Category Archives: Craft & Skills

Why First-Person is Popular in YA: A Theory

You may have noticed that many popular YA titles today are written in the first-person narrative. But why? Why is first-person so popular with the YA audience?

In her blog, YA writer and children’s book illustrator Ingrid Sunberg shares five reasons why authors choose to write in the first-person. Ingrid observes that first-person gives the reader a quick connection with the protagonist, makes the story believable, helps develop the protagonist, is somewhat easy to write, and creates an agreement with the reader of how the story will be told.

To help find the answer to why readers connect with first-person narratives, I decided to make a graph, because graphs are my jam.

First, I took thirty titles of popular YA fiction all the way from the mid 1800’s to 2013. These titles are or have been enormously popular, and a couple of titles are just a few of my favorite YA and Middle Grade books. Next, I went through and marked which stories are told in first-person and and which were told in third-person (limited, objective, and omniscient).

1st Person Year Published 3rd person Year Published
1 The Adventures of Huckleberry Finn 1884 1 Little Women 1868
2 The Catcher in the Rye 1951 2 Anne of Green Gables 1908
3 To Kill a Mockingbird 1960 3 The Secret Garden 1911
4 Island of the Blue Dolphins 1960 4 Charlotte’s Web 1952
5 Are You There, God? It’s Me, Margaret 1970 5 Lord of the Flies 1954
6 The Perks of Being a Wallflower 1999 6 The Phantom Tollbooth 1961
7 The Sisterhood of the Traveling Pants 2001 7 A Wrinkle in Time 1962
8 Twilight 2005 8 Hatchet 1987
9 The Book Thief 2005 9 Number the Stars 1989
10 The Lightning Thief 2005 10 The Giver 1993
11 The Host 2008 11 Ender’s Game 1994
12 The Hunger Games 2008 12 Holes 1998
13 Divergent 2011 13 Eragon 2002
14 Incarnate 2012 14 Harry Potter and the Sorcerer’s Stone 2003
15 Vampire Academy 2013 15 Inkheart 2005

The information I gathered already surprised me. I assumed that of the thirty books, at least 66% would be written in first-person. But of the thirty books I chose, exactly half were written in third-person.

Next, I charted how many books from both POV’s were published in ten year increments from 1800 – 2013.

Screen Shot 2014-04-02 at 8.12.39 AM

 

You may or may not be surprised by my microcosmic, pedestrian research. What surprised me was that technically, third-person isn’t any less popular as a whole. In fact, according to my chart, it’s been steadily increasing in popularity through the years. Note that while I only took the first books in popular series, keep in mind how popular all of the Harry Potter books were (third-person), with the last book published in 2007. Third-person YA stories aren’t going anywhere. They’re steadily increasing in popularity, according to my small-scale study.

First-person narrative YA and Middle Grade novels increase sharply in popularity according to my chart, especially in the late 1990’s and early 2000’s. First-person narrative is trendy, but it has also steadily grown in popularity as well.

But why has the first-person narrative become so popular recently in YA and Middle Grade fiction?

This brings us to my theory: chicks and their diaries, man.

 

Chicks, man.

In this article from The Guardian, Vanessa Thorpe summarizes a 2009 study in which researchers interviewed 2,000 people about their reading habits. Researchers found of the women interviewed, forty-eight percent could be considered avid readers, while only twenty-six percent of men could be considered the same. Thirty-two percent of men admitted to only reading two books per year, while eighteen percent of the women interviewed said the same. According to this article on NPR, surveys conducted in the U.S., Canada, and Britain concluded that men account for only twenty percent of readers in the fiction market.

While it could be argued that maybe many of the study’s participants were adults and did not read YA fiction, an article in Publisher’s Weekly claims otherwise:

“More than half the consumers of books classified for young adults aren’t all that young. According to a new study, fully 55% of buyers of works that publishers designate for kids aged 12 to 17 — known as YA books — are 18 or older, with the largest segment aged 30 to 44, a group that alone accounted for 28% of YA sales. And adults aren’t just purchasing for others — when asked about the intended recipient, they report that 78% of the time they are purchasing books for their own reading. The insights are courtesy of Understanding the Children’s Book Consumer in the Digital Age, an ongoing biannual study from Bowker Market Research that explores the changing nature of publishing for kids.”

 From this evidence, we can conclude that women read more fiction novels than men by a wide margin, and that plenty of those women are reading YA.

 

Diaries: The Missing Link to First-Person

For as long as I remember, I’ve kept journals. I have an entire bookshelf dedicated to my journals, one dating back to fifth grade. According to this January 2013 article by Carolyn Gregoire, I’m not the only one. According to a study, eighty-three percent of girls aged 16-19 write about their lives in a journal.

Let’s examine common characteristics of the female diary entry.

Disclaimer: these characteristics may or may not match your own diaries. These are typical characteristics I’ve noticed from the diaries I’ve snuck into (Okay, only once, and I feel awful about it. The saving grace was that the entry I flipped to talked about wanting mango ice cream instead of vanilla, and then I stopped reading immediately), have heard fellow females talk about, or have read as published works.

  • Almost always (I can’t imagine otherwise, frankly) written in first-person.
  • Focus on emotional reaction to situations and events.
  • Chronicles important events.
  • Marks events that have just happened.
  • Divulge true feelings and secrets.
  • Examine secret longings.
  • Heavy on self-evaluation.
  • Usually written in a stream of consciousness fashion.
  • Has voicing specific to the person writing the journal

Now, let’s compare those characteristics to a YA first-person story with a female protagonist:

  • Focused on one central character who tells the story
  • Emotionally charged
  • Has voicing specific to the protagonist
  • Tells important events through the protagonist’s point of view
  • Lets the reader peek into the mind of the protagonist, viewing her longings, desires, and emotional reactions
  • Usually follows as steady span of time without skipping through time.

Seeing the strong connection between the two? Now think about the target for most YA fiction. Research shows that most avid readers are women. Research also shows that many young women journal. When you combine the two facts, it makes a compelling case.

My theory is this: girls aged 12-18 who read regularly can and do connect quickly with a first-person narrative because it is reminiscent of their own journaling behavior. That is to say, how young girls process important events in their lives through journaling is very similar to a protagonist’s process of self-evaluation and self-discovery in a YA first-person narrative.

When a young girl picks up a YA first-person story, she is looking into the mind of the protagonist, almost the same as reading that protagonist’s own diary. As the young girl grows into a woman, whether or not she decides to continue journaling, she will understand the connection of first-person narrative because she has already written it.

Third-person in YA is in no way dying, but it may not have the strength of connecting so immediately with its audience as YA first-person storytelling does.

 

What do you think about the connection of girls who journal and girls who read first-person YA novels? I would love to know if you agree or disagree! Please let me know what you think in the comments.

Multiple POVs: Friends or Foes?

Multiple POVs. Are they friends or foes to authors? Well, as my dad likes to answer this sort of question: It depends. Let’s look at an example.

Two aliens walked into a bar. Krizznorp, Overlord Supreme of the Everlasting Fleet, surveyed the foul watering hole, disdain hue radiating from his luminous compound eyes. He was time was far too valuable to waste on such a putrid gathering of organic waste as this. But the Uber-Emperor’s polyp-spawn, Crown Prince Bill, was visiting from the blessed homeworld, and Krizznorp had been given the dubious but potentially career-advancing honor of showing him a good time. And if ever there was a waste of organic matter, it was the polyp-spawn gawking slack-jawed beside him. Setting his jaw, Krizznorp braced himself for a night of debauchery.

*

Okay, Greg again. This is a fairly ho-hum setup. The POV character has been tasked with treating the boss’s kid like royalty (which he happens to be in this case), but he’s got better things to do. There’s nothing new or interesting about this. But now let’s add a second POV.

*

Crown Prince Bill was ecstatic to be getting his first ever visit to a war zone bar. Oh sure, his guards and attendants had told him they were just exactly like every other bar in the quadrant, but Bill knew better. Even just standing in the doorway next to his new best friend Krizznorp, Bill could sense the desperation hanging in the air as if lifted there by the drunken fumes wafting up from the soldiers. Once he was able to return later, this time alone, that desperation would add the perfect savor to his favorite pastime.

Murder.

*

So in that example of multiple POVs, the most obvious advantage afforded is dramatic irony, where the reader knows more than the character, thus generating tension. In this case Bill doesn’t know how much Krizznorp disdains him, but Krizznorp also doesn’t know that Bill is some sort of alien serial killer. Thanks to the story dipping inside multiple characters’ heads (or whatever this particular species thinks with) the author has additional tools with which to generate conflict. Will Bill become aware of Krizznorp’s dislike of him and if so, will he murder Krizznorp, fearing no retribution because of his royalty? Conversely, will Krizznorp (I regret this name a little more every time I type it) realize what Bill really is, and if so, will he dare report it to the emperor? But what if Bill’s father already knows?

The opposite of our example with Krizznorp and Bill above is that if you have only a single POV, all information critical to the plot must somehow be conveyed to that character at some point in the story. This is what I like to call Overly-Important Character Syndrome, and it’s part of the reason so few epic fantasies have just one or a handful of POVs. It’s hard to convey “epic” through a single person’s eyes.

But for every advantage multiple POVs can convey, there are also disadvantages. The two worst offenders are length and pacing. I’ll discuss each briefly below.

Every POV character needs a plot arc. These can be of varying length, but if a character occupies a POV and an important part in the story and they don’t have a subplot of their own, it’s going to stand out in a bad way. But the number of POVs drives the length of your book as much as any other factor. My first novel manuscript featured about a dozen major POVs and was 287,000 words. For every first-time author not named Pat Rothfuss or Brandon Sanderson, that’s way too long. For my second novel I focused on keeping the number of POVs down. I ended up with five major POVs and the novel topped out at 126,000 words. For my third novel I went with just a single POV and ended up with 84,000 words.

Adding POVs and their attendant plot arcs also has dramatic impact on the story’s pacing. Maybe I want to have an unbroken segment of chapters featuring an extended, major action set piece for Krizznorp. But then I realize I haven’t checked in with Bill since chapter two and the longer I wait to do so, the more jarring that reintroduction will be. Or maybe I’ll alternate chapters so that Bill and Krizznorp each have an equal number and I trade off chapter-ending cliffhangers. That sounds great until I realize I have too little plot for Krizznorp and half of his chapters will end up being filler. If not well thought-out, multiple POVs can transform quickly from an advantage to a chore.

Multiple POVs can add a lot of richness to the tapestry of your story, but they also will have their own demands that must be met. I come back to this concept a lot in my posts, but it all comes down to what kind of story you are trying to tell. If it does require multiple POVs, advance planning (or an upfront acceptance that you’ll be doing a fair amount of rewriting) can save you a lot of headaches and frustration down the road.

Two Aliens Walked Into a Bar…

Penrose-StaircaseThere are a lot of questions and possibilities with a prompt like that. What kind of aliens are they? How do the people in the bar view them? Is this a normal occurrence and are they outer-space aliens or out-of-town aliens? What kind of bar? A cocktail bar, small-town bar, or a geographical bar? Did they walk into the building or literally into the bar? And again, how would this all be perceived from the aliens’ point of view, the bartender’s, the customers’, or the point of view of a child. And why would a child be in a bar?

These are some of the kinds of questions we’ll be addressing this month as we focus on perspective, but we’re not limiting ourselves to the characters’ points of view.

First will focus on narrative point of view (POV). Is your story best told in first, second, or third person, or from an omniscient pov? What about YA books versus other niches? What can different perspectives bring? And see what world-renowned author, Tracy Hickman, has to say about second person; does it really have a place in the writing world?

That will bring us to the characters: keeping them under control, finding their voice, writing in different genre or species, and using POV to world-build.

Week three takes us to the business perspective. How does collaboration affect publishing? What’s the cover artist’s pov? And how about short story markets? We’ll talk with Isotropic Fiction‘s Lucas Ahlsen and Joseph Thompson about their views on authors and the publishing industry.

Then we’ll talk with the people who work behind the scenes: convention and conference organizers, librarians, author assistants, and independent booksellers. How do they view the authors they work with, and what’s their take on current publishing options?

And this all wraps up with fans, the most important part of all we do. How do the fans view authors, conventions, and all the work we put into our books?

It’s going to be a great month full of Fictorians, guests, and two aliens in a bar…at least, that’s my perspective.

My Journey to Professionalism, Step 1: Establishing My Identity

As hobbyists, writers create stories for our own enjoyment and for the satisfaction of sharing our vision. To be a professional, however, we must take a step beyond that and become small business owners. Though we still love writing and storytelling, the professional writer wears many hats, interacts with many different people, and works hard to produce the highest quality product he or she can. Professional writers are editors, accountants, marketers, designers, and their own most devoted agent. Though we interact with professionals who do all these job functions for us, the modern writer must take responsibility for his or her own career, learning and growing into other functions in order to be successful.

It took me a while to see this, and even longer to believe it, to understand what it means. By talking to a number of experienced friends, people who had traveled this road before me, I was able to see further down my own path, and start taking the first steps in my own journey.

The first step in creating your business is imagining it, creating your brand and beginning to build your name. Though writers sell individual works of fiction, I would argue a writer sells themselves, their abilities as a storyteller and their name as their primary product. There are an ocean of voices out there, all clamoring to be heard, so why then would a reader become a fan? How does a writer assure return business? It starts with the writer’s brand. The first step I took to becoming a professional was designing my identity and creating Nathan Barra.

The writer’s brand starts with the name, something that will appear on books. In November, I wrote my Fictorians post on the choosing of a good pseudonym, so I am not going to repeat what I said there. Instead, I want to emphasize how important it is to approach the branding process intelligently. Any other business, be a Coca-Cola, Calvin Klein, or Google, hires marketing firms to establish an identity that is immediately an easily recognizable and distinct. As writers, we must also do this, be it often with a smaller budget.

When you work with a designer on a branding package, one of your early conversations will be what you want your brand to convey. For me, I wanted Nathan to have two faces. First was the face I showed to consumers. I wanted Nathan to be dependable, intelligent, articulate and someone that readers would trust to produce high quality work regularly, stories they would enjoy reading even if it was outside their normal genre comfort zone. The second visage of Nathan was the professional face. I wanted industry professionals to see me and believe that I would be a reliable coworker, someone who would produce high-quality work on time, with regularity, and would be someone that they would enjoy working with.

My designer and I took these ideas and built my website, my logo, and my color palette. I created a look, a series of outfits that I wear whenever I make professional appearances as Nathan. I started pulling together a media package to give out when I guessed posted. I established Nathan Barra.com, and my blog, In Brief. I worked hard to create posts and gather content of the highest quality that I could manage. Most importantly, I was never, ever late. All these actions fed into the brand I was trying to establish.

At first, Nathan was a mask that I wore, and identity that I adopted when I wrote. However, in the year since I established myself as Nathan, that identity has become a second skin. Nathan is who I am when I write and when I interact with industry professionals. Nathan, and the brand I built around him, is the basis of my business.

That step taken, I began looking to some of the writers that I admired, both the professionals and the semi-professionals, to chart my next step. Though I haven’t spent a great deal of money on Nathan Barra, the cost of design work, hosting fees, and conferences isn’t insignificant. I haven’t been tracking my finances like it’s a business, but rather spending like the hobbyist. Therefore, my next step seems obvious. I need to change my spending habits and whip myself into financial shape. More on that tomorrow, however, when I speak about my second step in my professional journey.