Moving Mountains
By Guest | June 8, 2018 |
Flickr Creative Commons: Theophilos Papadopoulos
Kim here to welcome Dee Willson to Writer Unboxed today! Dee is the award-winning author of A Keeper’s Truth, GOT (Gift of Travel), and No Apology For Being(WIP). You can learn more about Dee on her website, Facebook and Twitter.
So, I find myself blocked by a mountain. Okay, maybe blocked is a strong word. I am facing a mountain. A big, unmovable mountain. This mountain is publishing in a very specific sense. It is the great divide between two major categories created by the publishing world only forty (or so) years ago, but holding strong, despite confusion and change. The divide between YA and ADULT.
Before I go any further, maybe I should be clear: genre and target market are two different things. First Books (FB, Birth-School), Middle Grade (MG, -12), Young Adult (YA, 13-18), Adult (ADULT, 18+)…these are demographics, audiences, ages used by sales, merchandising, and marketing people. Horror, romance, sci-fi, fantasy…these are genres. Stephen King straddles several genres, but mostly writes for an adult audience. Harry Potter, even the last of the series, targets the YA reader, kids under 18. Harry Potter falls under the fantasy genre. Some books blur genre lines, some appeal to more than one audience. I was excited when NEW ADULT hit the scene. But NA got twisted into a genre when it should have been a target market. Two very different things.
Gosh, Dee, get back to the mountain….
Recently, two contradictory things happened in the same moment.
I opened an email from my agent – feedback from the big boys of publishing regarding my latest manuscript. “Love it, but is the author willing to make the protagonist eighteen or under, make the book YA?” My first thoughts were wow, how the hell do I alter an entire manuscript to appeal to a different target market? Can I? Should I? Why? I don’t consider myself a YA author.
While reading this email, I was opening a package, a copy of The Chicago Manual of Style, Seventeenth Edition, ‘The Essential Guide for Writers, Editors, and Publishers’. For those unaware, this is an industry bible. The book mostly covers non-fiction and editorial tips, but what really struck me was that it’s in its seventeenth edition. As in: changed, updated…seventeen times since its original incarnation. I thought, here is this tome, this style manual, rewritten to include up-to-date details, keeping up with the times. It moves, turns like a spoke in some massive publishing wheel.
Would changing my manuscript to YA be a positive change, a nod to society, a give required by the 21st century? Would it tell my character’s story best? Would it sell more books? Would it make me, the author, flexible, a spoke? Or would it be surrender, giving in to a publishing push, intimidated by the mountain?
You might be wondering how I got to this thought process. So let’s take a step back.
I write characters in their early twenties, present day. First person, if it helps to know. It’s a difficult age to write, to voice. So much is happening at this age. And so much is not happening at this age. Over 75% of twenty-somethings today are still in school, still dependent. Basic necessities like shelter, education, clothes, food, are funded by Mom and Dad. Even newly-minted graduates are hard-pressed to go it alone. Housing and food are crazy expensive, student loans take years to pay down. It’s a confusing time, a stressful time. All these life-altering decisions to make, massive changes….
You get the idea. Their minds are mush. And no 13-18 year-old could relate.
Now, had 2018’s twenty-something been born a few generations ago, they’d be married with two-point-two kids. They’d want to read about characters balancing parenthood with careers, money, mortgages. They’d relate to adult experiences. But this is no longer the case. Twenty-somethings today are not kids or adults. Worse, a thirteen or seventeen year-old is so far from a young adult these days, it baffles the mind. The world has changed. Society has changed. Why hasn’t publishing?
Publishers today, in my experience, have difficulty with a twenty-something character. Why? Who am I to say? But from this bird’s-eye view, it looks like the publishing industry hasn’t caught up with the times, with society, and could take a hint from The Chicago Manual of Style. Maybe things need to be re-written. Blurry lines can be defined by new standards. Confusion can be replaced with clear expectations. Agents should know exactly where their authors fit, without question. Authors shouldn’t have difficulty pin-pointing the best market for their work. And editors and sales teams should never buy and promote a book to the wrong target market.
“But we are mountains,” they cry.
And they are. Big, ancient, stable…they must know, right? They must have reasons. They can’t possibly be wrong, or miss the mark. Is the wheel that hard to move? The problem couldn’t be fixed in a boardroom on some dreary Monday afternoon, the heads of publishing and retail bowed together? They must notice the massive black hole between YA and ADULT, the missing demographic, that the 20-25 (age) reader is in desperate need of literary connection. Just a couple hours online and anyone can see this target market is aching for stories with characters and experiences they can relate to. Blogs and online forums, even those where our youth congregate, are littered with statistics, articles, reports. Will publishing ever see the potential of the twenty-something character with a voice that falls between the sofa cushions, between YA and ADULT, silently binge-watching Netflix?
Maybe. I don’t know. I sure hope so.
In the meantime, here I am, at the base of this mountain. “Make your twenty-something character eighteen,” says the mountain. “Or give her an adult voice with adult problems.”
But she’s twenty. My voice is kinda whiny.
I am a spoke. One, scrawny spoke. The wheel doesn’t technically need me to work. There are other spokes to do the job. I could move, make changes to my manuscript, accommodate the mountain. I could cut and paste and rework my protagonist until she fit, neat and tidy, into the YA box. It might sell more books. It might not. It might connect with an audience. It might not. I could go around the mountain. “Self publish!” the Indies cry. Man, it is awesome to have choices. But we’re talking about mountains here. And there is no clear path.
Why is that? Why is there such confusion between the YA and Adult target markets? Are we really so set in our ways? Can we not rewrite the tome? Are industry leaders really so…solid?
Then again, mountains are moved. One rock at a time.
Maybe this is only my experience, and you have a totally different viewpoint. Have you hit this particular mountain? What did you do? Are you a spoke or a rock slinger?
Many thanks to today’s guest.
You can read more WU guest posts by visiting this link.
Is it hard to decide whether your creative vision and personal experience is valid or whether to suck up to the publishing Man? I think not.
Thanks for your thoughts this morning, Joe.
I do find it hard to know what to do, what to think. I find it a confusing industry, led largely by impulse and emotion. These are difficult things to pin down from a business point-of-view.
Thanks for piping in!
Dee
Okay, let’s get down to it. Mountains don’t move, but humans climb over them.
First off, consider the matter of crossover readers. I don’t mean only adults who read Twilight and The Hunger Games. I mean all of us. Adults who read and remember Catcher in the Rye, Lord of the Flies, To Kill a Mockingbird and other classics about kids. Are those “YA”? Technically, yes. They are about young protagonists.
But those are CLASSICS, some may whine. Yes, but why? It is because while their protagonists are kids, their concerns are not only kid concerns. If To Kill a Mockingbird were only about the Jem, Scout and Dill trying to make Boo Radley “come out”, then sure enough Mockingbird might survive as a classic of *children’s literature*. But it’s so much more than that.
My point is that crossover novels cross over because they’re not only about high school angst. Your concern though, Dee, is an adult novel that one editor wished could be refashioned as YA.
That could be for one of several reasons. For one thing, YA is an easier category to publish. Another factor may be that the novel–its characters and concerns–do not absolutely, entirely and irrevocably anchor the story in the adult world. To you, that’s true. Your characters are just fairly young. However, something in the manuscript is not convincing that particular editor. What, I wonder?
I’m going to be tough, here: Powerful novels overcome all objections. When a book “works” (a fuzzy term, to be sure) one does not get wishy-washy responses like, “Can’t there be aliens?” Such advice isn’t really prescriptive. It doesn’t address what you want to do. What it may imply, though, is that what you’re trying to do isn’t yet blowing away all objections.
Does it sound like I’m blaming authors instead of the industry? It’s true that it’s an industry. Publishing does what works, in a way that works, and does more of that. Until, that is, a novel comes along and shows editors–who are not zombies–that there’s another way for it to work.
Put differently, if you don’t like being pushed into a category box, then build your own box. Invent a new category–and make it work.
Sorry if I don’t sound too sympathetic this morning, Dee. I’ve had this conversation with authors many times, and the solution is not moving the mountain. You can’t do that. The solution is making the mountain come to you.
No worries, Don, no one is fishing for sympathy this morning. I agree with most of what you’ve said here.
There is no doubt my work on submission is lacking…something. Blame is a silly thing to sling, on the industry or my agent. The novel simply isn’t strong enough to sell. Or it would sell. It still might – fingers and toes crossed. LOL.
This doesn’t, however, change my experience. I find the line between YA and ADULT to be blurred and dated. Twenty minutes online and anyone can see that most authors find this division difficult. Agents as well. My point, if unclear, was to question why, why this divide is so confusing. Does it need to be? Is it because society has changed, the times, or are other factors in play? I don’t know.
Don, thank you for your voice on this topic. Crossover novels, as you mention, find a path. So do authors who create their own box, invent a new category, and, as you say, make it work. “Making it work” sounds good to me…if I only knew what that magic entails.
Mountains are moved. They are blown up and bulldozed. Roads are weaved through mountains. People find a way.
Thanks for being part of the discussion!
Hugs
Dee
Dee, is it time for you to change agents? Can you do an intensive research of other agents to see whether any of them are oriented in this direction? Some of them are fairly young themselves (judging from their photos in PW and other publications) and may well be aware of the gap you describe.
Can you bring that gap front and center in your proposal and expand it, citing the dearth of novels for that demographic and emphasizing your novel as perfect to fill that gap (or vacuum, which nature traditionally abhors)? After all, you already have a track record. Lead the movement!
Keep the story real; keep it authentic and close to the story you envisioned in your heart.
Wonderful perspective, Anna, thank you. I really like my agent, and have proposed exactly what you mention here, that we position my work to fill the void. I am lucky my agent feels the same way I do, and has the same goals in mind. Not sure it will get us anywhere with this current project, but we’re trying!
I love your points, “keep it authentic and close to the story you envisioned in your heart.” If we all wrote to the market, created only works ‘the industry’ wanted to see, there would be no new voices, new concepts. No one would push the boundries.
Thanks, Anna.
Dee
I write YA novels, and a couple of them have had protagonists in their early twenties (though the started out younger in previous books). I’d say half of my reader mail comes from grownups.
Now, that I’m thinking about it, there are occasional YA novels published with protagonists in their early twenties.
I’m thinking of the age 14+ crossover YAs, not the classic 12+ YAs. The crossovers are a relatively new category, but a strong one with a devoted readership.
It is crazy, this line, isn’t it? So awesome to hear you write twenty-something characters and have found readers who appreciate your work. In my opinion, there aren’t enough (books) for this demographic to read, so the more the better!
Dee
Dee, can you elaborate on this observation?
“I was excited when NEW ADULT hit the scene. But NA got twisted into a genre when it should have been a target market. Two very different things.”
On the surface, it would seem your work might fit into the New Adult category. Is there a reason that’s not the case? I’m not familiar enough with the genre to know what it might have been “twisted” into.
Regardless, genre is a hard reality of conventional publishing. Unless your work falls neatly into one of the genres that is currently selling well, you will have a VERY hard time selling your book – I know this reality firsthand. And even when self-publishing, if your book doesn’t fall into a category that the big promotional vehicles like Bookbub are inclined to promote, be prepared for another uphill journey.
Anyway, I wish you good luck. We all need it!
Sure, Keith, and thanks for contributing to the conversation.
“I was excited when NEW ADULT hit the scene. But NA got twisted into a genre when it should have been a target market. Two very different things.”
New adult is, or should have been, a target market, an audience, a demographic. It focuses on the 19-26 (or so) age group. This audience has outgrown YA but is not quite ready for the trials of adulthood. Genres such as romance, mystery, sci-fi, etc, should have found a home within this new adult market. And when the category started to gain traction a few years ago, I was pleased to see the twenty-something age reader finally get some attention.
To my knowledge, however, this flopped. The books that mostly took over this market were romance and paranormal, or variations thereof, and the new adult category got twisted into a genre. It didn’t last long enough to allow for other genres to grow within it, within the category.
How or why this happened, I don’t know. Now, however, the new adult category is largely dead, and this audience is back to being unattended. At least, this is what I see. Maybe other’s have a different viewpoint?
Hope this helps!
Dee
Thank you for this essay today! I think about this a lot with regards to my own WIP.
My experience of YA authors is they are a very different kind of critter from authors of adult fiction. You have to ask not only if your story can take the pressure of revision to appeal to a younger audience, but if you are ready for the expectations that the YA market places on you as the author.
I had the privilege many years ago of having dinner with Judy Blume. What I remember most about that evening was feeling the total, absolute dedication she had for her readers as individuals. She answered every letter personally, and she hammered her publisher to ensure that all her mail got to her. (This was pre-Internet, when everything came by snailmail.) Her commitment is not unique among YA authors. How many writers of adult fiction feel that way? The only example I can think of is John Updike, who may stand as the exception that proves the rule.
At conferences and online forums, I am always impressed by the concern YA authors have for writing inclusive stories from underrepresented points of view. Hashtags like #ownvoices testify to the desire of the YA community to hear meaningful stories from across the rainbow, tailored for developing minds. Those folks are on a mission. Are writers of adult fiction as focused?
To be honest, the YA scene is a little intimidating. While I wonder sometimes if my own story would work better (or just as well but reach a larger audience) if I revised it with an angsty teenager replacing my 20-something heroine, I’m reminded of that dinner with Judy Blume. The story’s important, but so is a commitment to the YA community and, above all, to the young readers.
Hey Dee – Thanks for shining on a light on this for those of us not yet as far along as you. The manuscript that would be my debut features teen protagonists, and it is definitely an adult epic fantasy. Just the thought of changing it to YA fantasy is a daunting one, so I feel for you. I’m not sure, but I suspect that epic fantasy is less susceptible to this sort of second-guessing. Maybe because some readers think all fantasy is for young ‘uns.
But I may be wrong. Come to think of it, maybe this is part of the reason it hasn’t sold, lol. Thanks again for the insight. Wishing you the best!
Hey. Vaughn. I wish my light was bright and clear, but I find myself in murky waters, and have more questions than answers, I’m afraid.
I suspect the issues tackled in a manuscript, the trials thrust upon characters, are what determine the target market. More so than the character’s age. If your characters are experiencing ‘adult’ issues, even issues relative to your fantasy genre but adult, then you’re safe. LOL. It’s an adult book.
My newest books, in my opinion, tend to fall between the cushions. The issues my characters face are very specific to the current day twenty-something crowd, experiences neither YA or ADULT. They fall somewhere in the middle. Maybe this is why I find the blurred line between YA and ADULT so difficult.
Great to hear your voice on this topic! Keep chugging along, the light will find you!
Hugs
Dee
Wow, Doug, dinner with Judy Blume sounds like an awesome experience!
You mention you have a twenty-something protagonist…. I assume, based on your comment, you think your manuscript will be marketed to an adult audience. If the trials your characters are put through deal with adult issues, the best place for your book is probably the adult market.
Of course, this is the crux. The line between YA and ADULT is fuzzy.
My concern is that my characters are in their early twenties, facing issues specific to this age group in current times. They are too old to relate to YA, but too young to be dealing with adult issues. Twenty-somethings today, from my view, have very specific issues to contend with. They don’t fall neatly into the YA or ADULT category.
Let me know if you find the same issues moving forward. Great of you to participate in the discussion today!
Dee
Write what you want, but write to please readers.
Hi Dee — I am the yin to your yang. I’ve always considered myself to be an upper YA writer but have found that due to the darker subject matter of my books, that perhaps I ought to age up my protagonists to be college students and write for the adult market.
It’s difficult to know what will sell. The hot YA market of a few years ago has been replaced by Middle Grade and several established YA authors I know can’t sell their books right now and are looking at writing MG.
I don’t think changing your protag to 17 or 18 is that big of a leap. At least it wasn’t for me going the other way. Some 18 year olds are more mature than 24 year olds — especially if they haven’t been coddled by their parents. But no matter which path you choose, be true to yourself and your vision. You know your characters best.
Great advice, Patti. Wonderful.
Dee
Hi Dee – I don’t know much about the YA category, but I am familiar with the Mountain – as an outsider still trying to fit in. Just identifying my genre drove me nuts. So now I’m simplifying my writing life and going with a mainstream genre-mix.
I look at issues from a cost/benefit business perspective after years in Finance. What is the cost (your valuable time!) to redo your book versus the possible benefit? Benefits are unclear, and it sounds like a big ordeal in terms of your time and related cost. (Think hourly rate of at least $100.) How about a compromise? Leave it as is and write the next one in whatever age group your agent wants.
The literary/publishing world imposes so many rules, and rules should always be reevaluated. And I thought Wall Street was challenging! Just tell a great story and the rest should follow.
Best of luck, Karen
P.S. If the options are being a spoke or rock slinger – no question – throw some rocks at the rules!
Thanks for your voice on this, Karen. “The literary/publishing world imposes so many rules, and rules should always be reevaluated.” Yes, exactly. The line between YA and ADULT, in my opinion, is dated and should be reevaluated. Good point.
Dee
Dee, I guess you’re reminding us that book publishing is a business, and our books are products. The buyers – meaning publishers – are looking for products that they know they can add value to and resell. And they don’t like risk.
I had to face this with my first series: change it as per the big five publisher contract offered, or seek out a smaller publisher. I chose to stay true to the original vision (but probably only because I’m a lazy broad!!) If you do decide to rewrite as YA, I KNOW it will be a brilliant book. You’re a terrific writer who gets to the heart of emotion. Great post!
Ah, shucks, thanks for the kind words, Melodie! So great to see you here on WU!
Hugs
Dee
An editor told me my story about a ten-year-old apocalypse survivor growing to become the leader of a new civilization was not publishable because no publisher would take a story about a protagonist growing from middle-grade age to adulthood since it doesn’t fit in the Middle Grade, YA, or Adult categories. He implied that, in traditional publishing, such stories are for all practical purposes forbidden.
Unfortunately, I have stories I want to tell. Currently, I’m writing a series of origin stories that take place when the protagonists were children, but the stories are not intended to be Middle Grade. The hint was that independent publishing is the only option for such stories.
Well, Lester, sounds like you know your path. Awesome. It really is great to have options these days, isn’t it?
Dee