One of my role models is
Cory Doctorow. Cory's the co-editor of
Boing Boing and the author of
Little Brother, a teen sci fi adventure set in San Francisco in the near future.
I
love Cory because like me, he has about ten jobs, and I admire him
because he's made a successful transition from nonfiction to fiction
writing. You heard it here - this year I'm hoping to publish my YA
(young adult) novel, Doubtful Sound. The book is in editing right now,
and here are some things I've learned about how writing fiction for
teens is different from writing
career advice for the over twenty set:
Good fiction writing does not happen on command: When I'm on
deadline for a
Wall Street Journal piece, I just sit down and write. It doesn't matter
if I'm not in the mood, I produce anyway, and I'm fortunate in that the
quality does not suffer. For my fiction to be any good, however, I
have to feel inspired, and such a feeling is often difficult to pin
down. If I had to earn a living every week based on how many decent
fiction paragraphs I could churn out, I would probably starve.
Good
fiction writing is an art form: To write my journalism articles, and
even my nonfiction books, I follow a strict process that begins with
research, continues with interviewing and draft writing, and finishes
with one - maybe two - edits. When my editors provide feedback, it's
usually in the form of nips and tucks. Novel writing, on the the other
hand, involves mixing a pallet of characters, settings, and plot
lines. Sometimes you get lucky and you come across something
brilliant, and sometimes it all goes horribly wrong. And the editing
is often done by chainsaw.
An objective style will kill you:
My nonfiction editors balk when I insert too much of myself in my
material, even when it's an opinion piece. My job is to be a non
partisan distributor of information, and I am to do that job as
parsimoniously as possible. As a fiction writer, though, I am expected
to possess an artistic style that is unlike anyone else on the planet,
and to feel comfortable expressing that style fully. A removed,
unrelatable author and/or narrator is the kiss of death. This takes
some getting used to, and I'm still working at it.
Immersion helps: I write nonfiction pieces on so many different
careers and aspects of the business world that if I were to go onsite
and experience each and every one for myself, I would never get
anything done. I rely instead on the accounts and experiences of
others to make my material true to life. As a writer of YA fiction, I
can't get away with this. In order to accurately portray the lives of
teens in the early 2000s, I need to be among them. For this reason, I
workshopped my novel at a private school in Chicago among 60 eighth
graders. What I lost in time, I more than made up for in authenticity.
Maybe it's different for everyone who writes both nonfiction and
fiction, but for me, the latter is much, much, more difficult. Fiction
writing is more creative, but you shouldn't be fooled. The effort and
strategy that go into every strong novel are immense and sometimes
overwhelming. I am humbled to think that someday my book can stand
alongside the novels of authors who make it look easy.
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