Kira has been telling stories since she was old enough to put words together, but never thought about writing as a career. Real life had its own adventures, with forays into psychology and teaching and then a biomedical career and children. Then several years ago, her husband gave her a computer. And her two girls were getting older and developing their own interests. So she sat down and typed out a story. Or two. Or three.
She currently writes constantly, read obsessively, and shares her home with her younger teenager, her amazingly patient husband, and a crazy, omnivorous little white dog. She can be found on her author page on Goodreads. She has two recent YA stories, Intervention, and The Benefit of Ductwork. Both were published by Featherweight Press in January 2012, as part of the Helping Hands line of books with the profits going to LGBT charities.
Hi, I'm Kira Harp.
I'm the author of a couple of young adult stories, and under a different
pen name I've written a few adult gay romances.
Ralph, who has edited my young adult work, was kind enough to let me
come on his blog and chat. Or ramble. Or pontificate. You decide.
As I get deeper into the YA novel I'm currently writing,
I've been thinking about the differences between writing for the adult romance
market and writing for young adults. And
as a moderator of the Goodreads Young Adult GLBT (Gay, Lesbian, Bisexual and
Transgender) book group I also read other authors' books, trying to decide
where they fall on the dividing line between YA and adult reading
material. And boy, is that a challenge
sometimes! I don't want to keep a good
book off our YA site. But I do have
limits, even if it takes some work to define them.
The first basic element is explicit sex content. That would seem to be simple, but it is
sometimes the most difficult line to set.
Teens have relationships and they have sex. A good book about teen characters rarely can
avoid that issue, and particularly not a GLBTQ book. After all, it's the emotional and sexual desires
of the characters that define their GLBTQ identity. A book where no character under 18 can
possibly have sex will be rejected by teen readers for being out of touch with
reality. However I've read books where
sex scenes involving an older teen are explicit enough for me to feel voyeuristic
and uncomfortable.
I think the most critical thing is the feel of the
scene. Do we feel the emotions, the
tensions and anxieties and love, or guilt because there isn't love? Great.
Do we see the actual mechanics and imagine the specific physical
sensations? Too much. Does it seem hot or erotic? Definitely too much. In my own work, I want the reader to be in
the character's head for the emotional journey but not the physical one. It's a difficult balance to achieve – the
question of when to fade to black. But
choosing well is essential to make a book appropriate for teen readers.
Strong language is more of a personal-preference issue to
me. I've sat on a bus next to a group of
fourteen-year-old boys, and I guarantee you there is no swearword I can think
of that they do not know. And use. In fact, f***ing has become the all-purpose
adjective and adverb for American teen boys, as far as I can tell.
At the same time, some young readers are uncomfortable with
strong language. Also language is an
easy weapon for parents or school-boards to use on a book they want to
ban. Instead of saying, “We want this
story about gay kids out of our school” they can say, “Just look at all these
obscene words.” Chris Crutcher wrote The
Sledding Hill partly so he'd have a book with no swearing in it, so if they
wanted to ban it they would have to admit why.
For all those reasons, I do work on a balance between having
my characters sound real when they drop a hammer on their foot, and yet not
overstepping the bounds of YA comfort.
Ralph and I take swear words out, modify them, find euphemisms, laugh at
our euphemisms, and put the originals
back in. It is a challenge all out of
proportion to just writing twelve words in a sixteen thousand word manuscript.
Beyond those two content issues there is the question of
tone. YA almost by definition has at
least one young adult main character.
Making a teen boy (who is not allowed to use the f-word) sound real is
hard for me. My adult characters tend to
be mature, introspective and loners. (I leave you to guess why those are easier
for me to write.) Finding a young adult
“voice” that is real, sympathetic but not too perfect, and interesting, is my
goal.
Ralph as my editor helps me realize when I have strayed. (I
get little notes - “ I don't think young guys have used that expression since
the 1980's.”) I also try to find the
right emotions. I want to reflect the
intensity with which I remember reacting to everything as a teenager. The way
time could stretch and shrink drastically depending on the feelings
involved. The way one small thing could
seem as huge as a mountain. The mixture
of impatience and anxiety with which I looked ahead to adult life. Even more
than adult books, I think teen books are about getting the emotions right, and
true and real.
Why does it matter whether it feels real to teenage readers
, as long as the story is entertaining? To me it matters because I believe YA
literature is more important. My adult
stuff entertains. If someone is touched
by it, that's wonderful. But I know as a
teenager, books were far more to me than entertainment. The best books reached out and touched
something inside me. They were my solace
and my refuge, my source of different world views, my mirror that sometimes
showed a geeky, unattractive, solitary
girl as the heroine of her own story. They kept me going. They were my friends. I want to write books that have that connection
in them.
As the author of adult romance, I want to give readers a few
hours of wonderful entertainment. As a YA
author, I want to write friends.
Thank you for your wonderful post, Kira! If you guys want to know more about Kira you can find her on Goodreads or leave a comment for her here!
Kira,
ReplyDeleteThanks for the insightful post. I agree that YA lit is so terribly important! And striking a balance must be overwhelming at times!! I particularly enjoy your YA "voice"--as someone who works with teenagers--I often find you are spot on!! Thanks for sharing your stories with us!
Great post, Kira. Finding that young adult voice definitely isn't easy sometimes. As for sex in YA, I think it's possible to create realistic characters in a realistic, romantic story without sex, but you have to have a good reason behind it. Otherwise teens might call BS.
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