A plea to paranormal YA writers

My MC is a vampie slayer. She is the Chosen One. Actually shes A Chosen One. She the whole Chosen One thing is really into special. Vampire slaying is the Lowest form of the Chosen Ones. No Powers. Just kick and stab. That's it. I'm keeping the typical Vampire powers and stuff excpet they do not turn in to dust when stabbed. and Finally it is NOT A FREAKIN' VAMPIRE LOVE STORY! I'm done with those.

These are interesting questions you pose. Books with paranormal characters aren't my favorites - I'm partial to more true-to-life stories, such as Absolutely True Diary of a Part-Time Indian, Speak, Hatchet, etc.

However, I do think a writer can overcome both the trap of using paranormal powers as a plot device and as a way to rescue the protagonist from his conflicts. Again, I'm not much into fantasy and supernatural stuff, so I can't come up with any examples - this is purely theoretical. But I would see that if the MC faces conflicts that are external and internal and if the internal one rings true for human experience (e.g save the world from evil being and deal with sorrow that best friends have abandoned him because he's a freak), AND if the paranormal ability isn't what helps him resolve that internal conflict, then you could have a story that addresses your second question - Does a YA writer have a duty or responsibility to the reader that goes beyond the book itself.

And to that point - I strongly believe that ALL writers have a responsibility to the reader. I don't mean so much to deliver a tale with a strong moral ("you have the power within you to handle your problems - you don't need that crazy magic!"), but to create sympathetic characters with real emotions and meaningful struggles that are difficult to overcome (read "can't be done with magic").

But again, interesting questions - wonder what the paranormal writers think?

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If your character wins through by being so special (paranormally or otherwise) that they "magically" solve their problems, that's a major writing problem. The writer of that essay is correct IF you're writing fiction in a realistic genre. If you're writing fantasy, SF, paranormal, superhero or even using metaphors, you should absolutely use special powers. I think there's a miscommunication between genres, here.

The author asks writers to write the kind of YA novel that inspired them as kids - and for me, that was superheros, SF and fantasy, not realism.

Different minds enjoy different things - I couldn't imagine my youth without characters with special powers in all the science fiction and fantasy I read. I never felt sabotaged by those books - I was inspired by those characters. Can't imagine my childhood without them by my side.

I think it's down to your writing - if you feel that giving your character super-powers somehow cheats the reader of a real-life experience, maybe sci-fi or fantasy isn't the genre for you?

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Enter Harry Potter.

He inspires and has "super powers". Just because we all feel for Harry, doesn't mean we don't think we could match our nemesis in a similar way. In fact Harry's strongest weapon is his mind and his friends.

What makes him so easy to get behind is that his foe is matched in power.

You can give your MC all the super powers you want, as long as the struggle isn't won by him simply waving his magic wand. Don't get rid of super powers ask you character to "fight", so to speak, a worth adversary, in either a real being or some inner emotional dialog.

Interesting perspectives. Thanks to everyone who has replied so far!

I guess what I mean is best explained by contrasting Harry Potter with a book you unfortunately can't read because it's unpublished--something I critiqued while working the PNWA Summer Writer's conference this past July.

The unpublished one, the name of which escapes me now, had a pretty cool premise and some clear premise similarities to Harry Potter. Magic was involved, the MC was someone from the muggle world, and there was a high-stakes conflict going on. So far, no real surprises.

What bothered me in the writer's synopsis of the book was that as the plot proceeds, the MC discovers this great threat to the book's wizarding community, which none of the other wizardly types take seriously. The MC then discovers that--Surprise!--he can summon the magic too, and that--Surprise!--it turns out he's got major, major mojo. Which he then uses to save the day.

Now a capable writer could take that concept and write it up very well, and I'm sure it would be a really fun book. But it just rubbed me wrong that in order to save the day, the MC had to turn out to be a wizard, too, _and use those abilities in order to succeed_, when all along until then he had thought he was just a muggle.

Contrast this with Harry Potter. Obvious similarities: kid from the muggle world discovers the wizarding world, discovers a high-stakes conflict, discovers that he's got major mojo. The obvious difference, and what I think J.K. Rowling doesn't get nearly enough credit for, is that while Harry does use his magic a lot in the 7 books of the series, basically none of his major victories over Voldemort are due to magical ability. For all of them, as I wrote on my blog, the ordinary aspects of Harry's character as a person--his loyalty, bravery, and honesty, et cetera--are what win the day. Even though none of us will ever be able to 'Expecto Patronum!' like Harry does, we can still empathize with him because we'd all like to think we have those qualities in ourselves, too, and we all know that if we work at it we can develop those qualities as much as we're willing to. That's inspirational.

So JKR found a way to have her cake and eat it too. She found a way to have the cool whiz-bang magic, AND the inspirational qualities of that come from creating a truly empathetic MC. I have the feeling that this is what some of the other commenters on this thread are suggesting as well, yes?

Lapochka (YA emotional journey / travel adventure):
A young woman searches for her missing father through clues hidden in Soviet-era Russian comic books.

Also check out my writing blog at: http://www.plottopunctuation.com/blog/

Well, it's a long way from "I read a poorly written book with superpowered elements" to "please don't write supernatural powers". There's bad writing in every genre.

It really depends on how you treat super powers. If you treat them as a crutch, then yes, it's bad. If you use them wisely and sparingly and don't make them completely central to the part or the character, then I think MC's having superpowers isn't really a bad thing.

Cloister, I don't understand your arguments. You've given examples of how awful it is if your main plot conflict is resolved by some kind of deus ex machina. And I agree--the evil overlord at the end of the novel can't be defeated by some magical powers your protagonist just discovered that he had 5 minutes ago that happen to exactly match the kind of problem he has. That's boring.

But I don't see how that translates to it being a bad thing for your characters to have superpowers at all, ever. We've all read plenty of stories where the author has made it work. And sci-fi or fantasy writing can often be a good way for an author to get a moral message out to teenagers through metaphor and analogy.

You're right. I'm not explaining very well. Thanks for making me be clear about what I mean.

Deus Ex Machina that comes 5 minutes before the final plot resolution is obviously bad. No arguments there.

My deeper concern doesn't have to anything to do with the overall quality of the PLOT. I fully agree that someone can write a satisfying PLOT that does rely on superpowers in the final resolution. Obviously, you have to build up a believable picture of the hero's powers before he/she needs to use them, but sure. It can be (and has been) done.

My deeper concern is the MESSAGE that those types of plots--however fun and well crafted they may be--sends to YA readers.

You've probably heard that rule of thumb about how YA readers (and middle-grade readers, for that matter), like to read books with protagonists that are generally speaking a couple of years older than themselves. Obviously it's not a hard and fast rule, but it tends to be the case. The reason is because those readers are looking for guidance about what's coming FOR THEM a couple of years down the line.

Now obviously, if they're reading a vampire book or whatever, they don't expect that in a couple of years that they'll have to grow fangs or whatever. But what they are looking for is a realistic portrayal of the emotional/social development of someone a couple of years older than themselves. They're looking to see an example of what they can expect from themselves down the road a little bit.

If what these readers see is that someone a couple of years older than them is capable, all on their own, of dealing with situations that would overwhelm the reader, then that's inspirational. That's a positive, forward-looking message. It's a message of "hang in there, kid, you'll get there. Just give yourself time."

With so much pressure and expectations on kids these days to grow up fast, to be dating younger and act more mature than they're really ready for, I think YA readers NEED every "hey, relax, slow down a bit. It's cool" message they can get. Well written fiction that pays attention to the "meta" message being conveyed beyond what's happening in the story has a unique ability to show them that. Fiction, especially stuff written in first-person or close third-person, lets the reader try on an older persona for a couple of hundred pages, to get a feel for what that's like.

On the other hand, if the book's "meta" message is "experience and wisdom doesn't help you as much as having a superpower," and the reader knows he's never going to have one of those, then no matter how much the kid is aware of the difference between fiction and reality, the message is still a downer. It's still anti-inspirational.

I dunno. Maybe I'm worried over something that isn't really a problem. I know it's a soapbox thing for me, but at the same time I can't help but believe that we authors owe our readers to worry about the message we're sending.

Lapochka (YA emotional journey / travel adventure):
A young woman searches for her missing father through clues hidden in Soviet-era Russian comic books.

Also check out my writing blog at: http://www.plottopunctuation.com/blog/

I think, really, it's all about balance. For example, in my story this year, my MC is going to have one rare - but rather useless in a fight - magical ability, but can't cast any spells. Everyone else in her world can cast spells. And I'm not going to get into the details here, but her ability ends up getting her in a whole ton of trouble. So the story isn't about her pwning baddies with her epic magic lasers, it's about her working with and around an ability she can't get rid of, no matter how much she might want to.

Mundane characters in paranormal settings can be very inspiring, I agree. But an MC with a super power or two can be very fun to read. So I think maybe the important thing to do when creating a super-powered or magical main character is making sure to give them at least as many disadvantages from their powers as advantages. As long as they have to work harder than other people would for every victory, their victories continue to be inspiring, even if they have a few extra powers. That's what I think, anyway.

Edit: I meant to say, in a story with super powers, it's also extra important to have conflicts that a character can't fight their way out of. Shooting webs like Spider-Man or fighting like Neo doesn't do a whole lot of good if you're trying to ask your crush out, or negotiate a peace treaty with a powerful warlord.

There is something wonderful of the pure escapism of reading as a child where words have the power to transport you anywhere. Whether that escape is super powers, historical fiction or a spooky ghost story is really irrelavant. To be fair, even a YA novel routed in realism is escapist. And are contemporary, realistic YA novels any more responsible?

I think a paranormal plot device can be used as an allegory or a metaphor for the struggles of being a teenager. Especially if a magical power (or lack of one) sets you apart or forces you to grow up or face challenges. Moreover, by altering the world as you know it, you have more freedom to pose questions and play with expectations.

Also by removing the reader from their comfort zone, you give them the chance to step back from their lives and gain perspective. Even the act of reading (what ever it is) is a "slow down, take it easy" action.

I must admit that though I am writing a YA novel, I purposely don't read much of the genre. I am incoporating a paranormal/parallel world aspect into it as it gives me the space to deal with issues of alienation and abandonment.

Interesting debate topic.

The nearest any of my characters have to superpowers, is one of the female MCs has the ability to see wisps, which are basically little ghosty things that possess dead bodies. It's essentially useless to her, except for later in her life when it allows her to get a job. Other than that, all my character are perfectly human. Albeit, humans with a lot of training in the art of gunplay and CQC.

But what they are looking for is a realistic portrayal of the emotional/social development of someone a couple of years older than themselves.

That could be one thing that a reader is looking for. They could also be looking for escapism, a metaphor for their emotional/social development, an emotional path to growing up, a role model for being brave or loyal, a power fantasy, an allegory, or any number of things. I think you are portraying a very limited view of literature if you think that's the important thing about YA novels. YA readers are smart, varied and fascinated by the world - why limit them to "realism" and what's "good" for them?

Thanks, mandalyn97. That's exactly what I was trying to get across, except I couldn't say it properly. But you did. Way to be a writer.

Cloister, I don't see how giving your characters a superpower in a paranormal story necessarily hinders whatever message you're trying to get across for young readers. Your characters don't need to face the exact situations your readers will face--and they shouldn't, because it's a story. The important thing is what kind of person your character is, how he faces his problems, however realistic his problems may be. That's how you get your moral across--by having your character set a good example. Maybe your character is brave, or truthful, or intelligent, or persevering.

Writers everywhere love the paranormal/futuristic storylines because it gives them the chance to blow things out of proportion--something teenagers are great at doing naturally. But that doesn't mean that the way the character acts doesn't get the moral across.

I'm thinking of Joss Wheden's Buffy, where, rather than high school just feeling like hell, high school actually is hell. And yes, Buffy has superpowers, but the important thing is that she tries to face her fears head-on and fight even when it's easier not to, and that has the power to inspire and uplift, whether I have demons in my basement or not.

Teenagers have imaginations, too (good ones!) and they're smart enough to figure out that, no, they probably won't have to actually save the world in the next couple of years. But sometimes they'll feel like they do. No, they won't, in the next couple of years, actually have an evil organization from the future after them and their friends. But they'll feel like they do.

And when the darkest parts of your teenage life show up, when it feels like you've been backed into a corner by an elite group of ninjas (but only metaphorically) will you stand up and fight?

That was a great way to explain it too...good luck with the nano...

There's that, for sure. Also, his powers seem to cause as many problems as they get him out of. Heck, if he hadn't had the power he'd had, Voldy would never have been interested in him.

I think that "powers" are poorly used a lot of the time because they're so flashy. It's really easy to forget that a teen (for instance) has acne problems if he can turn invisible. It's also easy to overlook the social ostracism that might come about because of ANY difference that a teen shows, along with a host of other problems, especially if he's trying to keep his ability secret.

Can you tell I'm a superhero fan? Particularly the heroes in the modern books, the ones that deal with the person on the other side of the flash.

As for me...my protagonist is a kick-ass cowgirl who just happens to ALSO have a few powers. None of them make her life any easier. I look forward to seeing how it all turns out.

I'm not the droid I'm looking for.

Hm. I have a WiP where the narrator survives and succeeds despite her superpowers.

Others have to intervene to keep her from using them. She's overpowered, perhaps inanely so, but the end result is she and her friends survive because the friends have fast reflexes.

Of all the members of her acquaintance, it's the "norms" who have the most sense, the ones who are normal for what they are. The shy mundane who encounters a revenant in class, the gargoyle roommate (...er, never mind, she's gone a bit sociopathic), the young vampire (who refuses to act on his crush on the narrator because it's inappropriate), the daughter of the local werewolf alpha (who isn't as mundane as the narrator thinks she is).

Granted, I don't have many humans in the work. Does it still convey that message you're worried about?

It's been mentioned before, but you just hit one of my hot-button issues, so it bears saying again.

Depends on the problems he character is facing, quite frankly. If they're the sorts of problems that your readers might come across in their everyday lives, then sure, I'll bite. I don't actually think that YA writers have an additional "duties and responsibilities" to the reader than those that write for adults, but arguably this falls under the only duty that I think any writer has to any reader --- to tell a good story, and to tell the truth as it applies to their characters. Overcoming normal challenges with paranormal abilities breaks the first part of that rule --- the tension snaps, and there's no doubt that the protagonists might loose. That's more problems than are just in the "YA fantasy" genre.

If, on the other hand, the challenge faced by the character is something that the reader has no hope of ever encountering outside of the realms of fiction, I don't see why pulling on every resource they have is some kind of a cheat -- regardless of whether it's a metaphorical thing (which usually it is, regardless of the writer's original intention symbolism gets in) or just an adventure story. Joss Whedon's Buffy the Vampire Slayer series has already been covered, and he can be a bit obvious with the metaphors, anyway, so perhaps something more general -- the average teen does not turn into a werewolf every full moon/at times of peak emotional stress/after drinking from a stream that wolves have recently drank at (depending on the folklore/tradition you're using). The average teen won't ever encounter a vengeful fairy godmother or find herself the host of a poltergeist. I seem to be going for the puberty metaphors here (well, that and the expectations of one's older relatives, but I digress).

On the other hand, the teenage werewolf turning her most vulnerable moment into an advantage when its the hulking big wolf with the strength to find a friend in a snowstorm after she thoroughly freaks out and changes is just working through panic on a much bigger level than without the supernatural elements. The teen using the magical gifts given to him by that godmother to get out of trouble in faerie -- well, we've all picked up useful things from relatives, even the ones we'd rather not admit we have a connection to, and there really is no shame in using them. And the poltergeist's host, using the paranormal abilities of her supernatural rider? We've all got a darker side in us, it's a matter of channelling it in ways that help more than harm. And these are just the obvious "uses of powers to get out of a situation" that can be thematic metaphors. Storytelling's all about methaphors in a way, and it bothers me that many people seem to think the younger crowd is incapable of grasping that when in my experience that is incredibly far from the case.

You asked on their blog what characters inspired us when we were kids, so --- Tris Chandler from Tamora Pierce's Circle of Magic books, Tiffany Aching from Terry Pratchett, Peter Parker, Christopher Chant from Dianna Wynne Jones's Chrestimanchi series and Kit and Blade from Dark Lord of Derkholm all immediately spring to mind. None of 'em capable of solving all of their problems with magic alone, but all of them going at their problems with everything they've got -- including magic/super powers, if it's at hand.

Again, sorry if I come off as too confrontational -- the idea that fantasy/sci-fi is an inherently unrelatable genre to any crowd kind of presses my own personal buttons (or soapbox issues, if you'd rather).

Cheers!

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While I agree with the sentiment that 'waving a magic wand' to fix everything does not empower young readers, I think you can still have a lead character with abnormal powers and accomplish the same directive. In my plot outline, my lead character does have a sci-fi/supernatural power. However, when it comes to the major crisis in the novel - the resolution - it is not her 'superpower' that will save the day. In fact, being 'supernatural' won't help her at all in the final conflict. It's her heart that will determine the outcome, not her so-called magical abilities.

Maybe you can give some examples of books that have this sort of message? (Besides the unpublished one that you critiqued.) I've been sitting here trying to come up with some, and failing.

As for what you asked in the blog post, a couple of books that I liked when I was around the age ten to thirteen range: K. A. Applegate's Animorphs, Tamora Pierce's books - particularly the Circle of Magic quartet and the Immortals quartet, and Philip Pullman's His Dark Materials. Around the later range of that time, I also got into Diane Duane's Young Wizards series.

And if I'm not? Is that an allowed option? I have to say, I find this thread really quite obnoxious, especially because it seems to be based on the assumption that everyone should want the same experience or message from a book that you do.

I agree with most people here.

But, I do believe you have to be careful with superpowers.

a day without sunshine is like, night.

The meta message in those cases is never intentional. I'd never accuse an author of intentionally setting out to undermine their readers' confidence in themselves (or their near-future selves). What I'm saying is that it can be an accidental message conveyed by a writer who has relied too heavily on the paranormal abilities.

The example that springs to mind of something published that does this--and I don't know why it didn't occur to me yesterday--is James Patterson's "Maximum Ride: The Angel Experiment." His protagonists rely quite heavily on their genetically-engineered super powers to escape the clutches of the evil experimentors. Of course, there's a lot else that's wrong with that book: tons of deus ex machina "discovering" of new powers at ridiculously convenient times; whole sub-plots that are totally at odds with the main character's overall objective, et cetera. I suppose I shouldn't have expected to find an inspirational meta-message.

Anyway, thanks to everyone who took the time to share their thoughts. Some great insights, and I think in large part those who have said "it's a question of balance" are right. Many others have cited examples of paranormal characters whose powers aren't much or any use in their ultimate success, and I have to say that's valid. I think that creates the same positive, inspirational meta-message that a mundane/muggle main character does. Good on ya!

Lapochka (YA emotional journey / travel adventure):
A young woman searches for her missing father through clues hidden in Soviet-era Russian comic books.

Also check out my writing blog at: http://www.plottopunctuation.com/blog/

Oh, yeah, I definitely understand that you're saying it's not intentional on the part of the writer. But I'm still having a hard time seeing how what you're describing isn't just a poorly done deus ex machina in the plot, as has already been discussed.

What I keep coming back to is this: even if the main character uses powers to get her out of the tough spot she's in, she's motivated by something that all of us have. (A sense of honor, desire to do the right thing, desperation, whatever it might be.) And I think that's something that can be related to and that can be emulated.

I was thinking that this thread is what I *love* about the Nano forums - it has provoked writers and readers of paranormal to think hard about what they love in the genre, its characters and plotting, and as a result to identify what they want to see (or want to avoid) in their own MS in November.

From this thread, I've learned that, come the third week of November, I'm going to give my MC some fireball-throwing ability to take down whatever antagonist I come up with in week one! }:->

Winner - nanowrimo 2006
Winner - nanowrimo 2007

I think it is belittling to think that teens and young adults can't be inspired by someone with "super powers." I think it also belittling to think that teens and young adults can't read a book that is pure fantasy - fiction and not be able to get something out of it. I read a lot of SciFi and Fantasy novels when I was a young adult (as there was no "young adult/teen" section in the bookstores when I was growing up. After you read Judy Blume's Forever you were thrown into the adult stacks.

Strength and ability can be inspired even when one doesn't have superpowers to match the characters that are being written about. We can find a desire to accomplish something because we see the fortitude of the characters in the books. Also, when one has superpowers one is usually dealing with things that an average teen/YA just isn't going to encounter. I am not going to have to fight off vampires, so I don't need to be incredibly strong (at least I hope I never have to fight off vampires). I don't have to save the universe from a speeding asteroid, so I don't need to be able to fly and have x-ray vision. While it would be nice to be able to read the minds of my children and my spouse, that isn't a reality and I know it and so I don't expect it.

Yes; there is a plethora of YA books involving "mythical beings" with "superhuman powers" but that doesn't mean that teens/YA are going to think they need those things in order to cope or get by in life.

You asked two questions:

1. I think that the proper place for paranormal abilities in YA literature is in books that would be categorized as "YA Paranormal." As a YA Paranormal author I have no problem with my books being placed between Ursula LeGuin (fantasy) and Madeline L'Engle (quantum fantasy LOL!) We all are/were YA authors (as well as writing books for adults and younger children). I would be surprised to see paranormal abilities in a YA western or a YA romance or a YA sports or YA coming of age or YA historical because it doesn't fit. But I actually do expect to see paranormal abilities in YA paranormal books.

2. I believe that YA writers have the duty or responsibility of being honest with their writings and characters just like I expect that same honesty in adult literature. I hate to see characters doing things that are outside the realm for that character. I expect witches to have special abilities. I expect vampires to have a desire for blood and be incredibly strong. I expect werewolves to turn at the full moon (or at will or however those werewolves turn in that world). I expect Superman to be able to fly and to have laser beams. I dont' believe that YA writers have a responsibility to teach or lecture (at least not outright and tutorial). I do have issues with sexuality in YA literature dealt with irresponsibly (but then I have issues with adult literature being cavalier with sexuality as well). So if there is any sexual action in my books safe sex is at least briefed. Even in paranormal books I think it is something that needs to be dealt with. Imagine how Twilight would have been different if Edward had just thought to bring along a condom. :-D

Lorna

Nanowrimo08: Magical Words
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Two words: Comic books.

I know, most of us probably laugh at comics because they're so basic. Kids love them though, from the old Superman comics that cost a nickel to the Manga that's popular now. Most of the best sellers have magic of some kind, but that doesn't stop kids from relating to the characters.

Look at Superman. He's a classic, good old farm boy from Kansas who just happens to be an alien. No matter how many superpowers he uses (and he has them all), at the end of the day he's still a geeky guy who stutters around Lois Lane. Heroes give us someone to look up to, someone to try to emulate. After all, there's far more to Superman than his powers. There's also his incredible kindness and sense of duty. Everyone can have that, even if they can't fly around the world fast enough to turn back time.

Growing up, I found that reading helped me escape from my everyday life. When I read about Madeline L'Engle's 'A Wrinkle In Time' I knew I couldn't transport to a distant planet... how unrealistic. But in my imagination, I was right there with them.

I didn't read to understand everyday life, or to try and decipher some hidden meaning. I could care less. I read to escape everyday life! To immerse myself in a world that couldn't possibly exist, other than in my imagination. To become that superhero, or heroine. To commune with ghosts, climb buildings with the webs shooting out of my wrists, or swim under the sea with other mer-folk. Sure, I liked the Judy Blume books. But I LOVED the Wrinkle in Time series, or the newest Star Wars books, and much later in life, Harry Potter and Twilight. (I don't really care if you didn't like the books... I did. That's all that matters to me.)

Most children don't care about the literary value of a book. Most children want to read a book that allows them to ignite their imagination. To become that character, if only for a few days.

I write MG and YA paranormal novels. The wilder, the better. If I'm going to write about a child who is psychic, I'm not going to worry whether or not my reader is psychic. Because while they're reading my novel... they ARE psychic!

Next... they'll become vampires. After that... mermaids. The sky is the limit!

Yesterday is history, tomorrow a mystery, but today is a gift! That's why they call it... the present.

I think that saying NEVER give an MC super powers is a bit overboard. But I do think that every author should be cautioned about how they use powers in a character. I have read too many stories where the protagonist has "super special powers!" and no one can defeat them. And often when an author tries to put obstacles in the character's way, it just feels contrived because we as an audience are not actually concerned for them.

I also think that, while people do use novels as fantasy and escapism, to some extent the reader has to connect with the MC. If the character isn't relatable, most readers aren't going to be able to get really emotionally involved his/her plights. So even if the story is complete fantasy, it still needs to ring true in the mind of the reader.

You cannot achieve the impossible without attempting the absurd.
--Unknown