squeetus

Back when I used to dye my hair

Feeling too swamped to blog. Can I cheat a bit? Found this old interview I did at the National Book Festival a few years and hairstyles ago. I remember we walked several blocks in the rain to get to the interview.

 

The young relate to the old, the old to the young

Thanks for all your interesting comments last post. I think there are two main kinds of MCs who are hard for a reader to relate to:
1. An MC so different from us or annoying to us we just can't go along with the story.
2. An MC who is deceptively similar to us, so we relate to him/her until the character does something we would never do, which makes us dismiss the character all together.

I was thinking about #2 (number two…tee hee) because Dean is reading my current draft. He identified the most with one particular character, and then that character did something alien to Dean, and it made Dean frustrated. Dean thought, "I would never do that, so the character would never do that either." But I KNOW this character, and that choice was totally in keeping with him. That's one of the frustrations with being a writer. I can be true to the story and the characters and yet still fail some readers. There's just no way to anticipate every way someone will read a story and interpret a character. And if I tried, the story would be an overwrought disaster.

Commenter Delia made an excellent point: "hmmm...this is exactly opposite what I have done. I'm still a teenager, but looking back, I've always gravitated towards books with older main characters. Based on discussions with friends, I don't think that's uncommon.
Maybe it's because when young we look ahead at what's to come, that we see ourselves in the future relating to these characters? Maybe younger main characters often sound more childish? But, of course, each book is different.
"I recently read a book (one you recommended on your yearly round up, in fact), with an MC two years younger than me. I used to think about the same things as the MC, but now those worries sound silly and I'm glad to put those things behind me."

Thank you, Delia, I should have thought to make that point. I think your observation is common with teenagers. Few seventeen-year-olds read Seventeen magazine, for example. It's biggest with 12-15 year olds. In those years of growth, we don't want to look back so much as forward. A teenager often prefers to read her own age and a few years older--to early 20s, college years. But any older than that is often a turn off. Delia, does that sound right to you? While the opposite is often true of adults. We'll read our own age and younger but sometimes resist to read older.

A correction: I said about Becky Jack from The Actor and the Housewife, "I know there were readers who didn't like the book or wouldn't pick it up because they couldn't relate to a mother MC." I meant that her mother status and time of life was one reason why some readers didn't relate to her, not the only reason. Her religion, personality, life choices, etc., also may have turned off some readers. She is by far the most controversial character I've ever created. Poor, sweet Becky! I think she'd be so shocked to hear how many people just don't like her! I'm so grateful for the readers who did fall for her, and grateful for readers who didn't click with her but were still willing to follow her story and take from it whatever they needed.

How to be a reader: the unrelatable main character

The last couple of posts, we've been discussing the missing moms of children's literature. But of course, moms are missing all over. I'm too lazy to do this but I wish someone else would look at the so-called genre of "women's fiction" and figure out the percentage of mother main characters (MCs) vs single MCs. My lazy, unverified guess is: 1:50. It's rare. Having written three books for adults, two of which starred mother MCs, I've learned some things about why the moms are missing.

Common wisdom is if you write a book that involves romance, your MC should be:
1. Female
2. Young
3. Single
For the greatest sales, you want a MC who the largest majority of readers will most easily relate to. Most readers of romance-infused books are female, so most MCs of this genre are female. All readers have been or are young, so a young MC is safest. All readers have been or are single and childless, so a single, childless MC is the most universally relatable. This is the trifecta of MCs.

In young adult literature, the most widely relatable MC looks like this:
1. Male
2. Under 18
3. White
4. Straight
Common wisdom is a male main character, because of that old (often self-fulfilling) belief that girls will read boys but boys will only read boys. Teens can more easily relate to a character near their own age. White and straight are a kind of invisible character type--so normal we don't question it. Someone asked me recently why I don't just get with that program. If a book series about a boy is more likely to sell big, why not just make my next MC a boy? For me, writing a book is so hard, I can't force a story. I can't cherry pick a best selling idea and just make it happen. Looking at my books, is there a female MC I could have easily swapped for a male MC? It would be a very different story. Besides, there are many boy-centered series that are not best sellers. Everyone can try to be JK Rowling or Rick Riordan, but it's always a gamble. You can't write to the market. You just hunt down the story that calls to you.

Relate-ability of MCs is one reason that young adult literature is so popular with adults. Most adults can relate to young adult characters (especially if they're well-written) because they were young adults once themselves. Adult characters live longer, make more choices, have more stuff happen to them, get more narrow in their types and personalities. Once your character has married, you risk losing the readers who aren't married and can't relate. Once your character becomes a parent, again, you risk losing readers.

Even mothers don't always want to read about mothers. As one neighbor mother told me recently, "I read for escapism. I don't want to read about another tired old mom." Another mother told me she likes to read about characters in their 20s to early 30s. I asked how old she was. "33." That's common. We often like to read to where we are and no further. Perhaps because it's less work. We'll watch shows about mothers and fathers, because the show does more of the brain work for us. But reading requires more active participation from the reader. The closer a character is to us, the easier to relax into a book.

When I started writing Austenland, I was young and single, and so was my MC. When I wrote The Actor and the Housewife, I was a married mom and had new things on my mind. There were ideas I wanted to explore that required a mom MC. I loved writing that book. But I know there were readers who didn't like the book or wouldn't pick it up because they couldn't relate to a mother MC. I knew going into Midnight in Austenland that my MC choice was a risk. And there were consequences--some readers found Charlotte the main character "hard to relate to" because she is a divorced mother. But for me, it made the story better. I had to send a very different person to Austenland than in the first book. I didn't just want to tell the same story over again. Besides, I keep hoping that there is a place in literature for all kinds of characters, even moms. And I hope that there will be enough readers who are willing to give a less conventional heroine a shot. I don't know if Midnight will do as well as Austenland in the long run, and I don't know if my divorced mommy has significantly hindered sales. But I'm glad Charlotte Kinder is in the world, and I'm happy I got to tell her story.

It's my personal opinion that as readers we start out in a comfort zone--a wonderful, necessary, cozy comfort zone of reading. And no one can successfully nudge us out of it except ourselves. But to be a mature reader, a proficient reader, eventually (all in our own time) we read a lot of different kinds of things and fall in love with different kinds of characters--ones like us, ones nothing like us, and everything in the middle.

I don't think there is anything wrong with reading as a kind of self-reflection. It's wonderful! I think every reader goes through eras where this is most interesting and helpful. I do think that the ideal, however, is eventually to read for both gazing inward and searching outward. Fiction is such an amazing way to live in someone else's shoes for a time, especially when they're different from ourselves.

That's the way I like it anyway. Variety. A little bit of everything. With sprinkles on top.

Epic fantasy hero wanted (leave your mama home)

Re: last post, Stephanie Perkins made an interesting comment:

"I've thought a lot about this phenomena, too. Yeah, mothers (and parents, in general) are far more likely to be a part of realistic fiction — the Ramona books, Meg Cabot's Allie Finkle series, anything Judy Blume, Junie B. Jones, etc. As you wisely pointed out, a mother would step in if anything TOO dangerous was happening to the protagonist, which is why moms are less likely to be found in fantasy, where the stakes usually HAVE to be higher. In realistic middle grade fiction, the struggle is often school or peer-related, which parents often do want their children to work out for themselves.

"This idea applies to young adult literature, too. Parents are more likely to be found in contemporary YA, because they're a part of real teenage life, and they're generally absent in fantasy, paranormal, and dystopian worlds (though sometimes they're a driving force to action, like in Katniss' case).

"I'm intrigued that you tried to write a fantasy in which parents were involved, but it that wouldn't work. Fascinating! But it makes sense. :-)"

What do you think--realistic fiction allows for parents but fantasy excludes by nature? I see truth in this observation. My current work-in-progress is contemporary setting with fantastic elements. The main character's parents are both a large part of the story, but she also has to leave them, go away and do things. Some of you commented that this is true in life as well. We leave home in order to grow into ourselves.

Where are all the moms?

Here's a discussion I've been meaning to write for a while, requested by commenters. A few years ago, I read a Horn Book article about the lack of mothers in fairy tales and books, and it mentioned, among others, Princess Academy. The article's writer (I'm embarrassed I can't remember who) challenged herself to change that and write a book where the protagonist's mother was a present, strong character. She talked about her work and how she had to scrap it. In a story, it's just impossible for a child/teen to have any adventures, to grow on his/her own with a mother present. The mother would take care of everything, the mother would carry the burden of worry. You want your protagonist to be as close to and involved in the action as possible, and for a young protagonist, a mother (a capable, present mother) will interfere.

I tried the same thing once. I was determined to have a mother and father who were present, who had the adventures alongside my hero. Again, it didn't work. Boring. The real growing up a person does is gradual and often subtle. In a story, you speed things up, let a few large events stand in for a hundreds of small events. If a mother especially is there, the young character doesn't have a chance to grow, to make choices, to be a hero.

So why not make the mother herself the character? Traditionally a children's book has a child as the main character. I can think of only one exception: the extremely wonderful Mrs. Frisby and the Rats of NIMH, and it's subsequent movie, The Secret of NIMH (notice the title change--no need to highlight a Mrs is the main character, after all). Any other mother main characters I'm missing?

While this is a general rule, great authors can break it. I can think of many wonderful mother supporting characters who manage to stay out of the protagonist's way.

Charlotte, that lovely spider. What a clever device! She's a mother character, and yet she's so small and vulnerable with such a short life span. She can't take care of everything, but just enough.

Mrs. Weasley is great, one of the most memorable mothers in literature and film. If she'd been onsite, she would have prevented some adventures. Rowling got around that with the boarding school scenario.

I think of Elastigirl from the Incredibles, but the children are not the main characters, and she does have to leave them alone at one point--the point at which they really come into their own powers.

Looking over my own books, about half the mothers are dead. Jack, Rapunzel, Rin, and Razo have excellent mothers who aren't perfect but definitely have strengths. They all must leave them behind to have their adventures or save their mothers themselves.

What do you think about the missing moms? Any examples of present mothers who didn't get in the way? What about fathers?

Are you hardcore?

In college I went on a study abroad to Mexico. My two American housemates found a local gym and bought a temporary membership because their boyfriends told them, "You'd better not come back fat." I didn't have a boyfriend, but I was bored, so I joined them. It was there that I first discovered running.

There was a small indoor track. I thought I'd try out a few laps, convinced I wasn't capable of anything more. But after a week, I realized I had more in me, so I went a few minutes more. And more. Suddenly I was running for forty-five minutes straight, amazed by the untested prowess of my body. I'd always been thin (scrawny) and fragile (lazy), so imagine my surprise when I flew around that track for an hour straight, glistening and crowing. I was a runner!

When I returned home to Salt Lake City, as soon as I'd unpacked (strewn my belongings) and had a good night's sleep, I hopped on a treadmill for an invigorating jog--as we runners will do. After five minutes I began to wheeze. After ten minutes I collapsed. Was I ill? Perhaps dying of consumption? I tried the jogging thing a few more times before I realized that while I flew at sea level, I flailed at 4200 feet. Did I push through it and get stronger? No, I quit. It turned out, I was a gravy runner. I was no where near hardcore.

I've discovered that I can be hardcore as a writer. I write when the words are flowing. I write when they're not. I write when the story delights me and I can't wait to see what happens next. I write when the story is murky and sticky and complicated. I write when I'm energized and feeling great. I write when I'm sick, pregnant, have newborns, am grumpy, sad, confused, angry, and so tired I can barely keep my eyes open. I'm hardcore, baby.

I had the chance to visit Bolivia and Peru once. We went to a town on the shores of Lake Titicaca, elevation 12,500 ft. At that height, simply walking made us wheeze for oxygen. Our guide told us that their soccer team is unbeatable. Despite pulling players from a much smaller pool of talent, they trounce Lima regularly. They live and train in one of the world's harshest environments, while the sea level Lima players are gasping and stumbling halfway through the game. When the team from Titicaca goes down to play in oxygen-rich Lima, their players can run for hours and never break a sweat. Because they work hard when playing is hard work, they fly when it's not. They are formidable. They are hardcore.

I suppose such a metaphor could relate to most anything--microbiology, hot air ballooning, ballet--but I wouldn't know. I basically do two things in my life. I'm a writer and I'm a mother. And those are two things I'm pretty good at because I don't allow myself to quit. It's not possible to quit. Even when my lungs are burning and my legs ache and a stitch like a knife stabs into my ribs. I keep going because I have to. And I have faith that any moment now, this hill is going to straighten out, I'm going to get a second wind, those endorphins will kick in, and the view will be amazing.

An ARC winner speaks

You may recall when I had the first contest for PALACE OF STONE, I said, "If you win, you are required to read the book and email me about how much you liked it. That's right--REQUIRED! You are NOT allowed to dislike this book!" Well, the first of the winners has responded, and she was very good at following instructions. We can only guess if she truly means it or just fears me (I'm scary), but I'm going to post the non-spoilery parts of her email here because it made me so happy.

"No surprise, I loved it.  I’ll admit I wondered about the sequel since Princess Academy stands so well on its own, but now I cannot imagine one without the other.  The story flows seamlessly throughout the two books.  Miri is a delight as always.  She does everything with such conviction, even her mistakes are respectable...Palace of Stone is a remarkable story and one that I will constantly recommend. "

What did you learn at the princess academy?

Winners! Winners! Wow, the 2nd guesser got it all right only 9 minutes after I posted. And I thought it would be so hard.

SORA!

1. English-UK
2. Indonesian
3. English-UK
4. Japanese
5. Dutch
6. Hungarian
7. Korean
8. Spanish
9. French
10. fan art by CrownJewel
11. Indonesian
12. Turkish
13. Vietnamese
14. Korean

Here's where things get freaky. Using the random number generator, the random winner was: Q. Yes that's right, the same gal who correctly guessed the last contest and already won an ARC. I don't think she meant to enter. She wasn't guessing, just wishing everyone luck. So I'm going to send you some foreign edition, Q, and save the other ARC for someone else. Second time, the winner was:

TAIGER!

Sora and Taiger, email me: squeetus (at) g mail (dot) com.

Still more opportunities to win an ARC of PALACE OF STONE. On Twitter, my publisher (@bwkids) is running a contest. Tweet something you learned from Princess Academy with the hashtag(#PrincessAcademy) and you're entered into a contest. I believe one person each week is chosen. Here are some of the entries they sent me. Just lovely. And I can't take credit. Of course when I write, I'm not thinking, "What can I teach people?" I'm just thinking about making the best story I can. These lovely readers found their own messages in the story, part of the magic of reading.

@jessung #PrincessAcademy taught me that it's okay to feel vulnerable, and that being brave--even if I may feel quite the opposite--is okay, too.
 
@domisimone At #PrincessAcademy I learned that I can do or be anything, and that I don't have to end up with the prince to be happy.
 
@JayaLaw I learned from #PrincessAcademy that education can heighten your awareness of the world and improve your community's standard of living.
 
@sherryberrett #PrincessAcademy I learned to communicate through stone, but I must not be soon it right because it isn't working. (ßhahaha J)
 
@moltenbook Learning and friendship are worth more than any crown or gown. #PrincessAcademy
 
@broadwayforever Reading #PrincessAcademy taught me that everyone has talents that make them special, even if it takes a while to figure them out.
 
@abackwardsstory #PrincessAcademy from @bwkids teaches girls that it's okay to love and be YOURSELF, and not rely on boys to save them!
 
@chelserbug What I learned from #PrincessAcademy? I learned that everyone is a princess :) (And also, I found a new appreciation for my home mountains!)
 
@Robin_Weeks #PrincessAcademy by @haleshannon taught me that we don't like people who can't make us respect them. And that I want my own linder house.
 
@rebeccamherman I learned that there are much more important things than being beautiful or rich or a princess! #PrincessAcademy
 
@LauraLyle #PrincessAcademy taught me knowledge is power. And that appearances are deceiving. Cliche because they are true!
 
@BookSnatch I learned that no matter who you are, you can become the type of person you want to be if you work hard. #PrincessAcademy
 
@Kiirs I learned that even a girl who thinks she's insignificant can change the world. #PrincessAcademy

 

And don't forget about entering the sweepstakes! It's over at Bloomsbury's Shannon Hale Facebook page.

The international Goose Girl

I'm making this one a contest too, since I have more ARCs to giveaway. I feel so rich! I usually get maybe two ARCs. Okay, the first person to correctly name each language or country of publication wins an ARC of Palace of Stone. Also one random commenter will win an ARC (chosen via a random number generator). PS. I changed the file names so no help there! Just to keep things interesting, ONE of these is not a real cover but fan art. Some of these images are quite low quality, sorry I don't have any better. Illegibility will make this contest even harder!

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