Category Archives: New Adult
“May Not Be Suitable for Children” should be my pen name, plastered across every short story, poem, and novel I write. There arises a dilemma in writing young adult fiction for teens, even for older teens, in that you must purposefully censor the content, language, and context of the story. At the same time, you want to commit to a certain degree of realism in your portrayal of teenagers—they cuss, take drugs, and make poor decisions. But at one point can the pursuit of depicting something “real” cross the line into commercializing the controversial? While editing my novel The Heathens and Liars of Lickskillet County, these questions have plagued me.
Young Adult Lit in general has begun catering to younger teens, from ages 12 to 15, and with that comes a certain sacrifice of material. Violence becomes cleaner, romance becomes chaste, and the 14-year-old who might be a bundle of angry hormones speaks proper as a British butler. On the other hand, there exist plenty of YA novels that explore the dark and gritty. Thirteen Reasons Why explores the suicide of the protagonist’s sister. The Perks of Being a Wallflower highlight sexual abuse within the family and contain scenes about drug exploration. Probably one of the books that takes on the most criticism for dark material is Crank, which details a girl’s descent into meth addiction.
The controversy has already been much discussed in blogs and articles, asking whether YA is TOO DARK? Here are some opinions on that, but here too is my opinion.
As edits began on my novel The Heathens and Liars of Lickskillet County, I began to have these exact conversations with my editor and publisher. After we reviewed some of the scenes in question, I agreed—some of these existed purely for shock value, the I can’t believe they might do that moments. Some were clearly inappropriate, though others existed for very particular reasons.
I’ll give an example: one character in the novel struggles with abuse in her relationship. In the first draft, I merely hinted at this dynamic and in subsequent drafts I wanted to bring the conversation of partner abuse to the forefront. So I employed the Toni Morrison school of realism and left nothing to the imagination, which created a powerful though perhaps horrendous scene. Was the scene necessary to show the horrors of abuse or could have I implied my opinion in some other way? In the end, I removed that particular scene because I believed that the character could convey her unsettling experience more easily herself. I could explain why domestic abuse was a terrible thing without actually showing domestic abuse, therefore in some way glamorizing that sort of violence.
Other controversies arose, as well, such as certain sex scenes and the presence of drugs and especially the level of cursing that some characters undertook. This caused the book to lower the f-word count nearly 100 f-words, which you probably might not notice reading the book. I based this novel and some of the action and the idiosyncrasies of the book on my friends, and my friends in high school swore like sailors. Of course we were always talking about sex and crimes and what we going to do once we broke out of our hometown. That’s part of growing up.
The most important question to ask is, why are you writing? Is the scene, though controversial, serving a specific purpose? I want to write something entertaining but also something educational. You learn not just about science or the South or even about the inner workings of teenagers, but a little something about what it means to be human.
Lastly, another big question: who are you writing for? It took me a long time to come to terms with the fact that I’m writing young adult literature, but the stigma of writing for teenagers has begun to dissolve. I always wanted to write “literary fiction,” something serious, though you can write serious fiction for teenagers. After all, I was reading Melville and Fitzgerald and Dostovskey and Eggers as a teenager, and even now I’m barely removed from “teenager status.” Over the past few years, YA Lit has trended toward younger readers (12-15), but I wanted to write something for the almost New Adult. And I don’t mean the genre “New Adult,” which has been swamped solely by romantic fiction. I want to for those in-between, people like me. Maybe we’re not ready to read academic treatises yet and still crave the adventure of a teen lit book, though we also want something substantial in our fiction. We wanted to learn something about being human, want to better ourselves through the process of reading.
So, maybe The Heathens and Liars of Lickskillet County isn’t “suitable for children,” but I hope it’s suitable for you.
I am extremely happy to announce the forthcoming publication of The Heathens and Liars of Lickskillet County.
On May 21st, I signed a contract with PRA Publishing for my first novel. This summer I am working with my superb editor to put the finishing touches on the manuscript, and then we’ll begin a massive marketing campaign. You’ll see reviews, blurbs, interviews, and other creative forms of marketing on this site! The tentative release date is August 2015, though I’ll keep you updated about specifics as the time draws nearer. Find out a little more about the book here:
When Declin Ostrander arrives in Lickskillet, South Carolina, he encounters a town on edge: after a grisly hate crime in their most affluent gated community, the citizens have adopted extreme caution and comical political correctness. The lynching coincides with a series of strange occurrences: the haunted house burns down, the local swimming hole is filled in to make space for condominiums, and a corporate lawyer arrives in town to defend the accused– a lawyer who happens to be Declin’s father. He moves to a new city every six months, sometimes once a year. Such might be the duration of the average hate crime trial. When Declin arrives at Lickskillet High, he struggles to relate with others and must seek out his own identity in the wake of tragedy.
Every town the same: a new racism, a new house, a new you. Declin’s father works for the infamous Knights of Southern Heritage, a cultural group often accused of hate crimes, and though he does not care fondly for the Knights or the victims, he relishes the chance to constantly move from town to town, to essentially recreate himself. The town reels over a central mystery: who killed Francis Jameson?
The book re-landscapes the South as an absurdist menagerie of Southern heritage groups, social segregation, and corrupt local politics. At the center stand the disaffected and aloof teens of Lickskillet, crusading against the humid hum of boredom with reckless mischievousness, post-modern apathy, and redeeming humanity.
Of course, I’ve written a book that is Young Adult (though that term here applies to 16-30 years old) and Southern. I wanted to write a different southern novel, one that didn’t glaze over the potholes of our history and society. Whether I’ve succeeded in recreating the SC atmosphere will be up to you readers come next year.
Nobody likes to be put into categories, most of all writers. But categories—or in the world of books, genres—are very helpful for marketing and selling a book. When querying publishing firms and literary agents, one must identify their genre, which helps the editors and agents decide whether the project will fall into their areas of interest. But recently, I’ve had an extremely difficult time placing my novel in a genre, which should be a good thing because agents seek works that cross several genres, except it seriously curtails one’s ability to market himself.
I could easily make up my own genre: Southern comedy transgressive? Meta-cultural southern teen exploration? Young adult, but not that young, but maybe still in their twenties who like funny but also serious writing?
The problem is, if the agent doesn’t recognize the genre, then she or he cannot place it right? I tried literary, but that
can’t just say that: you need a better phrase.
brand is too broad. While my project has literary elements, it certainly could be explained more descriptively. I tried young adult, but this generally means the books is marketed for teens ages 12-15. My novel is marketed toward older teens and 20-somethings. It, like many New Adult novels, tracks the growth and development of young adults whose identities are forming, who are seriously changing.
So maybe your book is a noir space opera western with thriller-paced plotting, literary aesthetic, and occult elements? Well, you need a better way to say that, a shorter way.
As I’ve been e-mailing literary agents, literary magazines, and publishers, this question has plagued me constantly. Finally I found an age-group description “New Adult” with which to market the novel THE HEATHENS AND LIARS OF LICKSKILLET COUNTY. “New Adult” bridges the gap between the safe and young group of Young Adult (YA) readers and Adult fiction. But because my books deals with characters in between, I think this genre (a relatively new invention of words) is fitting.
Querying agents has so far not worked out, but I am still sending many, many emails all over the country (and the world!) to publish this novel, as well as poems and short stories.
Have you had trouble labeling a piece of work? What genre did you settle on?