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Tag Archives: Untitled Steampunk

Middle Grade, Young Adult, Confused Gen Xer

Yesterday was a big day for me. I completed all the edits on my Untitled Steampunk (yes, I know) and considered it ready to shop to agents. It’s been about a year since I last shopped out my Blood of a Godkiller manuscript to agents and I’m ready to get back to actively trying to sell a book. The elation, the pride, the self-satisfaction. I had a solid, worthy manuscript on hand.

For about 10 minutes.

Some little brain worm burrowed itself into my grey matter within moments of giving myself an internalized huzzah. The completed manuscript is 43,504 words. Prior to really getting involved in writing this story, I reread some of the books I read growing up. I needed a little experiential instruction on the YA format, so I read these familiar stories with a different eye. I looked more closely at character development, pacing, and content. I even looked at word counts. I felt confident. So where had this insatiable brainworm come from and why was it siphoning off this newfound confidence with such gusto?

Careful dissection of the nefarious beast revealed two things. First, is this manuscript intended to be YA (Young Adult) or MG (Middle Grade)? Second, does the admittedly sparse word count greatly affect which category this manuscript can be considered for? See, I’m not overly familiar with the MG classification as I had intended this story to fall into YA. Now that I wasn’t so certain, I had to do a little research.

According to Colleen Lindsay at the swivet, my manuscript falls just shy of expectations at the lowest end of YA (45k) and just over the highest end for MG (40k). Okay, that isn’t entirely disconcerting. It is acceptable to have some variation, I’m sure.
Well, then I read at www.fromthemixedupfiles.com that  YA generally starts around 55k words. Even so, they still classify MG as topping out around 40k, so there must be some shady grey area where anything between the two resides.

Naturally word count is hardly the defining factor in classifying a book. The writer at The Mixed-Up Files and Michelle Schusterman at YA Highway take a closer look at content as the dividing factor. Subject matter, naturally tops the list. The overarching theme in my Untitled Steampunk manuscript is self-discovery which, in both cases, seems to best fit into the MG category. However, being an American Steampunk tale, there are issues of ethnicity, class, and politics that are largely linked to the Civil War and Reconstruction. Someone dies. So, unfortunately, I fear that this particular designation is a bit murky as well.
Romance is quite disparate in MG and YA. In MG it would typically involve hand-holding and maybe a first kiss. In YA it can go so far as intercourse and could potentially deal with such subjects as rape and abandonment. Well, I’m not much for romance as a reader or, really, as a writer. Even so, I did include an unspoken adoration between two of the three protagonists. As it is neither central to the theme nor important to the story, it never progresses beyond furtive glances, lingering touches, and the like. So, does this mean it falls squarely within MG?

Finally, and most easily adjusted to suit my needs, is intended readership. While an 8 year-old would not be put off reading about a 13 year-old, it might be less likely that a 13 year-old would read about an 8 year-old protagonist. At present, my protagonists are 11, 11, and 12. Technically, that would place the book into the MG category. If I (or an agent or publisher) felt more keenly that the book should fall into the YA category, I could probably push the characters into the 13 and 14 range, but not much further. I wrote them to be independent and worldly and they are self-sufficient with little interaction with their parents. If I push the 1878 setting to 1880, I may have to change some of the historically accurate names and realign the timeline in reference to events, but I don’t think the characters would be forced to change much. It had always been my intention to give them more responsibility, freedom, and capability than might be expected of children.

So, yeah. I am somewhat deflated in comparison to my brief joy at having completed edits because it seems more work may need to be done. “More work” could include adding another 30-40k words if I decide the manuscript does not easily fit into the YA category.

I think I’ll go ahead and put together a query letter and let the responses I receive determine how much more work I may need to put into it, if any.

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Posted by on May 9, 2012 in Uncategorized

 

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Prologue Problems

I recently had a feedback coffee date with a couple of beta readers for my Untitled Steampunk novel. For the most part, there were no great concerns and only a few small points that needed addressed. One of which was how appropriate the use of Rapture in conversation is in a novel taking place in 1878. I’m sticking to my guns on this one not because I’m certain it’s the best use of the phrase, but because the Rapture has become culturally relevant even to young adult readers and I think it will have much more impact than the lead characters joking about transcendence.

At any rate, the other big idea I walked away with was the possibility of incorporating a prologue. See, the main story line includes massive golems crafted of technology and alchemy and put to work at the Orthodox Temples. While golems only appear a couple times in the story, they are a major driving factor behind the actions the main characters take. What my beta readers brought up was how little information about these golems is actually shared with the reader. It hadn’t even occurred to me that there might be more interest in a golem backstory.

Certainly I could sprinkle bits and pieces of golem history throughout the novel without interrupting the flow, but could a prologue better serve to provide this information and completely avoid any risk of reading as last minute thoughts poked into the story line? So I walked away from our meeting with the idea that yes, indeed, a prologue will best serve me. However, being who I am, I decided to do a little Googling to see how prologues are generally received.

From Foremost Press, I found this:

“A prologue is used mainly for two reasons.

1. To outline the backstory quickly and economically, saving the author from having to resort to flashbacks or ruses such as conversations or memories to explain the background to the reader. This is commonly done in science fiction and fantasy to show why a certain quest is being undertaken or what will happen in the future. The prologue is a better option than a first chapter bogged down in detail.

2. To hook the reader and provide the story question right up front, giving them a reason to keep turning the pages to find out the answer. Quite often the prologue relates to a scene near the end of the story, and the story itself then shows what has led up to this moment. When is this justified? Perhaps when you want to introduce your characters in a more leisurely fashion, and your reader’s experience with ‘meeting’ them will be enhanced by some sort of foreshadowing of what is to come.”

And from Writing-World.com, this:

“Any workplace has a list of dos and don’ts; the prologue is no exception. Here are some:

-The prologue should always be an integral part of the novel, written in the same spirit and style. Otherwise it’s a personal preface rather than an opening chapter.

-The prologue should read like a short story in every aspect, except for its ending. Rather than resolving all conflict, the end should leave the reader intrigued. Any conflict created in the prologue, however, must be resolved somewhere along the plot.

-The prologue should start with a strong and intriguing hook as if it were the only beginning of the novel. This does not exempt Chapter One from beginning with an equally strong and intriguing hook.

-The prologue must stand out from the body of the novel in at least one fashion: the time of the events (which should be stated both in the prologue and in the first chapter), the POV character, and so on. The reader should feel a distinct switch in his mind when he begins reading Chapter One. And just as important, he should never experience the same switch again within the novel. For example, if the difference between the prologue and Chapter One is an interval of five years, you may not fast-forward time again within the novel.”

Beyond that, there were blogs like this one from Pens and Swords that really makes a person second guess any inclusion of a prologue:

“Another pitfall that writers fall into is turning the prologue into a dumping ground for backstory on the world. I did this myself with Maiden and the origin of Saestra Karanok. Instead of weaving the depth and richness of the world into the story, the writer crams it all into the beginning and promptly forgets it. Prologues set an expectation for the reader that the information revealed will have significant relevance later on in the story. Fail to do this and you let the reader down.”

So more than anything, I am now convinced that I’m going to have to pay extra attention to creating this prologue so that it isn’t just a dumping place for information I didn’t have the foresight to include the first time around. Sometimes I wonder if my compulsive need to Google isn’t as self-destructive as other people’s need to WebMD every occasional symptom and consequently blow seasonal allergies into a migrating calcified fetus.

 
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Posted by on May 1, 2012 in Uncategorized

 

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