Other characteristics of the Young Adult Novel

The author relinquishes control.  The reader decides.

There tends to be no “happily ever after”.

The novels are multi-genred and multi-themed.

If you call the genres and themes “traits”, YA novels tend to have more traits than novels written for adults and than those written for children.

 

What endings often look like in YA

There will be some sort of stasis.

The protagonist has usually grown.

There will be a future with a lot of possibilities.

The ending is often open to interpretation or simply open-ended.

It will often be upbeat.

The reader has control over deciding what has actually happened.  

Examples

Possibilities at the end of stories

•         Malcom Rose: Jordon Stryker Bionic Agent  -  Will the bionic parts of him be enhanced?  Will this mean the even more demands will be made of him? There are many possibilities. 

•         Tabitha Suzuma A Voice in the Distance Flynn lets Jennah go. They may get back together again.  

•         Rich Wallace’s Restless Story of a ghost.  He realises he will reincarnate again. We are less sure of what will happen to his little brother. 

 Mystery within texts

•         David Almond’s Skellig No one is sure what Skellig actually is.

•         Sara Grant Dark Parties Throughout we’re not sure what the Protectopshere actually is.

•         Beverley Birch’s Rift The whole text is imbued with a sense of mystery.

•         Teri Terry Slated From the outset in this book the reader has to ponder what is the actual meaning of being “slated”.

 

Examples of genres

–     adventure

–     chicklet-lit 

–     fantasy

–     historical fiction

–     horror

–     the paranormal

–     real-life

–     science fiction

–     science fantasy

 

Examples of themes

•         global issues (cloning, nuclear war, climate change for example)

•         near futures

•         dystopias

•         depression

•         drugs

•         identity

•         inclusion issues

•         peer pressure

•         relationships

•         religion

•         risk taking

•         sexulaity

Examples

Robert Cormier’s The Chocolate Wars (first published 1974)

–     One genre: real life

–     Six themes: putting the world right, peer pressure, relationships, sexuality, religion, risk-taking     

–     Seven traits     

Gillian Cross Phoning a Dead Man (2001)

–     Two genres: thriller, Bildungsroman (in ordinary sense as well as specific young adult type)

–     Five themes: relationships, risk-taking, otherness, exotic, disability

–     Seven traits  

 

Paul Dowswell’s Eleven Eleven (2013)

–     Three genres: Bildungsroman, thriller, war

–     Five themes: identity, otherness, peer pressure, risk-taking, romance

–     Eight traits              

 

Creative Writing Exercise

Revisit the final scene of your novel.  Have you made it as open-ended as possible? Consider the following:

• ·          Can you be a little less explicit and only hint at the outcome rather than describing it exactly?
•          Think about how the story is going to carry on.  Which questions can you leave for your readers?
•          Do you need to include some sort of epilogue so that a follow-on story can be created?
•          Make sure your ending is not “happy ever after” but has hope in it.

Extra Exercises

Reworking other scenes

Look at some of the scenes you have already created. Consider the following.

·         Can you create a cliff-hanger at the end of each scene?

·         Can you leave some mystery for the reader to solve?  You may know the answer to the implied questions mentioned above. After all, you have worked hard to create the characters and the setting.  However, this works a little better sometimes if even you don’t know.  So now, can you let your characters and your setting  go a little? Can you allow them to keep something from you?

·         Can you contrast your mysterious scenes with some more grounded, realistic scenes? Consider what Birch does in Rift. This will enhance the perception of mystery in the reader.     

Working on new scenes

Re-examine your characters, your setting and your plot points. Where can you create mystery for the reader?  Make a list. Are there some things that you are prepared not to know? Or at least, not to know yet?  Just like your reader, you will have to make up your mind eventually.  Take a little care, however, that nothing becomes illogical. If there is a hole in the plot, for example, there must be several satisfactory explanations as to why.

Now identify two or three scenes you could write where you can give a considerable amount of control to your reader.

Enjoy writing them!  

Achieving pace in YA novels

Why pace is important

The young adult has the dopamine charged brain that leads to greater risk-taking. The adolescent is also under a good deal of pressure. They are dealing with study, new relationships and par-time work. Anything written for them must get to the point quickly.

 

Some of the risks we encounter 

•         Joy-riders

•         Facing uncomfortable truths

•         Laying self open to criticism

•         Doing something you’ve never done before

•         Holocaust risks

•         Talking to someone you’re shy about  

•         Superheroes

Risk-taking (of their own making)

•      Gemma in Libby Bray’s A Great and Terrible Beauty – playing with magic.

•      Lyra in Philip Pullman’s His Dark Materials – always brave

•      The relatively naïve girls in Judy Waite’s Game Girls become prostitutes

•      Chamus in Oisin McGann’s The Gods and Their Machines flies aeroplanes and becomes an important pivot between three warring factions.

Danger imposed upon them

•      Mrs Coulter / The Church in Pullman

•      Snake right at beginning in Bray

•      External war in McGann

•      Aggressive man  - potential for STD in Waite  

Relationships between plots

This allows for another problem to gain momentum while one is solved.

E.g. Harry Potter: -

•      Harry’s longing for home

•      Harry being different from others

•      Harry and magic

•      Harry and friends

•      Harry and other enemies

•      Harry and Snape

A more subtle version

In Deborah Savage’s Kotuku:

The protagonist Charlotte comes to terms with who she is. She also:

•      Finds the love of her life

•      Understands some of the mythology that builds who she is

•      Comes to terms with her friend’s death.

High stakes

There is often something really huge at stake e.g. a relationship with the super natural, a strained relationship with a close family member, the need to save the world, an extremely risky life style.

 

Car chase moments

The “car chase” moment usually comes as part of the climax. There is often some sort of journey at this point in a YA novel.

 

Language

Often a very immediate first person narrative is used. The present tense can also give more closeness. This is often the voice of a young adult a telling a best mate what is actually happening without overanalysing it. Thus the reader shares the growth.

 

And suddenly moments

•         Twists and turns

•         Cliff hangers

 

Other aids

•      Short sentences

•      Short chapters

Reading Exercise

Look at how a YA book of your choice achieves pace.

Writing exercise

Write two or three scenes of your work in progress showing a fast pace.

 

 

How to write a great synopsis

Note, a synopsis is not a blurb. You must tell the full story in a business-like language.

What to do:

•         Describe the plot in two lines - include the premise.

•         Say a little about each character.

•         Develop the plot through six stages: -

–     hook

–     3 or more incidents

–     crisis

•      climax

–     resolution

–     stasis

•         Conclusion - include "moral"? 

Here are some examples:

Describe the plot in two lines:

(From The House on Schellberg Street) 

Renate Edler finds out only a few days before she comes to England on the Kindertransport that she has Jewish blood and is officially a Mischling, a mixed-race child. She has to become English.

(Okay – two and a bit. That’s within your normal 10%)     

 

Say a little about each main character

This may be about just your protagonist or all or some of your main archetypes.   

(From Clara’s Story. Here I only describe the protagonist.)

Clara really existed and was according to the German race laws Jewish although she had converted to Christianity several years earlier. She sees her Jewishness as a religious rather than a racial matter.

Her children managed to escape the Nazi regime. Ironically she did not because she was helping Karl Schubert to protect and foster a special class of children with learning difficulties. This class continued to meet at her home in Stuttgart after the Waldorf School was closed.

 

Develop the plot through six stages

You will see that here I’ve pinned it to McKee’s theory. You could use any of the others, in fact. Keeping to this shape prevents your synopsis from just being a list of events. 

(From A Gallery for Nick) 

Just before this I have described the characters, the relationships and the tensions between them. 

Barney returns from his first date with Sophie – a girl it has taken him a lot of time and courage to ask out – to receive a phone call from Mrs Fletcher telling him that Nick has been taken into hospital. Barney rushes to the hospital, but Nick dies minutes before he arrives.

Barney now becomes depressed himself and his school work suffers. He still cares for Sophie, but cannot express this. He stops being the easy-going character who was everybody’s friend. He is dropped from the swimming team. Sophie tries to support him, but finishes with him because he doesn't seem to want her. He is, however, devastated. He takes to skipping school and hanging about the harbour where he and Nick used to take the photos.

An old friend of the family, Jack Mitchell, befriends Barney and invites him to take part in one of the courses at his sailing school. Jack understands that Barney is missing Nick. Those who wept at his funeral seem to have forgotten him now and others think it is a relief that he has died.

The crisis point comes as Barney is so self-absorbed that he loses control of the boat almost drowning everyone on board. He realises that he has to handle his grief better.  Barney goes out in a boat with Jack and he is able to cry at last, as he remembers his friend and enjoys the sea for him. He feels as if Nick - a strong, healthy Nick - is with them as they sail back to the shore.   

Nick's mum phones Barney. She wonders whether he would be able to help her clear up Nick’s room. Barney agrees. They find the paintings in the drawer. Mrs Fletcher says she would like to keep some, but agrees with Barney that the rest should be displayed. Barney thinks of asking Jack to let him display the pictures in the odd-shaped room at the sailing club. Sophie agrees to be the hostess at the opening of the gallery. Jack decides to start a sailing school for the disabled and use the gallery as a way of helping to raise funds. Barney learns to celebrate his friend's life. The reader is left to guess whether a romance begins again between Barney and Sophie. 

Note: I haven’t named the six parts here, apart from the crisis, but they are clearly visible. You can name them if you wish.  

 

Conclusion

(From A Gallery for Nick)

We see Barney go through all the stages of grief:  denial, anger, guilt, depression, acceptance and finally celebration of life. There is hope at the end.  

I also recommend Nicola Morgan’s book: Write a Great Synopsis – An Expert Guide

Exercise

Now have a go at writing a synopsis. If you haven’t got a finished novel try writing one for a novel you have enjoyed.