Older Middle Grade

First of all, my profuse apologies that I never made it back here last week. In addition to all my work related tasks, there were a few family dramas and projects that sucked up all the remaining oxygen. So sorry!

Now, where were we? Ah yes. Dave brought up the fuzzy line between the parameters of YA and Middle Grade, especially where longer works of fantasy were involved, pointing out that many of these longer books had complex plots and darker themes than was typically considered MG, so why aren’t they YA?

The truth is, a lot of fantasy falls into this older middle grade category. It can end up in that older category by virtue of length, themes, issues, or the narrative structure/format. And even with all of those being more sophisticated, it still doesn’t quite achieve YA. Why is that?

Kids mature at all different levels, some 11 year olds dying to begin wearing makeup and practice their booty shakes in the mirror, while some 13 year olds are clinging grimly to childhood with both hands. So there is a rather huge gray area that could go either way. But there are a few clues to look for.

One key indicator is the age of the protagonist. It is rare that teens will read books about kids younger than themselves. But even more, I think, at its core, it’s the nature of the issues the protagonist is grappling with. If the protagonist is still moving through their world as a kid, then it falls into an older middle grade category. If the protagonist is struggling with the issues of coming into their adulthood or some darker issues that simply aren’t appropriate for most 8-12 year olds, then it will probably be a YA.

Another factor is that fantasy worlds tend to be more complex than our world, and in a good fantasy, that world intersects intimately with the plot—meaning it cannot be separated out. So most of that world building will need to be there. And when you’ve created an intricate, detailed world for a book, it’s a richer reading experience if the plot connects with several layers of that world. Mythical or magical races, elaborate magical systems, Other societal structures and customs—all of those tend to require a bigger story in order to fully flesh out those elements.

So on one level, that older middle grade designation indicates more sophisticated story telling techniques and structures. A more complex, multi-layered reading experience for those kids who have the skills.

But is also encompasses slightly darker themes as well. Older middle grade can have a lot of things that YA has; violence, horror, complex interpersonal relationships, problems or issues. What it pretty much never has is anything of a sexual nature, except perhaps a very chaste first kiss—but a lust-less one. It can touch on the changes of puberty an 11 or 12 yo might be experiencing, but not the repercussions of those changes—lust, sex, etc. Once you get into those areas, you’re in YA territory.

Another area that I think is saved solely for YA are the deeply damaged, dark psyche issues. Cutting, anorexia, self destructive behaviors, child abuse, etc., are most often dealt with in YA. There will always be exception to every guideline out there, but in general, this seems to be the case.

There is a lot of crossover, however, because not all 12, 13, , and even 14 year olds want to read books that deal with YA-centric issues. They might just want a rich, complex story that doesn’t touch on “coming of age” issues.

The Last Apprentice series by Joseph Delaney that Dave mentions is a great example. It doesn’t deal with any of the issues that immediately cast it as YA. However, it is a scary, dark story, not one that the average 8 or 9 year old reader would be ready for, and one that any number of 13 year olds (or adults!) might enjoy. (Scariest witch EVER!)

Fly by Night, on the other hand, doesn’t have anything too scary (if memory serves) but the world of the story is fairly complex socially and politically, and the reader needs to be old enough to understand those concepts.

And then you have The Graveyard Book, which is very clearly a MG by virtue of the story and the length, and yets open with a serial killer and explodes every preconception we have. :-)

I think Theodosia is pretty firmly older middle grade and doesn’t really have anything that would put her in a YA category, other than length. If she were crushing on Sticky Will, or antsy for her first ball or wondering when she was going to have her coming out or debut, she would be young YA. Or Tween, maybe. I also broke a cardinal rule in the Theodosia books, by having her only be 11. As I said above, you most often want to set the age of the protagonist at the upper end of the age level of your anticipated readers. However, a large part of Theodosia was her precociousness, and what is precocious at 11, is not even remotely so at 13, so she really needed to be younger. Luckily, my saint of an editor let me keep it that way.

I see a lot less of a line between some of the YA and adult fantasy books, especially since the coming of age hero is such a convention in a lot of adult fantasy. Again, what makes that determination is the scope of the story, what issues it focuses on; global, social, or inter-personal. Whether the protagonist is telling the story with the benefit of hindsight or distance, or whether they are fully in the moment. The truth is, a number of books can go either way and someone, the writer, his agent, or the editor, ends up making a call. Sometimes the book will be marketed to both audiences with different covers and shelved in two different places!

But if you are struggling with what your story is, I would look closely at the following:
How old is the protagonist?
Do others in the story treat her/him as an adult or a child?
What are the core issues the protagonist deals with? Do any of those put it automatically into the YA category?

Hope that helps!

Writing YA

I was explaining some of the delineations in writing YA versus MG versus adult books on a list I'm on and thought it might be helpful to post here as well.

Middle grade are emphatically kids books, ones written for kids about kid-like experiences. They can touch on tough things and sad things, but once it touches on anything very dark, it automatically becomes YA. There is a very strong protective bubble around middle grade stories.

Because middle grade books are short 20,000-45,000 words, their scope is much narrower and often the internal and external struggle are very strongly linked or intertwined. Books can be about trying to find a friend or simply objecting to a new move or school. For one, these books are so short, but two, those are the issues kids are dealing with. The range and scope of the actions a kid protagonist can take are greatly limited when compared to those of an adult, and kids need to see themselves reflected in the choices and actions of the main character. Even so, the best of middle grade is still multi-layered, even though subplots are kept to a minimum and interact even more firmly with the main plot than in adult novels.

One way I think that kids books can be different than adult books is that many of middle grade and YA books start with the protagonist NOT wanting something because for this age group, so many of their choices are made for them. Often part of their journey is learning how to make the best to those choices, or learning to live with them, or altering their perspective, or coming to understand how it was actually a good thing.

From a writing mechanics standpoint, MG is almost always told in a single POV.

All the elements of writing good fiction apply to both categories. As I mentioned in the last post, in YA, all literary devices and approaches are available to an author. There really are no limitations.

A lot of the single focus present in MG in terms of plot lines and subplot still exist in YA, but they can be broader if the story demands and supports it.

In YA books, a lot of the protagonists are often still having choices made for them, but they are in the act of claiming some of that power for themselves in a big way. The ways in which a 16 yo can take action are much different and more pronounced than the ways in which a 10 yo can take action, and the books reflect that. They are often about that moment when a teen recognizes they can seize the reins of their own life.

Teens are standing on the cusp of having to make all their own choices, often after years of having choices made for them, so seeing an active—or even a passive—protagonist learn to make choices and then suffer through the consequences of those choices, wherever they might lead, is a key component.

YA books, for many teens, are really safe places to experience a wide variety of things without any actual risk. Kids this age are overwhelmed by their emotions and want to see how others deal with this emotional tsunami that is adolescence, and books are a great place to do that. Which is why it is so ironic and irritating that so many clueless adults are afraid some of these books will give kids “ideas”, when in fact, they act as more of a safety valve. Or serve as a warning.

Teens want to feel emotions in a safe environment, and books allow them to do that.

The funny thing is, while the trappings of being a teen change radically from decade to decade, the core emotions and experiences remain surprisingly constant: friends, fitting in, first love, sexual experiences, defining oneself, coming into personal power, dealing with the mess parents have left behind, the scariness of impending adulthood—all the same stuff we dealt with in our own adolescence. So an ability to access one own’s inner teen is hugely helpful here.

My own opinion is that those core emotions serve as the wide portal for the stories, the big welcome mat that allow teens to connect with so many different types of stories, stories that the adult market considers entirely different genres.

I also think because teens are so fascinated by their own emotional world and sort of define narcissistic, more introspected and inner journey oriented books can do really well for this reader. Readers at this age really want to experience that angst along with the characters; they want to dwell in an emotional landscape.

It's All About Relationships...

One of the benefits of having worked on this manuscript for so %$@#$ long is that I really know what needs to happen in terms of events and the physical movement of the story; they need to journey to Guerande, they need to stop for dinner at Baron Geffoy’s chateaux, they run into so and so at the tavern. I’ve finally got all that stuff firmly nailed down.

So now with all that out of the way, in this draft I am able to really focus on the relationships between these characters. Their interactions are really sparking and growing, but without my dragging them, kicking and screaming, through the motions. For the first time, these relationships feel absolutely real to me, not part of a story I’m writing. It’s the dictation stage, where I just plop myself down as an observer and watch the characters interact and write down what they do and say. They are their own people now.

Relationships are the heart of story for me. Sure we need a good plot, some event or series of events. But that is mostly so we have a vehicle for getting everyone together, for getting them to interact with each other. The plot is the crucible we use to apply pressure to our characters to see how they act and react and interact when stressed. That's when true character emerges.

I love this stage, it is like watching a fire ignite after puffing and blowing on the kindling for ages.

(And I’d like that metaphor a whole lot better if it weren’t 90 degrees and fires raging in Los Angeles… ☹ )

Obsessed Now

I'm sorry I've been so quiet the last two days. Did I mention that I am consumed with this new Present Tense Situation?:-)

In other compulsive/obsessive news, I have found the perfect music for this manuscript! I recently discovered DEAD CAN DANCE, and some of their music feels like it was written just for this mss. (The parts where Lisa Gardner sings--the other guy singer not so much.)

Here is the song I've been listening to all morning, fingers flying.

Present Tense? Really?

So, in the shriek heard round the world, this weekend I learned that my YA story is better served by first person present tense. The problem is, I have already written 350 pages in first person PAST tense. Can you spell f-r-u-s-t-r-a-t-i-n-g?

I was doing a journaling exercise to try to get to the emotional core of a scene I needed to rewrite, and lo and behold, using first person present caused the whole thing to LEAP into focus, sharp and bright. I was stunned. For many reasons. Not the least of which is that I have never even considered present tense as a tool in my writerly toolbox. Just never occurred to me. Probably because I’ve heard so much about how many readers don’t like it. Ah well. For that reason alone, I wish I could ignore this revelation I’ve had. But I can’t. Because it makes the story better.

I was also stunned because usually my muse is better about parceling out the hints in a timely fashion. I would be a tad peeved at her for this late breaking development IF I wasn’t so happy that it’s cracked that story egg wide open. Scenes that I was struggling with now write themselves, issues of the heroine getting lost in the milieu have disappeared. Excess words are falling away and the story lens is somehow now permanently set on closeup. Honestly, I am like a 13 year old girl with her first crush—my WIP is all I can think about 24/7. I am well and truly obsessed, cannot stop thinking about it, and pretty much want to schedule frequent makeout sessions with it.

Yes, we writers are odd beasts.

So this is a good lesson to me. I think from now on, whenever I’m beginning a book, I will make myself write the first few scenes in all the possible tenses and POV combinations to see what shapes up.

So that was my weekend. How about yours?

Juggling a Cast of Characters

So I think I’ve mentioned that I’m juggling a cast of thousands in the Medieval France YA. I need a sense of a full royal court worth of nobles, but I also need for the reader not to get overwhelmed by all the players. I want them to feel real enough that they add texture and richness to the story, but at the same time, I can't allow them to swamp it, either sheer numbers or from being too vivid. And any vividness needs to serve the story overall, not threaten to run away with it.

*I* also need to not get overwhelmed by all the players.

These are more than simply walk ons, but not true secondary characters. And there are a couple of traitors hidden in there, so they need to be on-screen enough that the readers don’t feel cheated when their identities are revealed.

So as I was staring bemusedly at the mss page, trying to decide how to make all these people stand out—for both myself and my readers—I came up with this little system that I thought I’d share.

I took a 3 x 5 index card for each character and put their name on the top: Baron Geffoy
Then I picked three characteristics for that person: jovial, opportunistic, nurses grudges.
Then I added a hidden core to that person, that was the core motivation for both his personality traits and actions: impotent

Next I listed a handful of dominant physical features that would help me key into that character, but that would also act as tags to help anchor the reader in that character: pale read beard hides a weak chin, blue eyes watery from too many evenings spent drinking wine, barrel chested.

Last, I listed two or three mannerisms that this person used: stroking his beard, shifting eyes, rocking back on his heels

I was surprised by how much this helped me get everyone straight in my mind, and helped delineate them on the page. Especially since, at face value, many of them had similar characteristics. For example, many of them were arrogant, as nobles often are. But I learned that one of them was arrogant and dismissive, while another was arrogant and calculating, which totally informed how they interacted with others and helped me nail their speech patterns.
It also helped be sure that all the information I divulged about these characters went to building a cohesive impression.

So anyway, I thought I’d pass that trick along in case anyone else was struggling with a similar problem.

To recap…

Name:

Three Characteristics:

Hidden Core:

Dominant features:

Mannerisms:

Notes From the Conference-Anica Rissi of Simon PULSE

Anica Rissi is an editor with Simon & Schuster's YA imprint, PULSE. She talked about YA, and again, her talk was worth the price of admission for me because she gave me all sorts of permission. Yes, I know that I'm a grown woman, and I really shouldn't need anyone's permission--but there you have it.

In her talk, Anica emphasized that dark books are the perfect place for teens to experience some really dark things. It's a safe place to learn and to become aware.

She really helped convince me that there is absolutely a place for dark books in teens' reading material. Now, of course as a teen, I knew that and gobbled up those kind of books. In fact, in high school I carried around a copy of my mom's Fear of Flying (a very racy book, back in the day) just for the shock value, although I never read it. I think it was too boring for me at the time. So much for racy. :-)

But as an adult, I tend to keep one eye to being responsible--the kiss of death in YA. This talk reminded me how I need to be true to my teen self, and throw my parental self right out the frickin' window. Yep. That splat you heard was my parental self hitting the pavement. Ha!

From Anica Rissi:

YA is always in the moment, often in first person so the reader can feel the immediacy. Never looking back.

Simon Pulse only handles YA, mostly older YA, 14 and up or 16 and up.

She defines commercial as having the broadest audience possible, which I thought was a terrific definition.

Teens live online.

Personally, she loves edgy, she loves dark, and she loves big mistakes. YA is all about figuring out who you are and what you believe.

Mistakes have consequences and working through those consequences make for a great book.

Loves books about girls making wrong choices and going farther and farther down that bleack, heartbreaking road. Needs cathartic release of those kinds of reads.

Likes books with a big ol' honkin' HOOK, something that everyone "gets" upon hearing about it.

Also loves Quirky Humor and Dark Humor, as well as Paranormal.

Looking for emotional truth. Also likes to explore faith as an identity issue.

What does she see on the horizon?
Steampunk
Fallen Angels
Zombies