The question of “too edgy” in YA
My latest YA manuscript contains sixteen uses of the “s” word in various forms, and one use of the “a” word. No “f”s, because that’s where I chose to draw the line with my character. It also has a scene of questionable sexual content, although it is not violent. Is my story appropriate for a YA audience?
I’ve been reading a lot of YA lately, mostly because I want to inform my own writing by studying what’s being published. I have to say, as a writer, former high school teacher, and parent (though my son is only three and still reading picture books), I have very mixed feelings about the issue of content in YA literature. My personal reading tastes tend to the “pure” rather than the “dark,” so I find some of the content of YA novels today stretch the boundary of my comfort zone. Fight-to-the-death contests for national entertainment and drugs in the water that encourage feral mating in the street, are two examples of YA content that makes me uncomfortable, even though both of these examples occur in books that have meaning–discussable, reading-circle meaning–above and beyond the element of shock.
And then there are novels that address such teen issues as drugs, cutting, anorexia, abuse, etc. I don’t deny that these are issues faced by teens today, but I also know that many teens aren’t touched by these issues at all, or if so, in a cursory way. I was touched by one of these issues. My best friend in high school was anorexic, and she directed me once to a novel titled Kessa so that I could understand some of what she was going through. It was helpful for me to read that book when I did, so I do believe “issue” novels belong in the adolescent canon.
It’s just that I fear that so much negativity, so much grotesque content, gives teens an unrealistic wide-angle picture of adolescence. (Much as TV and movie content gives an unrealistic picture of adulthood, or the “real” world, in general.)
Censorship, however, is NOT the answer. Or, let me clarify, censorship on a wide scale is not the answer. I’m all for censorship within a homeparents should be free to choose how to deal with their child’s reading choices in a way that is appropriate for their family.
As a teacher, though, I strongly disapprove of having a single parent’s parenting choices dictate the reading assigned in a classroom. When I was teaching, the issue of content came up only oncewhen I assigned Ken Follett’s The Pillars of the Earth to my Advanced Placement seniors for summer reading. One parent, who had read the book, took issue with the violence, including rape, Follett used. She requested that I assign the book in the Fall so my class had a forum for discussion as the reading occurred (as opposed to summer reading, when they had only their journal to talk to). I thought that was a reasonable request, so I substituted another book on the summer list and read Pillars along with our medieval unit.
The key here is that the parent had read the book and so was familiar with the content of the entire story and how the controversial elements were woven through the book’s themes. She did not demand that I pull the book altogether, but that I (and the class) could talk about any issues raised. In fourteen years of teaching, I never had to deal with an uninformed parent who objected to a book based on a single passage, or with a group of parents who went over my head and asked the school board directly to take action to ban a book. I get very, very angry when I hear these kinds of stories.
The truth is, if an earnest group of parents who had read Pillars of the Earth came to me and said they really wished I would take the book off the list altogether, I would have done so. One thing I’ve learned as an English teacher is that although I may have personal favorites for books I’d like to teach, there is never a book that is irreplaceable. I would not have considered such action a victory for censorship, I would have considered it a victory for adults talking it out and working together to make decisions in the best interests of children.
Of course, Pillars isn’t the best example because it’s not a YA book, but is today’s YA too edgy for the YA audience? Drawing a line is a pretty dangerous thing because there is no way that an entire nation of readers and parents of readers will agree on where that line should be. I just wish that more parents would read what their teens are reading so they can discuss the issues raised and help them to understand how accurately (or not) books portray life.
I’m wondering what the parents of my former students would think of my new book. I’d like to think it warrants placement on a summer reading list or, even better, placement in a classroom discussion, but ultimately, it’s not up to me. And that’s okay.
***
Here are a few articles you can check out if you want to read more on this subject:
This Wall Street Journal article by Meghan Cox Gurdon questions the rationality of having YA lit contain “explicit abuse, violence, and depravity.”
http://online.wsj.com/article/SB10001424052702303657404576357622592697038.html
This Huffington Post article by Ru Freeman agrees with Meghan Cox Gordon’s ideas.
http://www.huffingtonpost.com/ru-freeman/im-with-meghan-cox-gurdon_b_879880.html
Carla Javier, on the Knoxnews.com site, disagrees with Meghan Cox Gordon.
http://www.knoxnews.com/news/2011/jul/12/yas-can-handle-ya-lit/
A slightly older, but still relevant, article by Shelley Stoehr in The Alan Review.
http://scholar.lib.vt.edu/ejournals/ALAN/winter97/w97-02-Stoehr.html
An article by Mike Penprase at News-Leader.com about the upholding of a ban on Sherman Alexie’s The Absolutely True Diary of a Part-Time Indian.
http://www.news-leader.com/article/20100909/NEWS04/9090375/Stockton-book-ban-upheld-7-0-packed-public-forum
Mythopoeia
Three manuscripts complete and I’m still convinced that my genre of choice is “mythopoeia.” The term was coined by J.R.R. Tolkien, and translated from the Greek it means “myth making.” Here is how mythopoeia is defined by the Mythopoeic Society, which is devoted to the study of mythopoeia and the Inklings:
“We define this as literature that creates a new and transformative mythology, or incorporates and transforms existing mythological material. Transformation is the key mere static reference to mythological elements, invented or pre-existing, is not enough. The mythological elements must be of sufficient importance in the work to influence the spiritual, moral, and/or creative lives of the characters, and must reflect and support the authors underlying themes. This type of work, at its best, should also inspire the reader to examine the importance of mythology in his or her own spiritual, moral, and creative development. Our members are a diverse lot, and their individual definitions of mythopoeic literature and its authors are equallydiverse.”
Popular titles that fall into this category include The Lord of the Rings and The Chronicles of Narnia, both written by Inklings. Some works honored by the Mythopoeic society include J.K Rowling’s Harry Potter series, Megan Whalen Turner’s The Queens Thief series, Neil Gaiman’s American Gods, and a work I’ve mentioned elsewhere on this blog as an inspiration, Kristin Cashore’s Graceling. Other works in TV/cinema include Star Wars, Battlestar Galactica, and Stargate. An example of mythopoeia that predates the Inklings is Le Morte d’Arthur.
Although I’ve always been drawn to science fiction and fantasy for their “sense of wonder,” I find as I grow older that it is mythopoeic science fiction and fantasy that attract me most. Such stories speak to me on a very intimate level because, as is stated in the definition above, they are about the transformation of characters’ “spiritual, moral, and/or creative lives.” Although it’s fun to make up mythologies simply for the creative exercise, applying that mythology to a reason for living, for loving, for believing is what makes my writing meaningful to me.
Some online references, if you would like to explore further:
The Mythopoeic Society website: http://www.mythsoc.org/
On mythopoeia in several media: http://tvtropes.org/pmwiki/pmwiki.php/Main/Mythopoeia
A Goodreads reading list: http://www.goodreads.com/shelf/show/mythopoeia
On the Inklings: http://tolkiengateway.net/wiki/Inklings
On Tolkien: http://www.tolkien-online.com/index.html
Some print references I have read and highly recommend:
Mendlesohn, Farah. Rhetorics of Fantasy. Middletown, CT: Wesleyan University Press, 2008. Print.
The importance of good critique partners
I have finished it. The draft of World Maker, my third manuscript. It took under five months to write over 92,000 words.
Before I move to the meat of this entry, I need to thank my husband, Chris. His enthusiasm for the project and help in other ways has been one of the main reasons I tallied such a high daily word count these last weeks. The night I finished, he stayed up late to read the last chapters hot off the press and talk them over with me. He is important to me and my writing, and by saying what I do below about my fabulous critique partners, I in no way mean to neglect him.
SO . . . I have two critique partners I first worked with in graduate school in Seton Hill’s Writing Popular Fiction program. We have remained friends over the years since graduating in 2006, but some of those years were thinly populated with word count while we each dealt with our individual lives.
Then one of my partners, Diana Botsford, made an opportunity happen for herself. She wrote a book called Four Dragons, set in the Stargate universe. I was privileged to be a part of that writing by critiquing chapters as she went along. I was quite inspired by her example to get back into writing.
I’ve talked elsewhere on this blog about returning to graduate school to finish my second manuscript. At the SHU WPF alumni’s In Your Write Mind retreat, which coincided with my graduation, I met with an agent who requested a partial and went on to request the full. I wanted to make a few revisions to the completed thesis, based on feedback from my graduation residency, and he graciously gave me the two weeks I requested. I did a two-week all-nighter to get it done, and every single day my other critique partner, Rhonda Mason, was there to receive and edit copy for me.
That second manuscript ended up being a pass for that agent, but my first round of queries yielded three additional requests for the full. This was big news for me, and my critique partners made much of it. That got me even more excited about writing. While I waited to hear from the requesting agents, I started thinking about what to write next.
I came up with World Maker, which I began writing on September 22, 2011 and finished on January 16, 2012. Although the word count was produced in four months, the novel took five months because I spent the first few weeks working out plot. Actually, total completion time will be more like six months. When I finished the draft I immediately revised it into a second draft. It’s with beta readers now, and I will revise again when I get their feedback. (And although this post is about my fabulous critique partners, I have to say I have a great group of beta readers. Thank you!)
What happened in our little critique corner of the universe was a giant snowball effect. Our writing fueled each other’s writing, both for its content and word count. Diana finished her second Stargate novel, The Drift, on January 16th as well. Rhonda is some 50,000 words into her science fiction romance, Empress Game.
We all three write quite different things, even though we all consider ourselves speculative fiction writers (and Rhonda, aka Katherine Ivy, is a published Romance writer). But there is a commonality to our writing that I’ve been trying to put a finger on. I know I enjoy reading what they write, and I have become a very particular reader lately.
To me, these ladies are ideal as critique partners because 1) they are actual writers with a similar level of experience critiquing, 2) they have excellent critical eyes and make valuable comments that give me the tools to evaluate what I write, 3) they know when I need the hard truth and when I need to hear encouragement, and they make encouragement sound like honest praise, 4) they give of their time and expertise as much as demand mine of me, so the critiquing and helping is reciprocal, 5) they are my friends and care about me and what challenges I face as I walk this road to becoming published.
I cannot overstate the importance Rhonda and Diana have had in my development as a writer. And I cannot thank them enough for being the writers and people they are.
“New Adult”
I first came across the term “New Adult” last year while writing a paper for graduate school. My understanding is that it was coined in November of 2009 when St. Martin’s press held a contest looking for stories that would appeal to an older YA audiencethose in their late teens and early twenties who are “new” to adulthood. It is a crossover audience of people too old to want to read 12-to 18-year-old-YA but looking for books that are like it with older characters.
Apparently the “New Adult” wave hasn’t caught on. If you Google “college age protagonists” you will find a selection of blog entries and other articles on the subject. Two I found interesting are this and this. The first contains a nice summary of the issue then a number of interesting comments. The second I find interesting because the speaker is an articulate 16-year-old. Look here for rules and entries in the actual contest. I find myself intrigued by the whole New Adult concept and the debate over its worthiness and lack of feasibility.
Mostly I see more and more of my friends, who are adults, reading YA lit. As a former high school teacher, I also know that actual young adults reach a certain point where they cross over to reading adult lit. So does the cycle of a reader’s life go . . . kid lit–>middle grade lit –>YA lit–> adult lit–>regress to YA lit? I don’t think so, but it brings up the question of what exactly it means for a book to be YA lit these days. If it isn’t the target audience (because adults are reading it, too, and pay the same dollars for it), then what is it? The coming-of-age subject matter? (As if no books labeled “adult” are coming-of-age stories.) Is it the complexity of the story? (As if adult books are uniformly more complex than YA ones. There is a range of complexity in either category.)
What is it? Huh? Huh?
I can’t think of a YA book I’ve read that didn’t feature a young protagonist, but I feel this criterion alone is insufficient.
Anyway, I’m not alone in thinking it would be nice to see some 18- to 26-year-olds featured in novels. If the story is good, would it really not sell because of the protagonist’s age? Or is the one thing that really matters the shelf it gets put on in the big bookstore?
Thoughts?
(Update on 12/19/12: I came across this Publisher’s Weekly article today. If you are researching the topic of “New Adult” literature, you might want to check it out:http://www.publishersweekly.com/pw/by-topic/industry-news/publishing-and-marketing/article/55164-new-adult-needless-marketing-speak-or-valued-subgenre.html)
Writing what you read?
Now that year’s end has me reviewing my list of books read in 2011, I’m counting all my excuses for not reading more than I wanted. Left to my own devices, I’m confident I would join the 100+ club for the year, but alas . . .
Graduate school is one excuse, since I spent the first six months finishing an MFA. (Of course part of that degree actually required me to read books, so that excuse is a little thin.) There is my young son, who goes to bed late at night, so I don’t often get to read in bed before sleep. My biggest excuse, though, is that I spent more time writing than in any previous year.
Writing and reading go hand in hand for a lot of writers, but for me this isn’t the case. My writing is affected by the style and content of what I read, so if I’m looking for inspiration, for encouragement, for a jump start, nothing is better than reading a good book. (I’ve noted in a previous entry that Graceling and Thirteen Reasons Why recently turned out to be good choices for me.) Once I’m on a roll writing, though, I find that reading interferes with my writing. It inhibits my voice and ideas because my head becomes filled with somebody else’s voice and ideas.
This is not to say I don’t read at all when I write. It means that certain parts of the writing process make me hesitant to read. Brainstorming, outlining, and revising are great times for me to be reading good fiction. When I’m actually producing pages, though, it’s better for me to abstain from reading or to read something non-fiction. Today I started a non-fiction book on medieval England.
How are reading and writing related for you? Do you find it hard to read while working on your own piece? Do you find certain books help you along?