Holly Black was a guest lecturer at the 2019 Odyssey Writing Workshop. In this excerpt from her question-and-answer session, Holly answers questions about writing young adult and middle grade fiction. One student points out that some people think fantastic creatures must be a certain way. How do you deal with those expectations? Holly says that when writing in a tradition, you’re adding to a conversation. Bring your own perspective into the conversation based on who you are. Another student asks how you get into a teen’s head and see things through their eyes? Holly suggests writers try to remember being a teen. Think of what you did, how you felt. The error writers tend to make is to write about teens or children who are very concerned with the adults in their lives when they should be thinking about themselves and their peers. When asked the difference between middle grade and young adult, Holly explains that the readers are very different. You need a protagonist of the appropriate age. Middle grade stories are generally about family and friendship. Harry Potter and Percy Jackson are examples. Young adult stories are usually about self-definition, friendship, and love, as the protagonist ventures outside of childhood into independence. YA should not involve an adult character looking back at her teen years. Middle grade and young adult fiction usually have a single viewpoint character; it is rare to have more.Continue reading “Odyssey Podcasts #129 (Holly Black), #130 (E.C. Ambrose) & #131 (Scott H. Andrews)”
Award-winning novelist and librettist Barbara Ashford will be teaching the Odyssey Online class “The Heart of the Matter: Bringing Emotional Resonance to Your Storytelling” this winter (application deadline: December 7, 2019). Barbara has been praised by reviewers and readers alike for her compelling characters and her “emotional, heartfelt” storytelling. Her background as a professional actress, lyricist, and librettist has helped her delve deeply into character and explore the complexities of human nature on the stage as well as on the page. Her musical adaptation of Far from the Madding Crowd has been optioned for Broadway.
Barbara’s first published series was the dark fantasy trilogy Trickster’s Game (written as Barbara Campbell). Published by DAW Books, Trickster’s Game was a finalist for the Mythopoeic Society’s 2010 Fantasy Award for adult literature.
She drew on her musical theatre roots for her second novel series, the award-winning Spellcast and its sequel Spellcrossed, set in a magical summer stock theatre. DAW Books released the two novels in an omnibus edition: Spells at the Crossroads.
A graduate of the Odyssey workshop, Barbara has taught seven previous online courses for Odyssey and has served on the staff of the Odyssey Critique Service for more than a decade. You can visit her dual selves at barbara-campbell.com and barbara-ashford.com.
Before I began writing fiction, I worked as an actress in musical theatre. Those years not only gave me the inspiration for my novel Spellcast, but taught me a lot about creating memorable moments in fiction. Continue reading ““Make Your Big Moments Sing!” by Barbara Ashford”
Jeanne Cavelos is the director of the Odyssey Writing Workshops Charitable Trust. She was a senior editor at Bantam Doubleday Dell, where she worked for eight years, editing the fantasy/science fiction program, the Abyss horror line, and other fiction and nonfiction. Jeanne is also the bestselling author of seven books and numerous short stories and articles. She has won the World Fantasy Award and twice been nominated for the Stoker Award.
Create a protagonist. Add an antagonist. Toss in a sidekick or minion, or if you’re writing a novel, perhaps a whole array of characters. But then what do you do with them? How do you incorporate each character into the story so he has a powerful impact on plot, raises intense suspense, and generates strong emotions? Continue reading “Director’s Corner: Tying Character Types to Plot, Suspense, and Emotion”
Jeanne Cavelos is the director of the Odyssey Writing Workshops Charitable Trust, which is in its 20th year of operation. She was a senior editor at Bantam Doubleday Dell, where she worked for eight years, editing the fantasy/science fiction program, the Abyss horror line, and other fiction and nonfiction. Jeanne is also the bestselling author of seven books and numerous short stories and articles. She has won the World Fantasy Award and twice been nominated for the Stoker Award.
This post was first published in January 2015 at K.M. Weiland’s “Helping Writers Become Authors” blog at: http://www.helpingwritersbecomeauthors.com/characters-emotional-arc/
Most authors try to understand what a character is feeling at a particular moment: He’s angry here. He’s happy there. Many authors also consider how the character’s emotional arc changes over the course of the entire story: He begins insecure. He ends confident. But few think about how the character’s emotional arc develops over the course of a single scene.