Writing

The Real Life of the Middle-Grade Reader

I love writing for the middle-grade reader.

There’s something very appealing about this audience. They’re old enough to understand humor and even sarcasm (in fact, some eleven-year-olds I know are Kings and Queens of Sarcasm).  By age nine, many children have mastered the mechanics of reading and they’re ready for challenging new vocabulary and themes that stretch their minds.

And best of all, middle-grade readers aren’t ready for all the angst, sexual issues, cussing, and violence that those Young Adult authors have to face head on when writing for teens. Right? I mean, the middle-grade genre is all about best friends and dogs and family vacations and…

STOP.

If you dig, even not too deeply, you’ll probably find an interview in which I’m quoted saying something very similar to the previous paragraph. But I now know that when I had those thoughts, I was thinking about the middle-grade books of my youth, not today’s middle-grade kids.

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My local school district has an “Intermediate” building for 5th and 6th graders. Last time I was there, I was surprised that most of the library books I saw being toted around by these ten- to twelve-year-olds were YA titles. They were devouring “The Hunger Games” and going ga-ga over “The Fault in Our Stars.”  Why weren’t they reading middle-grade books? Why weren’t they reading my books? Aren’t these the very students I (and other middle-grade authors) write for?

To find the answers, I think we have to look more closely at today’s nine- to twelve-year-old.  Here are some interesting facts* about the MG audience. Our MG audience:

In middle childhood, children might:

  • form stronger, more complex friendships and peer relationships
  • feel very emotional about those friendships
  • encounter higher levels of peer pressure
  • notice bodily changes and have unanswered questions about their bodies
  • begin to develop body image issues such as eating disorders
  • feel the pressure of harder classwork and academic challenges
  • begin to see themselves apart from their family unit
  • experience fears such as: fear of disappointing parents or parents finding out about negative behaviors or thoughts
  • experience anxiety over their social standing
  • become more aware of community threats and dangers such as violence

Whoa. That’s a heavy list for kids who haven’t even hit their teens yet. But it’s reality and it’s our audience. These are the children for whom we write.

So, what does this mean? No more dogs and best friends and family vacations? Of course not. But what it does mean is that we shouldn’t shy away from the reality that is life for today’s middle grader. Sometimes parents go to prison. Aunts and uncles can be alcoholics. Preteens think about their sexuality. Gangs and violence don’t suddenly appear after age 13. Nine- to twelve-year-olds sometimes live in homes or communities that are dangerous.

It’s okay to address the tougher side of preteen life. As storytellers, we can choose the right measure of tact, honesty, and humor to soften the blows of middle grade reality.

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What are your current favorite middle grade titles? I’d be willing to guess that beneath the general premise there are some serious issues which today’s middle graders understand all too well.

What do you think? Share your comments below!

*facts listed above come from:

http://www.cdc.gov/ncbddd/childdevelopment/positiveparenting/middle2.html

https://www.psychologytoday.com/blog/liking-the-child-you-love/201402/the-hiddennot-so-hidden-fears-middle-school-students

Michelle Houts is the author of four books for middle-grade readers. She shares The Mark Boney Promise with young people at school and library visits in an effort to bring more kindness to classrooms everywhere.  Find Michelle at www.michellehouts.com. On Twitter and Instagram @mhoutswrites and on Facebook as Michelle Houts.

 

The Science in Science Fiction

The genre of science fiction is hard to define, especially in middle grade. With its wide variety of sub-genres, it’s hard to pin down an all-encompassing descriptor for the science fiction genre. It is often a “we’ll know what it is when we see it” type of thing. One of the better definitions of science fiction I’ve come across describes science fiction as the “literature of change”. Science drives technology and technology drives change, therefore, the “literature of change” descriptor fits almost perfectly for science fiction.

No matter which sub-genre of science fiction, it is important to have a solid foundation in science. After all, it is SCIENCE fiction. This doesn’t mean the science has to be dry, concise and 100% factual, though. That’s more for hard science—the professional, peer-reviewed, journal article publishing science stuff. Even in middle-grade, a scientific foundation in sci-fi simply means the science must be solid and logical. It can be based purely on fact or totally on fictionalized science, but the science must be grounded in the logic of the story and not MacGyver science.

MacGyver science?

If you’re long in the tooth like me, you may remember the old television show, MacGyver, in which a science/engineering solution almost always appeared out of thin air. Every week, the protagonist would do something like stop the bad guy from blowing up a nuclear power plant (with 0:01 seconds left on the timer, no doubt) by building a manual self-destruct electric override switch from a paper clip, an evergreen air freshener, duct tape, a flashlight and a bologna sandwich found in the glove box of the custodial service truck abandoned in the nuclear facility’s parking lot. This “science” never made much sense—it just dropped into the story to save the day.

The point is, the science in story can be factual, it can be made up, or it can be magical. However, it must keep an internal logic within the story. The science needs to make sense within the context of the story world. It’s okay to present a world of mutant humanoids that rise to power out of an abandoned drought-ravaged African desert environment if it makes reasonable sense.

Perhaps their race has evolved chloroplast-like mitochondria to allow the transformation of solar energy directly into ATP energy to fuel their cellular functioning. The mutant humanoids possess a hybrid plant/mammalian physiology that allows them to survive the harsh conditions. The science explanation becomes plausible and logical for the race; we’ve established a basic fundamental to how the mutant race can logically thrive and prosper in a desert where available food is at a premium.

The science in a story cannot be carried around in a fanny pack only to be used in times of greatest need or when no other solution is apparent. No ‘deus ex machina’ solutions, please.

Middle-grade science fiction is no exception. If you’ve spent time around middle-schoolers, you are probably aware (or are constantly reminded) of the fact they know almost everything.The wool cannot be easily pulled over their youthful eyes. Kids are smart and they have well-honed BS meters. They know when things don’t make sense and will close the book or tell you straight up to “try again”. My idea of science-done-well in middle-grade sci-fi revolves around using scientific concepts they can understand without becoming lost. Scientific concepts which trigger a desire to learn more about the science. In other words, science presented in such a way it “fools” them into learning more.

Fantasy writer and fellow molecular scientist, Dan Koboldt, has put together a fantastic resource to help guide writers incorporating science into their science fiction and fantasy writing. Dan’s blog series is called Science in Sci-Fi, Fact in Fantasy and brings in professionals to blog about their areas of expertise as it relates to speculative literature. (Note: With my background in molecular biology and microbiology, I’ve contributed two posts to the series, The Science in Jurassic Park and Zombie Microbiology 101.) Check out Dan’s blog series if, as a reader or writer, you want to learn more about bringing the world of science and the world of science fiction into a beautiful and synchronous orbit.

Three of my favorite recent examples of using science in middle-grade science fiction are THE FOURTEENTH GOLDFISH by Jennifer Holm, WHEN YOU REACH ME by Rebecca Stead and the entertaining FRANK EINSTEIN series from Jon Scieszka and Brian Biggs.

The Fourteenth Goldfish CoverWhen You Reach Me CoverFrank Einstein Book One Cover

Take home message is this: Keep the SCIENCE in science fiction. Use science to enhance your science fiction. The science should complement the story, not overloaded the story to a point of distraction. The science shouldn’t appear from thin air as a ‘deus ex machina’ solution to the main problem. Use resources, like Dan Koboldt’s blog series or simply ask a scientist for information.

Science drives technology and technology drives change, so never forget the science is a vital tool in the science fiction genre, our wonderful “literature of change”.

Two Are Better Than One

I’ve always wanted to try collaborating with another author. First of all, I think it would be a lot of FUN (and if you’re not having at least a little bit of fun when you’re writing, you’re not doing it right!). But beyond that, I like the idea of working with someone else who is as invested in a project as I am, working together to create  something that is bigger than either of us could have created on our own. Or at least DIFFERENT than it would have been had either of us attempted the same basic premise on our own.

Joan Holub GG

Joan Holub

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Suzanne Williams

Joan Holub and Suzanne Williams are both successful children’s book authors who have published many books on their own. But for the last seven years they’ve also been writing together. As collaborators, they’ve published 34 books in three different series: Goddess Girls (Ages 8-12, Simon & Schuster), Grimmtastic Girls (Ages 8-12, Scholastic), and Heroes-in-Training (Ages 7-10, Simon & Schuster). And they’ve got at least 12 more books coming!

I’m fascinated by how their partnership works, so I decided to interview them for this post. Thanks, Joan and Suzanne, for agreeing to answer all my questions, both online and in real life.

THE BEGINNING…

I know you guys met through SCBWI-Western Washington and you used to meet for dinner now and then to talk about your writing. But the initial idea to collaborate was Joan’s, correct?

Joan: That’s right.

Me: Which came first? The idea to write with someone else or the idea for Goddess Girls?

Joan: Goddess Girls started with a title and a series hook, born from my interest in mythology. The hook was to set the series in Mount Olympus Academy and base each book on a middle-school-age goddess’s myth, giving it a modern twist.

Me: I know Suzanne is great, but I want to know what is it about her that made you approach her about writing this together?

Joan: I had always wanted to write a series with a partner. Suzanne is organized, smart, sane, talented, and fun to hang out with. Plus she already had some great series under her author belt. So I popped the question about writing together. Thank Zeus she agreed! We developed the series as a team and every book is a collaborative effort.

Me: Suzanne, what was your initial response when Joan brought it up?

Suzanne: I was surprised at the offer. I’d never thought about writing with a co-author before. It didn’t take me more than a few minutes to say “yes,” though. From our long dinner conversations about our various writing projects, I knew Joan was both brilliant and hardworking. I felt certain we’d make a good team. We’d both had experience writing middle grade fiction series, liked writing for that age group, and had similar senses of humor.

Me: I understand you each sort of “take charge” of every other book. So, you start by discussing what the book is going to be about (by phone or Skype since you don’t live in the same area anymore). How long are these conversations?

Joan: An hour or more. Then if it’s Suzanne’s book, she’ll begin writing a long synopsis/outline. Including research notes, Suzanne’s latest outline (for Goddess Girls #20: Calliope the Muse, out August 2016) was twenty-eight pages long. Mine are usually about half that. We are usually writing two books at a time, so while Suzanne is writing her outline, I’m writing the outline for the next book. Then we trade and critique each other’s outlines.

Me: When you started writing together, could either of you have predicted you’d do THIS many books together?

Suzanne: Not a chance. J We feel incredibly lucky that our three series together have done so well.

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ON THEIR PARTNERSHIP…

Me: What is the most interesting and/or surprising thing to have happened as a result of your working together?

Suzanne: Before we teamed up we’d both written solo middle grade fiction series. But none of those series had continued past the initial four to eight books contracted. So we didn’t anticipate our joint series would do so much better than our solo series or that we’d be working together for as many years as we have on so many books. Though we occasionally wish our schedule weren’t quite so hectic (okay, more than just “occasionally”), we are very grateful for how well our joint series have done. Some highs include the dozen or so foreign translations of Goddess Girls, and, recently, seeing an eight-book boxed set of Goddess Girls 91YDg8o0dmLand a 4-books-in-one hardcover of the first four Heroes in Training in Costco. Oh yes. And the one Thanksgiving when a fan alerted us to a video clip that showed President Obama buying two of our Goddess Girls books (among several other books) as Christmas gifts!

Me: That is VERY cool! Congratulations!  What do you know now that you wish you’d known when you started working together?

Suzanne: Hmm. Not sure. It’s been rather fun to just go with the flow as the books in our co-written series have increased from contract to contract. Life is meant to have some mystery. Makes things more exciting!

Me: Very true. Can you both say something about how your partnership has allowed you to grow as individuals and/or as writers?

Suzanne: I think we’ve learned a lot from each other over the years we’ve been writing together. Joan says I taught her to outline, for example. Maybe I did…initially…but Joan has improved on the way we outline a story many times over. When I write now there’s a little voice in the back of my head reminding me of things Joan would suggest to make a story better. I try to pay attention to that voice!

Joan: I think it has helped me to narrow the focus of a plot more quickly. Because I know I’ll need to explain all aspects of a planned story to Suzanne–such as the major characters’ internal and external goals, motivations, etc.–before beginning a first draft, I’d better figure all that out before she and I talk. (And, yes, Suzanne did teach me the value of an outline in series writing, and I learned how to write them from reading hers. She could teach a class in outlining!)

Suzanne and Joan live clear across the country from one another. This summer they finally got to spend a little time together in person.

Suzanne and Joan live clear across the country from one another. This summer they finally got to spend a little time together in person.

Me: One final question: What is the secret to your successful partnership?

Suzanne: From the start we were determined to keep our egos out of our writing as much as possible and concentrate on doing what was best for each story. We’ve come to trust and value each other’s writing expertise more and more over the years. And while we’ve had a few tense moments (particularly when facing especially short deadlines) we’ve weathered the occasional storm just like you do in a good marriage. We’ve also kept our writing process fluid enough that it could evolve over the years, and we’ve become more efficient. We try to divide work as evenly as possible between us, but we don’t “keep score.”

Joan: We are similar enough that our writing blends well, but different enough to each bring something to the table. Brainstorming together feels effortless and always yields results. We’re equally invested in the characters, stories, and meeting deadlines. And while respectful of each other’s work, we’re frank when we see a problem. Our ultimate, all-important goal is always a great book. (Here’s a quick tip for anyone starting a partnership: Try to remember to use the words “we” and “our” instead of “my” when you discuss your work.)

 Joan and Suzanne celebrate the release of two more books this month:

(Goddess Girls #17)

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(Heroes in Training #10)

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And…Joan has two new books of her own this month, too:

salem The Knights Before Christmas Joan Holub Scott Magoon

 

 

 

 

 

Thanks, Ladies, for a fun interview!

-Dori Hillestad Butler is the author of more than 40 books for children, including The Buddy Files series, the Haunted Library series, and the forthcoming King and Kayla series.