teen fiction

A writer’s pick me up…

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Every once in a while, you need to hear you’re doing a good job. Once upon a time, when I went to an office building every day, I could find fulfillment through working hard and gaining positive feedback from my bosses. Then I became a mom, and through an interesting turn of events and a move across country, I found myself given the opportunity of staying home while my children were little as I wrote part-time and worked on my novel career.

I’ll say one thing. Performance reviews for a mom aren’t the same. There’s Mother’s Day, where the kids and hubby go all out, but most of the other days of the year, I’m just trekking along. Not unappreciated, but no one is checking any “outstanding” boxes either (not that I usually earn an “outstanding,” I realize, as my kids ate ice cream for dinner tonight;). Plenty of times though, the kids cry and whine at me, but it’s the little moments, the hugs and kisses and the “I missed you Mommy,” that are my best indication I’m doing a few things right.

Then there’s writing. My part-time work for various publications is pretty straightforward. I get the job done, and usually it needs to get done quickly. The novel writing? Well, that’s more complicated. Ever since pitching my novel to a small press three years ago, I’ve found that although I started with a good toolbox for writing fiction, I have a lifelong journey of improvement ahead.

But, two Saturdays ago, I got to enjoy one small moment of “Atta girl!” Accidental Mobster, my first published novel (and the second one I’d ever written–the first is floating around somewhere on my computer), won an award from a group of women educators, The Creative Women of Oklahoma Award for Young Adult Book. I had the opportunity to receive the award at a banquet and talk to a room full of women about my writing story. The way I was treated and the response to my books was an overwhelming lift to my spirits.

Awards push me forward. They make me want to get better, to prove I’m deserving of what’s been given. That’s always been how I’ve seen any achievement in my life–a mark that I’m headed the right direction but can always keep striving. I’m excited for the road ahead. I can’t wait to share the stories I have and let the audience into the souls of new characters.

But for just a few moments, I’m going to take a breath. Atta girl.

Cheers.

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Doing my best to form a coherent thought during a brief little speech at the banquet.

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Getting ready to talk. Happy to report the trilogy sold out before the discussion began!

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Husband didn’t get my “House of Cards” reference to my outfit until he took this picture:)

 

What the fudgcicles? To cuss or not to cuss in YA fiction…

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In every writing workshop I conduct, the topic of using swear words in teen fiction is a huge issue of debate, with people as polarized over the subject as the American legislature on the Affordable Healthcare Act. And I have to say, I’ve found both sides (on the swear word debate) to have valid reasons for believing the way they do.

On the pro side, I’ve found that teens in my workshops shrug their shoulders and often tell me that they use bad language all the time. “Why not use it in writing? It reflects reality,” they say. And I see so many aspiring writers who appear to do just that–have their characters use bad language in an effort to make them seem real. Cool. Edgy.

Then, on the other side of the debate, are those (often parents) who say, “Why expose my kids to this? They get enough of it every day.” Still others say it’s lazy writing, that curse words are used when the writer wants to sound tough but can’t think of any other way to achieve it.

I like to take a step back from the argument. I mean, I’m breaking up fights between toddlers on a daily basis; by noon each day, I’ve usually done a year’s worth of refereeing. I don’t like to take sides when I don’t have to. I’m a “let’s look at the situation” type of gal. So where do I weigh in on this issue?

After writing twelve novels (and counting) and having both used language and shied away from it in the past, I’ve learned this: your character and target audience will make the difference. For example, in the Teen Mobster Series, my target age range is eleven and up. Of course, it is the Mafia, which isn’t known for it’s, uh, gentlemanly behavior. But I found a way around it, telling my audience that men are “cursing” in the story without writing the actual words. Realistic, but still appropriate for the age range.

But in other books, especially more mature teen books (14+) that deal with contemporary issues (sexuality and bullying, for example–follow my Twitter handle to learn more about upcoming releases), sometimes a character displays his or her personality through the use of a curse word, or a character’s reaction to cursing tells the audience more about him or her. I try to use swearing sparingly, but with discretion, always wanting a novel that deals with critical issues to feel authentic to the readers it’s meant to touch.

So the decision is yours. Just remember what Ernest Hemingway said:

“…Try and write straight English; never using slang except in dialogue and then only when unavoidable. Because all slang goes sour in a short time.”

Cheers.

The curse of good writing

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This past week, I finally got around to reading John Green’s The Fault in Our Stars. I had high expectations, because of the buzz, of course. And the book met those expectations, except, not exactly in the way I expected.

Here’s the thing. It’s hard for me to love a sad book. But this novel begins without making an apology for the track it will take. It is about cancer, about teenagers struggling with the realities of the disease, especially those deemed terminal. But it is funny. Maybe a little too witty for its intended audience, because even I had to take a pause on some of the vocabulary, and in touring the reviews on Amazon, more than one teen complained of the book being written above their heads. But if you’re an adult (or teen) who likes books with exceptional wording and that tests the mind (and something that is, truly, hysterical), it’s definitely worth the read.

The problem for me is putting the thing down. As when any good book ends, I’m left mourning the characters–a mini funeral in the mind for what Ally Condie once called “paper people.” I want to know what happens, you know, after the last word. But the thing with Hazel and Augustus is that you know how it ends, even if it’s not inscribed on the page. But the mourning, at least for me, still happened.  Even if Hazel and Augustus (and even Isaac) didn’t feel like real teenagers, they felt like people to me by the end of the book.

What John Green has done the best, beside telling an entertaining story, is given many of us a look into the world of a terminally ill young person. And in doing so, he brings our own mortality and the desire to “leave a mark” into sharp relief. With the character of Peter, he proves that a long life led is not necessarily a good life led.

So I guess the only other issue I had was with the dismality (word, right?) of the afterlife. Hazel appears to believe in oblivion, Augustus in Something. As for me, wherever Heaven is, whatever it looks like (and I’m really not into cloud mansions, so I’m not looking for one of those), I’m headed there.

The Fault in Our Stars by John Green (2012)

the_fault_in_our_stars_

The craft of writing – Always a learning process

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I love to write. I always have. In the first grade, I wrote a story about a princess tiger who takes a cloud train back to the zoo. The concept was a little strange, to say the least, and the illustration, was, uh, imaginative. But if nothing else, I like to look at the homemade book to remind myself of one thing:

I have always wanted to be a writer.

And I became one. From a news journalist to fiction author, the range of my writing runs the gamut. But like any human, I am always growing, learning  and changing as a writer, striving to get better at what I do. I will never be perfect, but I can always improve.

My early stuff is really fun, but my newer stuff is better, and in a few years, I hope to be able to continue to say that. I think of it like my ice skating performances from long ago. One of the first programs I ever competed with was an up-tempo classical number from The Marriage of Figaro, in which I wore an ivory dress with gold and green sequence. Yikes, I know, but it was the nineties. The program was simple, but I performed it with much gusto. My most difficult jump at the time was a single Axel, nothing Olympic-level, but the routine is still so much fun to watch on video.

Years later, I skated at the junior level at the National Collegiate Figure Skating Championships. In this program I landed a double Axel as well as several difficult jump combinations. My spins were centered, fast, and complicated. I skated to the haunting waltz from Khachaturian’s Masquerade, outfitted  in a beautiful periwinkle dress with small crystals inlaid in the sleeves and bodice.

These were very different points in my skating career, and obviously, my skating (and fashion sense) had matured and improved by the time I reached the collegiate Nationals. But both performances have merit, both won me a gold medal, and both were enjoyed by the audience.

All that to say this: writing is the same. Our early stuff, whatever level we start at, will always be new and exciting. Sometimes it will need a great deal of work to get published, sometimes not, but even if it could be improved, it doesn’t lessen the value of it. Any writer–all writers–should realize they have room to grow. No one is an expert in this business, and while some may have extensive knowledge to share, approaching the table with humility and an open mind, no matter the level of expertise or success, is a must in my book.

So, until next time, write on.

My next big thing – or rather, two things

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Generally, I like to play my “next big thing” ideas close to my chest, but I was asked to join this blog hop by the talented Paulette Rae, so I decided I’d tell you a little bit about the two books that will complete the Teen Mobster Series. If you haven’t read Accidental Mobster, well, you should. I mean, that’s if you like nail-biting situations that involve the Mafia and high school. AND, it’s only $2.99 for the electronic version, which is way, way cheaper than that Starbucks non-fat vanilla chai I gulped down today.

Anyway, here’s the scoop on how the rest of this YA series is going to shake out.

1: What is the working title of your book(s)?

The second book is called Undercover Wiseguy, and the third is Covert Criminal. Those aren’t really working titles. They’re just titles;-)

2: Where did the idea come from for the book?

I’ve always loved crime drama. I’m probaby the only twelve-year-old who was addicted to Law and Order. I have also scarfed down anything to do with the mob (I could sing you the intro to the Sopranos, if you were so inclined.) I also have a number of family and friends in law enforcement, which makes me pretty sympathetic to the enforcement of justice (with the exception of the random speeding tickets I keep getting on the same stupid road. Forget a breathalyzer for your car–I need enforced cruise control)..

LSS (you know, long story short), I was destined to combine my love of writing teen fiction with my obsession of crime drama.

3: What genre does your book come under?

Teen fiction. More specifically, teen crime fiction, with a heap of action, a dollop of humor, and a sprinkling of romance.

4: Which actors would you choose to play your characters in a movie rendition?

Hmmmm.  If this was made, like, next year, I think Spencer Walsh from Good Luck Charlie would be great for the role of Danny, my protaganist, Elle Fanning for love interest Portia, Dayo Okeniyi from Hunger Games for best friend Reggie, and David Henrie and Lucy Hale for Danny’s semi-siblings, Vince and Julia Vigliotti. I think Gabriel Macht from Suits for Danny’s mobster godfather, Gino Vigliotti, and Alex O’Loughlin from Hawaii Five-O for everyone’s favorite FBI agent (see pics below).

5: What is the one-sentence synopsis of your book?

When teenager Danny Higgins goes to live with a mob family, he finds that keeping secrets and using his “street smarts” is the only way to survive.

6: Is your book self-published, published by an independent publisher, or represented by an agency?

Published by the most awesomest independent publisher, Bluewood Publishing Ltd.

7: How long did it take you to write the first draft of your manuscript?

Six months. I wrote both books in the early morning hours and during my daughter’s naptimes in 2011.

8: What other books would you compare this story to within your genre?

For the series: think Mario Puzo’s Godfather got cleaned up and went to high school.

9: Who or what inspired you to write this book?

My respect for law enforcement and my value of family greatly influenced this series.

10: What else about your book might pique the reader’s interest?

It’s not like most of the young adult novels out there. These books are not ooey-gooey romance or paranormal craziness. If you like shows like Castle, Criminal Minds, or the Sopranos, you’re probably going to enjoy this series. And even though the series is appropriate for readers as young as 12, I have had many adults email me to say how much they enjoyed Accidental Mobster and look forward to the next two books.

Now, if you are looking for some more great fiction, you should definitely check out these other authors.

Paulette Rae – This sizzling romance author has an exciting new project with, gasp!, a hitchhiker. Check out the details here.

K.D. Berry – This fantasy author team is responsible for the award-winning Dragon’s Away.

L.M. Fry – For a fun read with a sassy thirteen-year-old protagonist, check out L.M. Fry’s Soul Seer. Major plus is the hilarity that follows with having a large family.

My dream cast for the Teen Mobsters Series:

harper

Shane Harper as Danny

 

Fanning

Elle Fanning as Portia

 

Okeniyi

Dayo Okeniyi as Reggie

 

Henrie

David Henrie as Vince

 

Hale

Lucy Hale as Julia

 

Macht

Gabriel Macht as Gino

 

OLoughlin

Alex O’Loughlin as Special Agent —- (don’t want to spoil the first book for you!)

 

 

Rules for opening the story (easier to read than follow!)

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In Twilight, the carry on was a parka. In Harry Potter, Mr. and Mrs. Dursley were perfectly normal. And in Hunger Games, the other side of the bed was cold.

These are the openers for three books that have taken both the publishing world and Hollywood by storm. While the stories have grabbed the minds and hearts of readers, one wonders just how important the opening of the story is. I mean, we want deep characters whom we can care about, nail-biting action, and an ending that either suprises us or delivers a great victory. Does it matter if the first two or three pages limp along a little, if the rest of the story is a home run hit?

Oh yeah. It totally does.

This is because the opening is what helps you sell your idea and your writing. There’s no perfect formula for opening a story. That’s because writing isn’t formulaic (and writing that is doesn’t usually go anywhere). But after reading hundreds of bestsellers over the past few years and finally breaking into the publishing world myself, I have learned some important lessons about opening the story. Call it a short dos and don’ts list. Oh, and remember, all these rules have and will be broken. That’s the mind-boggling part of this game.

Do

– Let the reader hear your writing voice and get the feel for the intended mood of your novel. Is the story supposed to be funny or witty? Get those one-liners rolling. Action packed? Start with conflict. Mysterious or dark? Create the atmosphere right away.

– Introduce your character and what he/she is like. A reader needs to know who the protaganist is and why we should care about him or her (or, like in Lu’s Legend, both). This doesn’t mean you start with a list of attributes. Through action or dialogue and the characters reactive thoughts, you can show who this person is meant to be.

– Pace yourself. This is tough advice to follow, especially because agents and editors don’t give a potential book much of a look past the first few pages. But trying to get to the crux of your story too quickly doesn’t give you time to build the anticipation for the inciting incident.

Don’t

– Start out with the same old, same old story line. In teen comtemporary or paranormal fiction, you see new school situations all the time. In dystopian novels, it’s the day you get your job, mate, etc. If you read a lot (and if you’re an aspiring writer, there’s no excuse not to), than you are at an advantage. If you’ve heard it before, chances are, an agent or editor has too–a hundred million times.

– Give all the details. You’re writing a novel, not a news article. No inverted pyramid necessary. My mom is really good at this. She tells me stories about the most mundane things, but she always builds the anticipation by keeping the important information back and creating a sense of mystery. It may be groan-inducing when it’s a story about a trip to the grocery store, but this is pretty critical when beginning your novel.

– Get married to your opening so you can’t change it. I know the feeling of crafting the perfect paragraph, page, or first chapter and feeling you can’t possibly get rid of it after all that hard work. On the other hand, if, after writing most or all of the rest of your novel, you can think of a better way to start it, be ready to hit that delete button. It’s not about saving every single line you crafted–it’s about telling the best possible version of your story. And sometimes, that’s why feedback is worth it’s weight in publishing gold.

Finding the Write Time

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Hey! Just let it go, alright? I can hear you groaning over my poor pun of a title. Whatever.

The thing is, you know exactly what I’m talking about here, right? How can the not-quite-full-time novelist make more time for writing?

The answer is she (or he) digs around in her day and finds a few spare moments. I’m telling you, it’s no easier for me than it is for you. In fact, it’s really, really hard.

Here are the facts. I have kids. Little kids. As in, a baby and a toddler. Moments of silence are as rare as a clean diaper around here. Also, I train for half-marathons and blog about it here. Finally, I just released the first book in a new series, and promoting it takes some serious time. I’m talking serious look-at-me, look-at-me social media time.

But I still get the job done. I’ve completed two new manuscripts this year, as well as a full edit of some past work. It works like this: my husband’s alarm goes off, and I roll out of the bed. Before I even have my legs firmly beneath me, I head to the kitchen, rev the laptop, and get the fingers moving. That’s discipline, baby, and nothing else.

A question I often get at my writing workshops is as follows: “What inspires you to write?” The answers to that question are endless–people, music, news stories, my own crazy past–they all inspire stories. But here’s the answer to the question they don’t ask–the question about whether I’m always inspired when I write.

The answer is no. Sometimes it takes three cups of coffee to write a paragraph. Sometimes I stare at the screen and wave my arms, waiting for magic to happen. Sometimes I stare at the baby monitor and pray for a baby intervention.

Because writing is hard, hard work. It’s awesome I-can’t-believe-I-get-to-do-it work too. But if you think writing comes naturally, think again. Sometimes you push your story out, sometimes you pull it. And even though it’s the coolest job in the world to write books, the job always takes some effort.

And coffee. Lots of it:) I should seriously invest in Foldgers.