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fixyourwritinghabits · 7 months ago

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So I want to write a novel, and I outline my story and write out everything that happens in the outline and I get to the end and it's... Between 20,000 and 40,000 words, usually. Like I can tell a complete story but I have a hard time getting it to the length of a publishable novel, and it keeps happening with different stories I write. Do you have any advice for making a story longer without making it feel like I'm just adding stuff to make it longer?

While I think you have a workable length for a first draft, I can see where your problems lay. Let's tackle what your intended goal is first.

Industry standard (set by traditional publishing) for novels is the following:

Adult novels - 80,000 to 100,000 word count. Many will fall between that range. Sci-Fi and Fantasy novels tend to run higher, but you'll notice Romance, Mystery, and Crime tend to run tighter, closer to 80k. Literary novels (Contemporary and Historical Fiction) can swing up and down that word length. Door-stopper books of 200k can be found, of course, but that's the opposite of what we're dealing with.

YA Novels - Contemporary tends to stick to a tight 80k, but publishing tends to seek longer fantasy novels, sticking to the adult standard of 10k.

Middle Grade (8-11ish year old readers) - 30,000 to 60,000. Most publishers want something in the middle, as MG readers are constantly stretching their reading capabilities.

These are generalizations that are subject to change, of course, but they're good guides to follow when editing. Let's say you want to aim for an adult novel, which means you want to at least double your 40k length. While looking over your work, consider the following:

Does your main character have enough problems?

If your story can be resolved within the 40k mark, you may need to add more complications to their journey. Does their external problem (the outside issues they're dealing with, like losing a job or battling a sentient typhoon) adequately line up with resolving their internal problem (dealing with unresolved guilt, confronting a fatal flaw about themselves, apologizing to that sentient typhoon for leaving them at the altar, etc).

Save The Cat also talks about the Shard of Glass or Unresolved Wound, a deeply internal problem the protagonist has to confront about themselves in order to solve the main problem of the novel. Deepening your character's issues can buff up the need for more words to resolve them. (Not every story has the character 'fix' this issue - many novels are about characters failing to do just that, that unresolved flaw finally dooming them in the end.)

Subplots, Sidequests, and McGuffins

Subplots are their to enrich your novel with elements that contribute to the overall journey. Besides the main problem your protagonist is facing, what else is going on in their life? Do they need to confess a crush to a friend? Is their struggle to control their magical powers tied to a traumatic childhood? Does learning the truth about their family history force them to reflect on their own behavior? A subplot should weave back into strengthening the main story while adding more elements to make it more interesting. It's not as hard as it sounds - the more you think about your character's internal problem, the more you realize they'll need to confess their feelings, confront their mother, or more to resolve that final issue.

By sidequests, I'm leaning into the fantasy element of storytelling, but you'll find this pops up in a lot of stories. A chance encounter in a mystery can provide an essential clue, or stopping to aid someone could lead to a character-revealing moment. Remember, this isn't filler - you're expanding the overall plot by leaning into your world-building to establish essential knowledge about your world, introducing minor characters that can act as aids or obstacles to a problem, or starting an action scene that changes the trajectory of the novel.

A MacGiffin is an object, device, or event necessary to the plot and the motivation of the characters, but typically unimportant or irrelevant in itself. Usually, the MacGuffin is revealed early on, and becomes less important once the storyline is set in motion. You'll see a lot of despairing comments about them, because they often can be used poorly. But MacGiffins are often essential parts of storytelling, a quest that leads your characters astray from what they should actually be doing (and in turn learning about themselves and the problem they need to face instead).

Your character spends half the novel trying to find the missing crown, only to discover it's been fake the whole time. That whole first half of the novel was a waste of time... or was it? By having your characters fixate on the wrong solution, you're exploring what Save the Cat calls "Doing Things The Wrong Way" where the real answer is in digging deep down, confronting that internal problem, and setting down the right path at last. This is where the mid-novel twist of the king being the villain all along, the dragon they're meant to slay for killing the villagers turns out to be a card-carrying vegan. The easy answer isn't the solution, and it's taking the hard path that gets things done.

For Example...

In Jedediah Berry's genre-bending mystery novel The Manual of Detection, the main character is pulled into finding the missing detective he used to write the case files for. As with any good mystery, there's a lot of good side quests - going to a bar only to run into villains that need confronting later, a one-sided rivalry with another detective ends up solving a problem later, etc. A subplot starting the novel where the protagonist goes out of his way to encounter someone at a coffee shop turns out to be an essential character connection later, and the MacGiffin - the Manual of Detection itself - turns out to be more important because of what it lacks.

In Jeff Smith's graphic novel series Bone, in the beginning, the main characters remain blissfully unaware of the true danger hunting them or the secrets of those around them. But the villains too are unknowingly pursuing a MacGuffin, leading to a series of events that will bring about a massive clash - and a confrontation of truths that will lead to the final solution.

And Finally, Maybe It's Not a Novel

I do want to say this might all not be what you need, because your true calling could be to write novellas - a length that varies between 20k to 40k. A shorter story is just as good as a lengthier one. There's a steady market for novellas of multiple genres, so it could be a good thing to look into if this feels like where your writing should be.

#plotting #book lengths #editing #writing advice #writblr #trying real hard to not spoiler Bone #but that plot point is real clear from the start

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aroaessidhe · 1 year ago

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aro & ace book lists masterpost

#aspec books / aro & ace books database (tinyurl.com/aspecbooks)

A couple notes:

These are books I have read, with the occasional exception. I always state when I have not read a book I’m including in a post. May add to and edit posts when I read more relevant books.

I mostly include books I recommend, but to varying levels (and sometimes I'll include some I dislike but they might be worthwhile for someone else) There will of course be some of my personal bias to what I prefer (SFF, YA contemporary)

I prioritise books with aspec main characters. Will include the occasional side character if I have a gap to fill and it’s reasonably significant and/or the author is aspec. Like, would it be worth it to read the book just for this character?

however, when it's a main POV character, that doesn't necessarily mean it's extensively explored within the story, sometimes it's just a brief mention

The things I am choosing to group by are based on commonalities I’ve noticed. If I group by one thing but not something similar it's because there's not enough I've read to make a worthwhile post!

Most posts encompass ace & aro & the spectrums (because there's a lot of overlap in the books) but some are one or the other, and I've generally marked them as such here

under the cut, as I will be frequently updating as I post more

asterix* & smalltext means the same post is being linked for a second time (for example if it's gender and genre specific, it might be under both sections)

identity

gender/sexuality

trans part 1 / part 2

nonbinary (YA/MG)

nonbinary (adult/NA)

aroallo books

aroace girls (contemporary YA)

ace girls (contemporary YA)

ace girls (YA low sff)

ace boys (YA contemporary/real world)

aroace men/boys

demisexual (YA contemporary)

relationship

queerplatonic

ace/ace

f/nb

f/f (ace, YA)

f/f (adult)

m/nb

m/m (ace, YA)

other

autistic aspecs

aro books by authors of colour

aro books by Black authors

genre

broad

Graphic novels

YA contemporary (aro)

YA contemporary (ace girls)*

YA contemporary (aroace girls)*

YA low sff (girls)*

YA speculative fiction (aro)

YA dark high fantasy

middle grade (aro)

adult: high fantasy (aro)

adult: historical/contemporary fantasy/etc (aro)

historical (1900-1990)

space (opera, or general space setting)

specific

assassins

dragons

fairytales

fey

ghosts

multiverse/portals

parents & parent/mentor figures

pirates

robots/cyborgs

TTRPG/DND inspired

university setting

vampires

other/misc

some no-romance books centering a friendship

a few fav aro books

#aspec books #asexual books #aromantic books

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she-wolf09231982 · 7 months ago

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Chapter 9-It Ain't Over

Summary: Easy is tasked to dismantle German outposts across the river and were to return with prisoners for interrogation. The mission is successful but not without another loss. When the Colonel tried to send the men back in, Winters unconventionally goes against the grain, allowing the men a night of rest instead of risking more unnecessary deaths.

A/N: Mature audience, Joe LiebgottxFem!Medic, Post Bastogne, She/Her Pronouns, Y/F/N, Y/L/N, Cursing/Swearing, Derogatory Slurs, Womanizing Comments, Aggression, Angst, Confrontation, Military Terminology, 1940’s slang, Inappropriate Nicknames, Band of Brothers References, A League of Their Own Movie References, Mentions of Weaponry, Yiddish/German language with English translation, Smoking, Crying, Banter, Pining, FOREVER FLUFF

German is identified with (g)

Yiddish is identified with (y)

*These stories may not fall entirely in accordance with the TV series timeline. I do not know the real soldiers the actors portray in this series, so please understand I show no disrespect. Some or most of historical events and character interactions in my fanfics are fabricated purely for the sake of the enjoyment of fiction*

~~~~~~~

February 1945/Night of POW Mission

American side of the river

Liebgott sits behind his M1919 Browning machine gun with his assistant gunner on a bombed-out landing at battalion headquarters right off the water, watching the rest of the platoon load into the boats on the riverbank. You sneak past the AG and sit next to Joe.

"Gams?? What the fuck are ya doin'?" he chided at you.

You roll your eyes, "Just checking on you two and seeing where the guys are." you respond quietly.

"Yeah, well, they ain't even crossed yet so get back downstairs, will ya? I don't want you out here if shit starts poppin' off." he scolded.

You sigh, "Fine, Joe, I just wanted to see you before anything happened, that's all."

You turned to leave but then hesitated. You looked over your shoulder at him with his back towards you. You return to him swiftly, grab his chin and plant a hasty peck on his cheek.

"Ich liebe dich, Joe Liebgott (g)(I love you, Joe Liebgott)." you say in a quick hush before you scamper off inside.

Joe grunted at you not knowing whether to be irritated or entertained,

"Du verdammte Füchsin (g)(You goddamn vixen)." he called after you before you could reach the stairs.

Basement of Battalion HQ

You and Doc sit together in the cellar of HQ, waiting and listening intensely for any gunfire exchange outside. Minutes feel like hours sitting there, as you sip on a tin cup of coffee.

Your leg is bouncing from anxiety, waiting for something to happen. Eugene reached across to you and grabbed your knee to stop your leg from jumping. You look up at him startled.

"You're too jittery. Lay off the coffee, Y/F/N." he said in his low soothing Cajun accent with a gentle smile.

You nod then smile back, placing your cup on the table next to you.

~~~~~~~

German side of the river

The patrol crosses the river in the inflatable boats. When they reach land, they strategically approach the building where German soldiers are posted. As Easy makes entry, Jackson rushes into the building too soon after throwing a grenade and is severely wounded.

The rest of the guys then rush the building and captured three Germans. As they retreat with their prisoners, the remaining German forces open fire. One of the prisoners is hit and is left behind on the riverbank.

American side of the river

Joe sees his platoon scattering towards the boats as smoke and gunfire erupt from the German side. He shifts his line of fire, anxiously waiting to pull the trigger.

"Jesus Christ, come on. Blow the goddamn whistle!" he yelled.

The sound of the whistle finally reaches Joe's ears. He lays heavy suppressive fire at the windows where he sees flashes from German MG-42s. He peppers the buildings back and forth, in hopes he's nailing each one dead center of their foreheads.

Basement of HQ

You and Doc hear an eruption of gunfire and shells dropping through the garden windows of the basement. You stand next to the little window listening hard for the yells and screams from your boys. Just then, you suddenly hear the faint call from the riverbank on the American side...

"WHERE'S THE MEDIC!?!?"

Alarmed, you look back at Eugene with wide, panicked eyes.

"No, Y/L/N." Doc said sternly.

He knew damn well what you were thinking, and he wasn't going to allow it. Not again.

You began to protest, "But they-"

"Y/F/N, NO!" he barked, "I'm not lettin' you run to danger again. Remember what happened in Ardennes?" He reminded you angrily.

You look down shamefully at your boots. Suddenly the basement door abruptly swung open as the platoon started scrambling in.

"Wounded! We got wounded, come on!" Ramirez bellowed.

You swept papers and utensils off the nearest table to clear it for Jackson who was being carried in.

"Set him right here!" you call out.

Johnny Martin entered, "Get the Krauts back there, shake them down! Move! Move! McClung! Get on over to CP, let them know what we got!" he ordered.

Jackson lying flat on the table, his face bloody and raw from the neck up, began gagging on his own blood.

"Jesus, what the hell happened to him over there?!" you ask overwhelmed by the soldier’s appearance.

"Grenade went off right in front of him." Ramirez reported.

"Shit, his lungs are probably hemorrhaging. He can't breathe right." you confirm aloud.

Doc gently pushed you aside and lowered his ear to Jackson's mouth.

"Light. I need some light. Give me some light." Doc requested urgently.

Grant took his lighter and flipped it on. Doc held Jackson's mouth open by the chin, observing and listening for a few seconds as the poor soldier gurgled and whimpered.

"All right, look at the flame. Look at the flame. Ok, that's good." Doc instructed Jackson.

The room became eerily quiet as they all watched Doc work.

"All right, let's get him outta here." Doc directed.

"I don't wanna die!" Jackson cried out.

He repeated these words tearfully over and over again as the platoon started to move him towards the door on a litter. Jackson started to grab at Doc, kicking off the surface as his choking worsened. The men set him down.

"He's gonna die!" one of the guys shrilled in horror.

"Hey, shut the hell up! You're upsetting him more!" You hiss over the sea of bellowing soldiers, while Jackson started to flail and kick in terror.

"Please help me, I don't wanna die!" He wallowed.

Doc tried to hold him steady on the stretcher, "Jackson, you're not gonna die! I need you to hang on!"

Jackson continued to bawl and throw an agonizing fit out of fear until the life drifted from his tearing eyes and his body fell limp. Doc sat up, dropping his helmet to his side with a huff of defeat leaving his mouth. He sat there, lost in his thoughts then looked up at you with frustration painted all over his face.

You look around the room at rest of the guys until you see Martin. You shake your head, confirming he didn't make it. You take Babe's wool blanket he wrapped himself with and covered Jackson.

~~~~~~~

The following morning, the platoon hung out in the barracks, resting up after a long night. Webster entered the room with LT Jones.

"Jackson is dead." Webster announced.

"Yeah, we heard." Joe replied from his bunk sitting above you.

"Yeah, well, they want another patrol tonight." Perconte added.

Joe shifted onto the mattress and laid against the pillow. You stood up angrily and walked out the room, down the stairs, and out the door to head to the basement back at HQ to be alone.

With most of Easy at HQ later that day, Winters, Nixon and Speirs address the same patrol from the night before to discuss the next mission for that evening. You're in attendance once again, across the room where you can see Joe as you stood next to Eugene.

Winters opened the brief by stating how proud he was of the good work the platoon did last night then added that Col Sink was proud as well.

"-In fact, he's so proud he wants you to do another patrol across the river tonight."

The men remain resentfully silent. Joe lights a cigarette then shoots you an unamused glance as Winters continued.

"Any moment now, the outpost we hit last night will go up in flames. Means we have to venture farther into town this time. Captain Speirs, you have the map, please."

Speirs passes the map to Grant to display across the table.

"We have enemy movement here and here," Winters began as he pointed on the paper, "Which means this is our new house target here. We recovered all the boats. So, we'll be setting off from the same place we did last night."

"We're not changing the plan any, sir?" Martin spoke up.

"No. The plan is the same. It will be 0200 hours instead of 0100. Is that clear?" Winters asked.

The men shifted in discomfort, "Yes sir." they acknowledged collectively.

"Good, because I want you all to get a full night's sleep tonight. Which means in the morning, you will report to me that you made it across that river into German lines but were unable to secure any live prisoners-" he instructed as he looked around the room to see if the platoon was tracking what he was saying.

Everyone looked at him in disbelief. The man was really ordering you to disobey Col Sink’s orders.

"Understand?" he pushed cautiously as he scanned the room making eye contact with each of his men.

"Yes, sir." The men replied in unison. (Some of their responses sounding like a question, unsure this was actually happening).

"Good. Look sharp for tomorrow. We're moving off the line." Winters finalized as he left the room.

The guys all breathed their first sigh of relief since Holland. A few exchanged handshakes. Joe stood up from the table to rush over to you.

"Did you just fucking hear that, Gams!?" His smile stretching from ear to ear revealing your favorite dimple on his left cheek.

You beam at him, "I did. He's a good man."

You wrap your arms around the back of Joe's neck, pulling him into a tight hug. He pressed you against him, burying his face into your neck. A couple of happy tears stream down your face.

"Can we just hold each other for the rest of our lives?" you utter softly in Joe's ear.

Joe chuckled, "That's my plan."

~~~~~~~

As the sun set that evening, Cobb distributed bottles of liquor he found in the cellar at HQ. Each man happily accepted the offer, taking hearty swigs from the bottles.

Luz hacked, pounding on his chest to soften the sting of what he just swallowed.

"Shit! *cough* What the hell is this Cobb?? Jesus Christ!" Luz choked.

"What's wrong, George? A little too strong for ya?" Cobb teased.

"This stuff will knock ya on your ass." Malarkey confirmed as he took another drink.

You walk into the room, and the entire platoon cheered. You stop in your tracks, almost alarmed by their response to you entering the room.

"What are you miscreants doing now?" you ask looking around the room at them.

"Nothin' we're just happy to see our songbird!" Babe yelled across the room.

"Hey, Y/F/N, sing us a little somethin' yeah??" Luz pleaded.

"No, George, I'm not-" you contested before all the men groaned and boo-ed expressing their disappointment.

"-I'm tired, guys! It's been a rough few days for all of us." you defended.

"Hey, Joe, come on. Get her to sing!" Babe resorted.

Liebgott hopped off the top bunk and approached you with his bottle. You deliver a look of skepticism to him as he closed in on you. He raised his eyebrow as he smiled mischievously at you.

"No, Joe." Is all you say.

"Gams, the boys just want you to sing a little lullaby so they can get a good night's sleep like the captain said." Joe justified.

"Winters never said anything about me singing you to sleep." you pointed out.

"True," Joe started, "but Webster didn't get to hear ya yet, and l’ve been tellin’ him how sweet my girl’s voice is. I wanna show you off."

You shake your head at him, "You're unbelievable."

"I know." Joe replied confidently.

You look around the room at all the expectant drunk faces of your boys.

"One song so you can sleep. Just one." you compromise.

"Don't get on a chair this time!" Luz called out.

You glare at him, then smile.

"Get comfortable you idiots." you say as you dim the lamps to set the mood.

"What are you gonna sing, Gams?" Joe whispered in your ear over your shoulder as he snaked his arms around your waist from behind.

"A piece from Laurel and Hardy's The Bohemian Girl. Thelma Todd was always one of my favorites.”

Joe hummed as he pecked your cheek. You smell the whiskey on his breath.

“Hm, ir hot aoykh a bisl shlogn di flash, tsi nit? (y)(Hm, you’ve been hitting the bottle a little, too, haven’t ya)?” You ask Joe, smiling at him skeptically.

Joe only grinned, his face glowing and his eyes droopy, sauced from drink, exhausted by the mission, and completely entranced by you.

“Ok, settle down, boys." you project through the room.

"Hey, Liebgott ain't in bed." Perconte protested.

You guide Joe to your bed and have him sit. You stand in the middle of the room so everyone can hear. Every pair of eyes and ears focus on you, waiting patiently for you to begin.

youtube

🎶 “I dreamt that I dwelt in marble halls,

With vassals and serfs at my side,

And of all who assembled within those walls,

That I was the hope and the pride.” 🎶

You serenade to your platoon, watching their heads lull and their eyes flutter. You make a round around the room to each soldier, touching a shoulder here or patting another on the head over there, making a personal connection to each one to bring a sense of comfort amongst them as you near the end of the song.

🎶 “And I dreamt that one of that noble host

Came forth my hand to claim.

But I also dreamt, which charmed me most,

That you lov'd me still the same...”🎶

You come back to Joe who is laying across your mattress zeroed in on you with adoration behind his eyes. He beamed up at you from your pillow when you start combing your fingers through his hair as you finish your song just for him.

🎶”That you lov'd me, you lov'd me still the same

That you lov'd me, you lov'd me still-“🎶

You seat yourself on the side of your bed next to him.

🎶”-the same.“🎶

The room is quiet, with the gentle snores and breathes of the guys sound asleep in their bunks. Joe took your free hand and started to pull you towards him as he sat up to meet you half way for a kiss-

“That was incredible, Y/L/N.” You hear Webster compliment from the bunk across from Liebgott’s.

You look over at him and smile, “Thanks, Web. Get some sleep, buddy.”

“Yeah, can’t you see we’re busy over here?” Joe sneered.

Webster chuckled and turned towards the wall to make his back face you.

You look back to Joe, whose face was a hair away from yours.

“That wasn’t very nice.” You giggled.

Joe nudged his nose against yours, “Any second I can get with my girl is precious, I don’t want to waste it.” He purred.

You lean forward, kissing his lips softly. Joe’s faultless ability to lock onto your lips as he tilts his head to deepen his kiss always left you craving for more. You try to pull back but he holds you in place so you don’t go too far.

“We should sleep, too, Joe.”

A devilish smirk appeared across his face, “One of these days, Gams-“ he started without finishing.

You smile coyly and laugh, “I don’t mean to get you riled up. But we’re not getting away with anything in a room full of people.”

Joe shook his head and sighed, “Komm her, du Füchsin (g)(Get over here, you vixen)."

You scoot onto the bed laying across his chest as he enveloped you in his arms. He kissed the top of your head as you nuzzle into him.

"Liebe dich sehr (g)(Love you so much)." Joe uttered to you.

"Liebe dich mehr (g)(Love you more)." you whisper back, squeezing him.

~~~~~~~

@wordsaresimple-imnot @mrs-greenside @skiesofrosie 🪖♠️🦅

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goblins-riddles-or-frocks · 2 months ago

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I’ve been playing Immortality (2022) and I’m obsessed with the nuance it manages to hold and how it successfully threads the needle on fairly specific and complex topics while the story itself is so entirely nonlinear. The gameplay style of sorting through randomized clips ensures that the developers have fairly little control over what order the player finds the scenes in.

I’m not finished with it yet. I have no idea how far I am in the game lol. But like six hours in, at least, I’m really intrigued by the way it delves into art as a concept; is it consuming, is it fulfilling, is it worth the sacrifices made to create it, or the social evils that can surround it, etc. I particularly like that the three fictional films it centers on are interesting but simultaneously fairly low brow.

I’m also enjoying the way it gets into women’s role in art, and the gendered constraints of how they are historically portrayed within a narrative (often by men) but also when it comes to being an artist and the questions of exploitative practices, and lack of respect or recognition.

And the game actually employs its immortal, unaging protagonist in a way that intelligently explores these themes.

There’s something really interesting happening with her three main film roles and how her first character (literally Matilda from the Monk by MG Lewis) is basically an entirely stylized fantasy. A destructive and seductive force of nature, with no interiority of her own, who only exists to corrupt the titular monk. Then her second character is a standard femme fatale, a model who kills her artist lover and again… corrupts the strait laced and moral detective protagonist who’s trying to solve the murder. This character is explicitly acknowledged to be a more grounded and real role, she’s closer to a real, flawed person, but she’s still basically a vector for titillation and is vilified for it. By the third (dual) role, decades later, she’s progressed to being a genuine protagonist. But for that, her character is split into a very literalized virgin and whore dichotomy. These sides are symbolically fused by the third act of this fictional movie with the virginal character’s death, with the whore stepping into her place and finally becoming a fully realized person. But even that comes with the deliberate framing of something unachievable without a death and rebirth occurring. Without her being sanded down to a sort of palatability by it.

I’m also very interested in these films being in-universe lost media that was never actually completed or widely released. And how that may tie into its themes of recognition and the importance or lack thereof of having an audience.

#this game reminds me a lot of basically everything addie larue failed to do #immortality (2022)#immortality game #video games #i ramble sometimes

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ettawritesnstudies · 2 months ago

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I finished Runaways but I scheduled my Livestream for next week!

Context:

I'm going to make the anthology one way or another to launch with the book, this is just a matter of prioritizing. It'll involve editing the current Kofi stories, writing some new ones, and making supplemental content.

I have 0 thoughts for Inklings currently but it's coming up soon so I should probably figure that out.

End of the Road is a NA paranormal coming of age story about one way road trips, grief, and ghosts. Could be published after runaways because they have a folklore/supernatural element connecting them. Capitalizes on the 20something angst.

Vilotta's Adventure is a MG historical fiction set in Renaissance Italy following a princess who apprentices with Leonardo da Vinci when he comes to her parents court to paint a portrait of her mother. She gets to be an inventor, has a series of misadventures, and learns about friendship along the way. Could be published after Runaways because they're both MG, bonus points for Educational Content™. Rewrite of the first novel I ever wrote so it's not going anywhere.

Art stream: I'd still do 25 minute sprints w/ no talking and just art on screen so you can write without distractions or I show you my progress during breaks. Motive: I miss drawing and my brain hurts.

#etta rambles #writeblr

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lgbtqreads · 8 months ago

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Fave Five: New and Upcoming Fiction with Autistic MCs

For backlist titles, click here for YA and here and here for others. Paige Not Found by Jen Wilde (Sci-Fi Adventure MG) The Problem with Gravity by Michelle Mohrweis (Contemporary MG) Daniel, Deconstructed by James Ramos (Contemporary YA) The Spirit Bares its Teeth and Compound Fracture by Andrew Joseph White (Historical YA Horror, Paranormal YA Thriller) Late Bloomer by Mazey Eddings (F/F…

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#Andrew Joseph White #autism #Autism Awareness Month #Autistic #Compound Fracture #Jen Wilde #Late Bloomer #Mazey Eddings #Michelle Mohrweis #Paige Not Found #Sonora Reyes #The Broprosal #The Problem with Gravity #The Spirit Bares its Teeth

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olderthannetfic · 1 year ago

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YA/G-D anon back for some clarifications:

YA as a demographic wasn't really "a thing" until the early 2000s. There were books that were published with the intention of being read by teenagers and young children, but the strict distinction we have now (Middle grade, YA, Adult) wasn't necessarily in existence yet in publishing, mostly because it wasn't viewed as being a viable investment for publishers to make money. Purchasing and publishing novels, after all, is expensive and time consuming. So, while there were some novels well-known to be made for or accessible to teens and kids, publishers didn't make much of a distinction between the two: what we would now consider MG and YA. YA as being a useful space for teen books was encouraged by everyone but publishers, however. Educators wanted it. Librarians wanted it. Booksellers, as well. Publishers were slow on the uptake. These books for teens and kids were usually published to sell to libraries and schools with little hope for huge profits. If YA books were shelved separately, it was likely because of choices made by specific booksellers, librarians, teachers, and parents. Authors like Sarah Dessen published books in the 90s that were unquestionably YA and sold to teenagers, but these publications are now considered due to the successes in books we now call MG, most notably Harry Potter. Rowling's books sold so well publishers were beginning to embrace children, and later teens, as actual demographics to market to.

Remember: historically, books intended/appropriate for young readers have always existed but were not actually marketed as such from ground zero (the publisher, again). This is why things like Anne of Green Gables in any store with direct publisher influence, like B&N, is shelved along with adult books and other classics. Others like Judy Blume's Are You There God? are now considered MG, and some like Speak (1999) are considered YA. Upon publication, they were marked as being intended for a young readership, so they were also recommended for teens to read, but it couldn't be called YA--because it wasn't an established demographic for publishers. The sweet spot publishers were looking for was something that was read by teens and adults. Teenagers aren't a large enough demographic to rely on for sales even though things like Harry Potter showed that it's possible for certain books. When Twilight was published in 2005, this was a turning point. Teens and adults were reading the same things. YA finally proved to be profitable to make into a proper demographic from publishers. This is why, even today, YA novels arguably have more stylistic similarities with books like Twilight (2005), The Uglies (2005), City of Bones (2007), The Vampire Academy (2007), and Looking For Alaska (2005). By 2008 when The Hunger Games came out, YA was in full swing, so it was profitable for publishers to acquire more YA titles.

It's not that books for teens and kids never existed, of course not. However, there are now clear distinctions and cut-offs based on age and theme that publishers strategically employ because they actually can now. YA is profitable now in a way it never was in the past because adults read it, too (resulting in current publishers' refusal to abandon the adult readers of YA despite the G-D not being for them, technically.) YA books today were just lumped together with children's books. Now, we can divide them as MG or YA. In fact, many books casually referred to as YA are now categorized as MG.

YA didn't exist prior to the early 2000s in the way we understand YA today: books with a clear demographic of teenagers or 12-18, shelved separately from MG and adult fiction, with an ISBN telling booksellers it should specifically go in the section clearly labeled YA that is reported directly from publishers, and authors receiving large advances for said YA books (think Children of Blood and Bone). If someone noticed books in a library, school, or bookstore being labeled YA prior to this, it was likely a push by individuals to make sales or convince people to read them. It usually had little to do with publishers, so when people say YA started in the early 2000s, it's technically true because publishers didn't acknowledge it as a genre-demographic that could make money. Children's books (now MG and YA) prior to this were often grouped together and published as something to sell to libraries and schools, not something that would have a huge return on investment, like today. It's not really ahistorical in the context of the publishing industry, unless you're speaking about YA as a general term meaning books intended for teens. Those have always existed, but when people talk about YA, today, we're talking about the specific genre-demographic that has series like Shatter Me, The Fault In Our Stars, The Hate U Give, Six of Crows, An Ember in the Ashes, etc. This is important to note because there are clear publishing definitions that divide YA and MG, and if you look, many of the books colloquially called YA before the 2000s, will likely be labeled as MG today with some being formally considered YA, as well (think The Outsiders). I recall the Harry Potter books being called "YA" when I went to bookstores at one point. Now they're MG. Things have changed in how we categorize books with time. In another fifty years, maybe Ne Adult as a demographic will actually take off, and books currently categorized for adults that are just campus novels will have a new place (categorically) to call home. Who knows.

Tldr: No, it's not really ahistorical to say YA didn't exist prior to the 2000s in the sense of how we currently define YA. If you define YA books as vaguely anything that's intended for kids and teens, yes, YA has always existed, but that muddies the waters because for those books today, many are currently labeled as MG, and many as YA.

Yeah, seriously.

I read the shit out of Christopher Pike in the 90s, but that's when I was like 12-13, and a lot of the other fans I knew were also that age (yes, despite the constant sex and violence). Despite how "adult" it is, it really wasn't being pushed for older teenagers but for the edgy end of that tween market that ate up Goosebumps and V.C. Andrews.

I think some bookstores just stuck Pike in the horror section, though Goosebumps was definitely in the children's section a lot of places. I don't think the children's sections usually even had a sign saying 'teen', though the shelves were roughly divided by age. (Obviously, it depended on the store/library/etc. in charge. Some had better curation and labeling than others.)

It's not that I didn't want More Like Pike, but there wasn't some obvious category to go to to find such things. He was kind of his own brand and section given that he had like 994872942794629 books.

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theeccentricraven · 8 months ago

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My Writing Journey

I'm still writing my NaNoWriMo Novel in late March, with April right around the corner. Almost 200,000 words now.

How did I get here?

I chose to be a writer when I was eleven. By the time I was eighteen, I had three incomplete novels, a thick packet of writing notes, and a long list of story ideas I wanted to write before I died. I also had a short attention span that I can blame on my ADHD and ASD, a declining love for reading due to required school reading, and competition with distractions like the internet/social media. I was able to devote a good deal of my spare time on my prize WIP, a unique fantasy titled The Keeper of Maralla. I didn't spend as much time writing as I should have. My writing confidence was low. After I earned my first bachelor's degree in Child Development, several amazing things happened. First, I worked briefly as a custodian (aka janitor or caretaker depending on what part of the world you're in) when I got the idea for my current primary WIP, The Blood Cleaners. At that time, I thought TBC would be an urban fantasy. A few years later, I realized the story worked best as a post-apocalyptic dystopia. I personally feel that you don’t find the stories; the stories find you. Such was the case with TBC. Then, in 2008, I won my first NaNoWriMo when I wrote the first draft of The Star House Club, an MG/YA urban fantasy. It meant the world to me when I finally had a complete novel in my hands, even if the writing was really bad. My next complete novel was finished in 2009, a Christian historical fiction novel called Miriam and Yosef. Then, from 2010 to 2011, I wrote my first really long novel, my sci-fi first contact story called Columbus Day. It was 170,000 words long! The best part was when I wrote my first complete second draft by rewriting Columbus Day. I saw how rewriting really can make things better, even if only a little better. It was also at this time that I earned my second bachelor's degree. I earned my post-baccalaureate degree in English. Then, things kind of shattered. I lost all of my confidence in my writing. I almost gave up completely. I also stopped reading. I've learned that the less you read, the worse your writing is. I went nearly a decade without reading and writing. There were some pluses that happened during that time, such as getting a technical writing job with my current employer. For the most part, I had little ambition and few goals. That was until early 2023, I experienced some epiphanies. I went through some religious/spiritual experiences that allowed me to realize I was meant to be a writer. I needed to get my ideas down on paper before I died or else the world would never know them. I opened up my old writing notes to get to work. I thought about which of my WIP's I would make my primary WIP. It was hard when I felt passionate about a half dozen of them, knowing I would regret failing to finish and publish either. I was hit hard with reality when insomnia hit me. I had been in denial about my need to read. Just as I had to get back to writing, I had to get back to reading. I wanted to say I had read enough and needed to spend time writing. When I discovered reading was the best medicine for insomnia, I realized what I needed to do for both my physical health and writing health. I read about 15 books in 2023. The more I read, the better my writing got. My best read was Scott Westerfeld’s Uglies, a book that reminded me of why I love the dystopia genre. By July, I made the decision to focus on The Blood Cleaners. I spent four months brainstorming and outlining. I began drafting in November for NaNoWriMo. I wrote 50,000 words in 30 days, but the story wasn't over. That brings me to where I am now. My manuscript is almost 200,000 words long. I hope to finish in the next few days. I can’t wait to rewrite and cut this thing. Writing is hard, but it's worth it. My journey isn't over, obviously. I can’t wait to see where this journey goes.

#writing #writers #writeblr #writers on tumblr #author blog #writers blog #writer #aspiring writer #authors of tumblr #aspiring author #writing blog

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literaticat · 1 month ago

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Hi Jen! I'm from Australia. I've had a U.S. agent for over two years, who's had my fantasy novel on submission for 12 months with no bites. I'm a prolific writer with 10+ novels currently 'gathering dust' on my computer, across different genres. Last time we spoke, my agent gave me permission to seek other agents in genres which she does not represent. Meanwhile I've written a historical fiction I LOVE and would like to pitch it to UK agents. Do you personally see a conflict with an author having more than one agent? (I've seen different pros and cons discussed on this matter.) But my bigger question is: when querying this new book, do I mention in the query letter that I already have representation?

I don't see a problem having more than one agent IF AND ONLY IF it is CRYSTAL CLEAR to both agents what exactly they represent and don't represent, and that the line is never blurred, and there is always good communication between all parties.

In other words: I don't rep adult books. So it would be normal if I were to agree to represent all your kid's books -- that means ANY book of any kind that is for children or young adults. I have agreed that I don't rep any of your books for the adult market. Agent B represents your grownup work -- that means any books of any kind that are for the adult market specifically -- nothing published by a YA or kids book publisher. We are both very aware of where our purview begins and ends, and we communicate with one another about anything that might be "weird" overlap, deadlines, etc.

It would be kind of bizarre to have me rep all your Picture Books and YA books... except, not, randomly, Middle Grade, which you just decideed will be repped by Agent B. That would not be cool with me, and probably also not with them! Because I DO rep MG, and they DO rep PB and YA, so both of us are only getting some of the commish on your titles, for what??? I would be unlikely to agree to such a scenario, and I think most agents would balk at it.

Again, it's not a problem I guess if both agents have AGREED to this -- but it would be VERY weird and a MAJOR conflict if they haven't. So absolutely YES mention it when you are querying, and further, say the whole thing: that your agent has agreed that XYZ books are not something they rep and that you are free and clear to seek other rep for those books!

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sadistpet · 10 months ago

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MUNDAY QUESTIONS.

@mjm5655:

☀ ━ how long have you been roleplaying? how did you get into it?

oh my god okay i think since like. 2012...? i forgot the url of my first ever blog so i can't confirm, it might've been like december 2011, but definitely since 2012. so about 12 years ! i initially got into it via ask blogs which ykno. were all the rage back then. so that was my first roleplay... foray ig ?? i don't think i made a real roleplay blog until later, which was for a pokémon self insert oc of all things, but i'm prrrretty sure i deleted the blog years ago so i can't verify that, BUT i'm fairly sure because my initial ask blogs were pokémon themed.

so yeah ^-^ tldr about twelve years or so, and i got into it via pokémon ask blogs !

@viruslearnt:

♕ uwu ( which fictional characters are your favorites? )

GOD I HAVE TOO MANY. um. WAIT I FORGOT i have the perfect image for this here's my objectively correct mgs tier list that im not taking criticism on my partner said my category names were very raikovcore of me. and its true. but in WORDS raikov of course, raiden is also lovely little babie boy i love how bpd coded he is. i also love fortune and sniper wolf and eva because wamen. i love ocelot particularly in mgs3 because he's so autistic coded and silly and i love liquid snake because there's something wrong with me psychologically. otacon is so cringe nae nae baby but i adore him even though i want to scream whenever he speaks. i think those are my main ones

non-mgs wise though and more in general ? leo kasper from manhunt 2 ( who i also have a blog for because i have the impulse control of a hamster ), GLaDOS from portal, lisa garland from silent hill 1-3, mary from ib, clive dove from professor layton, and i think there's probably more but i fogor

@iobartach:

✮ ━ top three favorite muses that you’ve played

oh god. um. i genuinely think raikov is at the top of the list. writing him usually comes super easily to me, and that's not something i've experienced in a LONG time. it's genuinely such a fun experience to write him and i love the followers and friends i've gained from it. i really like the lore i've built for him and the intricacies i'm slowly weaving into his character. he's so silly and i care him very bad and i want to write him for a long time <3 um. let me look at my list

OH MY GOD YES tiff tannen from back to the future. like raikov she basically existed as a joke / throwaway line until she showed up in the comics, and i took that bitch and put everything i had into her. there's some shit i handled poorly and some stuff i'd change, but that community was so chill and she holds a special place in my heart. i might revive her blog one day. OH YEAH and if you google tiff tannen my rp blog still shows up on the first page

um. im gen not sure who else. i don't remember a lot of my time writing other muses. probably like some of my historical muses, or. yeah i cant remember. maybe my fnaf oc because that was the first time i got fanart of an oc and i felt like the gods themselves had bestowed it upon me

回 ━ what are your top four favorite shows?

chernobyl hbo is my favourite show ever of all time and it is the best show ever of all time factually contractually legally clinically and undisputably. i genuinely love every single facet of that show. it's what inspired me to get into researching nuclear radiation and that's what eventually led me to meet my partner ! i love that show so much it changed my life literally. i cried so hard. if you haven't watched it please do so on your platform of choice ( legal or no ) because it's genuinely amazing

neon genesis evangelion is probably one of my favourite shows ever of all time too, it hit so close to home and i'm obsessed with it. and even though none of the characters canonically have personality disorders, i find asuka and shinji to be super good representations of hpd and avpd respectively, which is great because you usually never see those anywhere ! it's so good. i also loved serial experiments lain but it hit too close to home in a way that i never want to watch it ever again because i think it will do irreparable damage to my psyche. but i really enjoyed it !

OTHERWISE i'm actually not much of a... show girlie. i like friday night dinner though i literally forgot it existed until my beloved mentioned it right now. um. most of the stuff i watch is like hell's kitchen, four in a bed, don't tell the bride, that type of shit because i'm apparently 47 years old. i have been watching dorohedoro, chainsaw man, and spy x family with my partner though !

#yall went wild with this. good. i lvoe to answer questionne #g: ¦ ❝ ooc. ❞#g: ¦ ❝ answered. ❞

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