Writing in the Disciplines: Following the Proper Guidelines to Writing a Young-Adult Fiction

Transcription

1 Abouelhagag 1 Rana Abouelhagag Mrs. Hanson Advance Composition January 13, 2014 Writing in the Disciplines: Following the Proper Guidelines to Writing a Young-Adult Fiction Abstract Writing a successful piece of young-adult fiction (YA) requires the writer to follow a set of suggested guidelines. These guidelines derive from already published works and educators. So, when writing, it is best for the author to examine texts for literary devices, motifs, themes, and other ideas to create an outline to follow in order to create a unique work. When writing, the author must always remember how he or she plans on catching the reader s attention. Therefore, the novelist should take the advices on how to write a good piece of literature to end up with a strong piece. Introduction Writing a strong piece of literature no matter the genre or type requires the writer to follow a set of guidelines in order to fabricate a successful and appealing piece. While writing, is necessary for the author to understand what type of literature his or her text will be in order to follow the set of suggested guidelines for that type of writing. Keeping in mind that some literature falls under a certain category of text, the writer should be able to distinguish between the category of the piece which they are writing and other genres or sub-genres. The writing process requires a lot of research, planning, and creativity depending on the type of literature the author hopes to complete. Usually while in the process, the writer attempts to make his or her

2 Abouelhagag 2 work appealing for the reader regardless of the work being fiction or non-fiction. This applies to most cases in the writing process including when writing young-adult (YA) literature, a subcategory of adult fiction. In order for the author write a successful young-adult fiction, the writer must know what it is to follow the suggested guidelines of writing YA, the elements to include in the planning of the story, and scholarly tips and methods on how to make the story alluring for the reader. Background Young-adult fiction is a kind of adult fiction that is especially written to be read by teenagers and adults in their early to middle twenties. Often times, readers would view youngadult literature to be a genre, however, it is not its own genre (Wendig). This type of fiction incorporates new ideas and can sometimes change the way one thinks about a story (Wendig). New ideas that are created throughout the text can emphasize on a new way to perceive things in the story and even in real life. This is typically what makes a young-adult fiction respectable because it has the reader think of all possible ideas and opens their eyes to new perspectives that they have perhaps never thought of. In addition, this helps the reader further his or her trail of thought to explore new aspects of people and life, even though the text is still fiction. As a result of interest in YA, it has been said that the writing, publishing and selling of YA literature has grown by 150 percent (Thomas). Knowing what things can be found in young-adult literature and the statistics behind this category of text can help the writer to think of a way to plan and establish a unique and solid story line by looking for the specific and common elements that are found in successful texts. Common Elements

3 Abouelhagag 3 Firstly, the writer must know what elements a young-adult piece would usually include. While the writer is aiming for a unique product, it is the best for him or her to follow the suggested methods that act as advice provided by professional writers, educators and even famous authors in order to create a strong piece. When first starting from scratch, the writer should keep in mind that it is always best to be honest and true while writing (Sambuchino 12). This is necessary because it would eventually be reflected in the work when it is finished. Additionally, this would also ensure that the story line of the novel be thorough and interesting for the reader to read. When writing the text, it is also necessary to pay attention to the point of view that will be used throughout the young-adult novel because the point of view determines everything else in the plot. By choosing the correct point of view, this would aid the writer by adding more value to the plot, characters and setting (Baskin). This would then help the author to create the right characters for the story. While coming up with the characters of the novel, the author must always keep the characters ages in mind to suit the audience (Baskin). At least one of the characters should be a teenager and it should classically be the protagonist because again, most of the audience of the text most likely falls under the age ranges of teenagers and adults in their early twenties (Wendig). The reason for the need of a teenage protagonist is if the story is written in his or her point of view, the reader, usually if he or she is a teen, would be capable of somehow relating to the character and understanding the story more. As a result, this shows how the point of view can affect the structuring of the novel and the details included. For the author, it is always essential to aim to make the young-adult novel more complex rather than simple. Being simple usually results in the reader being limited to the plot and details.

4 Abouelhagag 4 This ultimately results in losing the reader s interest. Therefore, it is best to be more complex to make the story more accessible and entertaining for the reader (Sambuchino 12). Through this, the author can incorporate relevant motifs and themes to the plot. Typically, the author would want to include motifs such as power vs. powerlessness, love vs. hate, happiness vs. sadness, and any other motifs in the form or forms the writer would like (Sambuchino 12). The reason the novelist would want to include such motifs is to create a better story that the reader can relate to or learn from. Furthermore, the author would then reveal his or her purpose through the motifs because they would often times portray different aspects of society. Eventually, this would lead the writer into the next step in the process of writing which is to attempt to get inside the reader s mind by discussing real life issues that can fit into the novel (Scheller 14-15). Issues that can be discussed throughout can include matters of school, family, work, social status, friendships, and issues of that nature. Even though it is fiction, the text must always somehow contain any of the above issues or other matters that teenagers and young-adults deal with in order to get the audience thinking on a more personal level. Thus, this would reveal why it is necessary to write a more complex piece than an uncomplicated one. In young-adult fiction, literary elements found in the microcosm such as characterization, imagery, diction, syntax, or irony should somehow be included in the novel (24-7 Press Release). These literary devices are necessary and always significant in especially young-adult literature because they help to expand on the plot by identifying the characters and revealing specific descriptions of the setting and events that go on in the novel. That is, the author is not limited to these literary devices. But, these are the most common ones found in YA texts and the most essential ones. Consequently, including these devices is necessary to create a better story and to help to create a lively plot.

5 Abouelhagag 5 Therefore, the elements discussed in this section are the basics and necessities to writing a successful young-adult novel. These basic steps to developing the work are guaranteed to help the writer with organizing and structuring the story because it is these small elements that assist the author in writing a pleasant story. Additionally, they help to attract the reader and create a stronger interest in reading the novel. The Reader s Interest When writing the young-adult piece, the writer usually keeps in mind how he or she will attract the reader and how to specifically catch their interest. Without a doubt, this is done through the discussed process, but the author should keep small factors in mind in order to avoid writing a faulty piece of work. The first rule while writing the novel is to never get preachy (Baskin). Getting too preachy can often times result in confusing the reader or even offending the reader. Usually, when an author gets preachy, it would reveal the author s unintended purpose convincing the reader to change their mind about a subject. That is a huge flaw in writing a young-adult fiction because almost always, a piece of young-adult literature is meant to take the reader on an adventure and not to completely persuade the reader to change their mind about something. Preaching too much might also bore the reader and come off as slightly cliché to the work and slightly bothersome. So, it is best if the author does his or her best to stay away from that. Writing about emotional subjects that might touch the reader is a good idea to keep in mind when writing. Usually when the author hits a touchy subject, it would result in the reader feeling a deep connection to the text or them feeling emotional toward something that happened. Even if the text is not tackling issues of life and death, the best among them still capture the gravity of teenage experience (Feeney). This is true because if the author is at a deadlock and does not

6 Abouelhagag 6 want to discuss a massive issue, capturing challenges that teenagers and young adults go through to include in the text becomes very appealing to the reader because they would be able to relate to the text on some level. Finally, creating hopeful endings, regardless of the outcome, is necessary. Even if it is just a glimmer of hope, this can truly change the reader s perspective on the novel as a whole and really get something out of the reading. Therefore, these minor details that the author should bear in mind are the gist of how to attract the reader into thoroughly reading the novel and believing by the end that it is a well-written piece. Excerpt Analysis: The Hunger Games by Suzanne Collins As it is important to understand the structure and elements included in young-adult text, this section will analyze an excerpt from The Hunger Games by Suzanne Collins for the common patterns found in YA literature. The following excerpt is found in Chapter 1, pages 3 through 4: When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim s warmth but finding only the rough canvas cover of the mattress. She must have had bad dreams and climbed in with our mother. Of course she did. This is the day of the reaping. I prop myself up on one elbow. There s enough light in the bedroom to see them. My little sister, Prim, curled up on her side, cocooned in my mother s body, their cheeks pressed together. In sleep, my mother looks younger, still worn but not so beaten-down. Prim s face is as fresh as a raindrop, as lovely as the primrose for which she was named. My mother was very beautiful once, too. Or so they tell me. Sitting at Prim s knees, guarding her is the world s ugliest cat. Mashed-in nose, half of one ear missing, eyes the color of rotting squash. Prim named him Buttercup, insisting that his muddy yellow coat matched the bright flower. He hates me. Or at least distrusts me. Even though it was years ago, I think he still remembers how I tried to drown him in a bucket when Prim brought him home. Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out OK. My mother got rid of the vermin and he s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me. Entrails. No hissing. This is the closest we will ever come to love.

7 Abouelhagag 7 I swing my legs off the bed and slide into my hunting boots. Supple leather that has molded to my feet. I pull on trousers, a shirt, tuck my long dark braid up into a cap, and grab my forage bag. On the table, under a wooden bowl to protect it from hungry rats and cats alike, sits a perfect little goat s cheese wrapped in basil leaves. Prim s gift to me on reaping day. I put the cheese carefully in my pocket as I slip outside. The above excerpt contains a lot of literary devices. Firstly, the use of imagery is present throughout the passage. Examples of imagery present are in quotes such as eyes the color of rotting squash (3) and Scrawny kitten, belly swollen with worms, crawling with fleas (4). The use of visual imagery is necessary to create scenery in the reader s head and to keep them reading. When the author could have simply skipped to what Katniss, the main character, does next after waking up, it is evident that Collins decides to use detail about what Katniss sees and observes. Thus, this gives the reader an idea of the character s life and the type of thoughts that go through her head. Vivid language is also used to describe the first few minutes of Katniss morning. For example rather than just stating that Katniss gets up, the author describes how Katniss swings her legs off the bed (4). This would count as a form of kinesthetic energy, but it also reveals that the author adds detail as of how she gets up to create a livelier plot even with just one simple movement. The syntax and word choice of this sentence affects the storyline by adding action and creating a mood. Characterization is used in this passage to directly describe Katniss mom and sister. For example, Katniss gives the reader an account of what her mother and sister look like and the expressions on their sleeping faces. Although it is an account of physical appearances, most of the times direct and indirect characterization is found throughout any text including this one. Characterization is important to give the reader an insight of others characters behaviors, emotions and appearances in order to create a better understanding of the text.

8 Abouelhagag 8 Ultimately, the discussed examples in the above excerpt from The Hunger Games by Suzanne Collins exemplify strong uses of literary elements and the common patterns found throughout young-adult texts. Conclusion In conclusion, writing a strong young-adult novel requires the writer to follow a set of guidelines in order to create a successful and appealing piece just like other types of literature. While writing, it is necessary for the author to understand what young-adult fiction is in order to follow the set of suggested guidelines for that type of writing. The writing process requires a lot of research, planning, and creativity to produce a successful product that can attract readers. In order for the author write a successful young-adult fiction, the writer must know what youngadult fiction is to follow the suggested guidelines of writing YA, the elements to include in the planning and organization of the story, and scholarly tips and methods on how to make the story alluring for the reader. Knowing the basics of young-adult literature is necessary for almost anyone. The fundamentals provided above can act as a guide to support Atoms Writing Center tutors when tutoring. Although it will be rare for a student to come to the writing center asking for help on how to write a young-adult story, it is still a good idea to at least know some of the basics and to know the common elements used. Also, by knowing the necessary parts to include and advices on how to produce a strong piece, tutors would be able to edit their tutees papers without facing major problems with analyzing the structure of the piece. Therefore, writing a strong young-adult novel requires the writer to follow a set of guidelines in order to fabricate a successful and appealing piece.

9 Abouelhagag 9 Works Cited "7 Elements Found in Today's Young Adult Fiction Books." 24-7 Press Rlease. N.p., 4 Jan Web. 11 Jan < Baskin, Nora Raleigh, ed. "Six Tips For Writing Young Adult Novels." Gotham's Writers' Workshop. N.p., n.d. Web. 28 Nov < 7>. Collins, Suzanne. Hunger Games. New York: Scholastic, Inc., Print. Feeney, Nolan. "The 8 Habits of Highly Successful Young-Adult Fiction Authors." The Atlantic 22 Oct. 2013: n. pag. Print. Sambuchino, Chuck. "5 Tips for How to Write a Young Adult Novel." Writer's Digest 14 May 2013: 12. Print. Scheller, Rachel. "Writing Fiction for Young Adults." Writer's Digest 13 Nov. 2012: Print. Thomas, Liz. "Boom in young adult fiction as sales jump 150 percent in six years thanks to hits like Twilight and The Hunger Games." Daily Mail UK [London] 2 July 2012: n. pag. Boom in young adult fiction as sales jump 150 percent in six years thanks to hits like Twilight and The Hunger Games Read. Web. 11 Jan < jump-150-percent-years-thanks-hits-like-twilight-the-hunger- Games.html#ixzz2rAeU2l3M>.

10 Abouelhagag 10 Wendig, Chuck. "25 Things You Should Know about YA." Terrible Minds. WordPress, n.d. Web. 28 Nov <