The Former Anne Spollen's Author Blog Is Being Retitled to "Notes from Living Upghetto": authenticity

Showing posts with label authenticity. Show all posts

Monday, March 9, 2009

Why I Love Talking to Teens

One of my pet peeves about a lot of YA is that the authors don't get the voice right. And time and time again, when I ask teens why they stop reading a particular book, they say: "It doesn't sound like anyone I know. I don't know where these kids are from." The teens assume the kids live somewhere else and since teens are natural narcissists, they really want to see reflections of themselves. They don't think the author got anything wrong, just wrote about kids who live where they don't.

And, of course, the folks who write YA are all artifacts to teens, so it's not easy to conjure authentic teenspeak. I think one of the toughest struggles is that teenspeak is not predictable. Plus, it's a weird mix of little kid inhibition mingled with adult observations.

Last week, my oldest guy took four days of standardized testing. To fill in the time, he had to go to one class each morning. His was health. The teacher, not wanting to tax the kids, showed "the birth film" -- the kind of film with such biological accuracy you have to sign a permission slip to allow your child to view it.

Now Christopher never took health in junior high because he's a band kid and they have trouble fitting in electives. So not only had he suffered through three days of writing and math, on the fourth day he saw the story of human birth. I knew immediately when he walked through the door that something was wrong.

"So I saw that movie today," he said before the door was shut. (This is a kid who normally has to be plied with tacquitos and ice cream before I can even find out if he had a math quiz)

"Mom, did you know that more than the baby comes out?"

"Uhh, yeah, I did. I read that somewhere."

"That was absolutely...I can't eat. Why did you sign that slip? Do you know what I just had to watch? You have no idea."

"I have an idea."

"So does the guy have to stay, like when the wife has the baby? And like watch?"

"I sent Dad home to take care of you when your brother was being born. You had just turned two and..."

"So he doesn't have to stay?"

"I would say that's sort of up to the woman. It's kind of her show."

"But you could like agree before the baby was born that the guy doesn't have to be there, right?"

"Sure. You just check that option off when you're ordering your wife."

"Because I would pass out. I felt really far away when I was watching it. I had to hold onto the desk for a few minutes."

"Your father did pass out. And you were born in spite of him being on a stretcher for about an hour. He actually didn't see anything."

"Maybe I'll do that."

"So how was the test? You had writing today, right?"

"Decent. Why did you leave these pants in my drawer? They're from like middle school or something."

"There are clean pants folded on the dining room table. I just didn't get a chance to put them in your drawer."

He takes a sandwich and looks at me, "Cause these are so tight, I could actually feel my sperm dying."

"I heard that helps you write better."

"Gawd, Mom. It's like you don't hear anything I say."

Tuesday, January 6, 2009

The Reunion Voice in YA

I had time over the break (break for the teachers, I made enough pizza rolls and bagel bites to feed a sub-Saharan village)to look over some of the manuscripts I tell people I'll never get a chance to read. I explain that I teach writing and don't want to see any additional typed pages in my spare time. But writers are either gamblers or terrible listeners and they send them anyway. Usually, I glance at them and put them on the recycle pile. But with one kid sick the entire break, I got sort of bored and snooped through a few of them.

One of the reasons I dislike looking at manuscripts is because if I were an editor, I would send back acute observations such as: I don't like this and I don't know why. Something's just off...

Mostly, I can't articulate why I don't like someone's work, but I'm pretty good at saying why I do. You can guess which category most of the manuscripts I get fall into. But this time was different: this time I could put my finger on exactly what was "wrong" with the three manuscripts I leafed through. They were all YA, and the voices were, to borrow a highbrow editorial term, daffy.

Somewhere out there this snarky, sarcastic, wise cracking, semi cynical teen voice has emerged, and it's just awful. After a few pages, you recognize the the voice of an adult looking back on his/her teen years. I call it the "reunion" voice, that nostalgic remember-how-we-were-then voice, full of poignant memory and a kind of subtle admiration for your younger self. It's really fine for reunion weekends, but teens would tolerate it for about two pages before moving on.

The part that bugs me about about these stories (and you were thinking you already knew what bugged me) is that so much else about them had potential. The plot was well thought out, the characters were involved in intriguing situations, and there were truly funny scenes. It's just that the voices were not authentic, and that kills a story before it begins.

It's really hard to pin down what makes for good voice in a story. In the movie, Juno, when she says, "Silencio, old man," while buying a pregnancy test, I thought,
"Yik. Wrong." Most teens I know verge on hysterical if their hair straightener shorts out. But in Napoleon Dynamite, when he figures out his salary at the chicken farm and says, "That's like a dollar an hour..." it just sounds right. I can't explain why, but I can say that if the voice is right, probably a whole lot of other things about your manuscript are, too.

Books

Light Beneath Ferns

"I have this strange sense that my silence is preparing me for something I can't name . ."

Elizah Rayne is nothing like other fourteen-year-old girls. More interested in bird bones than people, she wraps herself in silence. Trying to escape the shadow of her gambler father, Elizah and her mother move into an old house that borders a cemetery. All her mother wants is for them to have "normal" lives. But that becomes impossible for Elizah when she finds a human jawbone by the river and meets Nathaniel, a strangely hypnotic boy who draws Elizah into his dreamlike and mysterious world.

Only by forgetting everything she knows can Elizah understand the truth about Nathaniel—and discover an unimaginable secret.

Teen made trailer for Light Beneath Ferns.

Order Light Beneath Ferns here.

Foreword Magazine's Review of Light Beneath Ferns

Excerpt from THE SHAPE OF WATER

CHAPTER ONE
I discovered windows one afternoon and after that, nothing was ever the same. They had always been there, of course, glass panes shimmering in the color of rain, but that spring for the first time, I was able to open the windows in my room. For years, the locks had been painted stuck, and during the winter, heat from the radiator beneath my windows finally steamed off enough paint off the metal wings of the locks could be twirled open. Knowing that I could open the windows attracted me to them, and I began sitting under the windows, staring through the glass at the sky. From that position, on a chair in my room, the sky did not seem real; it seemed a place I was making up, so I watched it.
The white wood of the window panes acted as frames so the sky came to me slowly, and the huge openness of its space did not touch me. All the window glass in our old house had wavers and bubbles inside it, so at times the clouds moved like water, melting and blurring until they passed outside of the warp. After a few afternoons of sitting, the heavens seemed too quiet to keep watching so I began watching a small patch of woods next to our yard that housed little more than trees and a scatter of bony, mean-looking rabbits.
I started gazing at the sky and the woods in March when the branches were still wet and it was then, with nothing outside my window but trees and rain, that I noticed a shine inside darkness, I noticed colors glimmering within the darkness of the wood. I watched birds come and go, I watched rain nipple down from buds to the grass. The water dripping from branch edges and leaves created optical tricks; I could see that as I watched leaves melt.
Then one day I ventured into the space outside. I did not think about doing this much beforehand. I simply opened the window and dropped to the ground below, uncertain as to why this should be such a more satisfying exit than simply using the door; my father worked until seven o’clock and I could do whatever I wanted until then. But I liked the solid sound my legs made when I landed. Leaving via a five foot drop seemed so much more a decision than just using a door. The sense of escape made my heart pound, though all I escaped was the soundless spread of moss-colored light inside my house and the silence.
I had come to know silence well during those months after my mother died. When you sit in silence long enough, you learn that silence has a motion. It glides over you without shape or form, but with weight, exactly like water. Its color is silver. And silence has a sound you hear only after hours of wading inside it. The sound is soft, flute notes rising up like the words of glass speaking. There comes a point when you must shatter the silence, when you must shatter the blindness of its words, the blindness of its light. I did this by going into the yard. Once I stood there, in the grass next to the trees I had been watching, I found silence outside as well. But I was happier outside than I had been in the house, so I stayed for a bit. I stood beneath my bedroom window for a few minutes, looking up at the branches and the crooked pieces of sky colliding between the branches. I believed I could identify the scent of the sky as I stood there, a blue menthol fragrance similar to the scent of seawater that sprayed into my face when I first dove into the ocean. That initial scent smelled much more subtle than the ocean’s heavy, fishy aroma, a whiff of salt and mint that warned a more powerful scent would enter my nose just as I approached the water on a dive. It was the scent I dreamed in. And it was the scent of that spring sky as I stood in my yard.

***