Master Mondays YA Novel class at The Loft

Master Mondays, Week Twelve: The YA Novel Class Recap

Figure 1. Sometimes you just have to stand around being casually Irish and shirtless, I guess. This has nothing to do with anything.

Figure 1. Sometimes you just have to stand around being casually Irish and shirtless, I guess. This has nothing to do with anything.


TL;DR Version

Tacos, advice, manuscript review, Andrew Karre.

Unabridged Version

If you’ve ever wondered about taking a Loft class and weren’t sure about whether it would be a good time, let me just give you reason #476 to take the plunge and register for something in the 2015 catalog:


For our final class, Piyali suggested we have tacos and then the whole group set about bringing various ingredients to share, including Coronas with lime and Jarritos Mexican sodas, and DESSERT (yesss) and it was beautiful and fun and wonderful, because who doesn’t want to discuss writing while eating tacos? Nobody, that’s who.


I started out with a little advice. I HATE ADVICE. But I had to get over it because one must provide closure on the final session of class.

1. Post-Manuscript Review Grief Period. I suggested that it is natural to hear feedback about your writing and then want to shove it in a drawer and leave it there while you curl up like a pillbug and not do anything about it because it all seems insurmountable. I think this is normal. Let the feedback sink in until it starts to make sense to you; lots of changes all at once take a bit to absorb. But give yourself a limit to this period and make a goal after that about when and how to finish your first draft.

2. Writing groups and conferences. First, critique groups are great, but you can also form accountability/goals groups that don’t do manuscript review or beta reading and just focus on keeping members on task for their efforts. This might be helpful for you if you’re in the query stage, which can be very demoralizing and easy to avoid and procrastinate about. I also mentioned looking into memberships at SCBWI, the Loft’s Children’s and YA Lit Festival (May 1-3, 2015) and then Piyali reminded me about the Hubbs Children’s Literature Conference  on February 21st as well.

3. Fanmail. I suggest that sending fanmail to authors who write books you love is a good way to become a part of the literary community, as well as establish good will among humanity. I don’t know that fanmail has obvious results involved, but that it’s just a good thing to do, especially if a book has influenced and inspired how you’ll proceed with your own writing.

Manuscript Review

Beth and Brandon had their manuscripts reviewed! Woo!



Figure 2. Yes, even my swaggy Highlander is all set: I AM READY FOR EDITOR Q&A

Figure 2. Yes, even my swaggy Highlander in his flowy man-blouse agrees: I AM READY FOR EDITOR Q&A


Editor Q&A with Andrew Karre

Andrew is editorial director at Carolrhoda LAB, Carolrhoda Books, Darby Creek & Graphic Universe, and as of January 12, executive editor at Dutton Children’s Books. He joined us for butterbeer and a Q&A. 

I should also give his style notes, because such things are important to me:

– navy wool sweater (shawl collar, right?)
– khakis that I think are best described by the adjective “butternut”
– Red Wing boots (were they Heritage? I am not sure. You really cannot go wrong with Red Wing footwear, afaik)
– navy peacoat (in actual NAVY BLUE; we’ve had arguments about whether pea coats can be black, so trust me on this)

Mr. Karre has a very nice high-and-tight haircut and zero facial hair. This is because he follows my rules, I can only assume. Yes? Yes.

Here are some non-verbatim highlights:

Re: Jellicoe Road & Jonah Griggs. Karre reports not being swoony over Griggs but being amazed at Marchetta’s ability to create a character like Griggs and make him so well-rounded and heroic, even when he does horrible things.

Re: “fearless revision” – I asked, “what in the hell do you even mean by that?”

Karre: being willing to “break your book” by going under the hood and rummaging around; being willing to deviate from or discard entirely the scenes and bits you’ve come to love blindly.

Re: unlikeable characters

Karre: tends to dismiss most reviews that cite “unlikeability” as a problem with the book; in YA, you will find more readers who are upset about “unlikeable characters” or characters who do anything “unpleasant” because of notions that we must serve up warm soporific pabulum to teenagers to ease the peevish hormonal tumult that rules their psyches.

Re: where is YA going to go in the future?

Karre: there’s been a full-cycle from all the YA subgenres, back to now, with a recurrence of contemporary realism; basically, we’ve tried all of it, and all of it works, and fails, to a certain degree. YA is a genre in ascendancy now, whereas, in the long arc of publishing, anything for children or teenagers was relegated to editorial backwaters (read: female editors) while keeping the “real” stuff for men. The divisions of publishing that produced books for kids and teenagers used to be labeled “juvenile” and were written off until they started making real money.

To answer the question even less directly: where YA is going is in itself a question that will become less and less important to people as time goes on.

Re: what are you looking for in a manuscript?

Karre: is looking to be surprised: “I like first chapters that are sparse in information and dense in intrigue.”

Also: skills. Authors who can write body language – be “adverbial without using adverbs.” Adolescents are always body conscious, whether they like their bodies or not; characters should not feel like “talking heads with no bodies.”

Also: “A mess that has something in it.” [<—-WHATEVER THAT MEANS! – Carrie]

Re: what’s the best book you’ve read lately?

– non-YA: the Patrick Melrose novels by Edward St. Aubyn (nothing like YA, in their style)
Jersey Angel by Beth Ann Bauman
– currently reading Belzhar by Meg Wolitzer and enjoying it a lot

Re: what do you think about writing adult characters in YA stories?

Karre: writing compelling adults in YA is a sign of real talent; so often parents function as “convenient levers” to move the teenaged character one way or another

A couple of examples of well-done adult characters:

Loa’s father in Blythe Woolston’s The Freak Observer
James’ grandmother and mother in Peter Cameron’s Some Day This Pain Will Be Useful To You


Figure 3. Saddle up & get cracking, yall.

Figure 3. You’ve got great stories in you. So, saddle up & get cracking, yall.


Conclusion (Warning: Sappy)

A 12-week class is no small thing. Especially for adults with busy lives and lots of obligations. The fact that these people dedicated their time (3 hours every week!) to writing and reading and discussing fiction, in this world that likes to piss on dreams and crowd out inner aspirations is a marvel. I’m glad they gave me this experience. Even more glad they gave themselves the gift of time when it comes to their own writing. My hope is that they’ll continue to do so.




Master Mondays, Week Eleven: The YA Novel Class Recap


Figure 1. “Do you like The Walking Dead?” Piyali asked. “I know two of the women on the show…”


TL;DR Version

Writing exercise, snacks, manuscript review, snacks.

Unabridged Version

Opening Course

I posted a list of the 2015 Morris Award Finalists because this year’s crop looks fabulous and it’s always an interesting award to look at, given the librarians on the committees are extremely well-read.

We did a 10 minute freewrite, with this as the opener/chorus line: “This time of year, I remember…” The subject was to be the students’ own memories from adolescence. Gotta mine that new material, yall.

We discussed Beth’s flap copy which looks quite juicy (an island, reality TV, mystery!) I really like the flap copy exercise, you guys. It’s very clarifying, for the writer. It’s also very exciting to read the cool story concepts that students have. Plus it gives you a draft of your eventual gross-ass query letter, which we all must suffer through, despite its awfulness…

Manuscript Reviews

Our manuscript reviews this time around were particularly full of laughter. This is a function of our time together almost being over. Every Loft class gets really delicious and fun right around the time it’s about to end. It’s bittersweet. This group of people, though: they are so much fun and they are all writing very different books, with unique voices and concepts. I’m very happy to have had a chance to read some of these stories and hope that all of these writers push push push to finish and continue on, because they’ve got great material.


We always eat in my classes because that is who I am: a lady who is a big fan of FOOD. In the summer week-long classes, Fridays are the day kids bring in stuff to eat. It’s very enjoyable.


Figure 2. Because life is short.

Figure 2. Because life is short.


Anyway, this being an adult class, students often get a drink and dinner from the cafe on the main floor of the Loft and eat/drink their way through class. Last night, I invited people to bring snacks and whoooooa, did they deliver!


Chocolate fondue, courtesy of Keith…


Figure 3. An "A" for effort here

Figure 3. An “A” for effort here


plus two kinds of hummos, a variety of brownies, chocolate pretzels, nuts, carrots, kettlecorn, refried bean dip…


Figure 4. My students don't play, see

Figure 4. My students don’t play, see


Next week I’m bringing butterbeer and Andrew Karre. What pairs well with that combination, I wonder…

Books Referenced: 

Saving June by Hannah Harrington
The Sky Is Everywhere by Jandy Nelson
Rooms by Lauren Oliver
Imaginary Girls by Nova Ren Suma
To The Lighthouse by Virginia Woolf
September Girls by Bennett Madison
Carrie by Stephen King





Master Mondays, Week Ten: The YA Novel Class Recap


Figure 1. Lookit this man. Don't you want to just scoop him up and put him in your pocket?

Figure 1. Lookit this man. Don’t you want to just scoop him up and put him in your pocket? This has nothing to do with anything.


TL;DR Version

Manuscript reviews. Adult beverages. It’s gone by so fast!

Unabridged Version

Of manuscript review, I can’t say much. All three stories we looked at last night were very different but, like the others we’ve reviewed, all very strong in the voice department. My advice was to keep barreling through until the ending emerges.

Shaina did gift us with some adult beverages. Or young adult beverages, depending on how your youth went. These weren’t the cheap Keystone/Rainier Beer beverages of my youth, of course. We’re thinking of doing some actual foods next week. I’m a big fan of snacks in classes, so I’m excited about this. Only two more weeks!

My family is still shocked when I’m gone each Monday night for this class; turns out, this is a similar experience for many in the class. “Oh, you’re still doing your thing?” is a common question. I suggested that we could all keep up the pretense once the class is over and spend our Mondays at the bar or entangled in extramarital affairs, given that perhaps by December 15th, our families will be habituated to our absences.

Technical Details

We have spent much time discussing logistics and technical details in our manuscript reviews. This is a valuable part of a class like this; you can see where you might need to do a little research or patching up or whatever. A few topics we’ve covered:

– Minnesota State High School League Rules
– School newspaper hierarchy/classes
– schools for the blind
– issues in adolescent psych wards
– medical information disclosure in hospitals
– first aid training procedures for high school teachers
– social media & communication norms for young people

Books Referenced

Cut by Patricia McCormick
Clean by Amy Reed
OCD Love Story by Corey Ann Haydu
Lock and Key by Sarah Dessen
Darcy Walker series by A.J. Lape
Shine by Lauren Myracle
Chime by Franny Billingsley


Master Mondays, Week Nine: The YA Class Recap



Figure 1. Tell me all your wisdom, Librarians of Our Fair State

Figure 1. Tell me all your wisdom, Librarians 


TL;DR Version

We had a panel of librarians share with us, then did two manuscript reviews; Kathy brought snacks and several students brought beer and wine. Loft students know how to have a good time, yall.

Unabridged Version

Being that YA is unique in that as a genre it comes with built-in advocates and gatekeepers, we were joined by three librarians to get their input on a whole host of topics. Jennifer Connolly and Colette Johnson, of the St. Paul Public Library, and  Rachel Panitzke, of Johnson Senior High School were our guests. It was wonderful to hear their input and I wished we’d scheduled more than an hour of their time.

Colette polled the kids of her Teens Know Best reader/review group and Rachel did a video interview of her students, asking for examples of what they want as readers:

– relateable, realistic characters
– less unnecessary plot twists
– less love and death
– more anime
– more humor and good plot twists
– tired of ‘competition’ books like Hunger Games, The Maze Runner
– ‘less happy endings’
– tired of fantasy
– ‘books that make readers ask questions’
– more original stories and plots
– ‘no cliches, vampires, werewolves’
– don’t write ‘just to fill space’
– stories about real events
– more representation of culture
– diversity within diversity: “not every black kid has a drug-addicted mom or an absentee dad”
– book that make me think: ‘have more than one idea’
– ‘don’t write like teens are stupid’
– more diversity: race, gender, sexual orientation, etc.
– good pacing
– more mystery and suspense

When asked where they find out about good books themselves, they said they mainly learn about good titles from word of mouth among colleagues, as well as social media (Twitter, blogs). When asked about differences between books boys like and books girls like, they indicated that gender mattered very little: “If it’s a good book, teens will read it.”

“But these books have to be compelling from the beginning,” Jennifer said, indicating that this is a feature about YA that she’s come to prefer in her own reading.

When asked about challenges to books in their collections, Rachel said it had never happened to her so far. Jennifer said it had only happened once – for Arabian Nights – and Colette mentioned that when she does reader advisory, it’s usually for parents and she also uses the word “suggestions” instead of “recommendations” because it’s less loaded.

“And we always tell the parent to read it first if they’re not sure about whether it will be a good fit,” Colette added.

Rachel stressed that for school libraries, author visits make a huge difference for readers. “Even if an author just visits one class, that changes how kids interact with books in general.”

Then we did manuscript review. It was scintillating. Trust me!




Master Monday, Week Eight: The YA Novel Class Recap

Figure 1. I can't wait to read your book, Brandon. I especially like the kissing parts!

Figure 1. “I can’t wait to read your book, Brandon. I especially like the kissing parts!”



Several students were unable to attend due to weather (including the student whose manuscript we were reviewing) so Carrie had the class read an early cringe-worthy draft of Sex & Violence and make editorial commentary and then we read sex excerpts and wrote about kissing/romance.


The Cringe-Worthy Scene from Sex & Violence

UGH. This scene, which is an early draft of a conversation between Tom and Evan, is AWFUL. I thought this would be instructive but it was pretty painful for me. I explained how I evaluate the functions of a chapter when editing (you can also evaluate the functions of a particular scene, if you like). Here are a couple of “functions” a chapter/scene can have that justifies its existence in the narrative:

– introduces a character
– contains plot points/important event or action (duh)
– establishes backstory
– shows character growth or conflict
– provides pacing, as a kind of reader courtesy (a calmer, slower chapter following a high-stakes, tense chapter)

Here are some of the problems of the Cringe-Worthy Scene:

– Tom barges in and takes over the chapter
– Evan is inconsistent in his behavior when its clear he feels one way about Tom’s intrusion
– They both act more like grown men than teenagers who just met (handing out beer, watching ESPN)
– Tom is chattier than a woman at a book club whose had too much wine or like a woman who is named Carrie Mesrobian and who discloses lots of personal things to strangers constantly, what a coincidence
– The book of erotic poetry is out of place and over-analyzed (and the word ‘erotic’ is awful and would never be used by Evan; also Evan isn’t into poetry so wtf)
– Tom is WAY too open about his sex life and relationship
– Too many additional sentences used to clarify statements that stand on their own just fine
– Language that would never be used by a 17-year-old: “MFA Language”


There are valuable things about this scene, which I discovered while writing it. Like:

– I learned a bit about Tom’s character and backstory
– I got to the heart of Evan’s issues with friendship: he doesn’t know what to do with all the “information” that comes with being close with people
– Tom’s B-Plot (“Will he and Krista ever have sex?”) is a kind of comic relief as well as another layer to the narrative
– Tom’s “function” is revealed; he serves as a foil to make Evan explore his own problemtic sexual history, as well as being a friend that Evan sorely needs

The Half-Known World & Setting

In a previous class, we discussed an article by David Jauss that references Robert Boswell’s view of fiction being “a half-known world.” Jauss contends in this article that characters must be ‘half-known’ because even people we know in reality aren’t fully known to us and too much information kills a story in many ways. I posed the question: Does the idea of the “half-known world” apply to setting? And what does the reader need to know about setting? And how is establishing setting different for teenaged narrators than it is for adults characters?


– there are many details about setting that would be ignored by teenagers (kids who can’t drive, kids who don’t have awareness of certain places in their town because they’d never care about)
– pay attention to interstitial microsettings: “the woods behind the school” or “the bathroom of the pizza place”
– teenagers are constantly searching for privacy and autonomy, so the key locations for them are often overlooked by adults
– setting reveals plot AND character
– understanding your location well (the ‘wolves’ in Maggie Stiefvater’s Shiver; the ‘pagoda’ speaking as a character in A.S. King’s Please Ignore Vera Dietz)

 Sex/Romance Scenes

We read sex scenes from Adam Rapp’s Under The Wolf, Under The Dog and Meg Rosoff’s How I Live Now, which are very different but pleasing all the same.


– Kids can see sex via porn anytime, anywhere. On their phones, online, for free. This is not terrible in itself, because it’s good to understand the basic mechanics of things and it’s good for kids struggling with sexual identity to be able to see adults with the same physical desires as they might have.

– What’s lacking in porn the purpose and context behind the sex; we see none of the negotiation and decision-making, because porn doesn’t require it (the people are paid performers, the sex is a foregone conclusion, the choreography of the act belies the complexity of the situation).

– Even kissing is fraught with peril and negotiation, so if you don’t write sex, you still have opportunities to show how this aspect of adolescence is so critical and beautiful.

– If you have some moral agenda about sex in YA, let it be that kids need to see how complicated and fraught and delicious sex and romance is; fading to black, assuming eternal love is A Thing, and sugar-coating these things as if they are seamless and easy does kids a disservice.

Here are the romance writing prompts we did in class, after the break:

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