What's a YA Novel?

You know a friend of mine asked an interesting question. (And she was posting the question from another blog). What separates a YA novel from an adult novel? I know others have asked it, but my friend did more than pose questions, she passed some suggestions on what she thought of as a YA novel.

Now, I've checked out the other two blogs and my friend and myself were really the only ones seeming to discuss this issue, which seems odd because I happen to know a few experts on this subject. So, given the fact that I'm not a YA novelist (generally) and never really read them much (even when a YA) - though, again, there are exceptions, I'd like to encourage people to weigh in on this.

To find out what my friend, Bookishgal thought on this topic, don't forget to check out her blog.

Here's what I think makes a YA novel is:

• First and foremost, it needs to be a novel that speaks to young people. What does that mean? That means that the characters act and talk in ways that teenagers can identify with. That likely means teenage logic. In my (limited) experience, it means characters likely to be living in the moment without much understanding of consequence. It means emotions tend to run high and be extremes - euphoria and despair, terror and complete fearlessness, with little in between. They love absolutely. They hate the same way.
  
• Empowerment. I think, if one has characters young people identify with, you need to put them in situations where they have power. I think young people tend to feel somewhat powerless, riddled with rules and limited by their youth, where someone else decides everything for them. The world is full of things they can't do. So, a good YA novel, which likely includes people trying to keep them in "their" places, should include going beyond those limitations. This is likely why comic books and mangas often involve special powers and magic, supernatural forces and abilities. Or young people taking charge of their lives the way young people don't feel like they can in reality.
• Struggle. This might not be fighting against adults, but the struggle needs to be real, at least to teenagers. This might be action or adventure. This might be mystery or romantic conflict. There might be (in fact, likely is) danger. Teenager tend to feel like they're always struggling against something.
  
• Main characters can have layers and subtlety, but many of those on the outside of those characters may be black and white. Villains are very villainous, perhaps with no redeeming qualities. Good guys and support characters (friends) can be selfless and never fail to be there when you need them. Though authority figures don't always fare well.
• Some of the language and imagery might be a little less erudite than adult, but I'm not sure that's really that much of a distinction nowadays.

But, as I said, I write little and read less, though I've read mangas and a few YA novels I liked. That's just how I see it.

What do you think?

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The Long and Short of It

Yay! I was good today so I get to blog! For those of you that care.

So, I'm going to discuss another topic, sparked by another blog buddy, Relax Max, who didn't realize there was a difference writing short stories vs. novels except that, with novels, "you have to drag it out more." While one does have to "drag" a novel longer (though, hopefully, one isn't "dragging it or it won't be a very good novel), writing the two, other than they're both fiction, is entirely different.

A novel gives you time. You can take your time introducing your characters and fleshing them out, time to expand on background or history or philosophy, time for large and small events to go by and make a cohesive whole. It is not a story about a single image or a single event, and, generally, not about a single character. It must be lively enough to engage and retain interest, fascinating enough to justify the background provided, compelling enough early on to be worth the time and have an ending that allows it to stand on its own. It doesn't have to answer every question, but it needs to be satisfying on it's own.

Only that last part always applies to a short story. A short story should make characters alive and compelling, set the stage, and then do whatever the intent of the short story is, but you don't have time to do so leisurely. Characters must be painted quickly but clearly, which means you can't give them the same opportunities for growth, the same level of backstory, the same amount of time devoted to dialog. The character must come through quickly or it will be missed. Similarly, description, which is more key, I think, to a short story than a novel, must be effective and efficient, describing only those elements that add to the story and forgoing anything that doesn't. Dialog must be crisp and can be used effectively, but make it count.

A short story has a great deal of versatility. It can expand on an image, make a societal point, play with a concept. It can be a small piece of a larger cloth, but it must be self contained. Everything you need to understand, to explain, to see and hear the characters and settings must be there. It's fine to get people interested in knowing more about the characters, more about the world in which they live, more about what happens next, but the story must stand on its own or it's really a chapter.

I mentioned to Relax Max that being an excellent novelist does not mean you write good stories and vice versa. There were a number of writers who particularly excelled at writing stories like Poe, O'Henry, Sake never really wrote long works. Some, like Heinlein, excelled in both.

And, of course, don't forget I'm looking for readers to provide opinions on my own short stories.

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My Favorite Characters Part 4: Stoic Type

Oh, you thought I was done? No such luck. Turns out I have MANY favorite characters. Now, although many of incarnations of MFC 1-3 tend to be "heroes" or male characters, the stoic type can be either gender. I can think of half a dozen favorite novel characters like this (such as Val Con Yos'Phelium and Jela--as well as Jela's tree--from the Liaden series - although it was applicable to many of the Liaden characters), heroines and heroes from Georgette Heyer novels, my heroine (Layla) from Curse of the Jenri, and my hero, Xander from Beast Within. Even Horton hatching his egg fits. Actually, you can make an argument that Edward from the Twilight series is more a stoic than a cool and cutting. In the movies, they're everywhere. Van Helsing, McConnell from the Mummy series, Spok...I literally could be here forever.

Clearly, I'm not alone in finding this kind of quiet, patient individual appealing. Being quiet isn't enough, though, for him/her to be a favorite. They must be smart enough and knowledgeable enough to understand the trials they choose to face or their stoicism doesn't have the same cache. Often a side character (though I've noted many who aren't), they are often the right hand man/woman to a charismatic or volatile main character. Sometimes straight men, sometimes the characters that take the "dreams" of the main character and make them reality (as it were in fiction), they are completely dependable and 100% trustworthy.

In many ways, they are like the MFC#1 (stupid but pure) only minus the potential for stupid. Whereas you may not be sure if MFC#1 really knows what they're getting into, with the stoic, you know they understand the risks, the implecations, the challenges and even the pain and choose to do so anyway.

They are devoted, selfless, not overtly passionate but quietly and implacably so nonetheless. Ironically, they are also usually very logical, organized, and practical, often, again, in contrast with those around them. They are not swayed by dogma or beliefs as a general rule, but either led by people they admire absolutely or stoic because they are intactable when it comes to "what's right."

Do I love 'em? You bet. I'm not sure but I think everyone does.

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