WRITING THE YOUNG ADULT NOVEL Instructor: Betsy Haynes

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1 Note to students: While this syllabus is posted to give you an overview of the course, it is subject to change. If you have any questions or concerns, please contact the Writers Program at (310) or via at SYLLABUS WRITING THE YOUNG ADULT NOVEL Instructor: Betsy Haynes DESCRIPTION AND GOALS The young adult (YA) novel is one of the fastest-growing and most flourishing genres in the fiction book market today from dark fantasy to chick lit, and everything in between. But who are these teenage readers? What do they care most about? How can you craft stories to reach them? This workshop focuses on developing the tools specific to writing for the YA audience. Students study a wide range of published YA novels and learn to understand the teen voice, shape characters, plot, and pacing. Through interactive critiquing, students build their book ideas into two polished chapters and a complete synopsis. EXPECTED OUTCOMES: By the end of the course, the participant will be able to: GRADING Understand what makes the young adult novel unique. Revisit the struggles of moving from childhood into adulthood. Learn to use techniques that appeal to this audience. Keep a novel journal. Understand marketing. Write a synopsis and the first two chapters of a novel. Grades will be calculated as follows: 1. Writing exercises and homework assignments: 50% of total grade. 2. Comments on other students work: 10% of total grade. 3. Participation in weekly discussions: 15% of total grade. 4. Overall attendance, effort and participation: 25% of total grade. COURSE PROCEEDURES 1

2 Each Wednesday, I will post lectures and assignments by 12 noon Pacific Standard Time. Please read the lectures and complete all written assignments no later than 12 midnight Pacific Standard Time on the following Tuesday. I will not read or comment on work that arrives after that time, and you will receive a zero for that assignment unless previous arrangements have been made. COURSE REQUIREMENTS Required texts: WRITING THE BREAKOUT NOVEL, by Donald Maass and WRITING THE BREAKOUT NOVEL WORKBOOK, by Donald Maass. Students will read and complete a chapter-by-chapter outline of THE HUNGER GAMES, by Suzanne Collins Further reading (outlining not required): FAT KID RULES THE WORLD, by K. L. Going, SPEAK, by Laurie Halse Anderson, and AIRHEAD, by Meg Cabot. Prepare an ongoing journal for the book you are writing and complete homework assignments. Write a synopsis and the first two chapters of your novel. MY FAVORITE REFERENCE BOOKS 1. WRITING AND SELLING THE YA NOVEL, by K. L Going 2. WRITING DOWN THE BONES, Natalie Goldberg 3. STORY, Robert McKee 4. THE WRITER IN ALL OF US, June Gould 5. FICTION IS FOLKS, Robert Newton Peck 6. THE FIRST FIVE PAGES: A Writer s Guide to Staying Out of the Rejection Pile, Noah Lukeman 7. WRITING FOR YOUNG ADULTS, Sherry Garland 8. CREATING CHARACTER EMOTIONS, Ann Hood 9. SAVE THE CAT!, by Blake Snyder WEEKLY SCHEDULE WEEK #1 LECTURE: Find your story premise. Draw out its gut emotional appeal. Learn to raise the stakes. READ: WRITING THE BREAKOUT NOVEL, Forward, Introduction and Chapters 1, Why Write a Breakout Novel, 2. Premise, and 3, Stakes. Begin reading THE 2

3 HUNGER GAMES, by Suzanne Collins and completing a chapter-by-chapter outline. You will have two weeks to complete this reading and outlining assignment. HOMEWORK: Read chapter 7 in WRITING THE BREAKOUT NOVEL WORKBOOK and do the exercise at the end of the chapter. Begin your Novel Journal. POST: If you have a definite book project in mind for this class, tell us a little about it and how far you have progressed. If not, post two or three story ideas. Also post your story premise and the inner stakes of your protagonist, keeping in mind that these may change as your story develops. WEEK #2 LECTURE: Your characters ARE your story. Protagonist or hero? Inner conflict. Larger-than-life character qualities. READ: WRITING THE BREAKOUT NOVEL, Chapter 5, Characters. Pay attention to the Checklist at the end of the chapter. Finish reading and outlining THE HUNGER GAMES. HOMEWORK: Read the Introduction and first 5 sections of WRITING THE BREAKOUT NOVEL WORKBOOK and complete the exercises. POST: Tell us as much as possible about your protagonist, emphasizing the elements that were dealt with in this week s reading and lecture. Discuss what you learned about emotional arc and story structure from your chapter-by-chapter outline of THE HUNGER GAMES. WEEK #3 LECTURE: Building characters and plots teens will identify with and care about. What conflicts abound in today s teen s world. Teenager-Emotion. Digging beneath the surface. READ: Chapter 5 in WRITING THE BREAKOUT NOVEL again. Begin reading FAT KID RULES THE WORLD, by K. L. Going. Analyze the main character, Troy Billings, as you read. You have two weeks to complete this book. HOMEWORK: Read sections 6, 8, and 9 of THE WORKBOOK and complete the exercises. Begin collecting your own teenage memories in a special section of your Novel Journal. Add to them as often as you can. Look for times that were emotionally important. POST: Two or three of your favorite memories or ones that were the most surprising. Did any of the memories give you insights into building characters you are working 3

4 on? Describe. How did Katniss Everdeen s character traits affect THE HUNGER GAMES? WEEK #4. LECTURE: Plot is the organization of a story: its events and their sequence. An idea is just an idea; what is a plot? The essence of story is conflict. The beginning, middle, and ending of your plot. READ: WRITING THE BREAKOUT NOVEL, Chapter 6, Plot. Pay attention to the Checklist at the end of the chapter. HOMEWORK: Read sections 13, and 14, in your WORKBOOK and complete the exercises. Begin working on your novel plot sketch. POST: Your first attempt at plotting your story plus any roadblocks or problems you have encountered so far. Discuss the importance of Troy s and Curt s character traits and approaches to life on the plot of FAT KID RULES THE WORLD. WEEK #5 LECTURE: Contemporary plot techniques. Fitting into today s fantasy novel craze while avoiding the pitfalls. How much sex, drugs and violence are acceptable? Banned book week and the First Amendment. READ: Chapter 7, Contemporary Plot Techniques, and 9, Advanced Plot Structures, of WRITING THE BREAKOUT NOVEL, paying attention to the Checklists at the end of each chapter. Begin reading SPEAK, by Laurie Halse Anderson. HOMEWORK: Read sections 17, 18, 19, and 20 in your WORKBOOK and complete the exercises. Continue working on your novel s plot in your Novel Journal. Read your chapter-by-chapter outline of THE HUNGER GAMES and analyze the plot structure. POST: Do you think Anderson s description of the rape scenes is too subtle, too bold, or just right? How do you think this book affects teen readers? WEEK #6 LECTURE: Developing your plot sketch and turning it into a workable synopsis. Formatting your beginning, middle, and end. Understanding story threads and throughlines. Handling story problems: writer s block, sagging middles, characters who won t behave, unexpected plot developments, etc. READ: Sections 15, 16, 21, and 25 in your WORKBOOK and do the exercises. HOMEWORK: Work on your synopsis and first two chapters. POST: Your plot sketch/synopsis. 4

5 WEEK #7 LECTURE: The importance of setting time and place. Making your imagined world real to your reader. READ: Chapter 4, Time and Place, in WRITING THE BREAKOUT NOVEL, and don t forget the Checklist. Finish reading SPEAK. HOMEWORK: Read section 28 in your WORKBOOK and complete the exercises. Sketch out the general setting of your novel in your Novel Journal, be it time and/or place. Develop its importance. POST: Talk about the importance of setting in your own story. How important is it that Melinda is a freshman in high school when SPEAK begins, as opposed to a sophomore or a senior? Begin working on formatting your first and second chapters. WEEK #8 LECTURE: Capturing the teen voice. Put aside your teacher voice and talk the talk, while avoiding slang and dialect. Finding authentic voice from another historical period. Understand point of view. READ: Chapter 8, Multiple Viewpoints, Subplots, Pace, Voice, Endings, in WRITING THE BREAKOUT NOVEL, and remember the checklist at the end of the chapter. HOMEWORK: Read section 29 in the WORKBOOK and do the exercise. Choose one or two TV shows that appeal to teens. Jot down words and phrases that seem to be typical teen talk. Does any of this seem overdone? Eavesdrop at your local mall and take notes. Read AIRHEAD, by Meg Cabot. Draf your first two chapters. POST: Discuss how the heroine of AIRHEAD handles the two extremely different voices. Write some dialogue into your journal. Find ways to give your characters different ways of expressing themselves so that the reader can tell them apart. Make them individuals. Post two or three examples. You may also post either or both of your first draft chapters for comments and help with any problems you are having. THESE WILL NOT BE YOUR FINAL DRAFTS. WEEK #9 LECTURE: Strengthening conflict and characterization. READ: No text reading assignments this week. HOMEWORK: Sections 22, 23, and 24 in your WORKBOOK. Do the exercises. 5

6 POST: Strengthen your conflict and characterization as much as possible. This is it, gang. Finalize your drafts of Chapters 1 & 2 and your synopsis and post them. WEEK # 10 LECTURE: Marketing: Studying markets and submission. Agent/publisher. E- Publishing. Self-publishing. Queries. Manuscript format. READ: As many YA novels and writing texts as possible to study your craft. HOMEWORK: FINISH YOUR NOVEL AND GET IT PUBLISHED! POST: Post any final questions or comments. 6