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Five Writing Tips From Five MG Authors
By Samantha M Clark on October 15, 2021 / For Writers, Writing
I'm always on the look out for new writing tools and techniques to try, so for this From The Mixed Up Files post, I asked some of my middle-grade author friends how they approach 5 different parts of the process to write a story: world-building, starting a story, pacing, plot and, especially for Halloween, writing spooky scenes. Here's what they told me:
How do you begin the work of creating a story, from your initial idea to writing your first line?
Lorien Lawrence answered this question. Lorien is the author of THE STITCHERS and its sequel THE COLLECTORS.
"For me, all of my books start with a song. I have to make a soundtrack before I begin. That way, I get immersed in the mood of the story, and I can start to choreograph scenes in my head even when I'm not physically writing. I've been creating these kinds of playlists since I was a kid, and they really help me to stay inspired."
Oooh, great idea!
How do you create the world your story will be set in, and while you're writing, how do you make that world seem spooky?
Victoria Piontek answered this question. Victoria is the author of THE SPIRIT OF CATTAIL COUNTY and her most recent novel, BETTER WITH BUTTER.
"Creating the world where my story will be set is one of my favorite parts of writing. It's so fun to invent a world that feels authentic enough to be real yet unique enough to be fictional. To get that just-right mix, I use inspiration from real life. If I see a building or a natural feature in my day-to-day life or travels, I try to remember the essence of the place by jotting down sensory details in my writer's notebook. Later, when I'm drafting, I look back at those details to help me recall what it's like to stand in front of a crumbling house or a vast ocean vista. To make my worlds scary, I pick the creepiest of those sensory details and turn up the volume, really leaning into the way an eerie place can feel on the darkest nights."
Jotting down details is fantastic.
What are you best tools for writing scenes that are super spooky and get your readers turning their lights on at night?
Janet Fox answered this question. Janet is the author of THE ARTIFACT HUNTERS and her most book, CARRY ME HOME.
"I think of all the things that scare or scared me. When I was a kid, I was terrified of the dark. I was sure a monster lived in my closet. I would pile all my stuffed animals around me like armor (literally surrounding myself with my stuffies) – it was the only way I could close my eyes. So anything in the dark, anything that makes an unexpected noise, anything that could sneak up and 'eat' me, anything that emerges from the shadows…Really, I try to scare myself as I write. If I do that, usually the reader is scared, too."
Eeep! Yes, using our own fears in spooky stories is useful.
What tools do you use to figure out the arc for the complete story?
Ash Van Otterloo answered this question. Ash is the author of CATTYWAMPUS and the recent A TOUCH OF RUCKUS. And check out their great plotting table, with drink!
Ash Van Otterloo's plotting organization.
"I've tried so many different tools for organizing my plot, but what I keep coming back to is very simple and tactile: a basic outline template or beat sheet that best matches my story, a giant dry erase board, an empty table, and 25-50 sticky notes!
A simple story structure template, such as The Hero's Journey or Save the Cat Beat Sheets, helps me create a to-do list at the start of each new chapter. These lists remind me what needs to happen over the next few scenes, both for the internal emotional arc of the main character and for the external events that nudge that character along their way. (For instance, how does my character need to change in the next few pages? How is their attitude shifting? How will external events help create that shift?)
Sometimes, I know bits of story I'd like to include, like puzzle pieces, but I'm not yet sure what order they should happen or where. I like to keep these on individual sticky notes, so I can rearrange them until they make logical and emotional sense, creating the best tension. Being able to physically move the possible beats around helps me connect with the story's rhythm best. But don't be afraid to try many different systems to find what works for your unique creative style!
Most importantly: don't forget the snacks. The snacks are crucial. I strongly recommend sour gummy worms or raspberries. "
Snacks! Yes, you need snacks to get through puzzling together a good plot. Where is my chocolate?
Pacing is so important in stories. How do you know when to make the action fast and when to give the readers a pause? And what tools do you use to speed up or slow down the story?
Ally Malinenko answered this question. Ally is the author of GHOST GIRL and the upcoming THIS APPEARING HOUSE.
"Pacing, especially in spooky stories is absolutely important. Readers need action of course but too much feels overwhelming. You have to build in a time for everyone to catch their breath. Most of what I learned about pacing comes from reading. I am keenly aware when I'm reading a book when too much is happening and I mark the place where I know I could have used a moment to catch my breath. So when I'm writing, I tend to do a bunch of high action moments back to back and then, when re-reading, determine if I need a pause or a second to catch my breath. For me, it's something I have learned over time, through trial and error. I think of it like a movie: I want the action to build and build and take it to the top, but then I pull back, regroup my characters and give them a moment to process what just happened. Like in the scary story, when they find a safe room and have a few moments before the hatchet comes through the door. Honestly my best tool for managing pacing is my trust in my beta readers. They always tell me when I've fed them too many scares in a row! But it does take some trial and error, as is always the case with writing. So my best advice is read, read, read!"
Beta readers, or critique partners, are so useful for this!
Such great advice from these wonderful authors. It makes me want to get back to my own stories.
Got any tips of your own about these? Share in the comments.
The Life of the Party: Setting Is Where the Action Takes Place
By Natalie Rompella on November 8, 2019 / Articles, Fiction, For Teachers, For Writers
As I was driving with my tween, she made a comment about the high school parties she's seen in movies. In each one, something awful occurred, making her a little wary of wanting to go to parties when she's older. As I thought about it, I realized that parties and school dances in movies do often feature a horrifying event unfolding . . . just think of the prom scene in Carrie.
I started to think about how parties and school dances are portrayed in middle grade books. Even my own novel has the big climax scene happen at a school Halloween party. It occurred to me that my thoughts were worth sharing with fellow writers and teachers (who, I hope, will share them with their middle graders): What is the power of the setting?
Often we think of setting as where the story takes place. We are taught that it helps the reader gets a sense as to what the scene looks like (which, of course, includes the concept of time: year, season, time of day, etc.). A well-developed setting is also crucial to ground a scene and prevent the "floating in air" phenomenon that I have been accused of when I give no mention of where my characters are.
But the setting can have an even bigger role in the story. Here's where the party scene comes in. Most stories have more than one setting: school, home, the dentist's office, etc. This helps to keep the story interesting but allows us to focus on the character and their actions. However, if you also take your reader somewhere out of the ordinary, such as a school dance, something monumental had better happen there, such as an argument that's been building up, the character's first kiss, or the mom showing up and dragging the character out. You can't just have a school dance scene where nothing unusual occurs or where the plot doesn't move forward.
The setting can be closely linked to the plot parts: In the exposition, it helps us learn more about the main character. Where does the opening scene take place: on a soccer field? In the main character's bedroom? At an arcade? This gives us a window into the main character's life and interests. Of course, we can add an extra layer if the main character does not like where they are. If the setting is on the soccer field and the main character is groaning and wishing the game would just end already so he can get out of there, we glean some details about who the character is.
A muted setting is also used to help us focus on what the characters are saying. I have found that just about every movie has a tooth-brushing scene for this purpose (watch for it in live-action films and animated films, even those with animals as characters). Two of the characters chat while one or both are in the bathroom brushing their teeth. They discuss the problem or give some details we need to know about the characters. In your own story, where does this scene take place? Maybe over dinner at the kitchen table? Or in the main character's bedroom?
A unique setting is a great place for the climax to occur. If the scene seems a little off or needs more pizazz, is it possible to rewrite the scene somewhere else? In my novel, the story needed one extra push with the main character and her soon-to-be-friend. It was suggested to me that they get lost in the woods—this was great for my non-outdoorsy main character. This added scene ended up being a turning point in the book, because the main character faced one of her biggest fears.
As for rising action and falling action, it's often where the upcoming setting is mentioned—such as a school dance the character or characters plan to attend. Here is where the reader can also get excited about the imminent scene and feel the importance of the event to the character(s).
Finally, the setting can make the resolution scene pop. I'm picturing that first kiss at the school dance that we, the readers, have all been waiting for. Or maybe the opposite is true—the scene would have more punch if it happens somewhere more common. Playing with this can really change the impact of the action.
Teachers: When you're working with your students on finding the setting in a novel, help them see how the setting is more than just where the story takes place. How does it impact the action? What if that climactic scene took place somewhere different? [Writing prompt: rewrite that scene with a different setting.] Was there any growth by the main character shown through how the setting is described?
Writers: I hope this made you think about your own setting; and teachers: I hope it gets your students to notice the importance a setting can make within a story.
And may the parties you attend be less eventful than the ones we're creating.
Here are some books that have a dance or party scene.
Are You There God, It's Me Margaret by Judy Blume
Book Scavenger: The Unbreakable Code by Jennifer Chambliss Bertman
Bug Girl: Fury on the Dance Floor by Benjamin Harper & Sarah Hines Stephens
Cookie Cutters & Sled Runners by Natalie Rompella
Counting Thyme by Melanie Conklin
Diary of a Wimpy Kid: The Third Wheel by Jeff Kinney
Dork Diaries: Tales from a Not-So-Happy Heartbreaker by Rachel Renée Russell
Dork Diaries: Tales from a Not-So-Popular Party Girl by Rachel Renée Russell
Fortune Falls by Jenny Goebel
Hoops: Elle of the Ball by Elena Delle Donne
In Your Shoes by Donna Gephart
Jessica Darling's It List by Megan McCafferty
Lily and Dunkin by Donna Gephart
Rules by Cynthia Lord
Sorry You're Lost by Matt Blackstone
Take Your Best Shot by John Coy
The 12th Candle by Kim Tomsic
A Sense of Atmosphere
By Jenn Brisendine on March 19, 2018 / For Kids, For Librarians, For Parents, For Teachers, For Writers, Writing
As an artistic quality, atmosphere is easy to spot—sometimes. A moment of high suspense in a scary movie, for example, is highlighted with an accompanying soundtrack; a musical comedy in a theatre might showcase brightly painted backdrops and set pieces. In literature, though, atmosphere must be conveyed through descriptive phrases and other text details. It might be a little more challenging to cultivate atmosphere in books, but it's just as important for the audience. A convincing sensory environment in a story makes for a tale in which one can get lost, a quality sought by all readers—and certainly by middle grade. Memorable and fulfilling books allow the reader to step inside, breathe the air, sense the mood—these are books with atmosphere.
Since setting and atmosphere are so intertwined, let's break down setting first: How does a writer create a setting that pulls the reader along for a trip outside their ordinary? It's a skill worth practicing if you write middle grade, and one worth recognizing if you are a parent, teacher, or librarian. Setting is a lot more involved than its old standby definition you probably learned in elementary school (the time and place of the action). Setting is indeed time and place, but also consider:
Hour of day
Season and month of year
Geography (natural and manmade)
Color, lighting, and shading (of outdoor or indoor light source)
Regionalism (the dialect, customs, traditions, and local setting characteristics in a story)
Communication systems, language, and vernacular
Character observations
Back and forth flow of time: impact of past (events, family) and expectations of future
Whew! And when used effectively, the setting details can help this necessary story element become an extraordinary component—one that allows a reader to sink in for a more fulfilling read. All of these setting characteristics work collectively to create the offshoot of a well-composed, well-built world: atmosphere.
Atmosphere is tricky to define, but most literary terminology sources suggest it has to do with the mood or overall "feel" of the scene, based on the setting description, tone, and other literary devices. The mood of the character can match this mood in the air of the scene, but it doesn't have to. In fact, sometimes the actions and attitudes of the characters can serve as a literary foil to the atmosphere, heightening suspense or making a bittersweet mood even more poignant.
How does a writer cultivate atmosphere? Imagery, word choice, and connotation all contribute, as do character reactions and pace. Some figurative language devices like symbolism and metaphor can add to the developed atmosphere, as well. When seeking inspiration for establishing atmosphere, writers might use photographs, illustrations, history, music, colors, travel experiences, dreams, patterns, and nature.
From my to-be-read pile, I chose a few middle grade openings to think about in terms of atmosphere: one realistic, one sci-fi, and one fantasy.
The Ethan I Was Before by Ali Standish – In the opening chapters of this first-person novel, the atmosphere is heavy and uncomfortable, much like the oppressive heat in Ethan's new town of Palm Knot, Georgia. As a twelve-year-old boy terribly conflicted over the loss of his best friend, his narration has few lengthy descriptive passages. But Standish provides all the right details through environment, weather, temperature, and observations about this sleepy locale (a rusty parked truck, an untended baseball field, a cracked highway, a murky bay) that readers need in order to feel like they've stepped into its atmosphere.
Last Day on Mars by Kevin Emerson – This middle grade science fiction offers up opening chapters with a crisp, tense, nervy atmosphere in which the conflict increases at an alarm-inducing pace. Set in Earth Year 2213, humans living in a Martian colony must evacuate the planet and its rapidly deteriorating conditions. A prelude serves up danger and emotion before delivering a fearful and mysterious clue; here, descriptions are futuristically foreign, yet technologically familiar enough to pull readers in. The main characters resist an acknowledgement of the danger throughout the first chapter, which only serves to increase the suspense. As a solar radiation storm begins to flare, protagonists Phoebe and Liam start a quest of discovery in an atmosphere of uncertainty and confusion.
A Single Stone by Meg McKinlay — This middle grade dystopian abounds with atmosphere from the first paragraph. Young protagonist Jena has a crucial job to perform for her isolated society—she is the leader of a small team of girls who must find harvests of mica inside the mountain. In the opening pages, Jena is crawling through a narrow, natural crevice with only a thin rope connecting her to the six other girls who follow her lead. In the dark, with the chilly rock of the mountain hugging her close on all sides, every movement and every touch seems amplified and intense; the reader immediately feels as if she too is crawling, squirming, wishing for a harvest spot, counting on having enough air to keep going. The dark, the mountain, even the bones Jena happens to grasp accidentally all work to establish a tangible, claustrophobic opening atmosphere—though, paradoxically, Jena seems to feel no such confinement.
The atmosphere of each title considered here had me invested as a reader from the opening chapters. Feel free to comment on the post if you know of a great, atmospheric MG to recommend, or with how-to ideas for writing settings and situations with strong atmosphere! Thanks for reading!