Teen Writersteenage writer
SJSU Teen Writing Institute:
Ten Things Teenage Writers Should Know About Writing - Whatever
My dear teen writers: In the past I was a teen-author like you (see silly photo on the right), although that was so long ago that I could have been a teen. Nevertheless, I have been considering lately to offer some thoughts and advices on how I can be a teen author, building on my own experience as such, and on my experience as a teen author who was a novelist when he arose.
I will speak to you about the letter as directly as I can; there is a chance that something I say to you will be sudden and outrageous. You Now, Your Work. I used to write like shit when I was a kid. But, at the moment, I thought they were quite good.
What's more, they were the best thing I could do at the then. Not so much for scribbling immortal, inventive fiction. The majority of young people do not have the experience words and good written English language skills; they do not have a certain amount of perspectives and knowledge acquired through the years. To put it briefly: you have not yet created your real speaking part.
However, normally, eventually, it will overtake you and your absence of expertise will show up in your letter. One of the most important things to consider when choosing the right type of letter is the amount of information you want to write. This is especially the case if you have an irresistible, evocative history that would necessitate the kind of steering and delivering your letter that you only get through a lot of quality paper.
Usually this is when teenagers are looking for help from the writers who adore them, leading us to the next cause why your letter sucks: b) You are obsessed with your cues. When you look at the two songs I connected you with before, they carry the handwriting of those I wanted to create - the comedian James Thurber in the case of the shorter novel and the Pink Floyd poet Roger Waters in the case of the would-be event newcomer.
Had I subjected you to other writings from that period (and I won't), you would see the pretty strong impact of other favourite writers and writers, among them Robert Heinlein, Dorothy Parker, HL Mencken, P.J. O'Rourke, Bono, Martin Gore and Robert Smith. Cause I thought these guys were really, really good at it.
The texts on my idea record are not only poor because they are the work of an unripe author, but also because it is clear to anyone who is concerned that I heard a whole bunch of Pink Floyd when I wrote them. Well, when you're older, it's simpler to be smart than to be good, and you'll see many writers doing just that, even the good ones.
So, this isn't just a teenager issue. When teen writers are at a bad place, it's that you're not always sure when you're really good, or just slick. It' the whole thing about not having enough expertise. Yes, the absence of expertise is very common. There is nothing amiss about being smart, and it is possible to be smart and good at the same in one.
Older authors also find this a hard question to answer, and you will find it even more. So, these are some of the reason why your letter is crap right now. But now that I've said your letter is shit and why, you're willing to listen to the next point: 2:
It' s Okay That Your Wiring Sucks Right Now. And now. Everyone writes badly when they were teens. It is a fiddly thing to write, because everyone thinks that the act of lettering to move and entertain with words is somehow more complicated than the act of lettering to put words into vague phrases.
Considering this, it is fun that folks think they will be really great writers from the beginning when they try to tell a tale with the literal world. Apart from the geeks of the outdoors, who are only a few of us, everything we do needs space to become good.
This is best illustrated by the Beatles; John Lennon and Paul McCartney began their cooperation at the age of 17 and ten years later they wrote Sgt. Even for the most unheard of individuals - scrape most "overnight sensations" in whatever area and you will find that they have spent their after-hours.
To know that you have years to develop and study means that you have the opportunity to take and research and find out what works and does not. It' to gather the vital experiences that nourish your work. It' t is for you to type - and it is for you not to type and give your mind a rest.
It' s the kind of fun you need to study your literature and then tell them to fuck off because you have your own voices and it's not theirs. It is the period of failure, of making errors, of learning from them and of continuing. Now the fact that your letter is shit only means that your letter is shit now.
As you continue working on it, it'll probably get better.... and then comes the days when you start writing something that's really not bad. You will know when it happens, and then you will understand why it has always been rewarding to throw things out that were bad: because it has made you a good author.
Don't be worried your paper sucked right now. You' ve got to do it every single one. I' m sure you have this here, and I'll find that it's much simpler for teens today to type every single working days because there's a whole societal fabric about typing that didn't existed before: MySpace has superseded blogs and blog-like things like MySpace, or whatever, when you do this.
Typing is not the isolation that it was (mostly) before. Well, be in no doubt that typing in your diary or magazine is not the same as typing your own story or song or whatever your typing needs may be. Very often in terms of what writers call "cat vacuuming", that is, it is an action that you do to prevent the real letter.
You' d like to eschew doing too much of that (yes, there's some humor in me to write this in a diary post - especially a diary post that' s typed when I could write part of a textbook I have because of a publisher). "Feline vacuuming", though typing in a diary can be, any kind of everyday typing will help the mind muscles' brain of typing to put your thoughts into words, and that's not a terrible thing.
So, you should start writing today. Highschool is often stupid and slow - I won't tell you anything you don't know here - but on the other side it is a place where you are actually inspired to do two things that are the living will of a writer: to watch and commented.
Assuming your instructors are not completely vanquished drone in the notion that their single goal is to keep you in soul-numbing classrooms so that you and your classmates do not catch fire to the college with them in it, they will actually be happy if you ask a few quizzes now and then, and as a result/come-you could be learning something that is always a great extra for your days.
As a writer, I don't need to tell you that watching your classmates is also a lot of pleasure for you. But don't just look for the purpose of ironic mischief. First, it is a good practice for you to one of these days help you build character in your letter that are not just slightly distorted copies of yourself.
Cause someone was selling it, which means the author did something right. It is your task to find out what it was and what it means for your own work. There should also be hope: If this poor author can distribute a novel or newspaper item, then you shouldn't have a handicap, should you?
That' s okay if you just want to be a readership, but if you want to be a novelist, you don't have the luxuries of keeping to the things you just talk about. Lettering that doesn't work for you still works for someone; see if you can find out why.
The fact is that you can learnt as much from writers you don't like as from writers you like - and possibly more, because you don't cut them carelessly as you're used to from your favourite writers. Find authors who are new to you. Don't just stay with the few authors you know you like.
YY SHOULDER : tu devrais faire autre chose de ta vie que d'écrire. That'?s a good reason: Dude, writers do almost nothing most of the while. odds are, you're going to have a days work to sustain your typing habits, at least first. There is a philosophic reason: the author who only types does not really experience much of the world. His writings will be unauthentic because they do not mirror that.
You' d like to get real live experiance outside being a literate, otherwise your first novel is like any other first novel out there revolving around a young literate trying to find out his or her own being and then sits down to type about it. Whoever writes a book in which the protagonist is a young, inquiring author should be fired from a gun into a hole full of bloodsucker.
If you know more about it, you can use your broad expertise in your work, which means that you have a comparative edge over other authors (this is important). They might be worrying that all those British mayors and MFA' s will learn something you really need to know, but do you know what?
If you write (and read) on a regular and serious basis, you will be well. Composition is a hands-on ability, as much as or even more than a subject. Now I' m sure many of those British mayors and MFA' could disagree with me, but I have ten ledgers and fifteen years of being a pro author who supports me, so I am feeling quite comfy with my stance on this.
You should try to find out a little about the publishing industry. When you are a writers for a life (or if not for a life, at least make a little bit of cash here or there), you will be selling your work, and if you are selling your work, you should be learning a little bit how the profession of typing works.
That doesn't mean that you should be guided by this information - at this point you should say what you are interested in, not what you think you will one of these days earn if for no other reasons, that the publisher business, like every business, has its fashions and outlooks.
When you think you will be writing in a certain discipline (science fi l or mystique or whatever), why not study a little about the area? Also, (quite obviously), writers are susceptible to seeking ungebidden advices to new writers on their websites because it gives us the feeling of all ripe and entrenched to become blooviate on the topic.
There is no need to be obsessed about gaining the knowlegde of the business at this early age, but it doesn't hurt to know; it's one less thing you have to bump up at if you're willing to put out there. Well, as luck would have it, I also made the first few releases to four authors for this issue because I wanted to be careful to find new authors - but I think if you ask them how long they have been working before this release, you'll find that most of them have been doing it for a while.
Denial is shit, and you can't get past it. Write it down and submit it. Launch - Oui, ça veut dire le journal de l'école. Many writers were (I was editor-in-chief of my high schools and colleges paper, which makes me a double loser). Writers never get away from these types, so you can just as well as they work.
However, and to be quite frank, student magazines may be nitpicking, but they do give you samples of your work that you can show others. So you can take these videos to your little paper and maybe do some little typing there - and then they'll be released in a professional way.
Then you can take them and use them to get more serious appearances over the years and just keep acting. They can also use these high schools videos to get on your collegiate papers, and when you are in collegiate, working at the collegiate magazine can be very useful.
Though I used my prison press case to product ambitious with anesthetic person press in the municipality and also with one of the statesman big press... and those case activity me get my point duty out of prison, as a show professional at a beautiful achiever press. All of this began writing small essays for my high scholastic paper, the Blue & Gold.
Firstly, that even if he or she is an unbearable jerk, it can be worthwhile to look at the reporter of the high schools paper, and secondly, that all the typing you do can be important and can help you pursue your typing upbringing. To be a novelist is not simple; it is a great amount of intellectual exertion for often not much monetary rewards.
It' s gonna take a long while to get good at it - and even if you're good at it, you'll find there's more to be learned and things to handle to go on in the game. A certain amount of perseverance and composure is needed not to lose them entirely, and unfortunately "patience" and "serenity" are two things that teens do not have in large amounts (to be honest, grown-ups are not much better at it).
Nevertheless, as a novelist, you will find that there is a great benefit in having a mind, being clever and handy, even if everyone around you is completely sane. Helping you see things that others don't see, which is an asset in your work, and also in the everyday aspects of being a novelist.
Use your free study, observation, preparation and written work. Don't be worried about signing the Great-American Novel at 25; don't be worried about being the greatest novelist of all times; don't be worried about gaining the Pulitzer. Concentrate on your typing and get better at it. And when the point comes, when your abilities are there, you will be willing to use them and become the author you hoped you would be.
You have the timeto do it. It saves you a lot of paperwork when you write your complaints and saves me the trouble of having to tell you about the play later.