WHY STUDYING THE MASTERS IS NOT AN EXERCISE IN FUTILITY
I consider myself to be a fairly open-minded individual. I understand that mine is not the only opinion on any given subject and that each person brings a different perspective to a discussion, shaped by their own unique life experiences. I’ve never met anyone that didn’t have something to teach me or that didn’t have an interesting story to tell.
That being said, there are some hot button topics that will put my strong sense of open-mindedness to its ultimate test. One of those issues is whether or not a writer needs to read books (and read a LOT of books) in order to be a good writer. Want to see me bend over backwards to restrain myself from mentally body-checking someone? Let me hear any writer say, “I’m afraid I’ll take on another author’s style if I read too much” or “I get discouraged when I read books by writers more talented than I am” or “I don’t have time to read.”
Flames. Flames will shoot out of my eyes.
To demonstrate why these and other asinine arguments just don’t cut it, I thought I’d turn to another art form to demonstrate how studying your craft by studying the masters of your medium can not only lead to you mastering your craft, but it can also lead to you discovering your own artistic voice.
Let’s set up our easels, smear some daubs of paint on our palette, and enter the world of the visual arts medium for a moment. Our task for today? Study one of the most interpreted paintings of all time. The Mona Lisa.
The original by Da Vinci
Mona Lisa by Da Vinci (She’s smaller because she IS small.)
Different interpretations of the Mona Lisa
The Mona Lisa as seen by artist Bembol de la Cruz – This painting was part of The Mona Lisa Project sponsored by the Cultural Center of the Philippines.
Iya Consorio also contributed her version of Mona Lisa to The Mona Lisa Project.
Artist Vik Muniz created this version of the Mona Lisa, emulating Warhol’s style of the Mona Lisa while using peanut butter and jelly as his medium, for his “Portraits of Garbage” photographic series. He took one artist’s interpretation and then created his own interpretation of THAT interpretation. The mind boggles.
And these are just the tiniest sample of what’s out there. These interpretations of the original Mona Lisa create new dialogue and add to the conversation of what art is. They are all original art.
When artists expose themselves to the influence of other artists, you can clearly see that it doesn’t make their work the same. None of these interpretations is an exact copy of Da Vinci’s Mona Lisa. Instead, what comes through in each painting is the artist’s own artistic voice. Yes, VOICE! By studying the masters, you not only don’t create carbon copies or their work, you can discover your own true voice!
Think about it. Each person viewed the same original. Why didn’t they create the same painting or the same interpretation? In part, because their artistic talents vary and in part because they all bring completely different perspectives, those unique life histories, to their creative process.
We filter our work through our life experiences, through ourselves. What comes out is our voice. Our own unique voice. That’s why no matter how many versions are written of the Cinderella story, if you have one inside you to tell, it will be unique from all the others that have come before it, no matter if you read every single version.
And let’s say an artist set out to purposely duplicate Da Vinci’s style, what would the artist learn from that exercise? Would that be wasted effort? No. He or she would learn how a brilliant painting works – how the composition fits, the lighting, the shadows, the perspectives – how all the pieces come together. The artist would have learned something valuable about CRAFT.
The same is true of writers who read and study great books. All of these lessons can be applied to our own medium of writing. Our medium uses stories as its easel, the blank page as the palette, and words as the daubs of paint; what better place to study the masters of writing than in books?
Today I may have to cut down on the caffeine intake because I’m already buzzing enough with excitement over my two guests. Jennifer Mathieu and Julie Murphy both had extraordinary debut novels that made quite a splash in the world of contemporary YA fiction. (I seriously raced through them in record time. Loved loved LOVED!!!) And now, they are putting all of their fabulous talent together to host a workshop this February for Madcap Retreats. (Yes, THAT Madcap Retreats. The brainchild of Natalie C. Parker.)
One lucky reader will win $100 off this workshop! Stay tuned to enter!
Jennifer Mathieu is an English teacher, writer, wife, and mom who writes books for and about young adults. Her favorite things include chocolate, pepperoni pizza, and the super hilarious 1980s sitcom The Golden Girls. She can basically quote every episode. Jennifer lives in Texas with her husband, son, one rescue dog, one fat cat, and another cat that is even fatter than the fat cat.
When it comes to what she reads, she loves realistic young adult fiction (obviously), creative nonfiction, super scandalous tell-all memoirs, and anything that hooks her attention on the first page. She is the author of THE TRUTH ABOUT ALICE (2014) and DEVOTED (2015). Her debut novel, THE TRUTH ABOUT ALICE, won the 2015 Children’s Choice Book Awards’ Teen Choice Debut Author Award.
Julie Murphy is a potty-mouthed Southern belle who was born in Bridgeport, Connecticut, but found her home in Fort Worth, Texas. She’s never seen Star Wars, but has yet to meet a made for TV movie she didn’t love. When she’s not writing, Julie can be found cruising Costco for free samples, watching Sister Act 2, stalking drag queens on instagram, obsessing over the logistics of Mars One, and forever searching for the perfect slice of cheese pizza. She lives with her bearded husband, two vicious cats, and one pomeranian that can pass as a bear cub.
Her debut novel, SIDE EFFECT MAY VARY (2014) was a NYT Bestseller. Her second young adult novel, DUMPLIN’ (Sept 2015), received glowing reviews including two stars from Publishers Weekly and Booklist, and in less than a month after its release, hit #1 on the NYT best seller list for YA Hardcovers. The film rights for DUMPLIN’ have been optioned by Disney.
Valerie Lawson: You both have written stunning debut novels, which received much critical acclaim. Tell us about life as a debut author. What was the most surprising experience? What lessons did you learn?
Jennifer Mathieu: To be honest, I’m still surprised that I wrote a book and it got published. It took me seven years to publish my first novel. My first two manuscripts got very close but never sold. So I spent my debut year sort of in a haze that THE TRUTH ABOUT ALICE was not only getting published but was getting a very warm reception.
I’ve learned to approach this writing career with enormous gratitude. It’s my childhood dream come true. It’s so easy to get sucked into the worry cycle or the gossip of the industry. But the bottom line is that once my debut novel hit the shelves, I became a published author. Nothing can ever happen that can take that away from me.
Julie Murphy: First, thank you! I am that horrible type of person who believes they can handle anything no matter how many times and how many people have warned them that the road ahead is difficult. There were so many incredible highs, but there were also so many lows that I never believed I’d actually experience or thought I was more emotionally equipped to deal with. I’ve learned that no matter how sane you are, planning a wedding or large family function can turn you into a special kind of crazy. That’s how the debut year is. You’ll be yourself, yes, but it may not be a version of yourself you’ve ever met.
The good news is: you are not alone. You will make fast friends with fellow debuts, because no one else can relate to you like they can. I would have to say the friendships were the most surprising experience and I’d go through it all over again to for these women if I had to. I poured so much of myself into SIDE EFFECTS MAY VARY that I felt like I had nothing left to give and that this was my one and only chance, because I would never be able to recreate this magic. But that’s not true. My second book just came out and I love it just as much. I’m working on my third and am contracted for a fourth. There will always be more books. Sometimes publishing them won’t be so easy, but you will write another book.
VL: Gratitiude, yes. And realizing you’re not alone sounds especially important. I love how supportive this writing community can be.
How was the process of writing different for you when you wrote your second novel?
Jennifer: I will say writing my second novel, DEVOTED, was very difficult for me. I really had that classic experience you hear about where your debut is warmly received and you feel total paralysis with the second book. I ended up completely throwing out the first draft of DEVOTED and rewriting it from scratch. I was incredibly late on every deadline which is so not me. I cried multiple times.
Fortunately, my amazing editor at Roaring Brook, Kate Jacobs, talked me through it and in the end, I’m so enormously proud of my second book. I stretched myself as a writer and I’ve had multiple readers tell me that they can see my growth as a writer in DEVOTED. That makes me feel so good.
Julie: I was totally blind when I wrote my debut. I didn’t know what I was doing wrong or what I was doing right. Because of my huge ego, I assumed that if it didn’t feel off, it must all be perfect. DUMPLIN’ was an eyes wide open experience.
I knew my flaws. I knew the mistakes I’d made in my first book. For me, that knowledge was almost crippling. I knew what a published book looked and felt like and nothing about those early drafts matched those expectations. I had to learn to forgive myself of those mistakes and explore the narrative.
VL: Throwing out an entire draft? How terrifying!
Learning to forgive your mistakes and explore the narrative – love that.
You are co-hosting an intriguing Madcap Retreat this February entitled “More Than a Beach Read”, how did you come to be a part of this project?
Jennifer: Well the lovely Julie Murphy approached me and told me about Natalie’s plan to create Madcap Retreats. I immediately wanted to be involved. I think there’s so much to be gained from working intimately on your art with other artists in a concentrated period of time. I’m a huge fan of Julie’s work and Natalie’s work, and I knew I just wanted to be a part of anything they were involved with.
Julie: Natalie Parker is my partner in crime in many ways and when she floated the idea by me, I said I’d think about it. When she said it would be on the beach, I couldn’t say no. I knew I wanted to do something voice and critique intensive, and I knew that would be a lot to carry on my own. When we began to discuss bringing another author on, Jennifer was my first and most obvious choice. I have so many writer friends that I love and respect, but our styles and approaches really click. We both love contemporary and have the same type of values when it comes to storytelling. Let the record show: if I dropped dead tomorrow, I would have faith in Jennifer to finish my work in progress.
VL: That is a stunning compliment, Julie! (Please don’t drop dead.) That does speak well to how you must compliment each other.
What can you tell us about the workshop? What special programming do you have in mind?
Jennifer: Julie and I have been working on the agenda and we are looking forward to having roundtable workshop-style critique sessions as well as one on one time with each writer. We’re also planning on bringing in guest authors to tackle different topics. Julie and I really aim to focus on voice and building your writer voice. Some say that voice can’t be taught. While I do believe most writers have an innate ability to craft some sort of voice, I believe there are techniques and strategies you can use to strengthen your ability to make your work really come alive.
Julie: We actually just finished the whole agenda! Jennifer did a great job answering this one, so I’ll just add that the attendees will spend their morning with us really focusing on voice and in the afternoons while Jennifer and I (yes, we’re both reading each attendee’s submission), and supporting faculty members will help paint a broader picture by discussing critique, revision, and plot. In the evenings we’ll also be doing casual but themed panels to discuss our dealings in publishing and the business aspect of all of this.
VL: That’s a wealth of knowledge crammed into five days. And so much focus on voice! Wonderful. I know several authors who’d jump at this opportunity.
You both come from different occupational backgrounds – one an English teacher and one working with teens in public libraries – where you have worked intimately with young people. What has this experience added to your writing?
Jennifer: For me, the teaching feeds the writing. I mean, I basically get paid to do my research. I’m surrounded by the rhythm of adolescence on a daily basis, and it’s so energizing and inspiring. I hear snippets of teenage conversation all around me at all times. On a daily basis I’m reminded of the heartbreak and excitement associated with being a teenager. Of course, my plots are fictional, but my students certainly help me create what I hope are realistic characters.
Julie: Like Jennifer, working with teens hugely impacted my writing. I think it’s easy for young adult writers to romanticize the lives of teens, but seeing them every day, you are reminded of their limitations. The same limitations you most likely experienced as a teen, too. On the other hand, I was constantly reminded of how each generation is defying the boundaries set by those before them. I really miss working with my teens!
VL: Being surrounded by your inspiration. Excellent!
Your workshop focuses on enhancing character and voice in manuscripts. What can you tell us about your writing process that helps you bring these two elements to the forefront in your own work?
Jennifer: For me, the characters become real in my mind. I think about them all the time. I miss them when I’m done with the book and still think about them after the book comes out. For me, I believe crafting a character you almost believe actually exists out there is key to writing a memorable novel.
For the first time ever I struggled with that when writing DEVOTED. I was writing a story about a young woman in a very insular and conservative religious sect. I’d done all this research on the sect and was just information dumping throughout the entire book, but the truth is, I didn’t know my main character Rachel at all. My editor was like, “Who is she really?” and I realized I didn’t know.
That was such a terrifying experience because in my first novel (and in subsequent novels) my characters came into my mind fully-formed. I spent a full weekend fixating on Rachel, doing all these exercises like imagining what she kept in the drawer of her nightstand. Finally, she started to come alive for me and the book became much easier to write. I really do believe it all begins with character.
Julie: Voice and character are huge for me, and yet they never come first in my writing process. I never start with a detailed plot, but I always have the pitch and premise and from there is how my voice and character evolve. I usually like to hammer out setting as well since it’s such a huge contributing factor. I like dissecting the situation and deciding what type of person might exist inside the premise and setting.
But when it comes to actual writing, I can’t start anything in earnest until I have a fully formed character. That character and your voice are sort of like a lantern in a dark tunnel, especially in contemporary. You will get lost–and sometimes it’s even helpful to get a little lost–but as long as you’ve got that lantern, you will eventually find your way.
VL: Oh, that’s good!
So if you don’t know your character inside and out, maybe spend some time getting to know them better. Your story will thank you.
Tell us a little about your teen years growing up. What was the most embarrassing thing you experienced? What was the most memorable adventure you had with your friends?
Jennifer: Freud would have a field day with me. I hated high school so much and looking back I can see I was actually fairly depressed throughout my high school years. And here I am teaching high school and writing books for and about high school students. It must be some form of catharsis. There is no one singular embarrassing incident. I was embarrassed constantly, and most of it was over silly stuff I’m sure no one noticed. I ran with a very good girl crowd. I would say my most memorable adventure would be staying up all night at a sleepover and eating too much raw cookie dough. Honestly, that’s as crazy as it got for me.
Maybe the most embarrassing thing for me happened after some girlfriends and I went to see that movie The Bodyguard starring Whitney Houston and Kevin Costner. They were all so moved by the film they were sobbing hysterically as they walked out of the movie theater and everyone was staring at us and I wanted to die. And all I could remember thinking was, “That was one of the stupidest movies I have ever seen.” I loved old black and white movies from the 50s and 60s like The Bad Seed and The Last Picture Show. I thought there was something wrong with me. I just hadn’t found my tribe yet, but eventually in college, I did.
Julie: Those were some wild years. I was a horrible student. You know those videos of cats knocking things off tables? That was me and rules. I carried myself with this false but impenetrable confidence, so even if embarrassing things happened, I played them off as jokes no matter how mortified I really was, so I can’t think of anything in particular.
But I really did have great friends who on very rare occasions I was even vulnerable with. We always went on great mini roadtrips or had ridiculous parties or even went to some amazing concerts, but what I remember most is just hanging out at home with my closest friends, rolling around on the floor laughing and creating inside jokes. We were all theater kids though, so we were constantly performing and cracking jokes.
VL: Ha! Fantastic stories.(I’m really partial to The Bodyguard one. I can so relate to feeling like that!)
What has been your favorite book to read/book you’ve been most excited about over the past year?
Jennifer: Well I adored Julie Murphy’s DUMPLIN’ of course! I remember her reading a few pages from it at a retreat she and I went on over a year ago now, and I was so excited for the book and I loved it even more than I thought I would.
There’s another book I want to mention that I had the opportunity to blurb. I read an advance copy this year, but it won’t be out until March 2016. It’s called SAVE ME, KURT COBAIN and it’s by Jenny Manzer. She and I share the same wonderful agent, Kerry Sparks. I loved this book so very much. It’s fresh and nostalgic all the same time. Gorgeous, lyrical writing and a plot that kept me guessing until the very end. I think she’s going to be a voice to watch.
Julie: Sadly, this has been such a dry reading year for me. I’ve bought so many books, but time hasn’t allowed for me to start most of them. (Here’s looking at you, DEVOTED!) However, I am listening to the audio of SIMON VS THE HOMO SAPIENS AGENDA and the voice is incredible! Simon is someone I would have been friends with in high school and that makes for an authentic reading experience if you ask me.
VL: More fab books to add to the TBR collection. Nice.
What can you tell us about what you are currently working on?
Jennifer: I have my third book coming out with Roaring Brook Press/Macmillan on September 20, 2016 and I am having the most infuriating time coming up with a title. But I can tell you it’s told in dual POV and it’s about two teenagers, Ethan and Caroline, and how their lives are linked by a tragic crime. It’s about healing from trauma and finding a soul-saving friendship in the most unexpected place.
(Update: Julie has a title! Her 3rd book has been christened AFTERWARD, and it comes out 9/2016.)
Julie: Sort of. Kind of. Maybe. Ha! I’m working on my third novel, which is currently titled RAMONA DROWNING. It’s about a too tall lesbian who lives in a trailer park with her well-meaning dad and pregnant sister. All is sort of okay until Ramona realizes she’s falling for a friend, who happens to be a boy. It’s a story about sisters and friendship and sexuality and the labels we assign to ourselves. I’m still drafting, so I’m sure it will end up being about more things. My publisher is referring to it is a YA Chasing Amy, which seems like a fair assessment.
VL: Ohh! Both sound exciting! Can’t wait to read more from you ladies!
Thank you both for sharing with us, today. It has been an honor and a great pleasure having you here on the blog.
To entice you further to try out Madcap Retreats, we are giving away $100 off the cost of Jennifer & Julie’s upcoming workshop, “More Than A Beach Read“!
The first question addressed to the panel asked for one good thing they looked for in a manuscript.
Overwhelmingly, the answer was voice.
Mary Lee Donovan expanded on this: Voice is what you bring to your manuscript automatically. Don’t try to imitate, or echo another writer or style. Make sure you are writing authentically as yourself so your voice comes through. “If you are writing authentically, you are writing in your voice.”
Allyn Johnston added that she wanted the unexpected; something that gives her goosebumps. And no elaborate cover letters, for her. She would rather you spend more time developing your manuscript.
Lucia Monfried said, “Originality. It’s a rare quality that grabs you.”
Dinah Stevenson said she’d like to see a beginning, “Not only an invitation into the story, but something that contains the seeds of the ending, so it sets up a satisfying journey.”
Julie Strauss Gabel echoed the importance of voice, and then mentioned for her personally, she’s very attentive to fit. As in fit for her imprint and for her as an editor. And she said this isn’t just a surface fit, it’s about that unique one-on-one relationship. Never write to general masses or trends. From your voice to your manuscript, you have to be able to stand by it. “I’m looking for something I can champion.”
Others echoed this and the importance of diligent research before submitting. Suggesting writers look over editors’ lists, read interviews, and find other useful information that is available on the internet.
Second question asked editors to discuss things they did not want to see in manuscript submissions.
Allyn Johnston said, “Don’t be weird.” Don’t send your manuscript inside a green plastic fish (which she held up for all to see) or with a satin eye patch.
Boring manuscripts was another common theme.
Alessandra Bray added that she sees some writers, in an effort not to be boring, overload the start their manuscript with so much action or sex drama that it is overwhelming. She suggested we as writers should, “introduce us to your characters” and leave out the “dark and stormy night bits”.
Wendy Loggia gave this insight on how to know if you have a boring manuscript: If only you get excited about your work, it’s probably boring. When you practice pitches, if others show interest, that’s good. If not, that’s bad.
Julie Strauss Gabel added that If she doesn’t get engaged or see the voice or if it’s pedestrian, she’s out. She then said that the very best stories come from very personal places. Always think about why this story has to be told.
Third question asked each editor to discuss what they looked for in a fresh, snappy manuscript.
Many reflected on ideas of craftsmanship and dealing with a writer who understood story structure. An emphasis on educating ourselves as writers was expressed over and over. Too many manuscripts come in that read like first drafts. Writers are not taking enough time to edit.
Lucia Monfried stated, ” There’s no speeding up how to get better as writers. Take your time; learn your craft.”
Dinah Stevenson said that a manuscript screams out first draft when a writer has thrown in everything and the kitchen sink. “Craft means making choices. It’s part of the process.”
Wendy Loggia added that she looks at the overall structure of the manuscript. Paragraph structure, sentence breaks, chapter endings, etc. “I love to step in and make suggestions, but it’s great when I can tell that a writer has an idea of how they want the manuscript to look.”
Allyn Johnston said, “When I’m in the hands of a professional, I can relax.” She then shared a quote from Mem Fox to share what she’s looking for: “When the emotional temperature of the reader has changed through the experience.”
Julie Strauss Gabel expressed ‘sharability’ as something she looks for. “Word of mouth is the key to this business. We’re here because we care about who is going to read this book.”
Alessandra Balzar said she wanted to see a hook – that thing that makes a manuscript fresh, unique. “What hook really means is the ability for the book to stand out.” What’s going to make someone say, ‘Oh, you have to read this book.’ – and that book is yours?”
Allyn Johnston and Mary Lee Donovan both commented on wanting books that fulfilled this golden moment when they become a reader. When they let go of the editor part of themselves and just enjoy the story. That is the golden moment and that’s when they know they’ve found something special.
Overall, a fabulous panel with lots of great insights and pearls of wisdom from these experts in the field of publishing.
One thing you hear so often from agents and editors about what grabs their attention most when they read a manuscript is VOICE.
They will even overlook plot problems and still offer you a book deal if you have a strong sense of VOICE. And yet ask these same publishing professionals to define this VOICE and…well, they know it when they see it.
So, stop fooling around! Tell us! What is VOICE? How do we get VOICE if we don’t have it?
“If I’m picturing you at your computer typing away, it’s not an authentic voice. Take specific experiences of perspective of a character and translate them naturally.” Jordan Brown, editor at HarperCollins Children’s Books.
“That which makes an author unique – style. A reflection of who you are.” Laura Godwin, Vice President and publisher at Henry Holt. She said this is is a skill that you can hone. the better you know who you are, the better you will know who your characters are.
“Speak authentically. By knowing your character well, you’ll speak through them.” Farrin Jacobs, editorial director at HarperCollins Children’s Books. She said that she automatically rejects books that are “too voicey”.
(Are you kidding me? A manuscript can have too much VOICE?)
Elise Howard, editor and publisher at Algonquin Books, instead of giving a definition, read Dan Gutman’s faculty bio for the conference as an example of voice which starts out like this: “Dan Gutman was born in a log cabin in Illinois and used to write by candlelight with a piece of chalk on a shovel. Oh, wait a minute. That was Abraham Lincoln…”
Elise added onto Farrin’s comments about the manuscripts that are “too voicey” by saying that the major issue with Middle Grade manuscripts she is seeing is that too many of them are in first person with a voice that is too sophisticated for the age of the character they are portraying. she suggested changing the POV to third person which allows for a wider perspective than first person and can help fix the problem.
Then I attended a breakout session with Linda Pratt, an agent from the Wernick & Pratt Agency, where she talked about readying your manuscript for submission. During this session, she discussed some of the main elements that you should take into consideration during your creative process. One of those things was VOICE. Here is how she defined it:
Voice is the element of writing that brings the reader into a conversation with the narrator or the characters. Voice is the key way for a writer to ‘show’ rather than tell. An authentic voice will use: inflections, word choices, and contextual references that ultimately tell the reader who that narrator and/or character is without specifically spelling it out.
She said that VOICE comes through in dialogue, the way the character speaks.
For me, this was the best definition of VOICE I’d ever heard. Linda went on to give some examples of how using word choices would effect the VOICE of a story. This is different from writing in dialect. Knowing where a person is from – knowing their background – should effect the word choices you make. People in Wisconsin talk differently than people in Arizona. Their daily experiences are different.
Here’s an example Linda gave:
When discussing the fact that her dog seemed to be in some discomfort because his, ahem, nether region was perspiring, she hypothesized how two very different relatives would respond.
“Why, Kim, I think Henry’s balls are chafing.” Her mother-in-law from Louisville, Kentucky
“Ya’ dog’s balls are sweating.” Her brother from NY.
Distinct differences in voice.
Keep this in mind when you are writing your manuscript. Listen for the distinct voice in your head that is your character. When you’re writing, think about your word choices. Knowing your character’s background, would your character naturally say the words that you are putting into her mouth?
I hope that helps clear up some confusion and gives you all a better understanding of the elusive animal that is VOICE. Let me know what you think.
Now for my #writemotivation goals, week two is cracking right along.
1. Finish revision suggestions for interested agent and send off my FULL manuscript as soon as humanly possible. I did start the final run-through near the end of the week. I have a ways to go.
2 .Finish up novel revisions on my Middle Grade manuscript for November workshop and mail off copies to my group.DONE.
3. Read through manuscripts received from my group for the novel revision workshop. No progress this week. I did buy some fancy colored flags to use for my notes. Forget expensive purses and matching shoes, give me sticky notes and highlighters. Ahhh! Office supplies. 🙂
4. Continue first draft of new YA WIP. I did write a new beginningpitch for this. Yes, I wrote the pitch BEFORE I finished the story. I’ve hardly started it, actually. (Thank you to the person who gave me this wonderful idea. I read it on one of your blogs, but I’m so brain dead right now, I can’t remember which one – if it’s you, please remind me so I can ping back to the post and share it!)
5. Exercise at least four times a week. Ummm…look! Dinosaurs! (Damn, that worked on my godson when he was three.)I only made it twice last week. 😦Really need to drag my butt out the door more often.
Here’s to progress on most of the goals, wahoo! Here’s to getting that revision done soon, oh yeah! How are you doing this week?
I may have mentioned that I am an avid reader; a devourer of books. If you are going to be a writer of any worth, then you HAVE TO READ. Yes, it is mandatory. Read in the genre you are writing for, and although it’s great to read the classics, make sure you are also reading what’s current. If you hate to read or even worse, loathe the audience members for whom you are writing, stop now. Exit, stage left. Pottery class will begin shortly next door.
Reading the work of other writers can teach you so much. Seeing how someone else has tamed the words onto the page and tackled the story arc successfully may help you see where your own story may be lacking. Study the way your favorite authors accomplished the task of telling a complete story and you will learn something about how to make your own writing better.
Ever been told by an editor that your story lacks that intangible thing called “voice”?
When I open one of Rachel Cohn’s books, it’s like cracking open the skull of the nearest teenaged girl and blasting her thoughts through a thousand watt amp. Her books scream out with a unique teen voice. She gets it.
I love Rachel Cohn. She not only authored one of my favorite YA series Gingerbread, Shrimp, and Cupcake following the fascinating character Cyd Charrise through her search of self-discovery and the ultimate cup of coffee, but she’s also co-authored several books with another favorite author of mine, David Levithan. Together they’ve written Nick and Nora’s Infinite Playlist, Naomi and Ely’s No Kiss List, and their latest collaboration Dash and Lily’s Book of Dares.
I first encountered Rachel in 2008 at the Society of Children’s Book Writer’s and Illustrator’s (SCBWI) Summer conference in LA. Not surprisingly, Rachel did a talk on “Teen Voice”. Something she said during that talk stuck with me. She said that one of the biggest mistakes writers make when writing YA is to idolize their teen years instead of writing things the way they actually were. It’s all about the emotions. “The emotions of being a teenager are the same as they were 50 years ago.” You can’t go to the mall or watch popular culture and expect to develop a true teen voice; you have to tap into the emotions. Right then, I about jumped out of my chair because I was very in touch with what it was like for me when I was a teenager. Angsty was my middle name. Now all I needed was the courage to let those emotions spill out onto the page. (That is a completely different post.)
Rachel’s latest book, Very LeFreak, is about a young college girl more obsessed with technology and what’s happened to her elusive online crush than whether or not she’s failing out of school. When we first meet Very, short for Veronica, she is listening to her iPod in one ear, her iPhone plugged into the other, while working on her laptop. She always has her phone against her skin so she doesn’t miss a vibration alerting her to a message of any kind, especially from her secret crush. She ends up in rehab for the technology-challenged after attacking an ex-boyfriend who destroys her laptop.
I did feel odd reading this on my Nook, like I was somehow cheating when Very couldn’t have so much as an ohm of electricity. I felt like I myself should go on a week-long tech cleansing or at least take a walk outside in solidarity. That’s how connected I felt to Very. But in my defense, I couldn’t stop reading…and I was trying out my library’s newest program – downloadable eBooks. (Again, that is a different post for a different time.)
Overall, I’m happy to say that Rachel Cohn is my first. First blog review, first library eBook, first YA author crush forever. Her book Very LeFreak is superb. She has an amazing teen voice you will fall in love with, laugh with, even as your heart aches. In the end, Very’s story shows how we all need a sense of balance in our lives. And for us writers-in-training, we can learn what an authentic voice sounds like and maybe even find some balance in our own writing.