I have book covers posted on the wall, for goodness sake. I'm obviously an expert. (big smiley here). I pieced together that scene by working with a very analytical student and watching the wheels in their brain work. And yes, it comes back to what I just said. (You're always telling something. It comes down to what you're trying to show by telling it to me...)

Here's the thing, though. Except for that isolated case when you think I'm just going to tell this, to keep the story moving along -- which happened to me recently, I was working on my short, GLITTER AND DOOM, which occurs between MASQUE OF THE RED DEATH and DANCE OF THE RED DEATH, and I was already well over the 10k expected word count, so I got to a scene and it basically went... And then they escaped. It seemed like a good idea, but when I read back over it, I had to flesh out the scene. When to we ever think, I'm just going to tell the reader what happened at this point in the story and then move on? 

But, sometimes, in revisions, my editor tells me to show something, and I know how those freshman students feel. I find myself at a complete loss. How do I show this? Why isn't it obvious? 

Here are some examples from Dance...“Good morning.” It’s Will, and I’m thrown into confusion . Everything has changed, and nothing.  (The comment on this line was, show don't tell). I did modify the line to show her confusion. 

Here's an Elliott line from earlier in the story. 

the surprise on Elliott’s face would be comical, if his cheek wasn’t covered in blood.

     “Everyone get back to the airship,” Kent calls. “It just grazed him.”

      Elliott raises his sleeve to his face, now he looks deeply angry. 

I really like this scene, because I enjoy using understatement with Elliott. I like that he's just been shot (grazed, as Kent says) and now he's pissed off. But I got the dreaded show don't tell comment on this line, too. And Elliott's eyes ended up blazing. Which is fine (and probably more visual--Elliott is sort of prone to blazing. Particularly his eyes). 

I'm a pretty obsessive reviser, and I wouldn't have changed either of those lines without prompting. They said what I wanted to say, and I lost sight of showing...which is fine, but if you do it too much, it's obviously a problem.

How do I translate this concept that seems so simple, but occasionally baffles, stumps and infuriates me to students?

To make my life as a teacher easier, I've stopped using the terms show vs. tell. Instead, we focus on STORYTELLING. Obviously, the and then story, and then the boy walks down the street. And then he see's what he thinks is a quarter in the road. And then he picks it up. And then he realizes it's a magical talisman that will give him three wishes...(in all fairness, out of 2 intro to creative writing classes and 50 students, only about 3 would write a story that way, but telling those 3 to show me what's happening doesn't help them...if they knew how to do it, they would...) 

Here's what I do instead. Hopefully it will be helpful to people, whether in their own writing when they hit that--how do I show THIS scene--stage, or helping a beginning writer (omg, don't get me started on my 4th grader's storytelling) or something. We break it down to a mix of the following elements. 

Action
Dialogue
Plot
Interior Dialogue
Characterization
Setting

Obviously some of these overlap, and should. In analyzing stories, we typically highlight plot, setting, and interior dialogue. We underline characterization and circle action details. Dialogue we do not mark, because it should be easy to spot (but don't get me started on their stubborn refusal to believe that each speaker gets a new paragraph. Apparently blocks of text are very appealing to some thirteen and fourteen year old individuals...) We do, sometimes, analyze our dialogue to see if it is forwarding plot or characterization, or both, but we don't mark it, which is good because due to school budgetary concerns I only have so many highlighters. :D 

We mix these elements together on our paper. Sometimes we come up with a sort of stew, where the different elements are separate, though connected in the same scene. Sometimes it's more of a puree, where you can see the scene, but it's all blended together. Both can be quite effective, and I can tell you that not writing or saying the phrase, Show, don't tell, over and over, has improved my disposition greatly. I was worried I was just going to have to get some sort of recording device and play a sound byte of me parroting the words over and over. 

In closing, let me say that I have been blessed with my creative writing students. The talent in my classroom this year is tremendous (they are MUCH better than I dreamed of being as a freshman in high school). I count myself lucky to be able to teach them. AND neither of my creative classes happens during the lunch period. After a comment years ago likening motivation to the carrot dangling in front of a rabbit, I came back from lunch for TWO YEARS to find my desk covered with packets of carrots. And that (and the health insurance) is why I keep my day job. 

Creative Kids and a Happy New Year ARC Giveaway of Level 2

Never “write down” for children or teen readers.  One of the major rules for authors, right?  Recently I was reminded of just how sophisticated those young readers are.

I coordinate the Reflections creative arts competition at my daughter’s elementary school.  Yes, I’ll admit it – I volunteered to coordinate a PTA program. (I hear you snickering, Kurt and Collette! And Heather Smith Meloche graciously accepted my request for her to serve as one of the judges.) This year’s theme was The Magic of a Moment, and the 5th grade teachers required all of their students to enter.  Their assignment was to write a poem, essay, or short story, and one teacher even brought in a local poet, Alise Alousi, from InsideOut Literary Arts Project in Detroit to lead a workshop for the kids. (A huge thanks to Kristine Uyeda, writer-in-residence for InsideOut, and local author/teacher Barbara Rebbeck for also serving as judges!)

Alise began by sharing a poem with the class.  The students readily identified various elements - similes, personification, alliteration.  Later, when the students wrote their own poems, their teacher wouldn’t allow them to turn in their first draft, or their second, or third; she challenged them to dig deeper, to find fresh, unique images, to revise again and again.  The kids set their poems aside, returned to them days later, rewrote, and after 3 weeks of this process, they turned in their final work. 

As the coordinator, I had the privilege of reading their writing before it got sent to the judges.
“The breeze as cautious as a fawn”
“Fireworks decorated the sky like Christmas ornaments”
“It was like hitting dust”

The students wrote about common, special moments – a new puppy, a new sibling, a soccer goal, a dance recital – but they also wrote about art, fear, nature, life, death, our universe, and the feeling of being merely “a freckle” on the vast landscape of our world.  The wisdom of ten-year-olds.

If you’re a teacher or a parent, you have plenty of opportunities to spend time with children and teens, but if not, I encourage you to make that one of your New Year’s goals. I guarantee you’ll be impressed by their deep thinking, and they’ll inspire you to write fuller and truer.  In case you missed it, here’s a humorous essay from the NY Times Book Review from an author comparing her two writing groups – the one for adults and the one for 7-year-olds.

I wish you a 2013 filled with love, peace, and opportunities.  And since this is a blog celebrating books and writing, let’s kick off the new year with a giveaway.

 Level 2 by Lenore Appelhans.  In this gripping exploration of a futuristic afterlife, a teen discovers that death is just the beginning.

I’ve followed the Presenting Lenore blog for the past year and was delighted to receive an ARC of her debut YA novel, Level 2, from publisher Simon and Schuster.  Even more encouraging was this review by one of my favorite authors, Mary E. Pearson:  “Absolutely gripping. My heart pounded on nearly every page. You won't be able to put it down.”

Indeed, Lenore’s novel is getting great reviews praising her world-building and multi-layered plot.  The first few chapters present question after question that will keep you guessing and turning the pages.

Level 2 will be released in mid-January, but you can read it now by entering this giveaway.  Leave a comment with your name and email.  We'd also love to know about other 2013 debuts you’re looking forward to reading.  Please comment by Friday, January 11th. This giveaway is for US and Canadian mailing addresses.


* YA Fusion has 294 followers!  I'm not sure why round numbers have so much appeal, but we'd love to get to 300.  If you're a new follower, please let us know in your comment and I'll give you an extra entry for the giveaway.

* We’ve been so busy that we neglected our What’s News section for many months. It’s updated now, so please take a look and celebrate our good news.

* On Tuesday, I’m sharing a super simple, quick writing tip over at Literary Rambles. Please stop by to help me wish Casey and Natalie a Happy New Year.
Cheers!
Kristin Lenz

Happy Holidays!

Hi friends. The YA Fusion team is on vacation this week, spending time with family and friends. I'm almost ready to host Christmas Eve, except for making the squash and spinach lasagna - it's a lengthy labor of love!  This is my Christmas tree with some of the original red lights from my childhood - I love how it makes our living room glow with warmth.

We'll be back next week to kick off the new year with an ARC giveaway.  Wishing you a peaceful and joyous holiday season.  Cheers!

Tis the Season

When I was a kid, we had a big cardboard box full of Christmas decorations.  Once a year—usually the day we put up the tree—we’d dig the box out from under the suitcases in the hall closet, flip open the lid, and listen to Dad cuss as he untangling the strings of lights.  Ah... Christmas.

Beside the well-damned lights, we had stockings for our post-war split-level with no fireplace, and tons of salt-dough ornaments.  Plus... a couple books.  The book I remember best was a heavy-duty paperback version of ’Twas the Night Before Christmas—not the Rankin Bass with the talking mice and broken clock—I’m talking pure Clement Clarke Moore.  It was shaped like a chimney—probably 24” tall x 10” wide—with Santa’s jolly head sticking out the top.  I read that book over and over during the three or so weeks before our homemade foil star came down and we buried the box away, not to be seen until summer vacation when we needed the suitcases.

I mention all this because I’ve been thinking about holidays and books lately (to say nothing of summer vacation).  With the many winter solstice holidays coming, I was going to be timely and post a list of YA holiday books.  But a quick check the internet says it’s been done by folks with far better reading habits than I.  So, I decided to talk about how holidays can help an author tell a story.

Holiday World Building
    If I say, “Santa’s Workshop,” you likely get a vision that’s similar to mine—gallons of blood and a chipper/shredder full of... wait, that’s Valentines.  Back to Santa.  We both know his workshop is at the top of the globe.  What’s more, if we’re talking Santa, we’ve agreed that there is a Santa.  Interesting that we can make that leap easier that we can deal with melting polar ice caps.

    Even if the book isn’t about the actual holiday story, the holiday can add to the setting.  A contemporary story can have decorated department store windows.  A space station 100 years in the future can have a faux-holly wreath.  Come to think of it, a wreath might be the one thing the Sci-Fi author doesn’t have to describe.

Holiday Characters:
     Holidays come with a cast of well-established characters.  You’ve heard of the Easter Bunny; you know about that Santa guy.  The author doesn’t have to tell you who they are, even if they’re doing an alt-version.  If I say, “Bad Santa,” you know the character just as well as “Good Santa.”

Holiday Timing:
    The author may have to establish the year of the story, but the time of year is pretty well set for a holiday.  Halloween is the evening of October the 31^st.  Thanksgiving in the USA is the fourth Thursday in November.  A Valentines Dance is in mid-February.

Emotional Impact:
     Since I just mentioned Valentines, let’s not ignore the emotional punch associated with holidays.  An author need only mention the date to get some hearts racing.  Of course, the author can go deeper by having their characters experience the holiday in a relatable way.

Apart from helping with the story, holidays have a broader impact.  Clearly the holiday books of my childhood were bought, sold, and saved because of the holiday.  They were read every year because of the holiday.  And while that might pigeonhole a classic holiday book, I think readers are open to holiday settings any time of the year.

I’d be delighted to hear your thoughts—and getting back to my original idea, what are your favorite YA holiday books?  Mine happens to be the one I’m writing right now.  Well, that and Terry Prachett’s Hogfather, and a friend’s that isn’t quite done yet, so I can’t tell you about it, but it rocks.

May you have the best of whatever holiday you like.  I’m off to untangle the friggin’ lights.

Self Doubt and Writing

My sister is an artist.

Some of my earliest memories are of her drawing or of people talking about her drawing.

Gifted.

Talented.

Each word used to describe her and each word is absolutely true. Me on the other hand…I can’t draw a stick figure.  

For years, I used to watch my sister about pull her hair out over her work. “It’s not good enough,” she’d say or “It’s not done.”

I would sit back on the couch of our small living room and see nothing but spectacular brilliance. How could she not see the absolute beauty she created when it was right there staring her in the face?

I never got it…until I took my fascination with storytelling and decided to pursue a publishing career.

Last week, I finished revisions for a story and I felt a little stir crazy as I closed out the document. Doubt nagged and chewed at my confidence. My mind raced through all the possible other things I could have done with the storyline, characterization, or plot.

My trusted beta readers and critique partners all told me that it was ready…that they loved the story, but when I would reopen the document, all I saw were things I could have done differently or possibly better.

Let me throw this onto the table: I feel this way with every story I finish and each time I type “The End” I understand my sister.

My book was like her painting; it’s my work of art. While others can appreciate its beauty for what it is, as the artist, I see where I could improve.

And when I made the connection, when I realized I wasn’t appreciating the beauty in front of me, I took a step back and a deep breath.

I love my story. I love my characters and the plot and everything about it. Writers are artists. We use words instead of a paintbrush. I think it’s good that we are always pushing ourselves to be better, but remember to take a step back and congratulate yourself for your accomplishments.