High Concept in Middle Grade

Okay, confession time: while I’ve always been a huge lover of middle grade, for many years I never had that much interest in YA. I had nothing against it, of course. It just wasn’t what I was personally interested in reading. But a little over a year ago, my book club, which is usually dedicated to adult literature, decided to start a YA subset, and suddenly I was poring over YA bestsellers like Hunger Games, Divergent, The Fifth Wave, etc., etc. And I have to admit, I love them! Really love them. Yeah, I’m hooked.

Most of the books we end up reading in my YA book club seem to fall into the “high concept” category. I’ve heard “high concept” defined a number of ways, but it all seems to boil down to this: high concept is a story with a hook. Not a quiet, coming-of-age type story, but a story where the premise is key. It can usually be summed up in one sentence in which the often blockbuster nature of the story is evident. For example, I just finished reading the YA time-travel All Our Yesterdays by Cristin Terrill. (Loved it!!) I can easily come up with a summary that conveys the intrigue of the plot in one sentence: Girl in 2013 tries to keep her best friend alive after an attempt on his life, not realizing that an older version of herself from the future is the one trying to kill him.

Reading all this YA lately has me comparing it to the world of middle grade, and I can’t help but notice that the stories often seem “bigger” in YA. I’ve heard many people in the industry describe the difference between middle grade and YA (besides the age of the protagonist) this way: middle grade is closer to home and more inwardly based. The protagonist usually faces conflict that has to do with their everyday lives, such as conflict with their parents, siblings, and friends or problems at school. In YA, on the other hand, external events typically play a much larger role in triggering the internal change experienced by the protagonist. The scope is larger. Often the main character is starting to step outside the world of his or her childhood, and conflicts and consequences are more substantial and wide-reaching.

So lately I’ve found myself wondering: does the “larger” nature of YA lend itself better to high-concept storylines? Certainly we see high concept in middle grade. Look at books like Artemis Fowl and Harry Potter. Nathan Bransford points out that even Charlie and the Chocolate Factory is high concept: kid wins a golden ticket to a mysterious candy factory.

Still, is it me, or does YA often seem a lot more "blockbuster-y" than middle grade? Of course, as I’ve confessed, I’m still pretty new to YA, and these are largely the musings of sleep-deprived mind after midnight. But I’m curious what others think. Does YA lend itself better to high concept than middle grade? And is that good or bad for the world of middle grade?

-Dawn Lairamore

photo credit: Stuck in Customs via photopin cc

An Incurable Pantster Plots with Her Characters

With the galleys of THE EIGHTH DAY mailed back to the publisher and revisions of Book 2 sent to my editor, the time came to face Book 3. So I called on my characters for help ...

Dianne: Hello, team! Glad to have you all back for Book 3 in this series – and to the new characters, welcome. I assume you’ve seen the proposed outline for the next book, and ...well ... you know I’m not very good with outlines. But after two books, we’re used to working together, so I figure you guys will know where I’m going astray.

MG Protagonist: Well, there’s something majorly wrong with the climax. In the first book, we saved the world. I mean, the Villain was this close to succeeding. (holds up his fingers a millimeter apart) And in the second book, you backed off from that. There was plenty of exciting stuff, all right – my identity was at stake, and my two YA friends’ lives were in danger … But it was all very personal.

YA Character 1: Yeah, he’s right. Personal stakes were okay for Book 2, but in Book 3, we’ve got to get back to saving the world.

Dianne: But the New Villain has an evil plan … That's End of the World stuff right there.

YA Character 2: And you have us stopping him while he’s still three or four steps away from succeeding. Not very scary.

Dianne: I see your point.

New MG Character: If you let the New Villain get a little closer to success, he’s going to have to involve me. I’m going to have to make up my mind which side I’m on. Won’t that solve the problem you’re having with my character arc?

Dianne: You’re right. It will! Good idea!

New Villain: I object to my cartoonish nature. You did everything but give me a cape to swoop and a mustache to twirl. Can’t you provide me with some depth?

Dianne: Not in the outline, buster. You’re going to have to develop your personality on the page, just like everybody else here.

YA Character 1: Yeah. You should have seen how she had me planned in her outline for Book 1. But I set her straight by the end of the first draft.

Secondary MG Character: Hey, how come I don’t show up until the middle of the book? I was beginning to think I didn’t have a part!

Dianne: We couldn’t have a story without you! Readers simultaneously love you and want to strangle you. But you aren't needed until this part.

Secondary MG Character: But after you bring me in, I’ve got nothing to do. I don’t even see my name mentioned in the climax!

Dianne: I didn’t know how I was going to use you in the climax of Book 1 either, but I brought you along for the ride – and when the time came, I discovered what you needed to do. Trust me. You’re my wild card. When it’s time to use you, I’ll know.

Secondary YA Character: Now it’s my turn to complain. What’s this about me possibly dying?!

Dianne: It’s the third book. There should be casualties. We can’t just kill off bad guys and lose none of our own. What do you think this is, the Twilight series?

Secondary YA Character: But why me? Do you know how many times I’ve saved his life or bailed him out of trouble? (points at YA Character 1)

Dianne: That’s kind of why you have to go. That and your unrequited feelings for him.

YA Character 1: (holds his hands up) Hey, don’t kill her off for the sake of my character arc. I don’t want to take the rap for that!

MG Protagonist: I don’t think it’s fair for you to kill her as a cheap emotional trick.

Secondary YA Character: I refuse to be the All is Lost Moment! (starts cleaning her weapons in a threatening manner)

Dianne: I wouldn’t waste you like that. If you go, it will be a Turning Point – a Courageous Sacrifice for your friends. Otherwise, I won’t do it. Deal?

Secondary YA Character: (puts away her weapons) Deal. I’m never going to win his heart away from her anyway. (shoots a dirty glance at YA Character 2) I might as well go out in a Blaze of Glory.

YA Character 2: (under her breath) Please do.

MG Protagonist: Hey, the ending scene is all right by the way.  Good job there.  All that mushy stuff between the YA characters is over and it’s back to me. Me and  my MG friends and How I’ve Grown Up Since Book 1. But there’s still room for more, know what I mean? I’m only in eighth grade after all.

Dianne: That’s what we’re working toward, then. That ending. Okay, folks. Let me mull over the World Stakes Climax and New MG Character's arc, and we’ll meet back here for Chapter 1 in a couple days. We can do this. Right?

Right? Cross your fingers for me, PM readers. I hope I can do this!

The Creativity Killers that Keep the Idea Box Empty, and How to Fill it Back Up

Have you ever faced a blank computer screen and wondered how to think up a story that's new and interesting? I think most of us have, especially after writing more than one story. The first one is easy-we wouldn't have started writing at all if not for the first idea. It's what comes after that may be a struggle. There are obvious creativity killers, and some of those we don’t have much control over. Working long or hard hours to earn a living wage is probably at the top of the list, and the most common issue with writers. Family responsibilities or health problems are another. But sometimes even when you do have time to write, the ideas just aren’t there. I’m not talking about writer’s block, but more the way to finish a story, or even come up with one to begin with. These days I usually don’t have any trouble with ideas, because I’ve learned the best ways to generate them, but it’s taken me a little longer to figure out the best way to overcome challenges to figuring out the creative details necessary to make a plot idea into a whole story.

I know in talking to other writers, some really struggle with generating basic plot ideas. There has been quite a bit of scientific research done on creativity, especially in business environments and while much of it doesn’t translate to a writer’s creativity, some bits of it are useful. In a business environment, the lack of time to free think is a huge block to creativity. If much of a worker’s day is taken up with paperwork or talking on the phone or meetings, and the rest of the time is taken up with the actual job, there’s no time for the brain to generate new ideas. This relates to writers when we start to evaluate the value of time spent on social media. I love a writer’s forum I belong to, and I enjoy Facebook and Twitter, but I’ve realized the use of them should be more a treat to myself to relax after I’ve accomplished either some writing or some planning about what I’m going to write.

There is pressure for a writer to spend time on social media to build a “brand” or just to remind people they exist, but if you have trouble coming up with an idea or carrying a story through to the end, then saying no to social media to give yourself time to think might be the most benefit to you in the long run.

I’ve heard a writer say she can’t spend the time to think because it’s a waste of writing time. I know the pressure to write when you only have a few brief hours for it can seem too valuable to give up, but if you spend that time struggling to figure out what happens next in a story, eking out a few hundred words, it might help to step away and do something totally different. Take the pressure off your brain and it may reward you.

I don’t get my best ideas sitting in front of my computer. I have one odd way that helps me. I go to a library and roam around the nonfiction section, especially the travel, art and craft, and history sections. If you are a visual person, like I am, looking at pictures in books does wonders for my creativity. 

Walking around an unfamiliar part of my city is something else I've done that's helped, especially when it involves observing the people there. Even concentrating on observing people or places while you are doing your regular errands can help. If you can get away for a day trip, there is a wealth of inspiration out there. A few months ago I knew I needed to be somewhere new and different, but couldn't just take off on an exotic trip, so I found a place to go a few hours away. It was an annual pawpaw festival. If you don't know what a pawpaw is, it's a fruit native to the U.S., and Ohio has a region where they grow well. But that's not important to my point here. The festival turned out to have a lot more going on besides fruit. I watched a demonstration of people from the Society for Creative Anachronism (I don't know why they were at the pawpaw festival, but I'm glad they were.) That gave me a terrific idea for a story, and made the drive and the time it took worth it.  

I’ve heard from other writers that doing something physical, or doing something mindless helps them. It’s worth trying all sorts of things to figure out what works best. So what works best for you to keep the ideas flowing? And what can kill your creativity?

~ Dee Garretson

Misusing Adolescent Jargon in Middle-Grade Writing by Braden Bell

I’ve spent the last sixteen years working as a middle school teacher. Spending my days among middle grade adolescents provides wonderful opportunities for continuing research.

Since not everyone is lucky enough to be a middle school teacher, I thought I might use my monthly blog to pass on observations about today’s adolescents. I hope these thoughts can be of use to people who write about and for middle grade readers. I’ll add the obvious caveat that these are general principles based on my own experience. I’m sure exceptions exist.

I’m going to start with something that has become a pet peeve of mine: misuse of teen jargon (and I will use that term for any language unique to teens—slang, abbreviations, etc.).

I imagine we’ve all read books where the author tried to create an authentic middle grade voice by cramming contemporary jargon/slang/current teen lingo into a character’s mouth. It didn’t work. In fact, I think it sounds less authentic than having characters use no jargon at all.

Jargon is tricky. Kids do use it and authors want characters to sound authentic. But vernacular changes quickly, as do the cultural phenomena that inform the behavior and lived experience of young teens.

A term that is current when a book goes to the editor may be old news by the time the book is actually published. Unless you are writing historical fiction, this is probably something to avoid.

I know that sounds like common sense. I know this all sounds obvious. But based on more than a few things I’ve read, I think it’s a huge blind spot many authors have. I’ve certainly fallen into the trap and was saved only by a student reading my manuscript.

I don’t think it’s just me. I think all adults do this. When I accompany students to service projects or field trips, we interact with adults who don’t spend much time with kids. They almost always try to drop in some kind of cultural reference or slang term to be fun or cool. But it doesn’t work. It never works. However, I’m convinced most adults don’t realize just how off they are.

Here’s a suggestion: if a particular term was used in your youth, it’s probably hopelessly outdated now (same with musical groups or movies). In fact, if the last time you heard it on actual teen lips was more than a year ago, I’d be wary.  Go somewhere teens hang out and listen carefully.

Personally, I feel it’s better to not use jargon at all than it is to use outdated jargon.

This leads me to my next point, which is more subtle but possibly more important. Most kids I know don’t use jargon all that much in everyday conversation. I rarely hear them say anything like, “Okay, give me the 411/deets,” or whatever other term adults think teens use. I think you’re far more likely to hear, “No way! I wanna hear everything!” 

Off the top of my head, I think they are most likely to use jargon as adjectives, for example, "That guy is so jacked!" My sense is that they use nouns and verbs less frequently.

When they do use jargon, most teens don’t use it incessantly. For example, I have heard many students use “epic,” “legit,” and even “dude.” I have not heard them use it in every sentence.

(As an aside, let me add that this is true for many specific demographic groups, not just teens. I live in a rural county in the South. The people I know sound almost nothing like the clichés I often read or see in movies. For example, and this may be shocking, I have never been called “Sugar.” Not even by middle-aged waitresses at diners. But I digress.)

The main thing to remembers is that adolescents do use lingo sometimes, but in everyday settings, it’s generally the lesser part of their vocabulary. As authors, we might think of it as pepper: a useful ingredient to be employed with caution.

The adolescents I hear are more likely to use regular English, but in informal, even sloppy ways. For example, “gotta” instead of “got to.” They often use the shortest word that will work, have simple syntax, and speak with a different cadence, inflection and tempo than adults.

Going to places where teens congregate and listening can be illuminating. Girls and boys talk differently, and they talk differently in single-sex groups than they do in mixed groups. They talk differently with each other than they do when adults are around. On and on. It is far richer and much more complex than throwing a few current-sounding terms in. 

Jargon provides rich and tempting opportunities for authorial mistakes. I asked some students to read an early draft of my book, The Kindling. Among other things, I asked them to critique the voice and dialogue of the characters and tell me if they sounded like real teenagers. I was intrigued that the times they felt the voices were most authentic was when the characters used no teen jargon. The times they felt the voices were least realistic were when I employed jargon.

Looking back, I realize that this was because I had inadvertently descended into caricature. The jargon, while currently in use, was disproportionate and excessive. It turned my characters into clichés and was too obvious, obscuring more nuanced bits of characterization. Luckily, my students caught it.

There's an element of common sense here. If you don't speak French, be very cautious with having your characters speak French. Do a little research and at least have a native speaker look over your work. 

Perhaps the most important thing to remember is that characters ought to seem like dimensional human beings. Jargon, like other external elements, ought to be a finishing touch, not the main component.

Note: The one exception to all I’ve said is that when they text or interact on social media, many teens do use a lot of abbreviations and lingo. However, I think that’s more about ease and convenience than it is reflective of their real mode of speech. 

Thanks for stopping by today! I'll let you all get back to your NaNo goals.

7 Ways to get Agents to Bounce You Fast!

Some of these might sound silly, but in many cases you don't know until you know. Think of an agent as your ultimate employer and you're on the job interview of your career. Take it seriously. Doing the wrong thing can make you look unintentionally thoughtless or unprofessional. I think we've all made a mistake or two when we've sent out queries, but maybe one or two of these suggestions will help you avoid some common pitfalls. Please feel free to add on to this list in the comment section.

#7 Comparing your book to Harry Potter

It's never wise to compare your book to Harry Potter, Hunger Games, Hugo, or any other bestselling book when sending your initial query. If the agent specifically asks for a comparison to something that's already out there, make sure your comparison is relevant. If your book is truly about a school for wizards, then sure, go ahead and give it the old Harry Potter try, but also think about your writing style. Do you have a similar style to JK Rowlings or is your style more comparable to Rick Riordan, though the subject matter is different? Think about this. Don't give a hasty answer that's going to make an agent question your authority. 

#6 No Crazy Fonts

You'd think this one would be a no brainer, but you'd be surprised. Think of your query as your resume. Would you send an employer a resume in Comic Sans? Unless you're applying to clown school, I sure hope not! 

#5 Typos

Believe it or not, I've critiqued several "final" query letters with typos in them. Be sure, sure, sure, there aren't any typos in your query. If you have a typo or two in a 250 word letter, how is your manuscript going to look? Not to mention, it comes off as careless.

#4 Too Many World Words

Sending a query using too many of your world's terms can be downright confusing for anyone other than you. For example, if you've written a Science Fiction novel, don't describe humans as Torvacs and dogs as Bollas because that's what they're called in your book. A. The agent is not going to understand that during the first read through. B. They don't want to have to read your letter more than once to understand what you're trying to say. C. If you try and explain what a Torvac and a Bolla is in your query letter, you're going to eat up valuable query space. Space that could be the difference between a request for a read or a rejection. 

#3 Querying the Wrong Agency

This makes you look like you don't care or you think your book is so awesome the adult mystery agent you're querying is going to throw all caution to the wind and rep you, even though his website clearly states, "I only represent adult mysteries." Take this very seriously. An agent's time is just as important as your time. This is aggravating and insulting when writers continually send work that doesn't fit the agency or agent. Not to mention, agents rep what they rep for a reason. They like what they rep and that's the world they live in. The publishing world might be small, but believe it or not, agents generally only have contacts within the world they dwell. In other words, Adult Mystery Agent is not going to know what editors to send your middle-grade high fantasy to. 

#2 Too Much About You

Some writers are so eager to show their publishing credits, awards, etc, that the information about them is actually longer than the information about the book they're querying. It's great to have publishing credits, awards, and all that jazz, but keep the About You section down to a sentence or two. If the agent isn't sold on your book, they aren't going to give a lick about your publishing credits, awards, or education. Get them to love your book and then you can tell them all the cool stuff about yourself. 

#1 Not Following Directions

Listen, I know writing a synopsis is torturous, but if an agent is requiring one along with your query, you better darn well send it. If you don't, an agent is going to think you think the rules don't apply to you, or even worse, you're not a good enough writer to tackle a synopsis. If you don't want to write the thing, than do yourself a favor by not querying the agents who require them. Read agency websites carefully along with the profile of the agent you are sending your query to. The agency website might say one thing, but the agent's profile on the site might ask for something different or something in addition to the agency submittal instructions. If the agent says "Query Letter Only", don't send the first ten pages of your manuscript. If they say, "Please attach the first ten pages of your manuscript", don't attach the first twenty. Following directions is a big deal. Think about it, if a company's dress code is formal business attire and you show up for your interview in shorts and Birkenstocks, do you really think you're going to land the job? Think again.