Showing posts with label Creative Writing. Show all posts
Showing posts with label Creative Writing. Show all posts

Monday, May 11, 2015

The Inverted Pyramid of Revising a Book


THE FIRST DRAFT
  • This should be self-explanatory. You write the first draft. For novels, 75-150,000+ words of the world inside your head.

PLOT, CONTENT, SCENES, AND MAJOR CHARACTERS
  • Go back and fix it all up. Did you tell the story you wanted to tell? Did you include scenes and events that add up to the conclusion you present?
  • Are there any unnecessary scenes you could delete, or scenes that are redundant to other scenes? Get rid of them. If this means entire chapters have to go, wave bye-bye.
  • Do your main characters have believable back stories and arcs, and do they act appropriately in character at all times?
  • Is there any point in time when your characters do something that they literally WOULD NOT DO? Change that up.

WORLD-BUILDING, CHARACTERIZATION, HONING IN PLOT POINTS
  • Now pay attention to the deeper aspects of the story. Delve into the world your characters live in. Do they react appropriately? Does any part of society influence them more than others?
  • What does your world look like? Delve into the setting. The cultures, the technology, the history.
  • Work with your secondary characters and how they interact with your main characters. What role do they serve overall? Does the main character’s journey affect them at all, or vice versa?
  • Tighten up plot points. Stay concise if possible.

SENTENCE STRUCTURE, FLOW AND PACING OF SCENES
  • Now that the major parts of your story have been patted down, you can begin focusing on the technical stuff. Start broad.
  • Do you have redundant sentences? Do you start multiple sentences the same way?
  • Throw in short sentences.
  • Drop the pronoun from the beginning of a sentence every now and then.
  • Use commas instead of ‘and’ if you find you use ‘and’ a lot.
  • Does the flow of sentences and paragraphs fit with the tone of the scene?
  • Chop sentences apart. Use quick, sharp words.
  • Or combine sentences and flowery language and soft words.

BETA READER CRITIQUES AND SUGGESTIONS
  • Now that you’ve really patted this thing down, find people willing to read your work (hopefully for free).
  • Ask them to point out inconsistencies. Are they confused by anything?
  • Beta readers can tell you when things are boring or exciting. They’ll laugh. They’ll fangirl. They’ll beg you for more chapters.
  • Your brain is soft from so much revising. Beta readers are fresh, and will pick out things you’ve glossed over from seeing it so many times.
  • Shake things up and host a video chat for you and your betas! It’s a great way to make friends 
smile emoticon
PUNCTUATION AND MISSING WORDS
  • NOWWWWW you’ve finished all the major revisions and your story makes sense!!! All that’s left to do is get the broom and sweep it up (or the vacuum cleaner, or generate a black hole from the Large Hadron Collider to suck out all the errors because that’s super-effective**).
  • This is the nitty gritty stuff, and I highly recommend either forcing yourself to read really, really slow, or better yet, read your book out loud, start to finish.
  • You’ll trip up over misplaced commas and periods.
  • You’ll literally hear when a sentence is awkward.
  • Your brain will get confused when there’s a missing word.
  • Fill in the gaps, hammer down the boards, clean up the place.

THE FINAL DRAFT
  • OMG
  • OMG
  • OMG
  • OMG IT’S FINISHED AND YOU CAN SHARE IT WITH THE WORLD AND BUY PHYSICAL COPIES THAT YOU CAN HOLD AND SMELL AND RUB ALL OVER YOUR FACE AND DRAW IN AND DOG-EAR AND TOTE AROUND TO SHOW PEOPLE AND SIGN AUTOGRAPHS AND BECOME YOUR OWN LITTLE CELEBRITY!!!
  • Email the newspaper (I’ve appeared multiple times).
  • Email the local TV station (I’ve appeared on live TV).
  • Email book talk radio shows (I’ve had a Q&A for an hour on live radio).
  • ……..Marketing is hard.

N.B. **please do not ask CERN for permission to use the Large Hadron Collider to create black holes that suck out all the errors in your book. You’ll look silly, and you might destroy Earth in the process.

Saturday, March 28, 2015

Cover Reveal of RESONANCE

Well, here it is. the cover of Resonance, Book 2 of 4 in the Recovery Series.
A secret I can't contain any longer!

Image © Mike Andrews Photography
Release Date: January 1, 2016
Pages: ~530

Description: Belvun is dying, but recovery efforts to save the planet are well under way. In the meantime, General Orcher chooses Arman Lance to restructure the archives program in the hope of creating the Undil Embassy's first comprehensive planetary database. This sends Arman on a greater journey than he could have hoped, first traveling to Orvad, Undil's city by the ocean, then on to Daliona, the oceanic world rich with culture, nature, technologies, and sports he's only ever dreamed of.

On this new journey, Arman will challenge himself in ways he never imagined and begin to make friends he never thought he'd have. And as he learns what it really means to devote your life to the Embassy, Arman will experience the strength, diversity, and resilience of humankind.

You can grab a copy of Embassy on Amazon and all other major online retailers, and add Embassy to your Goodreads shelf!

Also, be sure to add Resonance to your Goodreads shelf.

Tuesday, February 17, 2015

We Cannot Be Content

So I've begun a side project, which will become my main focus once I finished editing Resonance. The new book is called We Cannot Be Content and stems from some of the history in Embassy and Resonance (in fact, they mention it a lot in Resonance).

I wrote the first chapter a couple weeks ago, and have been adding to and tweaking it since, so here's the final version I've come up with for now.

--------------------

ONE
BENEDICT – 2305, Earth

He didn’t like giving interviews. He preferred to write his own questions and answer them without the pressure of a live interviewer and audience. Posting an insightful video on Wander Enterprises’ site would do, or even a FAQ section. Both alternatives were more appealing than his current situation, staring at himself on the small monitor hanging below the camera that was focused on him and Johna Radizzo for their one-on-one interview.
The man working the camera raised his hand and counted down from five—
And we’re live.”
“Welcome back to Today in the Plaza,” Johna immediately said, turning her hips more toward the camera to open her stance. Then her voice relaxed. “Twenty years ago, we received a positive signal from the crews of the Almanac and the Endurance that they had landed safely on two exoplanets, each between six and eight light years from Earth. Scientists across the solar system lauded the mission as the greatest of humanity’s achievements since the Mars and Europa missions. Humankind had not only inhabited the solar system—it had inhabited the stars.
“Now I’m here with Dr. Benedict Drake, the current CEO of Wander Enterprises, the company responsible for those missions. We’re so glad you could join us, Dr. Drake.”
Benedict cleared his throat. “Thank you.”
“Dr. Drake,” Johna went on, shifting her posture toward him, “you are about to embark on your own tour of the exoplanets I just mentioned. You leave in two days. The question everyone wants to know is: are you scared?
He averted his eyes and attempted to laugh. “I think everyone gets scared in some way, you know, before they go on a trip of any kind. There’s always something…nagging in the back of your head.”
“Like whether or not you remembered to turn off the oven,” Johna joked.
That got a real laugh out of him. He loosened up a bit, felt some of his nerves diffuse.
“Of which I’m guilty,” he responded, even though it was a lie. He wasn’t forgetful, especially not in clumsy ways. Besides, he didn’t have an oven. He couldn’t even remember the last time he’d made his own supper, because he hadn’t in years. Either way, Benedict figured that was a good time to drop a joke. Rose told him to appear more likeable, more relatable than he tended to act. Today more than ever, Benedict needed to be liked. It was a crucial part of the plan.
“Dr. Drake, you’re thirty-three years old. You’re one of the richest people alive, you own the company some of the world’s top minds say have brought about the greatest age in space exploration humankind has ever seen—and now you decide to leave Earth for seventy-five years. You say you aren’t afraid of this intergalactic trip—”
Interstellar, Benedict thought, though he didn’t correct her.
“—but what does the future hold for Wander Enterprises while you’re gone?”
Benedict bit his lip and tried to force another grin, as if the answer was a simple one. The truth was, the future of Wander wasn’t what Benedict considered secure. Honestly, it hung in the balance, and was dependent on two factors: the trip he was about to embark on, and the hope that Rose could carry out Phase 3 in his absence. They needed public support. His fortune meant nothing if the world didn’t see the value of keeping Wander Enterprises around for at least the next five generations, and Benedict knew it would be difficult to inspire the world as it was today.
“I have my assets in place,” he said. “If… If I die during this trip… I’m confident Wander Enterprises will continue to thrive.”
But not the program he was trying to implement. Benedict knew if he met some ill fate, all his work would be for naught. Less than fifty people knew about the Gateway Program, and in two days’ time, all but a few of them were boarding the same space cruiser—the Meridian—and embarking on a trip through the stars.
“Out of curiosity: do you think you will make it back?”
He tried to be funny again. “I guess that depends on if I like these exoplanets.”
Johna laughed as if there was nothing to worry about. Of course, she’d never been to space, never flown out to Mars, or Venus, or Europa, or Titan, or any of the other settlements the Global Space Initiative had erected. In fact, the GSI was the only reason humans went beyond Mars. History proved how fickle the inspiration that drove human endeavor truly was. One great leap would be made, and people would rally around the world’s space programs proclaiming the next space age had arrived. But before long, the excitement would die, the people would forget their fragile love of the cosmos, and the world would go on, content to remain as it was.
More than anything, Benedict sought to end that contentment once and for all, but it would take more than a leap—it would take a blind lunge into the unknown.
“Yours would be the first crew to make it there and back again.”
“This is true.”
“Do you think there will be a day when we won’t need to come back to Earth? We’ve heard of plans from both Wander Enterprises and the GSI to relocate several of Earth’s species to these exoplanets. Do you think we’ll ever need to relocate humans in the same way?”
“If we have a cruiser big enough.”
They laughed together, except only Johna’s was real. Benedict faked it again, and his ended several seconds before hers, at which point he leaned forward and put his palms together.
“No, no. In all seriousness, I think that one day, yes, we’ll have to give Earth up. Some people speculate we should’ve left when we colonized Mars—however impractical the idea—and let nature reclaim Earth. We’re only borrowing it, after all.”
“Borrowing it?”
In the corner of his eye, Benedict saw the screen zoom in on his face, saw the caption scrolling under his chin: ‘Richest Man Alive is Leaving Earth. He ignored the tagline. They made him out to be some sort of celebrity, as if all his work was an overnight success, as if managing Wander Enterprises was something any kid who loved the stars could do. They overlooked the years of solitude, the painstaking work of developing faster hyper drives and crafting new cruiser designs—and it still wasn’t enough for him. Benedict was never satisfied with his work, no matter how revolutionary it was.
And that’s what drove him to organize the Gateway Program.
“There’s, what…somewhere around nine billion people alive today? Only a few thousand live elsewhere in our solar system, all of them scientists.”
Johna deliberately shrugged and faced the camera to show off her white teeth. “You’re the man with the degree, Dr. Drake,” she said with a laugh.
This time, he couldn’t even work up a smile. Anger was creeping up inside of him, boiling in his chest. He both loved humanity for its achievement, and hated it for its contentment, the plateau it reached, with only a few more small steps ever few decades. He wanted to shout at the camera. Yell at the millions of people watching his interview before their daily commutes. Stop what you’re doing and listen to me! he screamed inside his head. Have you lost your sense of wonder? Look up! We need to be out there! That’s where the challenge lies.
But he didn’t say it. His lips never moved. His eyes never so much as flickered at the camera.
“Dr. Drake, you were saying?”
“Yes.” He shook his head and looked up at Johna. “I don’t think we can call ourselves a spacefaring civilization when one hundred percent of the general population still lives on Earth. That’s like…claiming I traveled the world, when in reality I just drove down to my local Thai restaurant. Only a few humans have had a taste of the spacefaring life—why aren’t we all trying to set foot on other worlds?”
Johna looked back at the camera and raised her eyebrows in an expression of confusion mixed with curiosity.
“I’m sure there are many people wondering the same thing, Dr. Drake. We all share your dreams.”
If everyone shared my dreams, we wouldn’t be having this interview.
“Finally, we’ve all heard about MACE’s most recent rallies.”
Benedict’s muscles went rigid with hatred the moment she said the name, but Johna either didn’t notice or didn’t care. She was too busy looking down at her cue and waving her hands in the air.
“The organization has made a name for itself these last few decades, with open protests against the GSI and Wander Enterprises, causing public support of space programs to drastically decline to a historical low of thirty-eight percent—according to the latest polls. Can you tell us how you’ve gone about handling that situation?”
He began to speak, but stuttered. He hated MACE and all it stood for. The Movement Against Cosmic Exploration spanned centuries, but didn’t gain any traction until scientific settlements began popping up around the solar system. MACE sought to sway public interest away from space exploration, publishing magazines and books and airing television shows devoted to mocking astronomical discoveries and condemning space programs as worthless, flashy demonstrations to keep the people distracted from the goings-on down on Earth.
Yes, on Earth. Where half the major cities on the American seaboards were partially flooded and desert regions had expanded to the temperate zones and droughts had ruined the dryer regions. Where living in areas prone to hurricanes and tornados and wildfires was a death sentence, and natural fresh water was a memory no living person had. Where more than three hundred species of animals and plants and insects went extinct every single day.
Earth.
“We’re aware of the…opposition MACE presents,” Benedict finally answered, doing his best to keep his voice steady. He couldn’t let them hear the truth in it. “The reality of the situation is that we’re moving forward with our projects. My supervisors and I agree that MACE hasn’t…how can I put this?…fully come to terms with Earth’s current state.”
“How do you mean?”
Benedict wanted to gawk at her. Was this an interview question, or was she really asking him why he thought Earth wasn’t suitable for sustaining human life much longer?
“Political and foreign affairs aside… Consider our resources. More than half of all our mining is done on asteroids we’ve slung into orbit. Rocket fuels, construction material for cities, computer chips, cars, the hyperloops—most of these materials aren’t accessible here on Earth in quantities that were available in the past.”
“So you think MACE disagrees?”
He took a deep breath, hoping to calm his nerves.
It didn’t work.
“They don’t disagree. Not…not necessarily. They just don’t think we have any right to move beyond Earth. That the human race—the only intelligent civilization we’ve ever known—deserves to die when Earth dies.” He paused and looked at the feet of the cameraman. “That notion is… That…”
He shook his head. He knew what he wanted to say, but he couldn’t say it on a live stream. Not yet. It was too early. Too risky. Rose had warned him not to let his anger show if Johna brought up MACE. Now he saw why. Because MACE could use it. Would use it. Even now, they were watching, and they would know they had dug into him. If Benedict slipped too far, they could use his own words against the campaign Wander Enterprises would launch in the coming months, the campaign that would stretch three-quarters of a century until Benedict and the crew of the Meridian returned from their tour of the two exoplanets.
Johna shot him a glance. He barely caught it before she looked back to the camera, but it looked skeptical, unimpressed, as if she found his answer underwhelming, even crazy.
“It was certainly a pleasure speaking with you, Dr. Drake,” she went on, hardly missing a beat. “We all wish you the best of luck on your trip. We’ll see you when you get back in…well, seventy-five years.”
Benedict took a deep breath and grinned for the camera. One last joke to fix the mood.
“I’m sure you won’t have aged a day.”
Johna laughed, then introduced the next segment of the newscast before Benedict was allowed to leave. The cast director thanked him for giving the interview and ushered him to the exit so the crew could prepare. Benedict knew the way out from there, and soon found himself in NBC Studios’ lobby.
Outside was the rally.
People leered at him. They shouted, spat insults, cursed at him. They hoisted signs—DOWN WITH SPACE!DRAKE THE MISTAKEBECAUSE KILLING EARTH WASN’T ENOUGH! Someone had started a chant, and it was spreading. Part of the crowd shouted, “Earth to Drake!” and another part shouted, “Come in, Drake!” And then they’d all laugh.
Though the sentries were holding back the crowd, Benedict refused to look up. In the corners of his eyes, he saw they all had the small, symbolic canister of mace dangling from their belt loops, their wrists, their backpacks. Seeing those fueled his anger even more. He wanted to shut his ears, close his eyes. Then they could laugh, but he wouldn’t hear, and their efforts to enrage him would be childish at best. When they’d had their fun, they’d stop.
But he could hear them, and they knew it, so they were relentless.
The rally filled all of Rockefeller Plaza, even spilled into the Avenue of the Americas, though the ranks grew thin there. The throng of the crowd was the worst, but out here, Benedict saw signs supporting him and Wander Enterprises—though they were few.
“Dr. Drake.”
He looked up at the voice: a man and son stood at the corner of the block. The boy, who might’ve been nine or ten years old, gave Benedict a young, giddy smile and two thumbs up.
After he had passed, Benedict regretted not having smiled back at him.


Sunday, January 25, 2015

The Andromeda Galaxy and the Pillars of Creation

This post is a long time coming, because NASA released this picture almost three weeks ago. The video I'm posting below really throws the sheer size of the universe in your face...particularly the sheer size of the Andromeda Galaxy (galaxy M31 for anyone who wants to be technical about it).

Take a look. This picture contains more than 200 billion stars (that's 200,000,000,000 stars). Every single point of light is a star, and the average distance between stars is roughly 4.5 light years, so you can imagine the density and scale of this.

Enjoy! It's always awesome to see new perspectives.


Another amazing picture Hubble recently took revisited one of the most famous (if not the most famous) picture in astronomy: the Pillars of Creation. The original picture is put side-by-side with the newest picture so that you can see just how much detail Hubble is able to capture now as compared to 20 years ago.



Beautiful, huh? The universe is amazing. (And both Andromeda and the Eagle Nebula are referred to in passing in Embassy and Resonance).

Monday, December 22, 2014

RESONANCE Update


Hey there! About an hour ago, I finished the first draft revisions of RESONANCE :D (I call them FDRs hehe). Let me tell you, Part 3 is gonna be quite the fixer-upper. It has almost all the stuff I want...but most of it's summarized of not expanded as much as I want it to be (I could definitely tell I was getting burned-out during the last chapter).

The climax, however, was fantastic. I know how I want to enhance it, too, so I'm looking forward to returning to those chapters.



Remember to grab you copy of Embassy if you haven't already done so. It's great for young adults, adults, and those awkward in-betweeners (the New Adult crowd).

Tuesday, December 9, 2014

Revisions for RESONANCE

This weekend I revised the entire PART ONE of Resonance, and today I reached Chapter 20, meaning I'm a little less than halfway through revisions!...in the course of about 5 days.

Wut.

Part 1 of Resonance

Things I've noticed I need to adjust:


  • Chapters 1-6 and Chapters 16-18, I need to slow the pace down. Things fly by (or maybe I'm just reading really fast). No, I think the story is just hopping and skipping during these parts and not taking the time to develop. So I need to fix those up.
  • The Archives Program is a bit shaky in terms of what the new program ACTUALLY does. I toss in all this jargon, but I feel like there still isn't a clear sense of why they need to revamp the program.
  • Conferences and interviews for the archives program. Stuff happens -- important stuff -- but again, it flies by and isn't totally clear. I need to slow some of that down and let the program develop.
  • Characters. Some new characters are introduced!....but I think the pacing forces them to run across the stage and say goodbye in the blink of an eye, particularly in Chapter 3. I'll be working on that.
  • Personalities. Lon, Lon, Lon. He switched personalities halfway through the story, so I need to get him back on the original track. Gah. I hate when I mix characters' personalities up.

Those are the biggest things I've noticed revision-wise so far. I should knock out another few chapters tomorrow, hopefully hit the end of Part 2 before Friday. I'm loving it! But I also need to work on those few things....

Make sure you grab your copy of Embassy! Read, review, and share it with friends! Resonance will be available December 2015 or January 2016, so mark your calendars. You'll be able to pre-order during the summer.


Friday, November 21, 2014

First Draft of RESONANCE is Complete

August 26, 2014 -- November 20, 2014

86 days. 300+ hours

126,106 words

250 MS Word pages

RESONANCE is finished.


Now I know those numbers aren't impressive as my 10-day, 140-hour, 151k-word writing sprint back in January 2013 that produced the first draft of Embassy....

....but it's still pretty good.


Now I get to chill for a few weeks. Let my brain unwind. See this with fresh eyes sometime in mid-late December and tackle the beast top-to-bottom. I plan to use a different, more efficient editing method than I used to work on Embassy. Whereas I dug through Embassy front-to-back for multiple drafts, picking out every little thing every time, I'm gonna let some things slide and focus on content for the second and third drafts.

Reason being, I know of a few places where as changed my mind about things a chapter later, or I wasn't satisfied with a section, or I blatantly skimmed through a scene because I couldn't think how to develop it at the time.

But no worries! That's what revisions are for :D

I'm excited to put Resonance out in the world...sometime. I'm planning for an early 2016 release date, (holy cow it's already 2015???), so we'll see how that goes.

So while I'm working on Resonance, you should go ahead and purchase a copy of EMBASSY to prepare for the sequel!


Sunday, September 28, 2014

Milestone in "Resonance"

Last night, while writing for the 100-for-100 challenge, I blew past 50,000 words in Resonance. Now I'm three pages into Chapter 20, and the story is still in full swing.



In Chapter 20 of Embassy, the story was nearing the climax (Chapter 23) and slid to the ending in Chapter 30. But in Resonance, there's no sign of slowing down.

Part 1 of Resonance is 33,000 words long.
Part 2 of Resonance is currently 17,000 words long, and they've only just landed on Daliona (it's still the first day). At this rate, I'm projecting another 35--40,000 words before Part 2 is finished.

And I still have to write Part 3. Fortunately, I have a "rough draft" written because I'm recycling the original deleted ending of Embassy for this book.

So that's my update! Thanks everybody, and keep posted for more!


Monday, August 18, 2014

A Simple Introduction to Plot Structure

It's Monday, so, as promised, I'll try to get my posts back on schedule. I've been busy moving back permanently to Pittsburgh, so that's why I took a short break from writing advice posts (these take a long time to put together, as many of you probably know).

Let's get to it, shall we?

You are walking down the street when all of a sudden BAM!! It hits you: Inspiration. You rush home, keeping the idea fresh in your head, throw open the door, grab the nearest piece of paper and a pen, and jot down your great idea. Breathing a sigh of relief you sit back and look at your genius. There's your character, the setting, and.....what? You reread the page. What's going on? It was so good, but now you realize nothing has happened at all. Something is missing.

One word: plot.

Your characters don't have anything to keep them occupied. They are standing there looking at each other saying: "Okay....what's the point?"

How do you form a plot? What are the necessary elements? Why don't people want to read about the life of your characters, and be done with it?

There's no true point to the story. Readers don't want to watch your character live and die, unless that character is an awesome action hero who spends his days cleaning up the world of evil and fighting awesome battles. Even then, that might become dull.

There has to be a point to the story, and people want to know what that is as soon as possible. The opening paragraphs (which I'll talk about in a later post) need to hook your reader and tell them why they are reading the book. Why should they care about your character's story? Why should they take interest in your novel?

A true plot is essential. The first few scenes should establish the main goal of your hero. Follow these six basic points:

  • What does he want?
  • Why does he want it?
  • Who or what stands in his way?
  • How will he reach his goal?
  • What will happen if he reaches his goal?
  • What will happen if he doesn't?

If you keep saying that word
It stops sounding like a real word.
In the opening scenes, try to at least explain points #1 and #2. Maybe you can fit some of the other points in there, but the first two are crucial. They tell us which direction the story will go in.

The reader wants to know the destination. Once they know What and Why, they have a reason to continue the story, just like your main character will have a reason to move toward the goal. They have something to root for. They can take a journey with the character and experience the same pitfalls and high moments the character has. Show readers "Point B," and the satisfaction of the journey will come with the rest of the novel. Once you tell the reader where they're going, they'll follow all the instructions -- the subplots, romance, and journeys -- without hesitation. When they reach the goal, they'll decide if it was worth working for.



It's okay if you get a few pages written before you make up your mind as to what the main characters want. But make sure you do it fast, or your readers will keep asking: "What is the point of this?" and you'll lose them before the meat of the story starts. Make sure the goal is something interesting. It doesn't have to be obtainable, it doesn't even have to be real, per se. Maybe the hero seeks a rumored magical sword that can save the kingdom, but, as he finds out, it isn't real at all.

Then what's the point of the journey? The journey should change the character. The hero seeking the sword should discover the strength and courage inside him that will allow him to defeat the enemy threatening the kingdom.

Throw in a villain. Make him hurt the hero. Make him force the hero to make a choice he doesn't want to. Bend the boundaries. Snap his values. Cause pain. Make readers feel it in their hearts.



That's the true meaning of plot. Put your characters through heaven and hell. Have their worst nightmares claw at them and their brightest fantasies elate their spirits. Do it for the sake of change. Keep that change realistic. A man doesn't simply become a knight because he finds a magic sword. He learns a new set of strengths and values and morals, grows more intelligent, and devises a plan that will lead him to victory. Things happen to him that change his perspective in life. That is the point of plot. Don't leave your character the same as he started.

Make the reader care that the character changed. Do we feel sympathy? Is he stronger or weaker? Has he lost friends and loved ones? What did the journey do mentally or emotionally to the character? What was the price he paid to obtain his goal - or not?

That's what plot is all about -- a series of events, leading toward the established goal, that create a complex character built up from his/her experiences on the way to that goal. Whether s/he reaches that goal, or not, is completely up to the writer.

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Also be sure to check out my Get it Write Tonight ebooks, Characters and Edit! That! Book!

While you're at it, check out my New Adult Science-fiction novel, Embassy.

Wednesday, August 6, 2014

Is it Necessary to Sexualize Characters in YA Fiction?


Over the last couple days I've seen some comments on Tumblr and elsewhere around the writing world regarding character descriptions. One comment that sticks out in my mind says something along the lines of, "Why do we have to be told if characters are hot or ugly?"

I don't remember the specific details of this person's comment (I've tried finding them again, but with no success), but they went on to say stuff like, "Authors feel the need to say nerdy girls aren't as attractive as popular girls," and "the bad boys are always hot, but the good guys are always geeky and gross." At the end of their comment, they said, "I wish we weren't told how attractive characters are, but just describe what they look like and we'll decide from there."

Let's be honest. Not all authors are guilty of this...but there's something to be said about popular books, particularly books that appeal to teen girls -- and women in general. This could also explain why there are nearly twice as many girls who read than boys.

Think about the last book you read? Chances are, if the main character was a female, there's plenty of description about how hot a guy she meets is, or how sexy Brad-the-football-captain is. You know, descriptions about his arms, chest, legs, and even face. If they hold hands or touch at any point, the FMC probably talks about how firm, yet gentle his grip is.

I'm right, aren't I?

Now let's think about male narrators. (Male narrators? That's an outrage! We need strong female main characters!) Moving on...in my experience reading books like An Abundance of Katherines, 13 Reasons Why, It's Kind of a Funny Story, and a few others, we're told how cute this one girl is, how hot this other girl is, how big this girl's breasts are, how plump this girls lips are...the list goes on and on.

Point is: both genders are guilty of sexualization.



I bet you haven't seen WordArt since the 5th grade.


Let's think about the comments I mentioned above. Why is there a tendency for describe what makes a character attractive? Simple: it should make the character appeal to readers. But think about it: unless you're writing 50 Shades of Gray, is it really necessary to know how hot or ugly a character is? Does it have to be explicitly said, "He's soooo hot, and his muscular biceps are soooo dreamy." (As you can tell, I don't write erotica). Going further, is it necessary to say, "She has the perkiest boobs I've ever seen."

You can argue that these kinds of descriptions are necessary to characterize the main character, that these kinds of thoughts go through people's heads all the time. You'd be right. These thoughts do go through people's heads.

Stay with me.

When it comes to YA fiction, there's a fine line between what's okay, and what's not okay. But in order to determine those, we have to draw a distinct line between contemporary YA fiction and genre YA fiction. I'm defining genre YA fiction as fantasy, science-fiction, paranormal, magical realism, etc etc.





Contemporary YA Fiction
Ex. The Fault in Our Stars, 13 Reasons Why, If I Stay, Fangirl, It's Kind of a Funny Story, The Perks of Being a Wallflower, Looking for Alaska, Eleanor & Park

I think it's easy to say contemporary YA has the longest leash when it comes to sexually explicit material and descriptions. These are stories about realistic teenagers living teenager lives, doing teenager things and thinking teenager thoughts. Thus, we're going to see a lot of description about how hot girls are, how muscular guys are, how sensitive guys are, how soft a girl's breasts are...

You get my point.

This genre of YA...this style of writing can get away with that. It's gritty. It's realistic. The readers can immediately relate to the characters because they act like normal teenagers. Perhaps you've even been to the town the character lives in, like the same books, adore the same celebrities. That's the point of contemporary YA: to show you're not alone, and to explore issues revolving around what being a teenager is like.

In my opinion, the sexualization presented in contemporary YA books is okay and normal. Don't go overboard, but if a teenager can think it, it will show up.





Genre YA Fiction
Ex. Divergent, The Hunger Games, Harry Potter, Eragon, City of Bones, The Maze Runner, Twilight, Matched, Delirium

This is where the line gets drawn. We have to define what is and isn't appropriate for books in these genres. It's a dangerous line that authors must cross carefully.

When it comes to genre fiction, readers aren't coming into the book expecting to read a girl's love life in Small Town, USA. We want an adventure. We want action. We want run-down cities and exotic planets. We want cool guns and serums and magic and death and zombies and monsters and vampires (well, we're getting bored of that).

The point is, we want to escape into a world we can only imagine that will eventually look good on the big screen.

Inevitably, there's a romance brewing in these books. And inevitably, we get to see one character's intimate thoughts about another character. The author, however, has to be careful. Remember, most of us didn't come here for the gushy-gushy makeout session. Most of us are strictly focused on the plot, and we're analyzing how everything that affects the plot.

So when the girl meets the hot guy, we don't want to be bombarded with physical descriptions about the attractiveness of said guy -- usually. It's okay to toss them in there. But remember: in genre fiction, plot is essential.




I recently read a book where the main character -- a girl -- met a literal beast of a man, and all she talked about from there-on-out was how golden his skin was and how wavy his hair was and how warm his chest was, and how big...well...use your imagination.

Uuuuuuugggggghhhhhhh.

Now, maybe it's just because I'm a guy and I don't care about how hot that dream-guy was. But when those physical descriptions started taking over, I started losing interest. Descriptions about how hot this dude was were on every. Other. Page. It took me out of the story, and I ended up glossing through the rest.

Let's return to the original comment at the top of this post: "I wish we weren't told how attractive characters are, but just describe what they look like and we'll decide from there."

I, for one, agree with this statement -- but really only for genre fiction. Contemporary can go do whatever it wants. But whether I'm reading a dystopian novel, a paranormal novel, or a speculative fiction novel, I don't care how hot that girl is or how muscular that guy is, and I think a lot of people feel the same way.

We want to read about the world and events and figure out how the characters will overcome the problems. So create that world, ignite those problems, and develop those characters. Don't give us cardboard cut-outs. Give us human beings (or whatever species your characters are).

Here's a tip: tell us what the characters look like. Hair color, height, if they wear glasses, if they stutter. But don't go to Build-a-Hunk™ and start explaining how hot and sexual this character is. We, as readers, don't want to see your late-night bedroom fantasies.

It's creepy.


Yes, even creepier than Bronies.
So should authors keep it simple? Should genre YA fiction be limited more toward unique traits and features, rather than a fictional Hot-or-Not? Let me know what you think in the comments. Personally, it's okay to toss in a pinch of spice, but don't make it too hot.



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