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We're thrilled to welcome author Joshua David Bellin to the blog today as our monthly Ask a Pub Pro! Joshua is here to answer your questions on what exactly is an unreliable narrator and how to craft one, how to creatively recycle character types, and the pros and cons of using Book X meets Book Y in pitches. He's also giving away a signed copy of his recent release, SURVIVAL COLONY 9, with the winner also to receive a copy of the sequel, SCAVENGER OF SOULS, when it comes out next year. Be sure to check it out below!

If you have a question you'd like to have answered by an upcoming publishing professional, send it to AYAPLit AT gmail.com and put Ask a Pub Pro Question in the subject line.

Ask a Pub Pro: on Unreliable Narrators, Recycling Characters, and Mashup Pitches by Joshua David Bellin

Hi readers! I’m thrilled to be here on Adventures in YA Publishing to answer some of your questions. Enjoy, and at the end of the post, check out the cool giveaway I’m offering!

1. I keep seeing agents and editors ask for unreliable narrators. I know a bit about what this is but am not real clear. Can you explain what an unreliable narrator is and why they are so popular?

Unreliable narrators come in all forms, but the basic idea is that they’re narrators the reader can’t fully trust. This might be because the narrator lacks important information: for example, the narrator might be suffering from memory loss. Or the narrator might be a young child whose perceptions of the world are immature. The narrator might have a mental illness that leads her/him to misrepresent reality. And so on.

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Please welcome author Ryan Graudin to the blog today! Ryan joins us to answer your questions for our Ask a Pub Pro column, sharing her thoughts on how to learn the craft of writing, guidelines for writing an alternate history, and questions regarding marketability. She's also celebrating the release of her new book, Wolf By Wolf. Be sure to check it out below!

If you have a question you'd like to have answered by an upcoming publishing professional, send it to AYAPLit AT gmail.com and put Ask a Pub Pro Question in the subject line.

Ryan Graudin Answers Your Ask a Pub Pro Question:

1) In developing your own writing skills, which have you found to be more useful? Writing books? Workshops? Critique partners? None of the above? I don't have a lot of money to spend and would love to know where to get the most bang for my buck.

I’ve always known that I’ve wanted to write, so I had the good fortune of taking lots of writing classes/workshops from high school on. That being said, you should not have to spend lots of money (or any at all) in order to hone your writing skills. Reading is the most important tool! The more books you read, the more your brain automatically ingests the structure of stories and narrative! Even after years and years of practice, I can automatically see improvement in my own writing if I’m reading a really amazing book. Another thing I consider essential in the writing process is feedback. Critique partners, beta readers, workshop groups, editors… you need those extra eyes if you really want your writing to shine. You shouldn’t have to pay for the first two. CPs and beta readers can be found pretty easily on websites like querytracker.net and absolutewrite.com

2) I'm writing an alternative reality historical and am not sure what the accepted norm is for how much to deviate from the true history. Are there general accepted guidelines for how much of the story can deviate from history vs how much to keep true?

What a timely question! My alternate history novel Wolf By Wolf just made its way out into the world! In terms of guidelines, there’s no hard and fast rule out there. I would say the most important thing to keep in mind while writing alternate history is that you have to make your world believable, or at least, help your reader suspend their disbelief. Think about the implications of the historical events you’ve changed; both large scale and small. My take on alternate history was to envision a world where the Axis Powers won WWII. In order to do this effectively, I had to research not just the time period, but the hypotheticals surrounding it. The theories of military strategists on how Hitler could have defeated the Allies. I also had to do a lot of research on Hitler’s vision for the world once he won—a New Order that, thank God, never came to pass. I then had to take what I knew and weave it into my narrative in a way that would make sense to the reader. As long as you allow your reader to believe in the world you’ve created, you’re doing your job! Deviate away!

3) For a YA to sell well, does it have to have a strong romance? Can a relationship based on best friends or siblings sell well?

I love exploring relationships between siblings and best friends! I think the reason romance is so popular in YA is because that being a teen usually involves a romance/infatuation of some kind. (I know it did for me!) That being said, don’t write something into your story just because you think it will help the book sell. Teens can tell when you’re being disingenuous. Write the book you want to read, and chances are that teens are going to want to read it too!

4) I've been working three years on a YA dystopian that I love! Now, that I'm almost ready to submit, I hear no one wants them. Is this true? A critique partner suggested I try to switch it to an alien scifi. I think I could do it, but would that help its marketability any?

Unfortunately, I do think that most agents and publishers are avoiding dystopian. This often happens when the market gets too glutted with a single genre. For a dystopian to do well now, it would have to have a really, truly strong and original hook.


Go with your gut on this one. If you feel that alien scifi is the way you need to take the story, then go for it. If you feel that you love the story so much and don’t want to change it, then keep it the way it is. Changing a story just so it will be marketable has rarely worked out in authors’ favors.

About the Book:

Her story begins on a train.

The year is 1956, and the Axis powers of the Third Reich and Imperial Japan rule. To commemorate their Great Victory, they host the Axis Tour: an annual motorcycle race across their conjoined continents. The prize? An audience with the highly reclusive Adolf Hitler at the Victor's ball in Tokyo.

Yael, a former death camp prisoner, has witnessed too much suffering, and the five wolves tattooed on her arm are a constant reminder of the loved ones she lost. The resistance has given Yael one goal: Win the race and kill Hitler. A survivor of painful human experimentation, Yael has the power to skinshift and must complete her mission by impersonating last year's only female racer, Adele Wolfe. This deception becomes more difficult when Felix, Adele's twin brother, and Luka, her former love interest, enter the race and watch Yael's every move.

But as Yael grows closer to the other competitors, can she be as ruthless as she needs to be to avoid discovery and stay true to her mission?

From the author of The Walled City comes a fast-paced and innovative novel that will leave you breathless.

Amazon | Indiebound | Goodreads

About the Author:

Ryan Graudin grew up in Charleston and graduated from the College of Charleston with a degree in Creative Writing in 2009. She is the author of Wolf By Wolf, The Walled City and the All That Glows series. She resides near Charleston with her husband and wolf-dog. You can find her online at www.ryangraudin.com.

Website | Twitter | Goodreads






-- posted by Susan Sipal, @HP4Writers

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We are thrilled to welcome editor and author Erin Rhew to the blog this month as our columnist for Ask a Pub Pro! Having worked with Erin, I'm amazed at how she tirelessly juggles so many hats. Not only is she an editor and the social media whirlwind for BookFish Books, but she's also the author of The Fulfillment Series, with the last book, The Fulfillment, releasing in just a few days!

Erin's here to answer your reader questions on how to brand yourself across genres, whether to send your own cover art in with submissions, and facing the fear of writing to a group younger than your age. Be sure to check out her newest release below!

If you have a question you'd like to have answered by an upcoming publishing professional, send it to AYAPLit AT gmail.com and put Ask a Pub Pro Question in the subject line.

Ask a Pub Pro with Erin Rhew

1) I've heard the advice that if you want to build a fan base, you need to brand yourself. But my ideas don't all lend themselves to one category or genre, though they all have some similar themes. I'm wondering if you can brand yourself writing across categories and genres but by always exploring a similar type of story question or theme. Or even a similar type of story?

That’s a great question! When branding yourself, it’s important to remember you’re branding YOU, not a specific book or genre. If you have a cause that’s important to you or a theme/message you’re trying to disseminate, you could certainly include information about that in your branding. For example, let’s say you want to bring attention to animal cruelty. As you blog, perhaps blog about that particular topic once a month or so. Highlight and promote charities you feel exemplify the work you’d like done for animals.
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We are thrilled to welcome author Bethany Hagen to the blog this month as our columnist for Ask a Pub Pro! Bethany is the author of the Landry Park "Downton Abbey dystopian" series with her newest book, Jublilee Manor, just released. She's here to answer your reader questions on how to work necessary backstory into a series, deciding whether to use deep POV in a large-scale book, mistakes in queries, whether book trailers are worth it, and do we really need to know what your characters are wearing? Be sure to check out Jublilee Manor below!

If you have a question you'd like to have answered by an upcoming publishing professional, send it to AYAPLit AT gmail.com and put Ask a Pub Pro Question in the subject line.

Ask a Pub Pro: Author Bethany Hagen on Series, Deep POV, Book Trailers, and What Your Character is Wearing

1) In writing a series, what's the best method for working in the necessary information from a prior book into the next one?

Did you ever watch Lost? Lost was one of those shows (and Game of Thrones is currently another) that have those "Previously on" bits at the beginning. And of course, you always know what the show is going to be about based off the clips they show...like, "Oh, they showed Hurley winning the lottery, so it must be another Hurley episode." What I like about the "Previously on" bits is that they only reveal relevant information--and information that maybe wouldn't be apparent throughout the course of the show. For example, they didn't need to show us clips of Jack and Kate kissing for us to know that they have A Thing. While watching the episode, it would be pretty obvious that there's some serious romantic tension. Instead, they only remind us of the previous plot beats that would be essential to our understanding the plot developments of the current episode without being totally confused.

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We are thrilled to welcome author Stefanie Gaither to the blog this month as our columnist for Ask a Pub Pro! Stefanie is the author of the very popular and thrilling Falls the Shadow, with the sequel coming in 2016. She's here to answer your reader questions on unusual names for fantasy, how many books can an author squeeze into a series, the balance of fiction and fact for science fiction, and how many POV characters can make up an ensemble. 

If you have a question you'd like to have answered by an upcoming publishing professional, send it to AYAPLit AT gmail.com and put Ask a Pub Pro Question in the subject line.

Also, please do not forget next week's Happy Potter Birthday celebration!  If you were inspired to write, or if your writing was any way influenced by JK Rowling, we'd love to hear from you! Please send a paragraph (or two) telling us how Harry Potter influenced your writing and you may be included in next week's celebration.

Email posts to AYAPLit AT gmail.com, and please put Happy Potter Day in the subject line. We'll let you know before July 31 if yours is one of the submissions chosen.

Author Stefanie Gaither on Character Names, Science Fiction Research, and POV

1) Writer Question: I'm worried about the names I'm creating for my WIP. My story is a fantasy, and the names I've envisioned sometimes have hyphenated endings to add a suffix meaning onto the name. But it seems that I've heard hyphens in names are frowned upon. I'm keeping the names very simple, even with the hyphens, so that it will not be confusing to the reader. Do you think that will work? Or would the use of hyphens be too off-putting? Would an apostrophe be better?

I actually just finished up a fantasy WIP of my own, so I understand the name struggle :) I don’t think that hyphens in names are immediately off-putting—so long as it fits the story and/or character. Other readers may feel differently, of course. If you’re really concerned about it, maybe there’s a way to compromise? Have their formal name hyphenated, but perhaps they go by a nickname that flows more easily for the reader?

Either way, one thing I like to do when figuring out names is to ask people unfamiliar with my story/character what comes to mind when I mention a person named “XYZ” or whatever; in your case, maybe write the name and then ask friends and fellow writers what immediately jumps into their minds when they see it—and if it’s in line with what you’re going for with this particular character, then you’re golden. Poll as many people as you can. Of course, not everyone will have the same answer, but it will give you a general idea of what the name you came up with is “showing” potential readers about this character—and whether or not they’re stumbling over things like hyphens.

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Welcome to our monthly Ask a Pub Pro feature where a publishing professional answers readers and writers' questions regarding the stories they love or their work in progress. This month, Helene Dunbar, author of These Gentle Wounds and the soon-to-be-released What Remains joins us to answer questions on humor in dark scenes, unsympathetic characters, present tense, and multiple POVs.

We'd love to have you send in your questions for next month's column. Please send questions to AYAPLit AT gmail.com and put "Ask a Pub Pro Question" in the subject line. If your question is chosen, you'll get to include a link to your social media and a one to two sentence (think Tweet size) blurb of your WIP.

Come on! Get those questions in!

Author Helene Dunbar Answers Questions on Ask A Pub Pro

1) My question is regarding humor in dark moment scenes. I have a character who's a smart mouth. If he says something funny (dry) in a very dark scene, will that lesson the tension? (asked by Sylvia in NJ)

source

There’s always a lot of trial and error in drafting. If your character is sarcastic throughout the manuscript and it would be in character for him to say something snarky in a very dark scene, by all means go for it. I’m a strong advocate for letting your character dictate the scene, so only if this would be breaking character would I recommend against it.

This is also where crit partners or beta readers are great resources because they’ll be the first to tell you if a scene is being marred by a character’s response. But I’ve often found that a tense scene can be made tenser by someone saying the unexpected thing that maybe cuts deeper than the expected comment would.

2) I tend to write protagonists that are not perfect....I mean really not perfect, as in more anti-hero than hero...and have had a lot of complaints about sympathy. But to me, the greater character arc comes from someone who has a longer way to go. Is this kind of character just not marketable? Or how do I make them so? (asked by Anonymous)

I agree with you that sometimes the most interesting character arcs are those in which the character has a great distance to go. However…just because a character starts out immensely flawed, doesn’t mean that the reader can’t sympathize with them. For instance, your character might be a total self-serving narcissist who irritates everyone he/she meets except…they have a soft spot for their little sister and take her to the park at 1pm every Saturday regardless of what else they’re asked to do. I think that showing the softer side of a hard character can go very far in rounding out the character and might give you some extra ammunition in ramping up their arc.

That IS a very common criticism though, so make sure that your character is human enough or believable enough or fleshed out enough so that regardless how flawed they are, there is something to make the reader root for him/her.

3) My WIP is currently in first person present tense. I know there may be marketing challenges to using this tense, but am wondering if there are any guidelines craft-wise for writing in present tense. (asked by Anonymous)

source

My first book, These Gentle Wounds, was first person present and I can’t think of a single agent or editor who ever told me that this would cause a marketing challenge. I actually wrestle with tense all the time and by that I mean that every single manuscript I’ve written has started out being in a tense different from the one it eventually ended up in. For me, while it’s fine to “decide” what tense I’m going to write in, the story and characters end up taking over and it becomes completely clear what tense the story demands.

As for guidelines, there are some awesome posts on Mary Kohl’s blog: kidlit.com. But I think the most important craft element to writing in first is to remember that you’re in the character’s head, you aren’t listening to a story. So, for instance, make sure that you go back and look for characters saying things that are unnecessary.

Example 1: I saw the kite floating high in the sky and it looked to me as if it might sail on forever.
Example 2: The kite floats high in the sky, looking like it might sail on forever.

You simply don’t need to say, “I saw” and “it looked to me as if” because you’re in the character’s head and most people, when they’re thinking to themselves simply register what they’re seeing or doing.

When I write in first person present I always do a revision draft to look for this. It will help keep your word-count down, help avoid starting every sentence with “I”, and will allow the reader to more closely relate to your character.

4) How many POVs is too many POVs? If I want to work with an ensemble cast, can I do 3 POVs switching off between them each scene, one per scene? (asked by Aaron in WA)

Ha! If you only knew how relevant this question was for me at the moment. Anyhow….how many is too much? It’s too much when you can’t keep the voices of the characters clear enough for the reader to identify without chapter headings that use the character’s name. (I’m making the assumption that you mean “chapters” and not “scenes” because changing characters a couple of times within each chapter is going to be challenging to say the least.)

Here’s my number one rule of writing craft: There are no rules so long as you can do it well. Seriously. Rules are for “what usually works.” But if you can pull of something brilliant that doesn’t follow anyone else’s rules, than by all means, do so.

Two authors that pull of multiple POVs extremely well are Melissa Marr (I believe that the final book of the Wicked Lovely Series had 15 POVs or something absurd and it was handled perfectly) and Maggie Steifvater (The Raven Boys series to me, is a masterclass in writing 3rd person, multiple POVs and still feeling like you’re in the head and heart of every single character. I honestly have no idea how she does it, but I’m determined to find out.)

About the Book:

In less than a second...
... two of the things Cal Ryan cares most about--a promising baseball career and Lizzie, one of his best friends--are gone forever.

In the hours that follow...
...Cal's damaged heart is replaced. But his life will never be the same.

Everyone expects him to pick up the pieces and move on.

But Lizzie is gone, and all that remains for Cal is an overwhelming sense that her death was his fault. And a voice in his head that just...won't...stop.

Cal thought he and his friends could overcome any obstacle. But grief might be the one exception.

And that might take a lifetime to accept...

Amazon | Indiebound | Goodreads

About the Author:

Helene Dunbar is the author of THESE GENTLE WOUNDS (Flux, 2014) and WHAT REMAINS (Flux, 2015). Over the years, she's worked as a drama critic, journalist, and marketing manager, and has written on topics as diverse as Irish music, court cases, theater, and Native American Indian tribes. She lives in Nashville with her husband and daughter, and exists on a steady diet of readers' tears.

Website | Twitter | Goodreads




-- posted by Susan Sipal, @HP4Writers

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Welcome to our monthly Ask a Pub Pro feature where a publishing professional answers readers and writers' questions regarding the stories they love or their work in progress. This month, Andrea Hannah, the critically acclaimed author of Of Scars and Stardust joins us to answer questions on insta-love, incorporating unusual elements, and writing high action.

We'd love to have you send in your questions for next month's column. Please send questions to AYAPLit AT gmail.com and put "Ask a Pub Pro Question" in the subject line. If your question is chosen, you'll get to include a link to your social media and a one to two sentence (think Tweet size) blurb of your WIP.

Come on! Get those questions in!

Author Andrea Hannah Answers Questions on "Ask a Pub Pro"

1) I've known a couple of writer friends who have designed unusual elements into their stories, elements they thought helped make the story fresh and unique. But then reviewers would complain that these elements were weird or poorly researched because they didn't understand it. Is it better to avoid any element that's not commonly known so that you don't throw the reader off? Or is this just a problem with some reviewers and not the general reading public? (asked by Sara from TX)

Andrea responds: You can’t write to avoid criticism. Trying to dodge critique will drive you bonkers and cause you to lose an important piece of yourself within your story. Also, where would we be without Harry Potter’s Polyjuice potion, or the Hunger Games’ tracker jackers? Fresh, unique elements are both fun and necessary in story-telling, and world-building would be a lot less fun without them.





That being said, everything in your story needs to have a purpose, one that can’t possibly be replaced by another element. Example: We need that Polyjuice potion in HP, because without it we lose the scene where Harry and Ron sneak into the Slytherin common room, which is critical to the overall narrative. We need those lethal tracker jackers in HG, because they are the catalyst that allow Katniss to get some leverage by grabbing the bow and arrow, and demonstrates Rue’s loyalty to her.


When you’re developing your unique elements, make sure to clearly establish the function and rules of those elements (Ex: we knew right off the bat that the Polyjuice potion had an expiration time) and that it’s clear within the narrative why those elements were essential to those characters, and that their choice to use or destroy them is in line with their character. And above all else, stay true to who your character is, the world they inhabit, and who you are as a writer.

2) I've heard writers say that in high intensity/high action scenes that you decrease the level of detail. I've also heard the opposite, that you should show more detail as if things are happening in slow motion. What do you think? (asked by Anonymous)

image credit

Andrea responds: I think it’s a combination of both. Firstly, if you’re writing from a first person POV, that means you’re writing every scene as if we’re experiencing in real time, with your character. If your character is in the midst of kicking some butt, they probably aren’t stopping to notice the color of the sky or the flecks in their attacker’s eyes. It’s called mimic writing, and it’s where you mimic the actions of the writing through the length of your prose. High action usually means short, clipped sentences. Think of how you’d talk if you were out of breath.

But what really brings an action scene to life is the specific details you do choose to incorporate, not the amount. Choose your details carefully to convey as much about the scene as you can in a powerful way. The spots of blood dotting his chin. The crumpled patch of grass where his sword fell. Really be there, and observe the details in your scene. Then bring us with you!

3) I've heard a lot of people complaining about the insta-love in a lot of young adult books. Yet readers seems to really want the romance to heat up quickly. How do you incorporate the romance without making it insta-love? (asked by Renee in NC)

Andrea responds: I don’t think insta-love is the problem, especially since we’re writing about and for teens, and sometimes, this is how they fall in love (and adults, too)! I think readers are generally sick of feeling that insta-love is used as a plot device instead of an actual experience the character is going through. Look, people fall in love in all sorts of ways in all sorts of timeframes, and all are plausible. When you’re writing your characters, just make sure you know who they are, if it would make sense for them to have that kind of reaction to another human being, and stay true to that. Your readers will be able to feel the genuineness of your characters, and they’ll appreciate your writing for it.

About the Author:

Andrea Hannah lives in the Midwest, where there are plenty of dark nights and creepy cornfields as fodder for her next thriller. Her critically-acclaimed debut novel, Of Scars and Stardust, was published by Flux in October 2014. She graduated from Michigan State University with a B.A. in special education. When she’s not teaching or writing, she spends her time chasing her sweet children and ornery pug, running, and dreaming up her next adventure. You can find her on Twitter and Instagram @andeehannah, and at www.andreahannah.com

Website | Twitter | Goodreads

About the Book:

After the attack that leaves her little sister, Ella, close to death in a snowy cornfield, Claire Graham is sent to live with her aunt in Manhattan to cope. But the guilt of letting Ella walk home alone that night still torments Claire, and she senses the violence that preyed on her sister hiding around every corner. Her shrink calls it a phobia. Claire calls it the truth.

When Ella vanishes two years later, Claire has no choice but to return to Amble, Ohio, and face her shattered family. Her one comfort is Ella’s diary, left in a place where only Claire could find it. Drawing on a series of cryptic entries, Claire tries to uncover the truth behind Ella’s attack and disappearance. But she soon realizes that not all lost things are meant to be found.


Amazon | Indiebound | Goodreads



-- posted by Susan Sipal, @HP4Writers

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Welcome to our monthly Ask a Pub Pro feature where a publishing professional answers readers and writers' questions regarding the stories they love or their work in progress. This month, Stephanie Diaz, author of the Extraction series,  joins us to answer questions on chapter breaks and unusual time periods.

We'd love to have you send in your questions for next month's column. Please send questions to AYAPLit AT gmail and put "Ask a Pub Pro Question" in the subject line. If your question is chosen, you'll get to include a link to your social media and a Tweet-sized blurb of your WIP.

Come on! Get those questions in!

Ask a Pub Pro with Stephanie Diaz

From Farida Mestek:

My question about the book concerns chapters. My YA fantasy novel is divided into four more or less equal parts, each having its individual title, but there are no chapter breaks within the parts. How important are chapters in this particular genre and for this audience? Should I attempt to introduce them within the book even though I can't decide where to end one chapter and to start the next one or can I leave it like that?

Find Farida on Twitter at @FaridaMestek

Stephanie answers:

Chapters are helpful to readers because they allow for pauses in the book, places where the reader can take a breath or step away and easily come back. YA fantasies tend to be on the longer side, so not including chapters could make it hard for readers to get through the book. You don't necessarily need to have a new chapter every ten pages or even twenty, but I would recommend working some scene breaks into your novel, aside from the four parts. Look for the spots where scenes have a natural ending.

Check out some YA fantasies to get an idea of what scene breaks should read like, if you're unsure. The Shadow and Bone series by Leigh Bardugo has some great examples.

Anonymous asks:

I'm writing an historical in a very unusual time period and am not sure it will be marketable. Is there any way to sort of test the market to find out if agents/editors/readers would even consider this time and setting?

Stephanie answers:

There isn't any way to test the market other than to query your work once it's finished and see what agents have to say. However, I would highly recommend finding critique partners to share your idea with and read your manuscript before you start shopping it, so you can get a sense of whether it will appeal to readers.

There are also some really wonderful agents and editors who occasionally have #AskAgent and #AskEditor Q&As on Twitter. Keep an eye on those hashtags, and you may be able to get an answer by running the time and setting of your book by someone in the industry.

About the Author:

Twenty-two-year-old Stephanie Diaz wrote her first novel, Extraction, while studying film at San Diego State University. She is also the author of Rebellion and the forthcoming Evolution. When she isn't lost in books, she can be found singing, marveling at the night sky, or fangirling over TV shows. Visit her website at www.stephaniediazbooks.com and follow her on twitter at @StephanieEDiaz.

Website | Twitter | Goodreads

About the Book:

The uprising has begun. It's been seven days since Clementine and Logan, along with their allies, retreated into hiding on the Surface. The rebels may have won one battle against Commander Charlie, but the fight is far from finished. He has vowed to find a way to win—no matter the cost. Do the rebels have what it takes to defeat him and put an end to this war?

As Clementine and Logan enter a desperate race against time to defeat Commander Charlie—and attempt to weaken his power within his own ranks--they find themselves in a terrifying endgame that pits them against a brutal enemy, and each other. With every step, Clementine draws closer to losing Logan...and losing control of herself.

Continuing with the mesmerizing saga that started with Extraction, Stephanie Diaz blends science fiction, epic romance, and heart-stopping adventure to create a world that no reader will soon forget.

Amazon | IndieBound | Goodreads


-- posted by Susan Sipal, @HP4Writers

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Today is our first Ask a Pub Pro response post! This is the first of a monthly feature where writers can ask specific craft questions regarding their work in progress and get a response from a publishing professional.

Joining us today to answer your questions is Lisa Colozza Cocca, author of Providence, a YA novel from Merit Press/F&W Media plus almost a dozen nonfiction titles. We appreciate Lisa guiding us through our first post as she takes your questions and answers them with her warmth and insight. Plus, she's giving away a copy of her book! Check the Rafflecopter at the end!

Remember to get your questions in for next month's Ask a Pub Pro column. Just send an email to me, Susan Sipal, at AYAPLit AT gmail and put "Ask a Pub Pro Question" in your subject line. And thank you, Lisa!

Ask a Pub Pro - Lisa Colozza Cocca Responds to Questions on POV and Trends

 Question: POV in YA:

I've written my first three YA\MG novels in first person past and first person present tense. While I enjoy first person, I'd still like to switch to third person with multiple POVs. Does the average YA reader insist on first person? I'm sure there are third person YAs out there, but I can't recall the last time I've read one.

Thanks!

-- Ron Estrada, author of: Now I Knew You, contemporary YA with a touch of the supernatural -- What if you visited heaven and everything you thought important turned out to be meaningless? And that you've ignored all that truly is important.

Hi Ron,

Since you’ve been thinking about exploring new-to-you POVs, you’ve probably Googled the topic and found thousands of posts on the subject. Most advocate first person for YA, because of the intimacy it builds between the reader and the character telling the story. This is a good reason to use first person, but by no means are you limited to that point of view. I think the only thing YA readers insist upon is a story they can connect with.

One advantage of third person over first person is it gives readers a broader view. This can be especially important if you’re writing fantasy and building a new world. Are there things in your story you want your readers to see or know that your main character does not notice or know? Third person narration can fill in the gaps. Have you read Ann Brashere’s Sisterhood of the Travelling Pants? It’s been quite a while since I read it, but if I remember correctly it is written in third person with multiple viewpoints. There are plenty of teens who read the Harry Potter series too. That series is another example of third person point of view.

I do think though you have to start with the story. Let the story you want to tell determine the point of view. Don’t pick a point of view and then shape a story around it. Story always comes first.

Of course, knowing how that story wants to be told isn’t always easy, is it? Try writing the first 1-3 chapters in first person. Then go back and write the same chapters in first person alternating viewpoints. Make a third run through the same story points, but from third person alternating viewpoints. Finally, try it with third person omniscient. Read through all versions several times. With the omniscient version, note how many times you ask your reader to flip from one character’s head to another. Is there time for the reader to develop a sense of loyalty to any one character?

If you’re just looking to explore POV, you could do the above exercise with an existing YA written by someone else. Rewrite the first chapters from different points of view and compare them.

Good luck with your next novel and with discovering how your story wants to be told.

 -- Lisa

Question: Trends & Originality:

As I've been writing my story, so many of the plot points that I thought were fairly original have come to the public consciousness recently in other ways: controlling ones dreams (Inception), ley lines (The Librarians), Scotland (Outlander, and other books/shows set there). My question has to do with "riding the wave of popularity." I'm worried that by the time my WIP is polished and sent to an agent, the answer I'll get back is "it's too derivative, we need something fresher." What do you suggest?

-- Suzanne Lucero, her WIP: In Dreams Unbidden, a YA novel. When an American teen visits Scotland for the first time she starts catching glimpses of the future in her dreams, some harmless, some deadly.

Hi Suzanne,

I suggest you finish writing and polishing your story. What you’re experiencing is pretty common – that feeling of ‘that’s my idea!’ while reading another book or watching a show. I understand your concerns. If an agent or editor has already received fifty queries for books on Celtic trails will she even consider query 51? Maybe not, but maybe she will if it is a really well-written query. Maybe she will because even though you imagine she has received countless queries on the topic, in reality she hasn’t. There are so many ‘maybes.’

The point I’m trying to make is you can’t predict what an agent or editor will be looking for at some point in the future. I think that can be a good thing. It gives you the freedom to write the story inside of you. As writers, we have to let go of the things we have no control over – like shifting markets. We have to focus on what we do control. So push those little doubtful voices out of your head. Make your manuscript the best story you can write and then send it out into the world. Once you have, start writing your next great story. Take each hurdle as it comes and don’t give up until you’ve reached your goal.

 -- Lisa

About the Author:

Lisa works full-time as a freelance writer and editor of curriculum materials. She is also the author of a dozen books for the school and library market. Her personal goal at the moment is to have three days in a row where everything on her to-do list actually gets done. PROVIDENCE is her first trade novel.


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About the Book:

Providence – Sometimes you have to run away from home to find it.


Teen runaway Becky is hiding out with a baby who isn’t hers. Although she found newborn Georgia in a duffle bag in a train car, Becky is as fiercely protective of her as if she were her own.


In the small town where she passes for a teen mom, she finally happy. Then, people start to ask questions, and Becky doesn’t know whether to stay and fight, or run toward an unknown future.


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