In the WriteOnCon chat, I caused a bit of a kerfuffle with fantastic writer Hannah Moskowitz (if you haven’t read BREAK, stop reading this, go buy that at your local indie, and go read it this instant). I said that, for MG boy books, in particular, sometimes the sense of action and adventure trumps voice. I still stand by that. I’ve been reading a lot of MG boy books recently. While they’re all well-written, I sometimes feel like the pacing and plot can hold more emphasis to readers and publishers than a really great, character-driven, literary voice. At least that’s what I see when I look at what’s on shelves these days.
Well, Hannah disagreed and said that voice and character are just as important in boy books as it is in girl books. We never disagreed over this point, I don’t think, but I didn’t want to hijack chat to make that clear. Of course boy books should put just as much emphasis on voice as they do on plot. But when I look at what’s out there, especially in MG, I don’t see it as much. And it’s a self-fulfilling prophecy. Do boys read the kinds of books that publishers publish because those are the kinds of books they want or because those are the kinds of books that are getting published?
If you pick up, say, a MG book marketed to and published for girls, you will find pages dripping with interiority, character, inner monologue, inner tension, emotions, and, yes, of course, action and plot. If you pick up a MG with a boy protagonist, more likely than not, you will find lots of quick scenes, action, adventure, dialogue, and less of the kind of slow, interior stuff that tends to give more flesh and meaning to characters.
But that’s how things tend to be on shelves right now. That doesn’t mean that’s how it has to be. Hannah has written a great post about boy characters in YA, it’s called The Boy Problem. I think this also can apply to boy characters in MG. There are a lot of boy main characters in MG, and those boy readers are at a crucial point in their reading lives…they usually read through age 12 and then drop off the reading planet entirely or swing up to adult fiction to, as Hannah says, find stories that are relevant to them there.
There are, of course, writers with fantastic voice who target MG boys. Eoin Colfer, Rick Riordan, Daniel Handler/Lemony Snicket, M.T. Anderson, Jeff Kinney, Trenton Lee Stewart, Nancy Farmer, Carl Hiaasen, the authors featured in the GUYS READ: FUNNY BUSINESS anthology coming out this fall from Balzer + Bray/HarperCollins (edited by Jon Scieszka), and many more. They know how to tie characterization and voice together with action and plot in a way that’s really appealing to MG boy readers.
But other published MG books out there, and some of the submissions I see, don’t seem to put as much emphasis on voice as they should. So instead of saying, “That’s the way it happens to be right now and excuse me for just calling ‘em as I seem ‘em,” as I did in the chat, I’ve been inspired by Hannah Moskowitz to be one of the people who does something about this. For now, I’m talking about MG boy books in particular, not boy YA. Boy YA is a different can of worms, because the audience is different. Boy YA is a topic for another day. So, in terms of boy MG, are two things you can do right now to start solving The Boy Problem.
First: If you have book recommendations for published books with great MG boy voice and characterization, which manages to combine these with action and adventure, leave them in the comments. I’ve given you some starter authors, above.
Second: As writers, if you happen to already be writing MG boy books or are interested in writing them, read the books recommended in this post. Then work hard on your craft to reach and capture these very special readers. Write books with great characters, great voice, great scenes, and great action. Push yourself hard and don’t be satisfied with, “Oh, it’s a boy book, I can get away with some flat voice and character if I make enough stuff go bang.” Then, query me of course.
I’m officially putting it out there…I would love to see more MG boy books that put an emphasis on voice and character in addition to action and thrills.