Not long ago, Elisabeth Carson-Williams and I chatted about writing novels for young adults (hers) and middle-grade children (mine). Elisabeth’s debut novel, Castaway on the Isle of Devils has just released so it seems fitting to feature her perspective on this genre. Many thanks, Lis!
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I was recently asked how writing young adult/emerging adult (YA/EA) historic fiction is different than writing for adults. I’m no expert; Castaway on the Isle of Devils is my debut novel. However, I did teach high school literature for decades.
In that time, I learned a lot from my students, including, but not limited to: how to pick a lock; why Tabasco sauce should be on the school supply list; and, what stories engage teens. Trust me—students know why they love or hate a story, and if given the opportunity will share these thoughts ad nauseum. As a teacher, my job was to help them take those strong opinions and reframe them within an academic, literary context. As a writer, my job is to consider their comments and incorporate them into my work. What I learned, at its essence, is that characterization is the primary consideration. Specifically, “What do I have in common with this character?” This question informed my writing process in three key ways: research, characterization, and language.
I love research. And while that shouldn’t be a problem for an historical fiction writer, it did detract me from writing for YA/EA. I was so emmeshed in trying to discover details about the time period I lost sight of the fact I was writing fiction. I felt I needed to record every detail. I imagined how I could use every piece of minutiae in the story. I drifted from where I should have focused—characterization.
It was an interview with Dr. Devin Murphy that put me back on track. He basically said stop looking for facts and details; instead, reveal what it was like to be alive in that moment. It was at that point that I refocused my research on my protagonist and viewed the historical events through her eyes. This led to a question that prevailed throughout the entire writing process: how do I make a sixteen-year-old in 1609 relatable to a 21st century audience?
The question of relatability of teens between centuries drove the characterization process.
On the surface, it wouldn’t appear that teens of today have much in common with their 17th century counterparts, but I don’t believe human nature has changed much over the centuries. So, I focused on the commonalities. Tenuous mother-daughter relationships, for example, have been around since time immemorial. The ego-centric, impetuous tantrums of teens is well-documented. Matter of fact, we now know the human brain is not fully formed until a person is 25, a fact that lends itself to myriads of emotional responses both in real life and fictional narratives. The desire for independence yet still needing security, love, and approval; the acting out when denied…fill in the blank, all of these character traits and themes are as relevant today as they were at any point in history.
The fact that my story takes place on a deserted island allowed me to ramp up the intensity. Instead of being able to share her angst with friends, my protagonist was marooned with her controlling parents and group of quarrelling adults who ignored her existence, a teen’s nightmare if ever there was one. And wholly relatable as teens remember being marooned with families during COVID lockdown. Centuries apart, yet parallel in alienation.
The final hurdle in creating an historical fiction novel for YA/EA was language. I needed to rein in the use of “fancy” words just for the sake of using them. Honestly, I had to stick my teacher self in a time-out and not let her out until well into the editing process. As I used to tell my students, “Eschew obfuscation.” I’m not suggesting you not use college-level prep words, just be judicious in the frequency. I also stayed away from too much period terminology. No thees or thous. This helps with making the dialogue more authentic to a modern ear without taking the reader out of the story.
I also made sure the descriptions were more vivid and detailed. Writing for YA/EA is competing with video games and streaming services, so I needed to engage my readers visually. I know it’s cliché, but make sure to utilize all the senses. And last, but not least, do not talk down to your reader. Teens and young adults know more than they are given credit for, are aware of far more than what they are told, are keenly aware of domestic situations even when parents have tried diligently to keep information from them and are capable of handling difficult things. They are not children—they are young adults. Do not let their chronological age fool you.
I focused on what my former students wanted in a story: to learn something but to know they weren’t alone. That someone in the past had been like them, had family problems, were financially strapped—that their parents still loved them in spite of everything, even if it wasn’t said. I recently listened to a panel of high school seniors in which they answered one question: What do you need from us [adults]? It was to gauge how learning should take place in the classroom but turned into a response aimed at all the adults in their lives. They were very clear: we want to be seen and heard and respected for our lived experiences. We just need someone to listen. Not fix. Not judge. Not scold. Just listen. I hope I have done that.
What great advice, Lis. Many thanks for sharing your experience. Best wishes for Castaway on the Isle of Devils.
Castaway on the Isle of Devils by Elisabeth Carson-Williams
Be careful what you ask for…
1609
Pampered, sixteen-year-old Alice Drinkard craves adventure. When her controlling, debt-ridden parents announce they’ll be sailing to Jamestown to regain their fortune, she’s thrilled to escape England for the New World.
But the journey is perilous, and only two weeks from arrival, the fleet encounters a hurricane. Separated from the other ships, with their vessel taking on water, the survivors land on an uninhabited island sailors call the Isle of Devils. With limited supplies, the castaways must rely on each other for survival.
Then one simple question tears the group apart: Who’s in charge?
As the men battle for control, disputes turn violent. Whispers lead to mutinies… and death. Unlike the quarreling adults, Alice knows the truth about who’s driving the conflict. But will anyone listen to a teenaged girl? Or is everyone’s life in danger?
Castaway on the Isle of Devils is an adventure tale based on the true fate of the Sea Venture, the shipwreck that inspired William Shakespeare’s The Tempest.
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M.K. Tod writes historical fiction. Her latest novel THAT WAS THEN is a contemporary thriller. Mary’s other novels, THE ADMIRAL’S WIFE, PARIS IN RUINS, TIME AND REGRET, LIES TOLD IN SILENCE and UNRAVELLED are available from Amazon, Nook, Kobo, Google Play and iTunes. She can be contacted on Facebook or on her website www.mktod.com.
