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The Beat series concluded in with Fallen Angel, a double length i. This twelfth novel answered the question that had provoked me to write the series in the first place. How would a bright, ambitious young woman like her adjust to life in the police force? Clare chose to leave the police and return to university. The steady income that The Beat provided allowed me, in , to fulfil my ambition to become a full time writer.
My biggest sales, however, came from the one off Point Crime novels that followed Shoot The Teacher, which were more accessible to year seven and eight students. These did not feature sex or social issues and were not, I will argue later, YA novels. There is no term for novels aimed at 11—14s, which regularly creates a category confusion.
It is essentially a sequence of adult police procedurals, with characters who are young adults only in the widest sense.
The youngest police officer featured is nineteen technically, still too young to be a beat officer. But the series has YA fiction aspects. From the start I decided that each novel would feature at least one point of view character who was roughly the age of my target audience between thirteen and seventeen. Although very dark things happen to my characters particularly to the heroine, Clare , a completely nihilistic ending was never an option, as it is in adult crime fiction.
There had to be a kernel of hope. Were the readers aware of that limitation? I hope not. In a good novel, anything has to seem possible. Love Lessons By the time that I wrote the last The Beat novel, in , my writing career had changed. Like The Beat, Love Lessons straddled both adult and young adult literature.
In , I had sent a version to Puffin. Ruefully, I returned to my classroom full of 15 year old girls obsessed with sex5. Love Lessons is not sexually explicit.
For example, part two, chapter two has the schoolgirl, Rachel, orgasm while fantasising about her English teacher this can be found on page 92 of the Five Leaves Publications edition, which has a long afterword that provides a full account of the genesis of this novel and its publishing history. However, only a sophisticated reader would be aware that this was going on. But YA series fiction sales generally were in freefall.
The Harry Potter phenomenon meant that YA series novels were selling less than half what they had earlier in the decade and, by , every Scholastic Point series was cancelled.
My agent had long urged me to diversify, to write novels aimed at different age groups for different publishers. Other publishers had tried to poach me. But I was happy doing what I was doing. The research for these last two took a great deal longer than the writing.
Each novel was well received, but none was career changing. My strongest inclination has always been to write for teenagers and adults. I was about to discover a new way to do so. I wrote a very simple story, inspired by my school-teaching days. Nicked was about the theft of a school video camera. With the aid of Barrington Stoke founder, language expert and editor, Patience Thomson, and young readers who trialled the manuscripts, I discovered and developed a facility in myself for telling stories in simple, direct language.
Although these stories can be as short as 3, words, they are, nevertheless novels, not short stories, with all that the term implies about character development, story arc and the period of time covered6. My most recent novels for reluctant readers have been for a still younger reading age, 6—8, which many authors find very difficult to write for.
Another publisher asked me to abridge and reduce the reading age of eight already published novels with a reading age of 8—9. This was an absorbing and relatively straight forward task, until I got to the eighth novel I was asked to abridge, my own Shouting At The Stars. Reducing the reading age was not difficult, but halving its length was a painful experience. In these reluctant reader novels, language has to be direct and story linear.
There are many vocabulary issues that the author has to absorb and drafts are rigorously tested with the target readers. Parallel storylines, flashbacks and other sophisticated narrative techniques confuse the readers, who are already making a very large effort in order to follow a fairly simple story.
That said, the moral message of each reluctant reader novel has to be much more overt than in my full length YA fiction. The market for these books is largely but by no means exclusively educational. While some YA authors see themselves as writers who happen to be read in schools, nobody who writes reluctant reader novels can fail to acknowledge that they are educators, as well as artists.
I would go further, and argue that all YA novels are aimed at emerging readers — this is one of the qualities that makes them YA novels — so the educational impulse is at the heart of YA Fiction. Since , I have concentrated on writing adult fiction, but continued to write reluctant reader novels that explore similar social issues to The Beat series.
China Girl deals with illegal immigration and prostitution. My latest reluctant reader novel, Secret Gardens, is, at nearly 13, words, my longest novel for this readership. It is about asylum seekers and allotments. Festival is about the experience of six teens at the Glastonbury Pop Festival. The Last Virgin discusses the love lives of six teenagers, none of whom wants to be the last to lose their virginity. Denial is the first person account of a 15 year old girl whose father is accused of sexually assaulting a girl at the school where he teaches.
The first two of these novels build on the multi-perspective technique that I developed in The Beat series. The Last Virgin has clear connections with Love Lessons in its subject matter. Denial has a stronger overlap with Love Lessons in that it also examines how an adult abuses young people under his care. Denial marks my first use of a first person narrator in a YA novel.
The novel has an incest theme that I was not aware of when I began writing it. The narrator turned out to be unreliable. So did my publishers, who found it too strong. In particular, they hated the violent ending. Many rewrites ensued. It took me a year to come up with a solution that both sides could live with. Murder became manslaughter.
A Nabokovian framing device was dropped. On its delayed publication, the novel was not promoted and sold badly, by my standards, compromising my commercial prospects. By this time, however, I was no longer living by my writing alone. Turning point In , after eight years as a full time writer, I returned to teaching, part time, in a new university. I was soon promoted to run a long established Creative Writing MA at my disposal. The speakers included several leading YA novelists, together with one reviewer, one publisher and one academic.
She pointed out that there is, as yet, no academic consensus on how YA Fiction is defined. We should be proud that YA fiction acts as a home for writers with a serious moral agenda.
He said that, while he owed his career to librarians, a true teenage literature would be one that teenagers go out and buy themselves. Many authors feel they are working in the dark, doing important work with little recognition. It is certainly not one that UK publishers and booksellers adhere to.
Publishers and booksellers still confuse Young Adult Fiction with books written for older children. It is in the interests of publishers and booksellers to blur these two areas.
And they should fail. What is the difference between writing about young adults and writing for them? For me, and for many of my peers, Cormier is the touchstone of what defines the YA novel.
Too loosely, in my mind. Maybe it was the first Young Adult novel. It has had a large impact on the style of numerous YA novels, including my last, full length YA novel, Denial. Arguably, my adult debut The Pretender is also a YA novel.
The narrator only ceases to be a teenager in the closing pages. In an early version, written directly after The Foggiest, he is much older.
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