Showing posts with label How To Write. Show all posts
Showing posts with label How To Write. Show all posts

Children and Teens Who Want to Write

By Candy Gourlay

I visited Ormiston Bushfield School in Peterborough
yesterday as part of the Pop Up Schools Programme.
I wore these socks.
I get a lot of mail on Facebook from young people who are trying to write. They ask me: Will you read my manuscript? Will you help me finish my book?

Sometimes, they ask me: How do I get famous?

And when I visit schools, the question always pops up: How do I get published?

These are HUGE questions.

And before anybody says anything snarky, they are all questions that once passed my own lips on my own long writing journey. They are questions that deserve to be answered with kindness and consideration.

For a while now, I've been meaning to write a blog post for young people who want to write.

Lucky for me, former Writer's Digest publisher Jane Friedman beat me to it. Here are the links:



Jane suggests that mentors can speed one's development as a writer. I am glad though that she gives the following counsel: "Don't ask a famous person to be your mentor or give feedback on your work. You don't need someone really famous."

At this point, may I apologise to all the young people who have asked me to help them with their books. I just can't do it -- not just because of the sheer number of requests I get, but because I am working full time as a children's author, writing my own books and appearing in schools. 

'Mentors speed growth,' Jane writes. And to all you grown-ups reading this: do you realise that you -- YES, you! -- may already be mentoring a young writer?

You might be the teacher whose warm encouragement has inspired a student to explore his or her writing.

You might be a librarian who suggested the book that ignited that love for words.

You might be the parent who has unwittingly nurtured a writer by relentlessly reading aloud to your children at bedtime.

If so, you too have to skill up. Your mentee is counting on you. Do bookmark Jane's article on writing advice, there is a lot of really good stuff in there, including suggesting online writing communities like Figment and Wattpad (I suggested Wattpad to a young friend the other day who was wondering if she should set up a blog to share her writing -- if you're interested in sharing your writing, that's not really blogging ).

Not everyone has the drive to write however. But everybody loves a good story. When I visit schools, children never fail to astonish me with their creativity and storytelling ability. 

Yesterday, during a visit to Ormiston Bushfield Academy in Peterborough (part of the Pop Up Schools Programme), the children planned out novels in just thirty minutes! Here are synopses of the two books we made up. If children can do this in thirty minutes, think what other magnificent things they can achieve!


THE BOY FROM MARS
Twelve year old John and his parents live on Mars. It's a settlement of refugees who have fled the toxic wasteland that Earth has become. John is the only young person on the planet and he hates it. Not only is he lonely, he is forced to wear a survival suit at all times. He would do anything to leave Mars, but where would he go? One day he  stumbles upon a six year old girl hidden in a survival unit. There is an explosion and John and the girl end up in an escape pod that slingshots them to Earth. When they emerge, they discover that Earth is no longer toxic but it has been overwhelmed by wild animals. John, who had been desperate for young company, discovers that it is a great responsibility as well as he protects his new friend (who is a bit annoying) from the wild creatures. Now he just wants to go home. To Mars.


THE DREAMER
Christopher, a BMX biker, is plagued by strange dreams of apocalyptic scenes. The dreams never change, following a series of events that end with terrible destruction. It has gotten to the point that he dreads falling asleep. He is so distraught he moves into a remote forest, to get away from the places that he sees in his dream. One day, he discovers that one of the things that happen in his dream, the one that sets off a series of destructive events, actually happens. That night, the dream changes. A man, who had not appeared in the dream before, speaks to him. He tells him that his dream of apocalypse is going to come true unless Christopher crosses into his dream and stops the events from happening. At first Christopher finds it hard to believe. He returns to the locations he sees in his dreams and something makes him realise that the man's warning is true. He also discovers that he has no choice. If he doesn't enter his dream, he will die. In the final chase scene, he uses his BMX skills to escape the dream baddy.

With thanks to the children and staff of Ormiston Bushfield who made me welcome. And to Pop Up for having me on the programme. Thanks to Kyhiro for the badass apocalyptic creative commons image.

On Writing Dual Narratives


By Candy Gourlay




UKMGCHAT

So yeah, I'm guesting on #ukmgchat this coming Thursday. #ukmgchat is a Twitter discussion group that chats under the hashtag every second and fourth Wednesday of the month. EXCEPT my guest appearance is on a !!!Thursday!!! just to confuse everyone.

When my friend Miriam Craig invited me to lead a discussion on dual narratives, I got a little bit spooked. What did I know about dual narratives? My nervous tweet:


Miriam replied cheerfully. "You've written two books that are both dual narrative in different ways."

But! But! But!

Miriam was unfazed: "And then outside of that, you've read zillions of books that use various different narrative viewpoints, and you will have your opinions on what works and why."

Gah! Gah! Gah!

Miriam continued: "And you've had the experience of seeing how all sorts of different kids have interpreted and reacted to the dual narrative element in your books."

Hmm that Miriam sure is wise. I agreed to do it and now that I've gone through that door of no return, I thought I'd ruminate in anticipation.

THE WHY OF WRITING A DUAL NARRATIVE STORY


Because it obviously needs it. I wrote Tall Story in Dual Narrative because it was OBVIOUS that the story needed a dual narrative. Tall Story has two heroes telling two separate stories that come together and their stories are co-equal. It has two settings and it's a culture clash story - what better way to show a culture clash than to hear the clashing voices of the protagonists.

Because you're juxtaposing different versions of the heroine. One of the books that inspired me to write novels is the Carnegie winning A Gathering Light by Jennifer Donnelly (It's called Northern Light in the United States). There is only one voice, that of Mattie Gokie, an impoverished1906 teenager who must choose between marriage and pursuing her dream to become a writer. But the story alternates between an earlier Mattie, struggling to look after her family, and Mattie, just a few months later, after she gets a job. One thread is in past tense and the other in present tense. It makes for an intriguing story!

Because you're juxtaposing two worlds. Half Lives by Sara Grant is one of those thrillers that keep you up late at night. Two stories interweave: one set in the past - the story of a group of teenagers who take shelter inside a mountain while apocalypse destroys the world outside. And the other set in the future - the setting is recognisable, but the world is transformed. The deliciousness of this novel is the slow trickle of evidence from the story set in the past that gives you endless aha moments.

Because the backstory is taking over the main story. Sigh. This happened to me. Shine was really meant to be told only in one voice. But one of the minor characters kept trying to take over the story. I tried desperately get rid of her (Kill your darlings!) -- but she was so strong, so compelling, that even my editors wouldn't let me chop her out of the story. In the end, my editor Bella Pearson came back from maternity leave and sensibly suggested that I give her a share of the spotlight. Which is why Shine has a subplot told in the second person point of view (!) and at first there doesn't seem to be a connection but it all comes together in the end.


Because inside their heads is where the story is happening. Take the wonderful Eleanor & Park by Rainbow Rowell, a lot of the action between the two characters happens in the same space, but it's what their thinking that drives the story. Getting inside their heads is what we the reader want to do, and the dual viewpoint intensifies our emotional engagement with Eleanor and Park of the title.

Because you don't want to report a really juicy story, you want to tell it in the moment.  Bog Child, Siobhan Dowd's post humous Carnegie winning novel, is set during the Troubles in Northern Ireland. 18 year old Fergus is struggling with exams when his brother, in prison, goes on hunger strike. While Fergus' troubles are going on, archaeologists find the preserved body of child dating back from AD 80 in a bog. Siobhan could have easily chosen to report the story of the bog body but why do that and bore the reader? Instead the story of the bog child is revealed in Fergus' dreams, made all the more dark and emotional by being properly dramatised on the page.

Because switching perspective saves all the exposition in the world. I use the word delicious a lot when I talk about books and there is no more delicious and delectable book than Flora and Ulysses by Katie DiCamillo. The entire book is written in third person, but the viewpoints switch between Flora, who admits that 'For a cynic, I am a very helpful person'. The other viewpoint is that of Ulysses, a squirrel named after a vacuum cleaner who emerges from brain damage with super powers and extreme joy. 'It was astonishing,' he thinks after waking up from his accident, 'Everything was astonishing. The setting was illuminating each blade of grass.' You could write this in a different way - you could explain that Flora thinks she is a cynic but doesn't act like one, and you could describe how the squirrel's brain began to think in a different way after his accident. But why bore your reader? Why not make your reader experience what it's like to be in the head of a superhero squirrel?

One thing that had not occurred to me, as a children's author, was that child readers might struggle to get to grips with a dual narrative. Adding that extra storyline to Shine for example, bumped it up to young adult (not just because of the dual narrative but because the subplot had an adult sensibility).

Indeed, visiting Year 6 school children (10 and 11 years old) recently, I found plenty of readers who had no problem with switching between voices -- who enjoyed the contrast and the story structure. And I also found readers who struggled with it, finding the changing voices confusing. Thank goodness for teacher enthusiasm, these readers got it in the end. I lent the schools audiobooks of Tall Story, which seemed to help.

I love the challenge of the dual viewpoint. I love telling two stories at the same time, through two different voices, and then watching the separate strands interact and surprise, one revealing surprises about the other until they melt into a single delicious whole.

But be warned, if you're a pantser (a writer who doesn't plan or who plans very little), you will have to put on some y-fronts once in a while to make this dual narrative thing work. The magic (and the fun) is in plotting out the arcs of the two stories so that their peaks and troughs interact in an exciting way.

The climax of a dual narrative would involve a collision between the two stories - great fun once you figure out how to do it!

And of course you will have not one but TWO endings that must leave your reader feeling satisfied and yet loathe to let go.


If you'd like to share your own writing experiences with dual narrative, or a favourite dual narrative book, join us on #UKMGchat, Thursday, 9 April, on Twitter, 8 to 9 pm GMT. How to join? Read this.


If you liked this, you might enjoy my post How We Live Now, looking back on changes to the children's book world since I started trying to get published. Read it in my blog on writing Notes from the Slushpile.

Writer's Block? Just Write Rubbish


If you can't see the video, view The Writer's Block by KickThePJ here


My charming and beautiful daughter took time off from her GCSE tower to show me this video today.

Kick the PJ is one of those YouTube stars who make fab short films that make me wish I was still young enough to spend more time with YouTube. If you like this, do go forth and subscribe.

The message is: if you're blocked, just write rubbish!

I totally agree.

You don't have to write perfect prose all the time. My friend Jane McLoughlin (who wrote the amazing At Yellow Lake), sometimes jokes that she's writing but she hasn't written the long words yet.

I know exactly what she means. Writing gets done only by writing, but the words you are laying down don't have to be right the first time.

And if you're finding it hard? Just write anything.

Then those voices whispering in your ear ... you know, the ones that say, 'You can't write!' 'Your publisher is BLIND!' 'YOU HAVE NO TALENT!' -- yup, those voices *shudder* ... well, if you just write rubbish, they will eventually get bored and go away.

And when they go away, huzzah!

The words are sure to come.



Read my previous posts:

Readers Who WriteI love LibrariesBeast QuestStory is not colour blind
The Writer is You
Whoever You Are
Dear Candy Gourlay
Letters from
Ellis Guilford School
Multicultural is about
inclusion not
difference
Origami Fan Mail

Chain of Fools er Authors

I've been tagged on a blog chain for YA Authors. Four simple questions about writing fiction for young adults. I guess I qualify because my new book Shine is definitely in the realm of older readers. But before I answer the questions, here's a tribute to Keren David, who tagged me.

Keren David
Photo: Faye Thomas
On the day I finished the final chapters of Tall Story, my debut novel, I happened to be writing at the Caffe Nero in Highgate when I heard a soft voice somewhere in the room say 'Carnegie Medal'.

Of course, to anyone immersed in the children's book world, the words 'Carnegie Medal' are a stimulant. I suddenly found my radar ears switching into high. The words were swiftly followed by an exchange that included words like 'YA Fiction', 'Geraldine McCaughrean', 'Kevin Brooks' and 'Patrick Ness'.

This was my final day of writing Tall Story and here I was, eavesdropping on people that I couldn't even see from my favourite seat somewhere in the middle where the chatter from both ends of the room dulled to a soft mumble. Get a grip, Candy! I forced myself to concentrate and continue working on that last chapter.

Then suddenly I felt a light tap on the shoulder and someone said, 'Candy Gourlay? Is that you?'

I looked up and realised that the soft voice discussing things I would rather be listening to than writing my book, was Keren David, an author who had recently friended me on Facebook.

I had never met Keren in the flesh, but already felt like I knew a lot about her. Her debut novel When I Was Joe was already doing the rounds as an ARC. Which meant that there was already a bit of a buzz from the kidliterati. A good buzz, in fact.

The brilliant cover of Keren's
latest book Salvage.
Read my review on Amazon
That was 2009. In 2014, I can honestly say that to me, Keren - now the author of five young adult books - epitomises the label 'YA Author'. Someone who writes specifically for this challenging, demanding and rather awesome readership.

In fact, when I saw that nominations were open for Queen of Teen, I went straight over to nominate Keren.

Except it turns out you've got to be a teen to nominate someone. Which, sadly, I'm not. Just.

So here's the nomination that I wasn't allowed to submit for being old (if you're a real teen, feel free to copy and paste this onto the nomination form): "Gutsy, acerbic, sharply observed, thoughtful, wise. Keren David's writing captures the world of teen with precision and honesty. And it's all unput-downable. Every teen should discover her."

Right. Keren's ears must be burning. Good. Now here's my link in the blog chain.

What am I working on?

I am writing a novel set in a bit of not-very-well-known history. It is told from the point of view of tribal characters who are so far removed from our own experience of the world that at the moment, the story is coming across as fantasy. If you don't know any better, you might think you're reading something like Michelle Paver's Wolf Brother -- except it really did happen.

How does it differ from others in its genre?

I've been spending a lot of time on Open Library, reading public domain writing from the period. But my characters are a people who never told their own story. The writings I've found are patronising reports by colonial officials who objectify them as primitives and do not see beyond to their humanity. So I'm discovering most of my information not from histories but from ethnological and anthropological reports.

In a way, the isolation of my tribal characters and the lack of many specifics gives me a freedom to spin stories around them.

But I am also gripped by a deep sense of responsibility. I am giving a voice to a people who have not been heard in children's books before. Though I am writing fiction, I must make sure my story captures their humanity and their truth.

Why do I write what I do?

I loved Keren's answer to this question so much I was tempted to copy and paste it here. She wrote: "Why don’t I write Harry Potter meets Fifty Shades and get mega deals from multiple publishers?"

I did actually try to write Twilight once. I was determined to write a more commercial book than my debut Tall Story. Why should Stephenie Meyer make all the money?

Boy. What a mistake. I wanted to make a living. But I couldn't make it happen. It was like there was an invisible force dragging me to a specific story that I didn't want to write. There were things going on in my life that made that story too painful to explore. So I tried to write my vampire novel. I finished something. It was crap so I simply threw it away and started again. The next finished novel turned out to be a story about trafficking. It was crap too.

By that time I was tired of resisting those invisible forces. In the end, I allowed these forces to take me into a story that explored obsession, loss and living in a trap of your own making. The final product is Shine. It took me three years.

Here's a picture of Shine to remind you to buy a copy so that my children can wear socks to school.


Why do I write what I do? I don't know. But choice doesn't seem to come into it.


How does my writing process work?

I was just explaining this at a school visit yesterday.

When I start a book, I am a rabbit staring at several rabbit holes.

These are ideas for characters, stories, settings.

I dive into one rabbit hole. I go right in. Go as far as I can go. Write a few chapters. Do I want to write some more? Oh, that is an interesting thing. Shall I explore that? I keep going until I don't want to keep going. If I don't want to keep going, I climb out of the rabbit hole and dive into the next one.

And if I don't like that rabbit hole I climb into another one.

I keep doing this until I find the book I want to write.

Then I write it.

Which involves a lot of resisting social media while trying to look like I'm paying attention to my family. And being in the paragraph, in the moment, in the chapter, and not outside looking at this massive project that is probably going to use up yet another year or two or three of my life.

And then I finish the book.

And then there I am again.

A rabbit staring at rabbit holes.



 To continue the chain, may I tag Celia Rees, whose breakthrough YA novel Witch Child in 2009, showed me that I knew nothing, NOTHING, about writing and that I had to get better at it fast!    

The Chain So Far (or at least as far back as I had time to search):
...
Iain Maloney (First Time Solo)
Chris Becket (Dark Eden)
Tony Ballantyne (Dream London)
Fletcher Moss (The Poison Boy)
Sarah Naughton (The Hanged Man Rises)
CJ Flood (Infinite Sky)
Terence Blacker (Boy2Girl)
Martyn Bedford (Flip)
Keren David (Salvage)
Me (Shine)



Read my previous posts:

I love LibrariesBeast QuestStory is not colour blindOrigami fan mail
The Writer is You
Whoever You Are
Dear Candy Gourlay
Letters from
Ellis Guilford School
Multicultural is about
inclusion not
difference
Monster Typhoon
in the
Philippines